uh-oh

things are cool, these are cool things.
Grip…electric…set chef (Taken with instagram)

Grip…electric…set chef (Taken with instagram)

[Flash 9 is required to listen to audio.]

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Check out this short radio documentary I did a while back. It follows me as I go to play a man on craigslist connect four.

oldhollywood: Blow-up (1966, dir. Michelangelo Antonioni) “You knew you were in the presence of a great man with Antonioni; he was an auteur supreme. He wanted everything exactly right. We had also heard how particular he was about colours. I’m colour-blind so I can’t tell, but he was supposed to have sprayed the grass at Greenwich Park because he wasn’t happy about the green. He was even said to have changed the colour of the marijuana in Blow-Up because he thought it was the wrong shade. I have never had such close coaching from any other director, and many actors wouldn’t stand for it. Finally, on take 13: ‘Cut. Print. Good. Peter, come with me.’ So he took me off set and said to me, ‘Peter, I understand. You wish to show the world what a fine actor you are.’ He got that right. ‘When you work with other directors you give them your performance and they film it. Not with me, Peter. You see I have chosen you for how you look. I have chosen all your clothes. If I move my camera six inches, I would ask you to do that line in a different way.’ Upon this, he put his arms around me and held me close to him and said, ‘Peter, believe in me. Trust me. I am not God, but I am Michelangelo Antonioni.’ -Peter Bowles on the making of Blow-up (via)

oldhollywood:

Blow-up (1966, dir. Michelangelo Antonioni)

“You knew you were in the presence of a great man with Antonioni; he was an auteur supreme. He wanted everything exactly right. We had also heard how particular he was about colours. I’m colour-blind so I can’t tell, but he was supposed to have sprayed the grass at Greenwich Park because he wasn’t happy about the green. He was even said to have changed the colour of the marijuana in Blow-Up because he thought it was the wrong shade.

I have never had such close coaching from any other director, and many actors wouldn’t stand for it. Finally, on take 13: ‘Cut. Print. Good. Peter, come with me.’ So he took me off set and said to me, ‘Peter, I understand. You wish to show the world what a fine actor you are.’ He got that right. ‘When you work with other directors you give them your performance and they film it. Not with me, Peter. You see I have chosen you for how you look. I have chosen all your clothes. If I move my camera six inches, I would ask you to do that line in a different way.’

Upon this, he put his arms around me and held me close to him and said, ‘Peter, believe in me. Trust me. I am not God, but I am Michelangelo Antonioni.’

-Peter Bowles on the making of Blow-up (via)

oldhollywood: Federico Fellini on the set of 8½ (1963). Photo by Tazio Secchiaroli “I discovered that what’s really important for a creator isn’t what we vaguely define as inspiration or even what it is we want to say, recall, regret, or rebel against. No, what’s important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It’s not what we say but how we say it that matters.” (via)

oldhollywood:

Federico Fellini on the set of 8½ (1963). Photo by Tazio Secchiaroli

“I discovered that what’s really important for a creator isn’t what we vaguely define as inspiration or even what it is we want to say, recall, regret, or rebel against. No, what’s important is the way we say it.

Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It’s not what we say but how we say it that matters.”

(via)

Saw The birds this Friday at the Paramount theater and really realizing that Hitchcock truly is a master of suspense. I couldn’t seem to find it, but there’s a shot of Melanie Daniels with this playground in the background and then one bird lands on the play structure. I’m almost embarrassed with how scarred that one bird made me. Pretty incredible.

Saw The birds this Friday at the Paramount theater and really realizing that Hitchcock truly is a master of suspense. I couldn’t seem to find it, but there’s a shot of Melanie Daniels with this playground in the background and then one bird lands on the play structure. I’m almost embarrassed with how scarred that one bird made me. Pretty incredible.