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THIS IS THE STORY OF HOW ANNA KARINA & JEAN-LUC GODARD FIRST “GOT TOGETHER” Anna Karina: That happened while we were shooting the picture in Geneva. It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long.  We were like animals. One night we were at this dinner in Lausanne. My boyfriend, who was a painter, was there too. And suddenly I felt something under the table – it was Jean-Luc’s hand. He gave me a piece of paper and then left to drive back to Geneva. I went into another room to see what he’d written.  It said, “I love you.  Rendezvous at midnight at the Café de la Prez.” And then my boyfriend came into the room and demanded to see the piece of paper, and he took my arm and grabbed it and read it.  He said, “You’re not going.” And I said, “I am.” And he said, “But you can’t do this to me.”  I said, “But I’m in love too, so I’m going.” But he still didn’t believe me. We drove back to Geneva and I started to pack my tiny suitcase.  He said, “Tell me you’re not going.” And I said, “I’ve been in love with him since I saw him the second time. And I can’t do anything about it.” It was like something electric. I walked there, and I remember my painter was running after me crying. I was, like, hypnotized – it never happened again to me in my life. So I get to the Cafe de la Prez, and Jean-Luc was sitting there reading a paper, but I don’t think he was really reading it. I just stood there in front of him for what seemed like an hour but I guess was not more than thirty seconds. Suddenly he stopped reading and said,” Here you are. Shall we go?” So we went to his hotel. The next morning when I woke up he wasn’t there. I got very worried. I took a shower, and then he came back about an hour later with the dress I wore in the film - the white dress with flowers. And it was my size, perfect. It was like my wedding dress. We carried on shooting the film, and, of course, my painter left. When the picture was finished, I went back to Paris with Jean-Luc, Michel Subor, who was the main actor, and Laszlo Szabo, who was also in the film, in Jean-Luc’s American car. We were all wearing dark glasses and we got stopped at the border – I guess they thought we were gangsters. When we arrived in Paris, Jean-Luc dropped the other two off and said to me, “Where are you going?”  I said, “I have to stay with you. You’re the only person I have in the world now.” And he said, “Oh my God.” Extract taken from an interview with Anna Karina conducted by Graham Fuller in Projections 13: Women Film-makers on Film-making, edited by Isabella Weibrecht, John Boorman and Walter Donohue (Faber & Faber, 2004)  (via Focus Features)

THIS IS THE STORY OF HOW ANNA KARINA & JEAN-LUC GODARD FIRST “GOT TOGETHER”

Anna Karina: That happened while we were shooting the picture in Geneva. It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long.  We were like animals. One night we were at this dinner in Lausanne. My boyfriend, who was a painter, was there too. And suddenly I felt something under the table – it was Jean-Luc’s hand. He gave me a piece of paper and then left to drive back to Geneva. I went into another room to see what he’d written.  It said, “I love you.  Rendezvous at midnight at the Café de la Prez.” And then my boyfriend came into the room and demanded to see the piece of paper, and he took my arm and grabbed it and read it.  He said, “You’re not going.” And I said, “I am.” And he said, “But you can’t do this to me.”  I said, “But I’m in love too, so I’m going.” But he still didn’t believe me. We drove back to Geneva and I started to pack my tiny suitcase.  He said, “Tell me you’re not going.” And I said, “I’ve been in love with him since I saw him the second time. And I can’t do anything about it.” It was like something electric. I walked there, and I remember my painter was running after me crying. I was, like, hypnotized – it never happened again to me in my life.

So I get to the Cafe de la Prez, and Jean-Luc was sitting there reading a paper, but I don’t think he was really reading it. I just stood there in front of him for what seemed like an hour but I guess was not more than thirty seconds. Suddenly he stopped reading and said,” Here you are. Shall we go?” So we went to his hotel. The next morning when I woke up he wasn’t there. I got very worried. I took a shower, and then he came back about an hour later with the dress I wore in the film - the white dress with flowers. And it was my size, perfect. It was like my wedding dress.

