Monthly Archives: November 2016

298 Great Directors: Yoshishige Yoshida

“You see, when someone is asked what defines French cinema, of course there is no answer: film is something made by an individual director. I believe that it is possible to make films according to one stylistic principle, of course, such as the Russian montage movement, or political or other manifestos can guide directors into making a specific brand of cinema. However, as for my own personal case is concerned, I cannot define my work under any one meta-title. I myself was first influenced heavily by pre-war films. I watched them as a kid, and then watching films after the war, I found that watching films as a teenager and then as an adult was an entirely different experience.”
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302 Great Directors: Bruno Dumont

“If, as you say, it was dark then and there is light now, the light only comes from the darkness. The comedy is only the other side of the drama. Comedy comes from drama. I just realized these are different sides of the same thing. So I have no problem being in the same locations, with the same people, telling more or less the same story, but from the other side.”
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303 Great Directors: Mario Bava

“My fantasies are always horrible. For example, I love my young daughter more than anything else in the world, but when I dream of her its always frightening. Do you want to know what character is haunting my subconscious? A violinist who serenades the woman he loves by playing on the tendons of his arms. Everyday life works on my imagination. Just this morning I found a letter, still sealed, from a friend who has since died, written to me ten years ago. It was like receiving a letter from a dead person. What would you do in my place? I burned it…”
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304 Great Directors: Park Chan-wook

“I had a set of principles in designing these sex scenes. I didn’t want them to come across from the perspective of the male gaze; these scenes shouldn’t objectify women’s bodies. And I didn’t want to shoot it in the way that it would appear like characters are there to relieve their sexual desires. In other words, if the scene involved a man, I didn’t want the point of the scene be about making the man ejaculate. I wanted to do a sex scene where the process is the joy of it—the kind of sex where you can feel the intimacy between the two characters, where it is, as you say, a game. Sex where you laugh a lot, talk a lot, and even cry sometimes.”
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