Lilofon

Independent Filmmaker

"When I hear the term “independent filmmaker,” I immediately think of John Cassavetes. He was the most independent of them all. For me, he was and still is a guide and teacher. Without his support and advice, I don’t know what would have become of me as a filmmaker. The question, ‘What is an independent filmmaker?’ has nothing to do with being inside or outside of the industry or whether you live in New York or Los Angeles. It’s about determination and strength, having the passion to say something that’s so strong that no one or nothing can stop you. Whenever I meet a young director who is looking for guidance and advice, I tell him or her to look to the example of John Cassavetes, a source of the greatest strength. John made it possible for me to think that you could actually make a movie—which is crazy, because it’s an enormous endeavor, and you only realize how enormous when you’re doing it. But by then it’s too late.
Nothing could have stopped Cassavetes except God, and He eventually did. John died much too soon, but his films and his example are still very much alive. He once said, “You can’t be afraid of anyone or anything if you want to make a movie.” It’s that simple. You have to be as tough as he was. He was a force of nature. "
(Martin Scorsese)

UNPARALLELED CRIME BY A GIRL OF THIRTEEN

UNPARALLELED CRIME BY A GIRL OF THIRTEEN
"She makes three desparate attempts to murder her younger brother."
The Illustrated Police News (1st publication: 1864, ended 1938)

*more sensational headlines from "The Illustrated Police News" in this album.

Adam and Eve in the Garden of Guernica

The Dead Lovers

Matthias Grünewald (1434-1494)
The Dead Lovers, c. 1470
loc: Strasbourg, Musee de l'Oeuvre de Notre Dame, France

L'extériorité chez Magritte

"L'extériorité, si visible chez Magritte, du graphisme et de la plastique, est symbolisée par le non-rapport -ou, en tout cas, par le rapport très complexe et très caché entre le tableau et son titre. Cette si longue distance -qui empêche qu'on puisse être à la fois, et d'un seul coup, lecteur et spectateur -assure l'émergence abrupte de l'image au-dessus de l'horizontalité des mots. «Les titres sont choisis de telle façon qu'ils empêchent de situer mes tableaux dans une région familière que l'automatisme de la pensée ne manquerait pas de susciter afin de se soustraire à l'inquiétude.» Magritte nomme ses tableaux (un peu comme la main anonyme qui a désigné la pipe par l'énoncé «Ceci n'est pas un pipe») pour tenir en respect la dénomination. Et pourtant, dans cet espace brisé et en dérive, d'étranges rapports se nouent, des intrusions se produisent, de brusques invasions destructrices, des chutes d'images au milieu des mots, des éclairs verbaux qui sillonnent les dessins et les font voler en éclats."
(Foucault)