paintingispoetry:

William-Adolphe Bouguereau, The Oreads, 1902

paintingispoetry:

William-Adolphe Bouguereau, The Oreads, 1902

nudei:

From Garden of Sodom by Yasuhiro Yoshioka

nudei:

From Garden of Sodom by Yasuhiro Yoshioka

lsdrms:

Daehyun Kim (AKA Moonassi)

  • Interface, 2014
  • Pain-proof, 2014
  • Floating head, 2014
  • Attached, 2014
  • See real time, 2014
  • Ray of light, 2014

“El tránsito de lo sensible a lo inteligible no se realiza en el interior de la pintura sino fuera de ella: el sentido se despliega en un universo no-pictórico. O dicho de otra manera: el lenguaje de la pintura es un sistema de signos que encuentra su significación en otros sistemas. El mismo Baudelaire lo dice: el color es una vestidura o, para emplear de nuevo la metáfora musical, un acompañamiento.”

– Octavio Paz, “2. Presencia y presente: Baudelaire crítico de arte”, en: El signo y el garabato.

cinephiliabeyond:

Werner Herzog on the set of Cobra Verde (1987), courtesy of fuckyeahdirectors. The film depicts the life of a fictional slave trader. It was filmed in locations in Brazil, Colombia and Ghana. Klaus Kinski died four years after the release of Cobra Verde, and the film would stand as the last of his collaborations with director Werner Herzog.

It’s totally clear in that film that it’s a real ship and that the ropes are straining. If you look at Lord of the Rings for example, they have people in a chain stretched across mountainsides, and they’re obviously special effects. But in Cobra Verde, your film in Africa, you had a message that was being passed down a line of people for miles and miles, and it was really happening. The people were there in an endless chain on the hillsides. It’s clear that it’s really happening, and it’s extraordinary.
WH: There is a certain quality that you sense when you move a ship over a mountain. It was 360 tons and I knew I would manage it. But I knew that it would create unsightly things that no one would expect. There were many huge steel cables that are five centimeters in diameter, I mean as thick as this table. They would break like a thin thread. When you tap them before they break, when you touch them and tap them, they sound thick, they sound different, and when they break, there’s so much tension, there’s so much pressure, that the cable is red hot inside, it’s glowing inside. That was one thing I didn’t show in the film but I’ve seen it and many of you things that you see in Fitzcarraldo were created by the events themselves. I’ve always been after the deeper truth, the ecstatic truth, and I will always defend that, as long as there’s breath in me. A conversation with Werner Herzog by Roger Ebert

The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in a sex club or a warden in a lunatic asylum or a machine operator in a slaughterhouse. Drive a taxi for six months and you’ll have enough money to make a film. Walk on foot, learn languages and a craft or trade that has nothing to do with cinema. Filmmaking — like great literature — must have experience of life at its foundation. Read Conrad or Hemingway and you can tell how much real life is in those books. A lot of what you see in my films isn’t invention; it’s very much life itself, my own life. If you have an image in your head, hold on to it because — as remote as it might seem — at some point you might be able to use it in a film. I have always sought to transform my own experiences and fantasies into cinema. —Werner Herzog’s No-Bullshit Advice to Aspiring Filmmakers and Creative Entrepreneurs

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fohk:

“What if you can’t make yourself happy?”
"Then I don’t know. You know what you do then you forget, you block it out. If you want to be happy don’t think. If you stutter don’t talk"
Kids (1995)Larry Clark

fohk:

What if you can’t make yourself happy?”

"Then I don’t know. You know what you do then you forget, you block it out. If you want to be happy don’t think. If you stutter don’t talk"

Kids (1995)
Larry Clark