1) A little thread. There is an essential principle in Catholic dogma (thus you may choose to refute it or embrace it) that serves as a narrative backbone: Grace and salvation emerge from pain and suffering. It is in this passage that you find salvation.
2) NO ONE WILL SAVE YOU. You will save yourself through this. You can find it in the Book of Job- In Jonah in the whale and in fact in many other religions. The world- the essence of it- is a paradoxical composite of destruction and creation.
3) Any human-scale attempt at suppressing one side, results in strife. Because the universe doesn't play nice. Period. I think the key is the moment of "communion" through the eucharist of the alien identity pod. It is profound.
A small story about William Friedkin (may take a moment): I had the privilege to sit all day by the side of the master as he shot The Caine Mutiny. Day after day diring the shoot and a couple of times in preproduction. From call to wrap…
During preproduction he made it clear to cast and crew that the schedule (very tight) would demand everyone to come in fully prepared - and that he would not consider many more takes than one. Everyone that steppd into the set had to be able to have “the full book” ready.
He was precise, eloquent and so full of energy that it was almost daunting to see. Everyone on that set gave him their all. He would run long takes and produce drama beautifully.
1/3 Todo mundo viendo el partido, pero lanzo esto. Sin entrar en política. Para buscar soluciones y mantener los Arieles para aquellos que hacen un cine que propone y que da presencia a México: Ofrezco personalmente cubrir el costo total de las estatuillas del Ariel-
2/3 Ofrezco ayudar a la ceremonia tanto como sea posible. Y pido dialogo entre @AcademiaCineMx y @alefrausto para ver que mas falta. La academia y las películas que estimula, NO son las que los bots usan como argumento- son las que pelean por tiempo en pantalla y que mantienen-
-nuestro cine- esa forma de arte, muy real y muy valorada- y siempre en peligro. Yo le entro. He estado llamando a @LeticiaHuijara y la sigo para que me de un DM. Me sumo. No resto a nadie. Hay que hallar soluciones. Las culpas no sirven. Las soluciones ayudan. Vamos a ello
I very, very seldom post anything contradictory here- but- the amount of misconceptions, sloppy innacuracies and hostile adjectives not backed by an actual rationale is offensive, cruel and ill-intentioned. This article baited them traffic, but at what cost?
To be clear: If God offered to shorten my life to lengthen Scorsese's- I'd take the deal. This man understands Cinema. Defends Cinema. Embodies Cinema. He has always fought for the art of it and against the industry of it. He has never been tamed and has a firm place in history.
I don't shit talk, I don't "slam" and I support- but if anyone thinks that WWS is "...achingly slow" or that Raging Bull is "... bad filmmaking" and that "No studio dares to utter the word 'no' to him." Film language discussions, history lessons and research may be needed.
Extremely hard to execute. Pure, masterly clockwork precision and a lot more complex than "seamed" shots or steadicam-to-crane "relay" shots. Baffling, virtuoso- but one of so, so many shots that make the camera "dance" with each musical number.
There are some of the dance number shots that are extremely (if not impossible) to decipher and almost all of them require brain-surgery levels of precision. I was elated from the purity of his audiovisual painting strokes-
If you attempt to really breaking down the tools and how he uses them- you have to do it in a second or third viewing. You feel like Salieri getting the Requiem dictation from Mozart: "Wait- wait- you're going too fast!"