Since it is Akira Kurosawa's birthday, here is a thread 🧵of,
Filmmakers praising Akira Kurosawa:
"Akira Kurosawa's influence on filmmakers throughout the entire world is so profound as to be almost incomparable."
--- Martin Scorsese
(1/17)
India continues to be the absolute worst place to watch films. Halfway into The Brutalist, this ugly, pointless warning has been plastered on every single scene. Madness. I hate it here
Half of Mumbai's 1.2 crore people live in slums, this includes wage workers, sanitation workers, vendors, & so on. Many live in crammed chawls, & hand cart pullers, construction workers even live on pavements.
Meanwhile, only 9 landowners control 20% of Mumbai's land. Most of
Akira Kurosawa On Cinema:
"WHAT IS CINEMA? The answer to this question is no easy matter. Long ago the Japanese novelist Shiga Naoya presented an essay written by his grandchild as one of the most remarkable prose pieces of his time.
He had it published in a literary magazine. It was entitled “My Dog,” and ran as follows: “My dog resembles a bear; he also resembles a badger; he also resembles a fox.…” It proceeded to enumerate the dog’s special characteristics, comparing each one to yet another animal, developing into a full list of the animal kingdom.
However, the essay closed with, “But since he’s a dog, he most resembles a dog.” I remember bursting out laughing when I read this essay, but it makes a serious point. Cinema resembles so many other arts. If cinema has very literary characteristics, it also has theatrical qualities, a philosophical side, attributes of painting and sculpture and musical elements. But cinema is, in the final analysis, cinema."
(Something Like an Autobiography, Akira Kurosowa)
Saif Ali Khan ke liye 20 teams. But for a journalist, the police couldn't even find his phone's last location, because they didn’t want to.
Justice for Journalist #MukeshChandrakar
We love you, David Lynch. ❤️ Goodnight to a truly once-in-a-lifetime artist, who not only changed cinema forever but altered how we experience the world and showed us what it really means to dream. No more blue tomorrows.
What can be said about David Lynch that hasn’t already been captured in countless tributes by fans and filmmakers? A director of singular vision, defined by his magical style and fascinating ambiguities. Though his work is one of a kind, he has inspired many to pick up a camera. While my work may not seem particularly "Lynchian," his influence always looms large. One transition in Blue Velvet — Frank Booth disappearing from frame before a wild nighttime trip with yellow road markings whizzing by — buzzes in my brain forever.
In 2011, I had a glorious encounter with the man himself. At the time, I was programming films at the New Beverly Cinema for a season called "The Wright Stuff," curating dream double bills and arranging guest discussions. One night, we screened ‘Wild at Heart’ and ‘True Romance’. I had already convinced the late producer Steve Golin to join for the first film, and, through a mutual friend, invited Laura Dern too. She agreed but warned she might not make it, as she was coming straight from an event.
Steve and I introduced the film and waited to see if Laura would arrive. As the credits rolled, my publicist Greg Longstreet tapped me on the shoulder: “Laura’s coming,” he said. Relieved, I got onstage for the Q&A. As the curtain to the backstage rustled, I announced to the unsuspecting audience: “Ladies and gentlemen, Miss Laura Dern!” The audience erupted as she walked through the curtain.
Thrilled, I said, “This is a great surprise. I wasn’t sure you’d make it!” Laura smiled and replied, “Well, I have a surprise for you. I brought someone else who worked on the movie.” Then, stepping through the curtain, was David Lynch.
The resulting standing ovation felt endless, as if the Wizard of Oz himself had materialized. The only downside? I wasn’t ready to interview David Fucking Lynch.
I stumbled through my first question, but he was kind and gracious. While he avoided explaining the film (rightly so), he spoke generously about film and the preservation of cinema . His presence was otherworldly, yet down-to-earth.
That memory of him stepping through the curtain will stay with me forever. David may be gone, but his work will be eternal.
David Lynch gave us the language we needed to better articulate the indescribable strangeness of our shared reality. “Lynchian” is so overused because it’s a viscerally understandable word without any known synonyms. I can’t imagine a more beautiful artistic legacy than that.
Bill Gates calling India a 'laboratory' is nothing new. Puerto Rican women's bodies were treated as a testing site for the birth control pill. Punjabi women in England were intentionally given radioactive food for a health study in the '90s.
“He’s a prick, obviously. He’s very damaged and deeply insecure. That’s why he can’t have a conversation [about BDS]” @rogerwaters on his row with Radiohead’s Thom York over Palestine
@Viggie_Smalls93 First of all Killers >>>>>Oppenheimer. Secondly, they can come on top if you only talk about American Films. Otherwise, Anatomy of a Fall, Do Not expect too..., Green Border, Fallen Leaves, etc. there are many films which can compete with Killers.
In 1938, the Indian National Congress held its annual session in Haripura, a remote village near Surat in Gujarat. Presided over by Subhas Chandra Bose, the conference drew over 200,000 delegates from across India. Notably, the event featured stunning paintings by renowned Bengali painter Sri Nandalal Bose,then principal of Shantiniketan's Kala Bhawan. Commissioned by Mahatma Gandhi, Nandalal Bose created nearly 400 works, now famously known as the Haripura posters.