" The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in a sex club or a warden in a lunatic asylum or a machine operator in a slaughterhouse. Drive a taxi for six months and you’ll have enough money to make a film. Walk on foot, learn languages and a craft or trade that has nothing to do with cinema. Filmmaking — like great literature — must have experience of life at its foundation. Read Conrad or Hemingway and you can tell how much real life is in those books. A lot of what you see in my films isn’t invention; it’s very much life itself, my own life. If you have an image in your head, hold on to it because — as remote as it might seem — at some point you might be able to use it in a film. I have always sought to transform my own experiences and fantasies into cinema. "
by Werner Herzog

1. Tokyo Story 5/5

2. The 400 Blows 5/5

3. Jules et Jim 5/5

4. Fargo 4/5

5. The Silence of the Lambs 4/5

6. Boyhood 4/5

7. The Sun’s Burial 4/5

8. World War Z 3/5

9. HOUSE (1977) 4/5

… more but I can’t remember

870 notes • 1:25 PM

I especially enjoy Kill Bill because it is one of the few films I’m aware of that is really just about women. And it’s not like it’s about women being women and doing women things, it’s about a woman as simply a person who wants revenge.

Especially the first part, where it’s just a bunch of powerful women (one of whom has become the most powerful person in Japan by killing her would-be rapist) fighting each other with no men involved. (or at least just as side characters) Plus, the film ends by the main character defeating her former male lover that was basically an extreme wife-beater. (well, he had her nearly killed)

Linklater’s visual style is sort of, refreshingly normal. That is to say.. he sacrifices visuals for dialogue. All of his films are dialogue focused, and nothing really happens narratively. But in a really good, subtle way. It’s almost as if Linklater is letting you know that he doesn’t particularly care about how visually striking the movie is, because he wants to focus on what his characters are saying.

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