To the Wonder by Terrence Malick
Shame by Steve McQueen
Mono&typo no.2 - Daniel barba
Spike Jonze while filming Her (2013)
“Embrace the idea of releasing your work yourself, without a film distributor or record label or book publisher or other middleman involved. Don’t listen to people who try to convince you that you need them in order to get your work out there. You don’t.
The Internet is such an incredible gift to creative artists, one that allows us to reach the people who want our work directly. But I’m amazed at how quickly some people want to give that gift back and let someone else control how their art reaches the audience, and how they’re compensated for that art.
Build a direct relationship with the people who want to see your work, and run your own small company to produce and distribute it. I know, to some of you that doesn’t sound like a good thing. But it is. You might be thinking, I don’t want to be a businessperson. I’m an artist; I just want to focus on the creative stuff. Well, if you want to keep creating, you need to know where the funds are coming from. I know it sounds like a lot of work and responsibility dealing with the business issues yourself, but you’ll be much more knowledgeable about your industry if you learn how it works through doing it.
Yes, it would be convenient to hand off these responsibilities to someone else. But if your goal as an artist is to be self-sustaining - that is, to be able to work on whatever projects you want to without anyone else’s approval, and be able to make a living from that work - then I don’t really see any alternative. A catalog of work that you create over your career, and that you retain full rights to, is a long-term asset that will continue to benefit you in ways you can’t even imagine right now.”
-Filmmaker Gary Hustwit in Tell Me Something: Advice from Documentary Filmmakers
G R A V I T Y - Fan made movie poster !
Breaking Bad by Terence Shek
Strong yellow tie.
The Place Beyond the Pines by Eddy Earwigg
One of Cuarón’s best friends is the filmmaker Alejandro González Iñárritu, a former D.J. from Mexico City who met Cuarón after soliciting his help on an early draft of what would become the Oscar-nominated Amores Perros. He says Cuarón’s commitment to the sustained shot is about philosophy more than virtuosity. “Our life is lived in a constant uncut point of view, only interrupted when we close our eyes to dream,” Iñárritu says. “We are not editing our life. It’s only when we remember our life that we edit it. Alfonso is interested in this point of view where the audience’s point of view integrates with the characters’ point of view in a way that there are no interpretations. It’s more pure.”