Film and music has the same communicative capacity, according to Toronto filmmaker Peler Mettler. By adopting the musical rhythms and procedures as creative vectors, the filmmaker, who is also the cameraman and the editor, acquires the means to produce a cinema of the unconscious, of the intuitive, either with or without a narrative structure. Mettler describes his musical approach to film and its application in three of his features : Scissere (1982), Eastern Avenue (1985), and The Top of His Head (1990).

Film has the same potential immediacy as music. What I mean by this is that film has many aspects in common with music, especially in its ability to tap into an unconscious or subconscious mode of experience, and in its ability to create meaning through rhythms and emotional colours and tones. This potential of cinema is intrinsic to the message I try to convey through my work as well as to the means used to express this message. It is central to my methods of production as well as to the response I try to elicit from an audience, where they are enabled to function on a level that is not intellectual, but emotional, a level of “gut responses.” Film can be configured in the same way as a piece of music and, like music, it could be that the essential element of a film is its rhythm. If a film does not have rhythmic resonance a viewer can tune out of the experience, even if it is a narrative-based work, because he his not absorbing thoughts or emotions of the film at the right time, the right place.

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Source: filmfilmmagazine
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"My sight, which was my power, now blurs
Two invisible diamond spears;
My hearing subsides, full of ancient thunder
And the breathing of the house of my father.
The knots of tough muscles slacken
Like grey oxen, lax in the ploughed field;
The wings behind my shoulders yield
No light when evening darkens.

I am a candle. I burned at the feast.
Gather my wax when morning arrives
So that this page will prompt you
How to be proud, and how to weep,
How to give away the last third
Of happiness, and to die with ease—
And beneath a temporary roof
To burn posthumously, like a word.”

—A poem by Russian poet Arseny Tarkovsky recited in Nostalghia (1983) directed by Andrei Trkovsky.

Source: tarkovskologist
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Liv Ullmann: "I was always reading a book in-between takes and once I looked up and they were still doing a lot with the camera…and…and I…looked up and Sven Nykvist, the cinematographer, was doing things with the camera and then, there, doing nothing…was Ingmar and he was just…looking at me. And I knew…he…he felt something for me.” (x)

A great relationship between a director and a actress the loved and create together. Bet to be inspired

(via francois-truffaut)

Source: violentwavesofemotion


Sid’s Cafe, from Last of the Summer Wine, is decorated with King of the Mountains polka dots and a cardboard cutout of Nora Batty, in Holmfirth. The Christopher Furlong photograph is part of a Guardian gallery of photos from Yorkshire as the county prepares for the arrival of the Tour de France.

Lets enjoy it!!!

Source: cadenced



I dreamed of you last night while I was with another woman. You wanted a child from me. How can I get rid of that image now? 

I’m leaving you because it’s too late or too early to start all over again. Because you’re so far away from me and I’m already suffering too much. And because I still don’t know how to live with this love I can’t control. But I know the bond between us is stronger than time. 

I’m leaving you with the hope of meeting you again, one day when we’re more free and more worthy of our love.”

Goodbye First Love (Mia Hansen-Løve, 2011)

Source: filmletters
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Only the magic is the art we don’t understand!!!

Source: londowney
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"We put Mother in the ground, but I don’t think she’ll stay there. They never stay, do they?"

(via penydreadful)

Source: maytheymeetagain
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"But I suppose we all play parts."

"What’s yours?"


Penny Dreadful 1.04 - “Demimonde”

(via penydreadful)

Source: wednesdaydreams