Tag Archives: cinema

Fincher Interviews

FincherFanatic.com “You Better Be F—ing Serious: David Fincher on Directing” Fincher, David, and Laurence F. Knapp. David Fincher: Interviews. Jackson: U of Mississippi, 2014. Print. (2011 Interview).

“The very reason he started out directing music videos and commercials was because there was no screen credit, just a convenient opportunity to learn the craft, and get paid for it. p. 204

“Doesn’t want to be made aware of expectations towards his work.” p. 204

“shouldn’t your movies, if they are truly personal, change the way you change?” p. 205

“I would like my brand to stand for ‘works really hard,’ ‘tries to make it as good as he possibly can.'” p. 205

Fincher will wait for Michael Brennan to be available as dolly grip on his films.

Michael Brennan’s work with Fincher:

Zodiac, Girl with The Dragon Tattoo, The Curious Case of Benjamin Button,  Fight Club, Se7en.

“The directors of the future are going to come from YouTube.” p. 207

Fincher: “I actually believe that anybody, who thinks that their dailies look amazing doesn’t understand what cinema is capable of.” p. 209

“But your point of view is all you’ve got.” p. 210

Fincher quoting Scorsese “The things you do badly are as much part of your style as the things you do well.” p. 210

“I don’t think you cannot have a perspective.” p. 211

“for David Fincher directing is more than drawing neat little pictures and showing them to the camera man… Directing means total control over everything the audience sees and hears for two hours; forging their experience of the story.” p. 211

Fincher: Staging… It’s the most important thing directors do,” p. 211

Fincher: “Creativity happens on the fringe… Start in the fringe, meet those people, write your scripts. I always wanted to give a lecture at filmschools. You go in and you see all these fresh faces, and you say: ‘You! Stand up, tell me your story. Tell me what your film is going to be about.’ And they start, and you go: ‘Shut up and sit the fuck down!’ And if they do, you go: ‘You’re not ready.’ the film business is filled with shut-up and sit-the-fuck-down. You got to be able to tell your story in spite of sit-down and shut-the-fuck-up.” p. 212

“essential Fincher: Trust yourself, trust your perspective on your story.” p. 212

to clients he will say “This is what I know how to do, this is what I want to do with this. And if you don’t want to do it, don’t hire me.” p. 212

Fincher: “I don’t like short-hand, and I don’t like to be told who’s evil. I don’t want to know who the villain is, I don’t want to know who the hero is.” p. 212

“Let’s not distill story-telling down.” p. 212

Bambi vs. Godzilla

Mamet, David. Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business. Kindle Edition. 2007.

Bambi Meets Godzilla | Marv Newland (1969)

“To succeed, a film must treat the audience member as an audience member, not as a commissar of culture.” location 698

“The commissar gets her thrill not from the film but from the power to admonish.” location 699

real filmmakers “Will they fail? Certainly. Both artistically and commercially. But (a) they have no other choice and (b) realizing that their final choices must be essentially subjective, they may learn to trust their instincts. Also (c) they’ll have more fun.”  location 702

“Like any human endeavor, like you and me, they have inevitably been exposed to and have, in the main, submitted to the power of self-corruption, of self-righteousness, to the abuse of power. But like General della Rovere, like you and me, like the studio executives, they possess the possibility of beauty and, hence, for human transformation: not as preaching, not as instruction, not as doctrine—all of which, finally, are out of place in the cinema and can awaken, at best, but self-righteousness.” location 740

“The garbage of exposition, backstory, narrative, and characterization spot-welds the reader into interest in what is happening now. It literally stops the show.” location 866

***”When the film turns narrative rather than dramatic, when it stands in for the viewer’s imagination, the viewer’s interest is lost.” location 1040

***”The writer may choose to supply stock, genre, or predictable answers to the magic questions, and the drama will be predictable and boring. The writer will have saved himself the agony of indecision, self-doubt—of work, in short—and so, of course, will the protagonist.” location 1230

“The gags, here, happen to be identical to Aristotle’s “incidents,” that is, those occurrences without which the plot cannot move forward.” location 1391

“Shoot an entrance and an exit. It’s free.” location 1627

***”Our ability to conceptualize about both the process and the product is accompanied, and inspired, by the pure animal joy of submersion in a mystery.”  location 1653

