Must it so be that whatever makes man happy must later become the source of his misery? Johann Wolfgang von Goethe, “The Sorrows of Young Werther” (via nefandus-nafsi)
When we lose curiosity, our spirit of exploration, that is when we truly grow old and die. Daniel Thomas MacInnes
So you thought you could cheat me, did you? You thought you could leave me sitting here and I wouldn‘t notice? But you see, I am a clever man also. And that is why we understand one another. That is why you understood so quickly that I wanted to kill you. Saul, The Old Dark House (1932)
If history is to change, let it change! If the world is to be destroyed, so be it! If my fate is to be destroyed… I must simply laugh! Magus, Chrono Trigger
When you compare the sorrows of real life to the pleasures of the imaginary one, you will never want to live again, only to dream forever. Alexandre Dumas (via iluminacje)
Sophie, the girl, is given a spell and transformed into an old woman. It would be a lie to say that turning young again would mean living happily ever after. I didn’t want to say that. I didn’t want to make it seem like turning old was such a bad thing — the idea was that maybe she’ll have learned something by being old for a while, and, when she is actually old, make a better grandma. Anyway, as Sophie gets older, she gets more pep. And she says what’s on her mind. She is transformed from a shy, mousy little girl to a blunt, honest woman. It’s not a motif you see often, and, especially with an old woman taking up the whole screen, it’s a big theatrical risk. But it’s a delusion that being young means you’re happy.
Hayao Miyazaki, on what attracted him to Howl’s Moving Castle
The Auteur of Anime by Margaret Talbot: “The New Yorker” (January 17th, 2005)
- 1983 George Lucas: A special effect is a tool, a means of telling a story. People have a tendancy to confuse them as an end to themselves. A special effect without a story is a pretty boring thing.
- Mr. Plinkett: You said it, brother. Wait, YOU said that?
The put-upon everyman with an eternal sense of optimism, who no matter how often he got knocked down, was always ready to dust himself off and trudge on to the next fight. Which he’d also probably lose. He represents the best instincts of humanity found at the lowest rung of society, a pathetically admirable figure. The early Tramp is a loser that we laugh at because he’s also kind of a jerk; the late Tramp is a loser that we laugh at because he let us laugh at our own failings without criticism. Tim Brayton on The Little Tramp
Each film is interlocked with so many other films. You can’t get away. Whatever you do now that you think is new was already done in 1913. Martin Scorsese
[The 1932 version of Island of Lost Souls] retains a certain power that comes from the disjunction between its age and its content; there are certain things one learns to expect from a ’30s movie, and seeing them violated is jarring for us moderns, though of course not as jarring as it would have been at the time. I am reminded of showing a friend The Band Wagon, and him observing that a brief flash of Cyd Charisse’s panties in one shot was more erotic than the overt sex of a contemporary movie, because of the way it feels like the movie was getting away with something naughty; and so it is with Island of Lost Souls, which has the plunging black shadows and square compositions of a film made late during the transition-to-sound era, but which has a free approach to violence and warped sexuality that does not fit the aesthetic, and gives the film a charge beyond what a mere description of its contents might suggest. Tim Brayton, Antagony and Ecstasy blog
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