ASK!   Кино - очень сексуальная штука. Им все хотят заниматься.

twitter.com/MaryKuznecova:

    bathcrone:

    "A director should not define everything. For me, the movie is a form of a question I pose to the others or to the audience. I want to ask their opinion on my point of view and discuss it with them. That is why the movie is so interesting medium. And that is also why that my movies have no concrete answer, but the answers in progress that change constantly." - Kim Ki Duk

    — 2 days ago with 68 notes
    More than this
    You know there’s nothing
    More than this
    Tell me one thing
    More than this
    Ooh there is nothing

    (Source: tomhiddlston)

    — 4 days ago with 1003 notes

    Spring, Summer, Fall, Winter and Spring (2003) Dir. Ki-duk Kim

    (Source: filmcat, via filmcat)

    — 5 days ago with 8 notes

    thatwetshirt:

    In The Mood For Love (2000)

    (via fuckyeahwongkarwai)

    — 2 weeks ago with 237 notes

    Wong Kar-wai: “It was an unfulfilled wish. I wanted to put them together several years ago, in Days of Being Wild, but never got to. At first, I had wanted all the characters in this film to be played by Maggie and Tony, everyone down to the extras, but the concept was too ambitious… Maybe next time.”

    Tony Leung: “I grew up with many neighbors, very much like you see in the film. The economy wasn’t so good and people worked hard; they couldn’t afford to live alone. We rented out rooms and I remember a lot of gossiping, a lot of quarreling. It’s different in Hong Kong these days—you don’t even know who lives next door.”

    Maggie Cheung: “My strongest memories of the period are of my mother, which actually helped me with this film—the cheongsams, the shoes, the handbags, her visits to the hairdressers, the way she stood and walked and talked.”

    Wong Kar-wai: “It’s a very challenging film for actors. These are the most boring parts they could get—normal people, thirtysomething, married, nothing colorful or heroic. They both went through a period of trying to do something to prove they were acting, but I kept telling them not to, because the whole point was to borrow something of theirs. I didn’t invent a character and look for an actor to play it. It wasn’t a case of casting the right person for the role. We already had the actors; everything was custom-made for them.”

    Tony Leung: “I knew what to expect and what was needed—just don’t set any limits, no preparation required. I do research for other directors but not Kar-wai. I don’t even have to ask him very much; I usually have a good idea of what he wants.”

    Maggie Cheung: “Kar-wai just kept wanting to know what we could give him. And I was holding back, because I was like, ‘If you’re not going to give me anything to do, I’m not going to do anything. Just watch me.’ Until finally, he wore me out so much that I didn’t care anymore, I went out and just did it. And that’s when it all came. It took me six months to actually open up to him. If I hadn’t, the shoot would have lasted forever. Him waiting for me, me waiting for him. We’d still be shooting now.”

    (Source: strangewood, via wongkarwai)

    — 2 weeks ago with 853 notes
    eastasiancinema:

Pretty heavy movie. I watched it on Netflix and it was way more tame than what I had heard, but I also realized how desensitized I am. Aside from Pieta being a difficult watch, I really loved the color palette used throughout the movie. A lot of it takes place in the slums, putting an emphasis on blue collar workers and machinery, almost giving it a steam punk type of feel. Definitely felt like I was watching a Sogo Ishii film at times. 
I did feel like Pieta took more time than it needed with certain scenes; it certainly lacked the character development required to actually care about the fate of it’s cast. That didn’t stop the couple scenes leading up to the end from feeling very powerful. 
I liked it, in two sittings. Not on purpose, particularly, but it seems reasonable now that I think about it..It’d be hard to recommend Pieta to anyone but film and art house nerds. 

    eastasiancinema:

    Pretty heavy movie. I watched it on Netflix and it was way more tame than what I had heard, but I also realized how desensitized I am. Aside from Pieta being a difficult watch, I really loved the color palette used throughout the movie. A lot of it takes place in the slums, putting an emphasis on blue collar workers and machinery, almost giving it a steam punk type of feel. Definitely felt like I was watching a Sogo Ishii film at times. 

    I did feel like Pieta took more time than it needed with certain scenes; it certainly lacked the character development required to actually care about the fate of it’s cast. That didn’t stop the couple scenes leading up to the end from feeling very powerful. 

    I liked it, in two sittings. Not on purpose, particularly, but it seems reasonable now that I think about it..It’d be hard to recommend Pieta to anyone but film and art house nerds. 

    — 1 month ago with 168 notes

    pigballoon:

    a marriage.

    Is Jonze reworking his own personal history? In his ex-wife Sofia Coppola’s Lost in Translation (where Coppola’s alter-ego is played by Johansson—a bizarre coincidence?), the husband (a music video director) is oblivious to his wife’s alienation. Her is an admission of that obliviousness and a lament for it.”

    — 1 month ago with 12163 notes
    sadnatalie:

What would you ask a God, if he could come from sky and fulfill any of your wishes?

    sadnatalie:

    What would you ask a God, if he could come from sky and fulfill any of your wishes?

    — 1 month ago with 3 notes
    #трудно быть богом  #герман  #алексей герман  #кино  #movie  #portrait  #russian movie