“Wisdom, therefore, lies not in the phenomonological question “What does a duck look like?” but, rather, in the practical “What is a duck looking for?”” location 1658

******”one may learn to prevail through understanding rather than strength—the basic tenet of jujitsu” location 1668

“Well, the poor man, unhampered by the capacity to waste, was forced to employ thought, and he wondered: What does a duck like? How does a duck see?” location 1678

“We have all had the experience of saying of a statue, “How lifelike,” and, of a life mask, cast from the human form and painted to perfection, “How lifeless.”” location 1679

“For the actual human being and the actual duck were created by, and so contain, a mystery. They cannot be reduced to mere measurements, and all attempts to do so (whether through the caliper of the decoy maker or through the audience testing of the social scientist) result in lifeless parody.” location 1681

“For another name for “chance” is “mystery,” and another name is “art.”” location 1685

“Jewish rabbinical tradition notes that adultery is like murder, for it is a crime that cannot be undone. Violation of the aesthetic distance is a rupture of the artist’s compact with the audience, and, similarly, its rupture cannot be mended.” location 1790

***”the difference between enjoyment and stimulation. One leaves the ballet feeling refreshed, as a promise has been fulfilled. One quits the video-game or pornographic film feeling empty and vaguely debauched—for one has only been stimulated. The brain, here, craves a repetition of the stimulation, as with any drug.” location 1833

“One may sit in front of the television for five hours, but after King Lear one goes home.” location 1835

*****”violence—their belligerence masks their fear and displays their ignorant belief that battles are somehow won by intimidation.” location 1894

“Violent encounters are won only by those putting themselves at risk of violence.” location 1895

“Aristotle cautions that it is insufficient for the hero to get the idea. Many modern moviemakers, however, act as if they hadn’t read his book. Their films depict the gentle progress of the protagonist toward self-actualization—usually depicted as a slow, arms-extended twirling on a beach (as if the expression of a racial memory of our descent from the shipworm). location 2040

“These men, and their performances, are characterized by the absence of the desire to please.” location 2055

“On screen, they don’t have anything to prove, and so we are extraordinarily drawn to them. They are not “sensitive”; they are not antiheroes; they are, to use a historic term, “he-men.” location 2056

“But consensus is, of course, the dead opposite of that subjectivity that is the essence of the theatrical experience.” location 2385

*******”And so, now firmly self-understood as part of a jury, he utters the phrase that is the foundation of society and the death of art: “What do you think?” Consensus, enshrined as right thinking, ensues, and the stage is set for mediocrity.” location 2400

“productive subjectivity” location 2441

“They are lost in the wilderness and prefer, as might you or I, a broken compass to no compass at all.” location 2449

“They who lack talent expect things to happen without effort.” location 2546

“Mark Twain wrote of U. S. Grant’s personal memoirs that they were so well written as to make one wonder who was going to win the Civil War.” location 2743

High Noon (1952) Fred Zinnemann (story told in “nearly real time”)

 Mickey Mouse in Vietnam (1968) Whitney Lee Savage (short)

December, 2013.


Watched Wiener-Dog (2016)

Dir. Todd Solondz

              Professor Phillips
“Celebrity Schmelebrity”
is a terrific script.

               Dave Schmerz
It’s a piece of shit.
I tried to do something good.
It’s… something…
Get into my childhood.
Get into some…
Something real.
Real stuff.
But I wanted it to be funny.
I wanted people to like it.
I wanted it to sell.
So I threw in
the mixed-up identities…
I threw in the sex jokes.
The Mafia.
A little schtick.
Everyone loves a little schtick.

To Watch: Au Hasard Balthazar (1966) Robert Bresson



Todd Solondz’s Exquisite, Imperfect “Wiener-Dog” The New Yorker Article




Down and Dirty Pictures

Biskind, Peter. Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. Kindle Edition. 2013.

