Lars and the Real Girl (2007)
(Source: michellewilliamss, via amy-blue)
(Source: goodactors, via fuckyeahdirectors)
Sketchbook page by Emma Black
http://www.emma-black.com
I love mysteries. To fall into a mystery and its danger … everything becomes so intense in those moments. When most mysteries are solved, I feel tremendously let down. So I want things to feel solved up to a point, but there’s got to be a certain percentage left over to keep the dream going. It’s like at the end of Chinatown: The guy says, ‘Forget it, Jake, it’s Chinatown.’ You understand it, but you don’t understand it, and it keeps that mystery alive. That’s the most beautiful thing.
(Source: doctrineofmadness)
![writersnoonereads:
No one reads Carlo Sgorlon (1930-2009).
From Jessie Bright’s introduction to the The Wooden Throne:
Carlo Sgorlon was born in 1930 in Cassacco, a tiny village near Udine, capital of Friuli, a region in northeastern Italy near the Austrian and Yugoslav borders. He spent much of his childhood in the countryside, where he attended primary school only rarely but came into daily contact with Friulian peasant life. The influence of his grandfather, a retired schoolmaster with a strong literary bent, and his grandmother, a practicing midwife steeped in local folklore, formed the basis of his love of literature and his reverence for ancient peasant traditions.[…]He has written a number of novels in the dialect of Friuli, as well as twelve novels and numerous short stories in Italian. His fiction has been translated into French, Spanish, Finnish, German and certain Slavic languages. His literary scholarship, aside from translations from the German, includes two major critical works, one on Kafka and the other on Elsa Morante. […] The Wooden Throne, his most famous book, was a best seller in Italy and since it was first published in 1973 has gone through fifteen printings. In fact its publisher, Mondadori, has recently brought it out in a new edition as part of a special series entitled “Twentieth Century Masterpieces.”
I started reading this book today and it is very charming.
Also in English: Army of the Lost Rivers
Cover art by Alexandra Eldridge](http://25.media.tumblr.com/tumblr_m24kbmh90Q1qf0717o1_1280.jpg)
No one reads Carlo Sgorlon (1930-2009).
From Jessie Bright’s introduction to the The Wooden Throne:
Carlo Sgorlon was born in 1930 in Cassacco, a tiny village near Udine, capital of Friuli, a region in northeastern Italy near the Austrian and Yugoslav borders. He spent much of his childhood in the countryside, where he attended primary school only rarely but came into daily contact with Friulian peasant life. The influence of his grandfather, a retired schoolmaster with a strong literary bent, and his grandmother, a practicing midwife steeped in local folklore, formed the basis of his love of literature and his reverence for ancient peasant traditions.
[…]He has written a number of novels in the dialect of Friuli, as well as twelve novels and numerous short stories in Italian. His fiction has been translated into French, Spanish, Finnish, German and certain Slavic languages. His literary scholarship, aside from translations from the German, includes two major critical works, one on Kafka and the other on Elsa Morante.
[…] The Wooden Throne, his most famous book, was a best seller in Italy and since it was first published in 1973 has gone through fifteen printings. In fact its publisher, Mondadori, has recently brought it out in a new edition as part of a special series entitled “Twentieth Century Masterpieces.”I started reading this book today and it is very charming.
Also in English: Army of the Lost Rivers
Cover art by Alexandra Eldridge
The Coen Brothers
Oscars: Cinematography nominees discuss film versus digital
The technological debate matters to me much less than the technique (especially because film is still undoubtedly superior). Janusz Kaminski, nominated for Steven Spielberg’s War Horse and cinematographer of Oscar-winning films Schindler’s List and Saving Private Ryan, discusses the “mystery” of shooting film. I love shooting film because it endears a level of simplicity and fore-thought as to what you’re attempting to accomplish. The mystery comes from the fact that it is absolutely intangible until it is projected on the screen. If you’re creative and confident, this is incredibly empowering.
Kaminski, from the link above:
Though he recently shot in digital for the first time while working on a commercial, he decried digital as a harbinger of “the death of the cinematographer.” “Generally speaking, I don’t have respect for digital media just yet,” he added.
His concern is that the cinematographer is no longer allowed to fully control the image as other technicians become a larger part of the process and that digital monitors create a laissez-faire attitude on-set toward image-making. “If you see the image on the digital screen I think people become lazy, they get satisfied with just seeing the image, they’re not going for visual panache, not getting the story through metaphors,” he said. “With film there is still mystery.”
Using your imagination as the primary tool, rather than monitors and scopes, will ultimately yield the best results.
~ü
Drive…Mario Style. Awesome artwork by Dan Hipp, check him out @ http://mrhipp.blogspot.com
(via amy-blue)