We carried on shooting the film, and, of course, my painter left. When the picture was finished, I went back to Paris with Jean-Luc, Michel Subor, who was the main actor, and Laszlo Szabo, who was also in the film, in Jean-Luc’s American car. We were all wearing dark glasses and we got stopped at the border – I guess they thought we were gangsters. When we arrived in Paris, Jean-Luc dropped the other two off and said to me, “Where are you going?”  I said, “I have to stay with you. You’re the only person I have in the world now.” And he said, “Oh my God.”

Extract taken from an interview with Anna Karina conducted by Graham Fuller in Projections 13: Women Film-makers on Film-making, edited by Isabella Weibrecht, John Boorman and Walter Donohue (Faber & Faber, 2004) 

(via Focus Features)

THE LIFE AND DEATH OF COLONEL BLIMP  designed by Brandon Schaefer “War starts at midnight!” apropos of absolutely nothing beyond the fact that thinking about The Archers is never a bad thing, i present to you the greatest Colonel Blimp poster these eyes have ever seen. took almost 70 years, but this Powell and Pressburger classic has finally found a poster worthy of its greatness. and not from an unexpected source, mind you.

THE LIFE AND DEATH OF COLONEL BLIMP 

designed by Brandon Schaefer

“War starts at midnight!”

apropos of absolutely nothing beyond the fact that thinking about The Archers is never a bad thing, i present to you the greatest Colonel Blimp poster these eyes have ever seen. took almost 70 years, but this Powell and Pressburger classic has finally found a poster worthy of its greatness. and not from an unexpected source, mind you.

WHEN KUROSAWA MET KIAROSTAMI (via swintons) Akira Kurosawa had written a favorable commentary in the publicity leaflet that accompanies the public screening in Tokyo of Abbas Kiarostami’s Where is the Friend’s Home?, And Life Goes On:  “I believe the films of Iranian filmmaker Kiarostami are extraordinary. Words cannot relate my feelings. I suggest you his films; and then you will see what I mean. Satyajit Ray passed away and I got very upset. But having watched Kiarostami’s films, I thank god because now we have a good substitute for him. Recently, in the face of the decline of cinema in developed countries, nations with little experience in the area of filmmaking have produced valuable works; and I have to think about this more seriously after seeing Kiarostami’s films.” An unprecedented comment by Kurosawa who seldom talks about other director’s films. In fact, during the past 43 years he has only written about the works of Andrei Tarkovsky, John Cassavetes, Ray and now Kiarostami. Late in September 1993, Abbas Kiarostami held a two and a half hour long meeting with Akira Kurosawa in Tokyo. Kurosawa: I have to say that I honestly enjoyed watching your films. They include appreciation for your working style. How do you work with children, in particular? They do not feel at home in my films and keep watching me in a discreet way.Kiarostami: Maybe that’s because you are Kurosawa. The children that work for me hardly know me. During the actual filming I try to pretend that I’m not the governor. Usually I ask the crew to judge about their acting. Of course, every needs a special trick, sometimes it is another story.Kurosawa: This is the cinema that must be supported and taken seriously. My children and grandchildren never see American films. They have their own boycotting system which rules out violent films. I wish this humanistic cinema could stand against all vulgarity.I’m sure good films are being made everywhere. But filmmaking in Europe and the States is going backwards while good films are being made in Asia and finding their way to International film festivals. The global screen is not for the films of only one country. Films make their viewers familiar with the cultural settings of their country of origins. If they are made according to a national culture then they will be welcomed abroad. My grandchildren and I made ourselves familiar with Iran and her people with your films. […] Both of the filmmakers agree that those who look for flaws in films deprives themselves the joy watching a film. Kurosawa: My painting teacher used to tell me to look at the world with a half closed eye. We have to see everything altogether, it is only then that we will be able to see the truth [x]

WHEN KUROSAWA MET KIAROSTAMI

(via swintons)

Akira Kurosawa had written a favorable commentary in the publicity leaflet that accompanies the public screening in Tokyo of Abbas Kiarostami’s Where is the Friend’s Home?, And Life Goes On: 

“I believe the films of Iranian filmmaker Kiarostami are extraordinary. Words cannot relate my feelings. I suggest you his films; and then you will see what I mean. Satyajit Ray passed away and I got very upset. But having watched Kiarostami’s films, I thank god because now we have a good substitute for him. Recently, in the face of the decline of cinema in developed countries, nations with little experience in the area of filmmaking have produced valuable works; and I have to think about this more seriously after seeing Kiarostami’s films.”