“Speaking of somebody or other, he once said, “He’s the kinda guy, you gotta hold his hand when you’re chopping off his head!”” (location 421)

“And then later on, you figure out on your own, it’s not like it’s a bad thing, but it’s not necessarily for everybody. It ain’t about reaching the widest possible audience, it’s about reaching an audience. There are some people that just like to tell stories, and it doesn’t matter if a hundred million people identify with it, or a thousand people identify with it. There’s a certain satisfaction, a certain artistic satisfaction—for lack of a better word—that kind of draws them to filmmaking.” (location 3948)

January, 2014


EL Ingenioso Hidalgo Don Qvixote de La Mancha (primera parte) I

Cervantes Saavedra, Miguel de. Don Quijote De La Mancha: Edición Conmemorativa IV Centenario Cervantes. Madrid: Real Academia Españƒola, 2015. Print. (First ed. 1605)

Siglo de Oro

“Salieron para America cientos de ejemplares de la novela… Lo que no había conseguido Cervantes, lo lograba su criatura asentándose en el Nuevo Mundo.” (México -> Cartagena de Indias -> Portobelo, Panamá -> El Callao) p. xi

To Watch Дон Кихот Don Quixote (1957) Grigori Kozintsev.


José Ortega y Gasset Meditaciones del Quijote “su eje central es precisamente el diálogo,” p. xxi  See “Yo soy yo y mi circunstancia”

“complejidad del sistema novelístico de Cervantes y sus estrategias para casar versímilmente su fábula mentirosa con la inteligencia de sus lectores están poderosamente condicionadas por la encrucijada en la que, como también Shakespeare y todos sus contemporáneos, se encuentra: la del solapamineto de la la galaxia Gutenberg con la pervivencia, muy vívida todavía, de formas de coexistencia y comunicaión arcaicas en las que sigue muy arraigada la oralidad.” p. p xxii

Quijote “Llegado, por el contrario, a Barcelona, ve en una imprenta cómo se corrigen las pruebas de una nueva edición de Quijote de Avellaneda, y ello le da pie para denostarlo.” p. xxiv

Olfato y tacto en Don Quijote p.  xxvii

Primera edición conocida de Amadís de Gaula de Garci Rodríguez de Montalvo, impresa en Zaragoza por Jorge Coci, 1508. Via Wikimedia.

Amadís de Gaula

Portada de Los cinco libros del esforzado e invencible caballero Tirante el Blanco, primera traducción al castellano de Tirant lo Blanc, impresa por Diego de Gumiel. Via Wikimedia.

Tirante el Blanco

Tristán de Leonís

“Al final, termina por salirse con la suya. La ficción va contaminando lo vivido y la realidad se va gradualmente plegando a las excentricidades y fantasías de don Quijote. p. XXXV (Mario Vargas Llosa, Una novela para el siglo XXI)

“Los amigos del pueblo de don Quijote, tan adversos a las novelerías literarias que hacen una quema inquisitorial de su biblioteca, con el pretexto de curar a Alonso Quijano de su locura recurren a la ficción: urden y protagonizan representaciones para devolver al Caballero de la Triste Figura a la cordura y al mundo real. Pero, en verdad, consiguen lo contrario: que la ficción comience a devorar la realidad.” p. XXXVI (Mario Vargas Llosa, Una novela para el siglo XXI)

Ruta de Don Quijote

“El Quijote no cree que la justicia, el orden social, el progreso, sean funciones de la autoridad, sino obra del quehacer de individuos que, como sus modelos, los caballeros andantes, y él mismo, se hayan echado sobre los hombros la tarea que hacer menos injusto y más libre  próspero el mundo en el que viven.” p. XL (Mario Vargas Llosa, Una novela para el siglo XXI)

“la Santa Hermandad, cuerpo de justicia en el mundo rural, de la que se tiene anuncios durante las correrías de don Quijote y Sancho, son mencionadas más bien como algo lejano, oscuro y peligroso.” p. XL


“España aparace como un espacio muchi más vasto, cohesionado en su diversidad geográfica y cultural y de unas inciertas fronteras que parecen definirse en función no de territorios y demarcaciones administrativas, sino religiosas: España termina en aquellos límites vagos, y concretamente marinos, donde comienzan los dominios del moro, el enemigo religioso.” p. XLII

“como ocurre con las obras maestras paradigmáticas… al igual que el Hamlet, o La divina comedia, o la Ilíada y la Odisea, ella evoluciona con el paso del tiempo y se recrea a sí misma en función de las estéticas y los valores que cada cultura privilegia, revelendo que es una verdadera caverna de Alí Babá, cuyos tesoros nunca se extienguen.” p. XLIII-XVLIV

To Read

Rayuela by Cortazar,

In Search of Lost Time by Marcel Proust

“Aprovechando lo que era un tópico de la novela de caballerías (muchas de ellas eran supuestos manuscritos encontrados en sitios exóticos y estrafalarios), Cervantes hizo de Cide Hamete Benengeli un dispositivo que introducía la ambigüedad y el juego como rasgos centrales de la estructura narrativa.” p. XLIV

Canto de Calíope en La Galatea

Title page of La Galatea. Via Wikimedia.

