This recent comeback of yours has fallen short of expectations sir, like an old master desperately trying to recapture what once made him great.


are you comparing me to martin scorsese


The one thing I remember thinking initially when I was trying to make films, you always feel like—you got nervous that somebody else was right who was talking to you. Who was in a position of power, that their opinion somehow was right or better than yours. I could never stop to think that “No, it’s just different. You just think differently than I do and that’s okay. But I’m not wrong.” You can be filled with such fear. And it’s really easy to just get your heart broken and kind of beaten. You’re sort of attempting to make films… It’s a miracle any time one of them gets made. It’s a miracle. It’s a miracle every time a scene gets done. It’s never any less of a miracle or any less difficult… There just should be no fear. Just don’t give a fuck. That’s kinda the best thing to do.
Paul Thomas Anderson

Okay, so this is a video of Tarantino talking about rumors surrounding Taxi Driver. HOLY SHIT. 


Like Someone in Love (Abbas Kiarostami, 2013)


Like Someone in Love (Abbas Kiarostami, 2013)

For reference, this is my top 10 list of 2013:

  1. Before Midnight
  2. Like Someone in Love
  3. This is the End
  4. Don Jon
  5. Drinking Buddies
  6. The Place Beyond the Pines
  7. Her
  8. Frances Ha
  9. Pacific Rim
  10. Gravity

Nice Try Awards: American Hustle, Prisoners, Blue is the Warmest Color, All is Lost, The World’s End, Side Effects, Trance, Fruitvale Station

Kogonada’s video essay about neo-realism has had such a profound effect on the way I look at film. 

90% of what I post on this blog will be film analysis and qualms I have with film school. I’ll probably be putting reviews of new movies/games/books/anything that I feel is worth talking about. I’ll also be posting any interesting videos/articles I find about cinema. 

This blog is for me to help sort of organize my thoughts as well as strengthen my opinions on certain things. 

Pauline Kael’s taste tended toward quick pacing and a down-to-earth story that could grab an audience and make it feel something. A movie didn’t have to be hysterically funny to win her over; she found it especially thrilling when a loose, jocular tone somehow eloped with otherwise straight-faced genres—hence her lifelong allegiance to Jean Renoir and Robert Altman and Jonathan Demme. Praising a movie by another one of her favorites, Jean-Luc Godard, Kael wrote that its “fusion of attitudes—seeing characters as charming and poetic and, at the same time, preposterous and absurd—is one of Godard’s contributions to modern film.” Her most withering scorn was reserved for movies that she took to deny the possibility of laughter or pretended they were above it—her blacklist included much of Bergman, most of Kubrick, and pretty much all of Hitchcock.
Jana Prikryl, Waking Up at the Movies

Toby / 19 / Personal Blog