Ross F. @rossfitzert0 - Twitter Profile

20 days ago

Idk how some people just don't put any thought into HOW they watch & experience a movie, especially a first watch, and then how that affects their feelings towards it. Yeah man, 2001 probably didn't hit on your laptop at 3pm on a Tuesday

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RadiantFilm

@RadiantFilm

3 months ago

Michelangelo Antonioni on Blow-Up (1966): "In my other films, I have tried to probe the relationship between one person and another—most often, their love relationship, the fragility of their feelings, and so on. But in this film, none of these themes matters. Here, the relationship is between an individual and reality—those things that are around him. There are no love stories in this film, even though we see relations between men and women. The experience of the protagonist is not a sentimental nor an amorous one but rather, one regarding his relationship with the world, with the things he finds in front of him. He is a photographer. One day, he photographs two people in a park, an element of reality that appears real. And it is. But reality has a quality of freedom about it that is hard to explain. This film, perhaps, is like Zen; the moment you explain it, you betray it. I mean, a film you can explain in words, is not a real film." — Michelangelo Antonioni, interviewed by Playboy Magazine (November 1967)

RadiantFilm's tweet photo. Michelangelo Antonioni on Blow-Up (1966):

"In my other films, I have tried to probe the relationship between one person and another—most often, their love relationship, the fragility of their feelings, and so on. But in this film, none of these themes matters. Here, the relationship is between an individual and reality—those things that are around him. There are no love stories in this film, even though we see relations between men and women. The experience of the protagonist is not a sentimental nor an amorous one but rather, one regarding his relationship with the world, with the things he finds in front of him. He is a photographer. One day, he photographs two people in a park, an element of reality that appears real. And it is. But reality has a quality of freedom about it that is hard to explain. This film, perhaps, is like Zen; the moment you explain it, you betray it. I mean, a film you can explain in words, is not a real film."

— Michelangelo Antonioni, interviewed by Playboy Magazine (November 1967)

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Sonny Rollins @sonnyrollins

3 months ago

It is with deep sorrow and profound love that we announce the passing of Sonny Rollins. The Saxophone Colossus died this afternoon at his home in Woodstock, NY at the age of 95. 1/2 https://t.co/6AGmFrB7x4

sonnyrollins's tweet photo. It is with deep sorrow and profound love that we announce the passing of Sonny Rollins. The Saxophone Colossus died this afternoon at his home in Woodstock, NY at the age of 95. 1/2 https://t.co/6AGmFrB7x4 https://t.co/OA0PzpPfGR

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Janus Films

@janusfilms

4 months ago

Diana Ross presenting Jean Eustache with the Cannes Grand Jury award for THE MOTHER AND THE WHORE in 1973

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Andyclarke

@s1sickandyc

fuck gaza fuck isreal fuck religion! route of all evil!

RossFitzert0 retweeted

রাজ শেখর @DiscourseDancer

5 months ago

Louis Malle was in Calcutta to shoot a riot scene for his film L'inde fantôme. An angry cop ran up to Malle threatening to smash his camera. Malle objected. “Who do you think you are?" shouted the Bengali. "Louis Malle”. Ah," said cop with a smile, "Zazie dans le Métro?