Tuesday, February 21, 2012
"Even though he spent so much of his time in galleries, it took Kennedy's photographs to make Rubens realize this simple fact: the great painters and sculptors from classical days to Raphael and perhaps even to Ingres avoided portraying laughter, even smiles.... For classical sculptors as well as for painters of later periods a beautiful face was imaginable only in its immobility.
"Faces lost their immobility, mouths became open, only when the painter wished to express evil.... the faces of women bent over the body of Jesus the open mouth of the mother in Poussin's Slaughter of the Innocents. Or the evil of vice: Holbein's Adam and Eve...."
"Laughter is a convulsion of the face, and a convulsed person does not rule himself, he is ruled by something that is neither will nor reason. And that is why the classical sculptor did not express laughter. A human being who does not rule himself (a human being beyond reason, beyond will) cannot be considered beautiful."
Tuesday, February 7, 2012
Werner Herzog: "My film school would allow young people who want to make films to experience a certain climate of excitement of the mind. This is what ultimately creates films and nothing else."
Herzog: ... "Actually, for some time now I have given thought to opening a film school. But if I did start one up you would only be allowed to fill out an application form after you have traveled alone on foot, let's say from Madrid to Kiev, a distance of about 5,000 kilometres. While walking, write. Write about your experiences and give me your notebooks. I would be able to tell you who had really walked the distance and who had not. While you are walking you would learn much more about filmmaking than if you were in a classroom.
...First of all, learn languages. One also needs to be able to type and to drive a car. It is like the knights of old who had to be able to ride, wield a sword and play the lute. At my utopian film academy I would have students do athletic things with real physical contact, like boxing, something that would teach them to be unafraid. I would have a loft with a lot of space where in one corner there would be a boxing ring. Students would train every evening from 8 to 10 with a boxing instructor: sparring, somersaults (backwards and forward), juggling, magic, card tricks. Whether or not you would be a filmmaker by the end I do not know, but at least you would come out as an athlete. My film school would allow young people who want to make films to experience a certain climate of excitement of the mind. This is what ultimately creates films and nothing else."