Kickstarter for my new short film! Please reblog and share!
$620 is needed so that we can finish it! thats like 60x10usd ! We need all the support!
Especially if you are a person who grew up without knowing their father / mother - (like me) then this film is for you!
TRAILER on Kickstarter page!
https://www.kickstarter.com/projects/775240440/teknos-the-turtle
(Source: kickstarter.com)
Casa de Lava - Pedro Costa - 1994
Reinvention doesn’t have to be earth-shattering. Accepting yourself is a form of reinvention because you go through the world differently. You can look at yourself and like yourself. You don’t want to destroy yourself. When you start treating other people better, that’s reinvention.
You don’t have to go from being an astronaut to a movie star. I’d rather just wake up in the morning and think, ‘Yeah, alright, I’m ok with who I am and I’m going to treat myself well today and be nice to everyone.’ That’s plenty of reinvention for the average person, including myself. Generosity and graciousness, we could all benefit from a little more of that.
How do you conceive of different spaces as you’re creating the film?
It’s funny, what I really try to do is destroy the beauty of a location. That’s why I don’t have lingering shots on the beauty of the countryside. It stays beautiful because it is beautiful—that’s just how it is. But I always come back to the person.
A note to screenwriters of today: the only way to create stories that make us grow, think, feel and dream is to avoid the patriarchal iconography prototypes used to seduce producers. It’s not an easy ride; you have to be prepared to face all kinds of comments. I will never forget what a very well-known, Oscar-winning producer told me when I presented him the script for My Life Without Me: “Why do you want to tell the story of a poor, badly dressed woman who has just months to live?”. My answer was simple: “Well, someone has to”
In a stormy day of 2007, Abbas Kiarostami decided to escape from Teheran: “I packed my bag without forgetting my camera and digital video camera. The rain keeps falling from yesterday dotted by lightening, this will not change my decision”. Inside the car, the Iranian filmmaker takes shots of urban and rural landscapes. This series of pictures shows us throughout the flowing of rain on the windscreen, high silouettes of soacked trees, and the trembling lights of cars or a yellow wall of the street side. Coloured images in which greys and blacks predominate, like paintings.
Filmmaker, photographer and poet, Abbas Kiarostami was born 22 June 1940 in Tehran, is known since the early 1990s as on of the most important director of contemporary cinema. Palme d'Or at Cannes in 1997 for “Tam-e gilas” (Taste of Cherry), two years later he received the Grand Special Jury Prize at the Venice Film Festival for “Bad ma ra khahad bord” (The Wind Will Carry Us). His photos have been exhibited worldwide, including London, Victoria & Albert Museum and New York, MoMA, or, in 2007-2008, the Centre Pompidou in Paris and in five Chinese cities.
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My working process I like to call cinécriture: I take my time to dream and to reflect. I do not follow theories but rather trust perceptions and feelings.
Agnès Varda
“I’ve taken Mohammad Reza’s notebook by mistake. / Why weren’t you more careful?”
Where is the Friend’s Home? (1987, Abbas Kiarostami)
cinematography by Farhad Saba
I don’t mean to create a distance from the spectator; I want to remind them that they should have the same inquiring spirit for films as in life. If you’re curious you will definitely find enough information – you don’t need more, and whenever we’re given more, we don’t accept it. A good example is pornographic films, which give us too much. That’s not the way it is in real life: it goes against emotions, feelings, sex even. Too much information is a kind of pornography.
ABBAS KIAROSTAMI speaking to The New York Times about the mysteries of his new film, Like Someone in Love.
(Source: truthandmovies)
Abbas Kiarostami, 1990s