& I can spend a few minutes.


My name is Gregg. I'm a screenwriter and a film-maker.
In the words of Ingmar Bergman, "...film is my mistress." But I also make music.


La Folie Almayer (2011) Directed by. Chantal Akerman

A Real Young Girl (1999) Directed by. Catherine Breillat

Taste of Cherry (1997) Directed by. Abbas Kiarostami

Brush your teeth after every meal. I just had a tooth ripped out of my head and it was the worst pain I’ve had to endure so far.

mattisb:

Ma nuit chez Maud, d’Éric Rohmer (1969)

"The reason I call the audience ghosts is because it reminds me of a short story I read a few years ago. It was said to be a true story that took place in Udon Thani province. Coincidentally, I just found out that it is about to be made into a film by Five Star Productions. As far as I can remember, the story went something like this: The main character was a man with a travelling cinema show, he made open-air presentations in villages and temples. One day a very mysterious man hired him to show a film in a temple that was a long way off. By the time he had arrived and set up the projector and film screen, it was after dusk. Gradually people started to arrive in the darkness. While the film was running, the audience all sat still in an orderly fashion, their eyes looking up at the screen. They did not show any emotion, nor did they speak to one another until the film ended. Then they all got up and wandered away. At dawn the next day the film-show owner realized that he was in the middle of a cemetery, and that he had been paid to show a film for ghosts.

"When I finished reading this story, I felt sad: even ghosts wanted to watch films, just like everyone else. They were ghosts that still wanted to dream; they paid their final offering of money to buy dreams, which was film. If you notice the people around you while watching a film, you will see that their behaviour is like that of ghosts, lifting up their heads to look at the moving images in front. The cinema itself is like a coffin with bodies, sitting still, as if under a spell. The moving images on the screen are camera records of events that have already taken place; they are remains of the past, strung together and called a film. In this hall of darkness, ghosts are watching ghosts.

"I felt the same way last month, when I had the opportunity to visit an arthouse cinema in Taipei called Spot Cinema. It is run by a well known film director, a god, Hou Hsiao-hsien, and is supported by the government which had donated the premises. The decoration inside was marvellous. There was a bookstore, a shop selling DVDs, a restaurant and a coffee shop called Café Lumière. In several corners there were stills from Hou’s films, proudly used as decoration. On the stairway ceiling was a large black and white photo of a man riding a motorcycle with a girl sitting behind him, a scene from one of his classic films. The person showing us around was a man well past middle-age; he pointed to the picture of the young man on the motorcycle and said that they had been in the same class at school. It affected me deeply as I heard this; it wouldn’t be long now before everyone here would become ghosts. The old man showing us around was wearing glasses and already showing grey hair, but his friend on the motorcycle would always remain the same age."

Apichatpong Weerasethakul: Ghosts in the Darkness

(Source: goodbyedragoninn)

L’Avventura | Michelangelo Antonioni | 1960

(Source: somequeerdistortion)

quatrocentosgolpes:

Kiarostami, um realizador que consegue fazer tanto com tão pouco.

Taste of Cherry (1997) -  Abbas Kiarostami

heidisaman:

"My car’s my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We’re in the most comfortable seats because we’re not facing each other, but sitting side by side. We don’t look at each other, but instead do so only when we want to. We’re allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn’t seem heavy or difficult. Nobody serves anybody. And many other aspects. One most important thing is that it transports us from one place to another."

— Abbas Kiarostami

Stills from Certified Copy (2010) and Like Someone in Love (2012)

transamorem-transmortem:

News From Home, 1976. Director Chantal Akerman

tarkovskologist:

"My photos are not the result of my love for photography, but of my love of nature. I love looking at things… Looking in silence, particularly at nature. When you love someone , you take their picture: just look at family [photo] album. Mine is full of photo of nature."  — Abbas Kiarostami

I want to stay up, friends.

After a few days of shooting The Master, director Paul Thomas Anderson noticed that Joaquin Phoenix would use the whole space where they were filming, even if it was outside the marks, so he told the lightning crew to have the whole space ready to follow Phoenix with the camera if necessary (x).