If there’s one thing I’ve come to understand and resent about filmmaking, it’s that making almost anything worth making seems to require conceiving, funding, building, and commanding a small army. The biggest difference between making a film and making a photograph is that the the former is proactive, and the latter is reactive. Filmmakers are always planning and collaborating and organizing, while photographers dance with the moment. It’s a critical difference.
So what I finally decided was, art is simply inevitable. It was on the wall of a cave in France 30,000 years ago, and it’s because we are a species that’s driven by narrative. Art is storytelling, and we need to tell stories to pass along ideas and information, and to try and make sense out of all this chaos.
Remind me to use this for an ending of a film
Henri Decaë shooting the carousel scene in The 400 Blows (Les quatre cents coups) (François Truffaut, 1959).
I always wondered how this worked
Elevator to the Gallows (1958)
[Ascenseur pour l’échafaud]
Best ending to a crime movie ever. No happy ending. All due to photographs
Ascenseur pour l’échafaud (1958)
In these assorted shots… We see the impending doom via black cat. Which I wonder if that was a freak occurrence or if it they placed the cat on a rail like that. Then the car scene is shot from behind which is very New Wave. We see the back of their heads. The scene in the elevator- Die Hard ripped that off which awesome cause I love Die Hard. The lover’s face always appears very solemn and with no make up.. I like that. It gives us this feeling of being stretched too thin, waiting for her lover to arrive.
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