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I love seeing people come out of darkness.David Lynch, “Light on Film,” in his Catching the Big Fish.
I'm Ben.
I'm Sera.
Sarah—with an H?
No. S.E.R.A.
Stan Higgins. Wants me to put a team together. Eight men. Strong. Ain’t afraid of graft. It’s gonna take all night. Good boys, gotta be good boys. Reliable. Positive attitude. That’s very important. Very important.Stan Higgins and Dog Logan in Sexy Beast. My absolute favorite version of the heist-team-coming-together scene.
When the light hits him a certain way, he’s almost handsome.Capucine, on Peter O’Toole, in What’s New Pussycat (1965). Watched this again last night. There’s really no one quite like Peter O’Toole.
But quite frankly your attitude appalls me. It’s not what you’re saying. It’s all the stuff you’re not saying. Insinnuendos.Ben Kingsley, Sexy Beast. A film to return to over and over again for inspiration.
How to make a perfect martini, from Luis Buñuel, The Discreet Charm of the Bourgeoisie. The martini in books here.
Sergei Eisenstein, on literature, cinema and “inner monologues,” in Film Form (1949)Then in passionate disconnected speech. Nothing but nouns. Or nothing but verbs. Then interjections. With zigzags of aimless shapes, whirling along with these in synchronization.
Then racing visual images over complete silence.
Then linked with polyphonic sounds. Then polyphonic images. Then both at once.
THE LANGUAGE OF THE STAGE. It is not a question of eliminating spoken language but of giving words something of the importance they have in dreams.
Antonin Artaud, The Theater and Its Double (1938)
And there’s always music in the air.
The Man from Another Place, Twin Peaks (1990s)
**For that matter, every dwarf in any scene by Lynch.
New York Herald Tribune! New York Herald Tribune!Jean Seberg as Patricia Franchini in Jean-Luc Godard’s Breathless. Thanks to @ChrisKabuca for reminding me to watch this again. In a film full of unforgettable lines, this is easily my favorite. Video on YouTube.