“Cervantes, que se vio imposibilitado de hacer efectivas las sumas recogidas, fue internado en la cárcel de Sevilla, donde pasó unos tres meses del año 1597.” p. LXX (Martín de Riquer, Cervantes y el “Quijote”)

“En 1613 aparecen las Novelas ejemplares; en 1614 el Viaje del Parnaso; en 1615 la Segunda parte del Quijote y las COmedia y entremeses; y en 1617, póstumamente, el Persiles y Sigismunda. O sea que la gran época de aparición de las obras de Cervantes, presciendiendo de la Primera parte del Quijote, corresponder a la etapa que va de los 66 a los 68 años del escritor.” p. LXXI (Martín de Riquer, Cervantes y el “Quijote”)

“Aunque Cervantes ha escrito estos versos en tono humurístico, no deja de haber en ellos cierta amargura de quien, sabiéndose un gran prosista, comprende que no puede compararse con los grandes poetas de su tiempo.” p. LXXIII (Martín de Riquer, Cervantes y el “Quijote”)

“Fue enterrado en el convento de las Trinitarias Descalzas de la calle de Cantarranas (hoy Lope de Vega), donde sin duda esposan todavía sys restos sin que haya posibilidad de identificarlos.” p. LXXVIII (Martín de Riquer, Cervantes y el “Quijote”)

“En el Quijote Cervantes recoge la experiencia de los recuerdos de su vida; en el Persiles recoge el fruto de sis lecturas de libros.” p. LXXIX (Martín de Riquer, Cervantes y el “Quijote”)

“El “caballero andante” existió, y todavía erraba por los caminos de Europa y de corte en corte en demanda de aventuras (justas, pasos de armas, torneos, batallas a todo trance) un siglo antes de que Cervantes se pusiera a escribir el Quijote. Y alrededor de estos caballeros existió una literatura que puede distribuirse en dos categorías: la biografía del caballero y la novela caballeresca. Como ejemplos de la primera categoría tenemos el Livre des faits du bon messire Jean le Maingre, dit Bouciquaut, el Livre des faits de Jacques de Lalaing y el Victorial, o biografía de don Pero Niño, y podriamos añadir el Libro del Passo Honroso… A la segunda categoría pertenecen determinadas novelas … Las catalanas Curial e Güelfa y Tirant lo Blanch y las francesas Jean de Saintré y el Roman de Jean de Paris… Basta señalar que la biografía de un caballero perfectamente histórico como fue Jacques de Lalaing, que realizó sus primeras hazañas en Vallodolid, ofrece gran similitud con la novela que tiene por protagonista al ficticio Jean de Saintré.. Este tipo de novelas a las que conviene dar el nombre de “novelas caballescas” en clara oposición a los “libros de caballerías”, fue comprendido por Cervantes, como atestigua su elogio del Tirant lo Blanch” p. LXXXIV (Martín de Riquer, Cervantes y el “Quijote”)

“El Quijote no es, como creyeron algunos románticos, una burla del heroísmo y del idealismo noble, sino la burla de unos libros que, por sus extremosas exageraciones y su falta de mesura, ridiculizaban lo heroico y lo ideal.” p. LXXXV (Martín de Riquer, Cervantes y el “Quijote”)

“Da la impresión que Certantes escribía sin leer su labor.” p. LXXXVIII (Martín de Riquer, Cervantes y el “Quijote”)

“Cervantes, cuando escribe la Segunda parte de la novela, tiene ya sesenta y ocho años, está en la miseria, ha padecido desdichas de toda suerte en la guerra y en el cautiverio, el honor de su hogar no ha sido siempre limpio ni ejemplar, ha recibido humillaciones y burlas en el cruel ambiente literario; y a pesar de todo ello, por encima de sus angustias, de sus estrecheces y de sus penas, el buen humor y el agudo donaire inundan las páginas del Quijote. p. XCIII (Martín de Riquer, Cervantes y el “Quijote”)

