They say you can find beauty in most things. Not everything. That’s nonsense.

Calvary (2014), John Michael McDonagh

We Can’t Get Out Of The Bedroom Now.

Shirley MacLaine on Parkinson in 1975

Mind. Blown.

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"I was a couple of films in before I realized, ‘Oh gosh, this must be who I am. I guess I’ll never be that other thing.’ It’s kind of a sad day. Before you’ve done anything, the world is completely open, just like any actor starting out saying, ‘Oh, I want to be Meryl Streep or Robert De Niro.’ At some point you look in the mirror and go, ‘Shit, okay, here’s who I am. I’m not that, but I am this.’ You sense your limitations and learn to live with it."

- Richard Linklater on knowing what kind of filmmaker you want to be

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"To be a philosopher you need to read everything, newspapers, magazines, books—you must know a lot of things…not a lot of things: everything about the world and the whole universe. And that is if you really want to be a real philosopher and not just someone who just takes notes on Heidegger or something. For me, I am too lazy, too old, and too tired to start to understand the whole universe. But, I am fine with that."

Béla Tarr

(Source: spiritandteeth, via communicants)

What makes you think that elves are any more magical than something like a whale… You know what i mean? What if i tell you a story about how underneath the ocean there was this giant sea mammal that sang songs and it’s so big that it’s heart was the size of a car and you could crawl through the arteries? I mean, you’d think that’s pretty magical, right?

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Uncle Boonmee Who Can Recall His Past Lives (2010, Apichatpong Weerasthakul, dir.)

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Goodbye, Dragon Inn ( Tsai Ming-liang, 2003)

(Source: yukiovsky, via naokosattomi)

‘Trois Couleurs : Bleu’ (Three Colours: Blue), Krzysztof Kieślowski (1993)

Now I have only one thing left to do: nothing. I don’t want any belongings, any memories. No friends, no love. Those are all traps.

(Source: madeofcelluloid, via visiting-hours)

We are programmed to think in terms of “foreign films,” as if somehow their values are just as foreign as their languages. With Ozu, that is not the case. Last winter I taught a class on the greatest films of all time, as selected in an international poll held every 10 years by Sight & Sound magazine. One of the films was Ozu’s “Tokyo Story" (1953). Most of the class members hadn’t seen an Ozu film before, and were not necessarily looking forward to it, so I was surprised by the intensity of their response. As Ozu’s story unfolded, telling of the old couple who come to visit their children and are received correctly but distractedly, there was first of all complete silence in the auditorium, and then I began to hear snuffling and the blowing of noses, and when the movie was over and the lights went up it was clear that for many of the viewers it had been a powerful emotional experience. Weeks later, when the class ended, it was agreed that none of the other "greatest films" had equaled the Ozu in its emotional impact.

-Roger Ebert on Yasujiro Ozu 

[Roger Ebert]

(Source: onfilmmaking, via communicants)

2046 (2004) | dir. Wong Kar Wai

Everyone who goes to 2046 has the same intention, they want to recapture lost memories. Because in 2046 nothing ever changes. But, nobody knows if that is true or not because no-one has ever come back

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Well, anyway, my mission is finished.

(Source: suchasadaffair, via tsaiming-liang)

Now I don’t know what to say. It was easier when I just imagined you. 

Paris, Texas (1984), Wim Winders

(Source: wednesdaydreams, via missgilda)

This is one of the best films I’ve seen lately.

And not that anyone cares, but I wrote a review.