An unprecedented comment by Kurosawa who seldom talks about other director’s films. In fact, during the past 43 years he has only written about the works of Andrei Tarkovsky, John Cassavetes, Ray and now Kiarostami.

Late in September 1993, Abbas Kiarostami held a two and a half hour long meeting with Akira Kurosawa in Tokyo.

Kurosawa: I have to say that I honestly enjoyed watching your films. They include appreciation for your working style. How do you work with children, in particular? They do not feel at home in my films and keep watching me in a discreet way.

Kiarostami: Maybe that’s because you are Kurosawa. The children that work for me hardly know me. During the actual filming I try to pretend that I’m not the governor. Usually I ask the crew to judge about their acting. Of course, every needs a special trick, sometimes it is another story.

Kurosawa: This is the cinema that must be supported and taken seriously. My children and grandchildren never see American films. They have their own boycotting system which rules out violent films. I wish this humanistic cinema could stand against all vulgarity.I’m sure good films are being made everywhere. But filmmaking in Europe and the States is going backwards while good films are being made in Asia and finding their way to International film festivals. The global screen is not for the films of only one country. Films make their viewers familiar with the cultural settings of their country of origins. If they are made according to a national culture then they will be welcomed abroad. My grandchildren and I made ourselves familiar with Iran and her people with your films. […]

Both of the filmmakers agree that those who look for flaws in films deprives themselves the joy watching a film.

Kurosawa: My painting teacher used to tell me to look at the world with a half closed eye. We have to see everything altogether, it is only then that we will be able to see the truth [x]

Monica Vitti and Michelangelo Antonioni at Cannes, 1960 photo comes from Movie Morlocks, who claim that L’Avventura ”was loudly booed by many audience members during its debut at Cannes and Vitti and Antonioni were forced to flee the screening.” very dramatic stuff. then again, Cannes is the same festival whereat Lee Daniels’ The Paperboy supposedly just enjoyed a standing ovation that lasted anywhere from 8 minutes to 3 hours, depending on whom you ask.  (h/t/ @RyanGallagher)

Monica Vitti and Michelangelo Antonioni at Cannes, 1960

photo comes from Movie Morlocks, who claim that L’Avventura ”was loudly booed by many audience members during its debut at Cannes and Vitti and Antonioni were forced to flee the screening.”

very dramatic stuff. then again, Cannes is the same festival whereat Lee Daniels’ The Paperboy supposedly just enjoyed a standing ovation that lasted anywhere from 8 minutes to 3 hours, depending on whom you ask. 

(h/t/ @RyanGallagher)

Fake Criterion Cover: FAHRENHEIT 451 (dir. Francois Truffaut) 1966 Created by: officerserpico: “Once to each fireman, at least once in his career, he just itches to know what these books are all about. He just aches to know. Isn’t that so?” for years, folks have been dreaming up what a Criterion release of Fahrenheit 451 might look like… every time someone busts out a new fake cover it stokes the need to see a real one something fierce. this appropriately literary might be my favorite yet. Image taken from the 1967 Ballantine Bal-Hi paperback, illustration by Joe Mugnaini.

Fake Criterion Cover: FAHRENHEIT 451 (dir. Francois Truffaut) 1966

Created by: officerserpico:

“Once to each fireman, at least once in his career, he just itches to know what these books are all about. He just aches to know. Isn’t that so?”

for years, folks have been dreaming up what a Criterion release of Fahrenheit 451 might look like… every time someone busts out a new fake cover it stokes the need to see a real one something fierce. this appropriately literary might be my favorite yet.

Image taken from the 1967 Ballantine Bal-Hi paperback, illustration by Joe Mugnaini.

HITCHCOCK photo by Ellen Graham Ellen Graham was one of the great celebrity portrait artists of the 20th century, and — given that she’s still alive — also one of the great quasi-retired celebrity portrait artists of the 21st century. @KeyframeDaily linked to an amazing gallery of Graham’s work, and you can learn a bit more about her and her nifty new book by visiting her site. 

