Reblogged from gaptoothbitch
détective
Welcome to the official tumblr of the Los Angeles-based rock consortium Détective
VIVIENNE WESTWOOD FW 2012
We won’t be wearing this tonight but we would dearly love to
INTERVIEW WITH A YOUNG JEAN-LUC GODARD
“I feel like I love cinema less than I did a year ago, simply because I made a popular film. I hope people really hate my second film so that I’ll want to make movies again.”
the folks over at Flavorwire recently posted a collection of neat video interviews, moments with great filmmakers while they were young and just starting to find their voices. here’s a little chat with Jean-Luc Godard at Cannes in 1960, mere months after the initial release ofBreathless.
anyone familiar with Godard shouldn’t be surprised to see that, even at age 30, he was already a cantankerous and contrary little bastard (and thank god for that). but… and I’d have to double-check with the interviewer before I was completely convinced… but is that a smile?
“I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That’s what I try to do all the time.”
Agnès Varda (born May 30, 1928)
(VIA strangewood)
p.s. i’m on set all this week, so Criterion Corner will be posting much less frequently than usual for the next few days. i know it will be hard, but please try your best to stay strong.
Noli me tangere.
Jan Davidsz. de Heem (Utrecht 1606–1683/84 Antwerp)
Still life with flowers, a fish, a boiled lobster, and a faience bowl, signed at upper left: J. D D Heem f., oil on panel, 46 x 63 cm, framed (detail)
Provenance:
W. von Stumm Collection, Madrid (1906);
private collection.A Dutch Delft blue and white porcelain bowl
![criterioncorner:
INGMAR BERGMAN INTERVIEWS INGMAR BERGMAN
once upon a time there was a Swedish publicity magazine called Filmnyheter, issued by production company Svensk Filmindustri to promote their pictures. when Ingmar Bergman’s Summer With Monika came out in 1953, the accompanying issue of Filmnyheter included an interview between Ingmar Bergman and… Ingmar Bergman. you can read the entire thing in the booklet that Criterion has included inside their Summer With Monika release, but i’ve included some of my favorite snippets below. Bergman’s droll sense of humor is evident throughout his work, but between all the doom and despair it can be easy to forget just how hilarious the dude really was.
Bergman: What was it like making Summer With Monika?
Bergman: I didn’t *make* Monika. [source novel author and co-screenwriter Per Anders] Fogelström bred her in me and then, like an elephant, I was pregnant for three years, and last summer she was born with a big ballyhoo. Today, she is a beautiful and naughty child. I hope she will cause an emotional uproar and all sorts of reactions. I shall challenge any indifferent person to a duel!
Bergman: From what I’ve heard, Summer With Monika includes the obligatory Swedish nude swimming.
Bergman: I haven’t heard that nude swimming has become obligatory in Swedish filmmaking. But I think it should be.
Bergman: So do you want to say anything with this film?
Bergman: “Get out! But return!”
Bergman: Any beautiful moment from the shooting of the film?
Bergman: As always, one forgets the hard work and remembers the fun. In this case, the skerries. We—
Bergman: MAKE IT SHORT!
Bergman: One morning at six o’clock, we were on our way to location, the engine of our little boat thumping across the still waters. The horizon at sea fused with the sky, the islets stood like floating octopuses in all that soft white. Up above, the fiery button of the sun was burning. It was warm and unusually still; there wasn’t even a swell, not a ripple. It was like eternity itself. It was like being in eternity. The smell of the sea, the quivering in the hull, the murmur around the stem, and the high silence — the summer of eternity.
Bergman: And then what happened?
Bergman: Nothing. That was it.](http://25.media.tumblr.com/tumblr_m4higayhlX1qebry0o1_r2_1280.jpg)
INGMAR BERGMAN INTERVIEWS INGMAR BERGMAN
once upon a time there was a Swedish publicity magazine called Filmnyheter, issued by production company Svensk Filmindustri to promote their pictures. when Ingmar Bergman’s Summer With Monika came out in 1953, the accompanying issue of Filmnyheter included an interview between Ingmar Bergman and… Ingmar Bergman. you can read the entire thing in the booklet that Criterion has included inside their Summer With Monika release, but i’ve included some of my favorite snippets below. Bergman’s droll sense of humor is evident throughout his work, but between all the doom and despair it can be easy to forget just how hilarious the dude really was.
Bergman: What was it like making Summer With Monika?
Bergman: I didn’t *make* Monika. [source novel author and co-screenwriter Per Anders] Fogelström bred her in me and then, like an elephant, I was pregnant for three years, and last summer she was born with a big ballyhoo. Today, she is a beautiful and naughty child. I hope she will cause an emotional uproar and all sorts of reactions. I shall challenge any indifferent person to a duel!
Bergman: From what I’ve heard, Summer With Monika includes the obligatory Swedish nude swimming.
Bergman: I haven’t heard that nude swimming has become obligatory in Swedish filmmaking. But I think it should be.
Bergman: So do you want to say anything with this film?
Bergman: “Get out! But return!”
Bergman: Any beautiful moment from the shooting of the film?
Bergman: As always, one forgets the hard work and remembers the fun. In this case, the skerries. We—
Bergman: MAKE IT SHORT!
Bergman: One morning at six o’clock, we were on our way to location, the engine of our little boat thumping across the still waters. The horizon at sea fused with the sky, the islets stood like floating octopuses in all that soft white. Up above, the fiery button of the sun was burning. It was warm and unusually still; there wasn’t even a swell, not a ripple. It was like eternity itself. It was like being in eternity. The smell of the sea, the quivering in the hull, the murmur around the stem, and the high silence — the summer of eternity.
Bergman: And then what happened?
Bergman: Nothing. That was it.
Jesus is Rambo.
This is what the Louvre looks like when it’s closed. What we were doing there would take too long to explain.
![yama-bato:
Lacquer Paintings of Various Subjects: Butterflies
Shibata Zeshin (Japanese, 1807–1891)
[+]](http://25.media.tumblr.com/tumblr_m4igz5XL1C1qahuhjo1_500.jpg)
