A photo of a good book about cinema. No discursive, pretentious analyses, no verbose scrutiny. Because the idea is to invite you to read the book, not read about it here. But instead of using social media, I use my journal. Back to basics. Take it as a wish to break free of over-reliance on social media (even if it’s just for posting a photo of a good book) for presenting my work, cultural finds and interests. These are things to be enjoyed as stand-alone pieces in a more substantial and meaningful way than showing them in the black hole of Instagram thronged with an audience with a short attention span. This is also a look through my voluminous collection of books about film that I use as research in my adamant decision to rely less and less on the online and more on more on print materials.
Read instead…in print #14
He had a reputation of being temperamental, self-promoting, impossible to work with. But he also did not compromise, could not fake anything, was completely dedicated to his work – a fiercely independent and authentic filmmaker. He didn’t like to be liked, but he wanted and fought for the freedom of doing what he liked unhindered. He begged, borrowed, stole, got bank loans without collateral to make his movies. But his movies don’t judge, don’t tell you what to think; he doesn’t judge his characters, doesn’t separate from them, he accepts their moral and emotional untidiness. The viewer gets involved with his films because they are raw, unfiltered, unpredictable, complex, overwhelming, just like real life is. And John Cassavetes loved life just as it was – and he made films about it.
He pioneered a new form of art – an art liberated from the conventional, simplistic canons of beauty, romance, heroism, right and wrong. And John Cassavetes lived for his art.
And this great book, Cassavetes on Cassavetes, by Ray Carney, tells it all. One of the best, most emotionally charged and most revealing film books I have read so far.
“I think you can do more through positive action than in pointing out
the foibles and stupidities of man. Pictures are supposed to clarify people’s
emotions, to explain the feelings of people on an emotional plane. An art film
should not preclude laughter, enjoyment and hope. Is life about horror?
Or is it about those few moments we have? I would like to say that my life
has some meaning. We must take a more positive stand in making motion
pictures, and have a few more laughs, and treat life with a little more hope
than we have in the past. I believe in people.”
Bring back a sample of dirt: Costuming “Once Upon a Time in the West”
Behind the scenes of “Ford v Ferrari”: Interview with production designer François Audouy
Editorial: Every night is Opening Night