HITCHCOCK

photo by Ellen Graham

Ellen Graham was one of the great celebrity portrait artists of the 20th century, and — given that she’s still alive — also one of the great quasi-retired celebrity portrait artists of the 21st century. @KeyframeDaily linked to an amazing gallery of Graham’s work, and you can learn a bit more about her and her nifty new book by visiting her site. 


INGMAR BERGMAN INTERVIEWS INGMAR BERGMAN once upon a time there was a Swedish publicity magazine called Filmnyheter, issued by production company Svensk Filmindustri to promote their pictures. when Ingmar Bergman’s Summer With Monika came out in 1953, the accompanying issue of Filmnyheter included an interview between Ingmar Bergman and… Ingmar Bergman. you can read the entire thing in the booklet that Criterion has included inside their Summer With Monika release, but i’ve included some of my favorite snippets below. Bergman’s droll sense of humor is evident throughout his work, but between all the doom and despair it can be easy to forget just how hilarious the dude really was. Bergman: What was it like making Summer With Monika? Bergman: I didn’t *make* Monika. [source novel author and co-screenwriter Per Anders] Fogelström bred her in me and then, like an elephant, I was pregnant for three years, and last summer she was born with a big ballyhoo. Today, she is a beautiful and naughty child. I hope she will cause an emotional uproar and all sorts of reactions. I shall challenge any indifferent person to a duel! Bergman: From what I’ve heard, Summer With Monika includes the obligatory Swedish nude swimming. Bergman: I haven’t heard that nude swimming has become obligatory in Swedish filmmaking. But I think it should be. Bergman: So do you want to say anything with this film? Bergman: “Get out! But return!” Bergman: Any beautiful moment from the shooting of the film? Bergman: As always, one forgets the hard work and remembers the fun. In this case, the skerries. We— Bergman: MAKE IT SHORT! Bergman: One morning at six o’clock, we were on our way to location, the engine of our little boat thumping across the still waters. The horizon at sea fused with the sky, the islets stood like floating octopuses in all that soft white. Up above, the fiery button of the sun was burning. It was warm and unusually still; there wasn’t even a swell, not a ripple. It was like eternity itself. It was like being in eternity. The smell of the sea, the quivering in the hull, the murmur around the stem, and the high silence — the summer of eternity. Bergman: And then what happened? Bergman: Nothing. That was it. 

INGMAR BERGMAN INTERVIEWS INGMAR BERGMAN

once upon a time there was a Swedish publicity magazine called Filmnyheter, issued by production company Svensk Filmindustri to promote their pictures. when Ingmar Bergman’s Summer With Monika came out in 1953, the accompanying issue of Filmnyheter included an interview between Ingmar Bergman and… Ingmar Bergman. you can read the entire thing in the booklet that Criterion has included inside their Summer With Monika release, but i’ve included some of my favorite snippets below. Bergman’s droll sense of humor is evident throughout his work, but between all the doom and despair it can be easy to forget just how hilarious the dude really was.

Bergman: What was it like making Summer With Monika?

Bergman: I didn’t *make* Monika. [source novel author and co-screenwriter Per Anders] Fogelström bred her in me and then, like an elephant, I was pregnant for three years, and last summer she was born with a big ballyhoo. Today, she is a beautiful and naughty child. I hope she will cause an emotional uproar and all sorts of reactions. I shall challenge any indifferent person to a duel!

Bergman: From what I’ve heard, Summer With Monika includes the obligatory Swedish nude swimming.

Bergman: I haven’t heard that nude swimming has become obligatory in Swedish filmmaking. But I think it should be.

Bergman: So do you want to say anything with this film?

Bergman: “Get out! But return!”

Bergman: Any beautiful moment from the shooting of the film?

Bergman: As always, one forgets the hard work and remembers the fun. In this case, the skerries. We—

Bergman: MAKE IT SHORT!

Bergman: One morning at six o’clock, we were on our way to location, the engine of our little boat thumping across the still waters. The horizon at sea fused with the sky, the islets stood like floating octopuses in all that soft white. Up above, the fiery button of the sun was burning. It was warm and unusually still; there wasn’t even a swell, not a ripple. It was like eternity itself. It was like being in eternity. The smell of the sea, the quivering in the hull, the murmur around the stem, and the high silence — the summer of eternity.

Bergman: And then what happened?

Bergman: Nothing. That was it.