“la más desdichada de tales transposiciones fue que la supresión de unas páginas en que se narraba cómo Sancho Panza perdió a si jumento no llevó aneja la eliminación de la referencias al escudero montado en el asno” p. CII (Francisco Rico, Nota al texto)

“endecasílabo) El ingenioso hidalgo de la Mancha.” p. CIV (Francisco Rico, Nota al texto)

“Téngase en cuenta que los libros se ponían entonces a la venta “en papel”, es decir, como un conjunto de pliegos sin encuadernar, y así serían los Quijotes que Cervantes tuviera a mano a principios de 1605.” p. CXI (Francisco Rico, Nota al texto)

“Tras un corto período de gran éxito, la novela sufre un eclipse desde 167 hasta que la devuelve al mercado la edición de Madrid, 1636-1637, cuatro o conco veces reimpresa en la Corte en los decenios siguientes,” p. CXII (Francisco Rico, Nota al texto)

“vacilaciones presentes en los escritos de puño y letra de Cervantes.” mesmo~mismo, cuasi~casi, fee~fe, escrebir~escribir invidia~envidia, sospiro~suspiro, asconder~esconder, húmido~húmedo, imágines~imágenes, proprio~propio, recebir~recibir, esaminador~examinador, eceto~exepto, agora~ahora, ansí~así, güésped~huésped, deste~de este, della~de ella.  CXV-CXVI (Francisco Rico, Nota al texto)






Mere Anarchy

Allen, Woody. Mere Anarchy. New York: Random House, 2007. Print.

To Err is Human–to Float, Divine

There is a fervid endorsement by someone named Pleiades MoonStar–a name that would cause no end of consternation for me if I were told at the last minute it belonged to my brain surgeon or pilot.” p. 5

“”What do you do for a living?” she inquired, oddly un-omniscient for a creature of her reputed majesty.
“Night watchman at a wax museum,” I replied, “but it’s not as fulfilling as it sounds.”” p. 9

Veerappan “was a notorious Indian brigand and dacoit. He was active for nearly 30 years in the scrub lands and forests in the states of Karnataka, Kerala, and Tamil Nadu.” Via Wikimedia.


Sam, You Made The Pants Too Fragrant

“”She’s a very handsome woman,” I quickly said.
“Well, you know, it’s all relative. I might look at the same face and see something you’d find for sale in a live-bait store.”” p. 30

To Read Demons by Dostoyevsky

This Nib for Hire

“Just give me a few sample pages to confirm my faith in your brilliance. Who knows, maybe in your hands novelization will finally come of age as an art form.” p. 40

“”Wouldn’t you rather read it yourself? That way the subtle verbal rhythms can resonate in your mind’s ear.”
“Naw, I’ll get a better feel this way. Plus I lost my reading glasses last night at Hooters. Commence,” ordered Biggs, putting his feet up on the coffee table.” p. 41

Glory Hallelujah, Sold! p. 73

“Integrity is a relative concept, best left to the penetrating minds of Jean-Paul Sartre or Hannah Arendt.” p. 77

Caution, Falling Moguls

UMLAUT Say, boys, have any of you read Gilgamesh?
(They assent enthusiastically.)
NUTMEAT The Babylonian Bible? Sure, several times, why?
UMLAUT I’m going to say one word to you: Musical. p. 86

SHEIGITZ Line changes? The blind violinist is now a Navy SEAL?
UMLAUT It gives more oomph. p. 87

NUTMEG What but? Arvide Mite was only waxing hyperbolic when he said you could make the phone book into a hit. Only an idiot or a megalomaniac would accepted the challenge. Especially the Yellow Pages. p. 89

Attention Geniuses: Cash Only

“One is a sophisticated bauble called “If You’ll Be My Puma in Yuma I’ll Be Your Stork in New York.” p 121

Above The Law, Below The Box Springs

“Before working for the Washburns, Tobias was a horse whisperer at a ranch in Texas, but she suffered a nervous breakdown when a horse whispered back.” p. 133

“Her undertaker husband, Wilbur, liked Stubbs and offered to bury him gratis if he would agree to have it done that day.” p. 136

Surprise Rocks Disney Trial p. 147

Sabon (typeface) by Jan Tschichold

Claude Garamond (French designer/publisher) 1510-1561

Jacques Sabon