İşsizlik Sorumluluğunun Bireye Yüklenmesi

Vatandaşlarının vergileriyle finanse olan ve onların yönetme erkini onlar adına kullanan devlet ve siyasi irade, bu çıkmaz karşısında “işsizliği” bireye indirgeyerek onu bir kamu sorunu olmaktan çıkarmakta; “sürüden ayrılmayı beceremeyenlerin kişisel sorunu” olarak görmeyi yeğlemektedir. Hâl böyle olunca devletler şirketleşmiş, şirketler devletleşmiştir; insanların işsizliği, açlığı, faturalarını ödeyememeleri, üşümeleri ya da hastalanmaları önemini kaybetmiştir.


Ben bir müşteri, bir alıcı ya da hizmet kullanıcı değilim, 
Ben bir kaytarıcı, bir beleşçi, bir dilenci ya da bir hırsız değilim, 
Ben bir sosyal güvenlik numarası ya da ekranda yanıp sönen bir ışık değilim, 
Faturalarımı, vergilerimi zamanında ve son kuruşuna kadar ödedim ve bununla da gurur duyuyorum, 
Kimseye boyun eğmem, ama elimden gelirse komşumun gözünün içine bakarak ona yardım ederim. 
Sadaka istemiyorum ve kabul de etmiyorum. Benim adım Daniel Blake, 
Ben bir insanım, bir köpek değilim. Bu sıfatla haklarımı talep ediyorum. 
 Benim adım Daniel Blake, bir vatandaşım, ne bir eksik ne de bir fazlası…

Akira Kurosawa’s Hand-Painted Storyboards

Akira Kurosawa’s Hand-Painted Storyboards

Unless You Are A Cheese

“Age is something that doesn’t matter, unless you are a cheese.”

Luis Bunuel

Wim Wenders's Advice

Being Zelig

 I’m 12 years old. I run into a Synagogue. I ask the Rabbi the meaning of life. He tells me the meaning of life… But, he tells it to me in Hebrew. I don’t understand Hebrew. Then he wants to charge me six hundred dollars for Hebrew lessons.

I also went into a bar on St. Patrick’s Day, wasn’t wearing green, they made remarks, I turned Irish. My hair turned red. My nose turned up. I spoke about the Geat Potato Famine

Dr. Eudora Nesbitt Fletcher: How do you feel about it here?

Leonoard Zelig: it’s the worst. I hate the country. I hate the grass and mosquitos. I don’t like cooking. Your pancakes, I dump them in the garbage when you’re not looking. Your jokes, when you think you’re amusing, it’s long and pointless, there’s no end to them.

Üçüncü Adamlar

Winking Light

Life is a winking light in the darkness.
Hayao Miyazaki 

Joe Eszterhas - 10 Golden Rules of Screenwriting

1. Don’t see too many new movies. Most movies in theaters today are awful. They will depress you. You will think to yourself: How can they have made this abominable script instead of buying and making mine? Spare yourself the anguish. Read a good book instead. 2. Don’t mince words. If the idea a studio executive gives you is a shitty one, don’t say “Well, that’s interesting, but…” Say “That’s a really shitty idea.” The people you’re dealing with aren’t stupid—they’re just vain. Deep in their hearts they know it’s a shitty idea. 3. Don’t let ’em convince you to change what you’ve written. A director isn’t a writer. Neither is a producer or a studio exec. You write for a living. You’re the pro. They’re amateurs. Dilettantes at best. Treat them that way. Make them feel that’s what they are. 4. Don’t pitch stories, write spec scripts. Why try to convince a roomful of unread egomaniacs that you can write a good script about something. Just sit down and write the damn thing. It’s much more honest to do it well than to promise to do it well. 5. Write it from your heart. Life is short; shorter than you think. Don’t do hack work. If a studio wants to give you an assignment to write something, do it only if it rings spiritual, psychic or sexual bells inside you. 6. Always lie about your first draft. I told people I’d been working on the script of Basic Instinct for years when I sold it for a record price. When the movie became the biggest hit of 1992, I told the truth: It had taken me 13 days to write it. 7. Remember family secrets. If you’re stuck for something to write about, think of all those things your family just doesn’t talk about. Somewhere in there lurks at least one good script. 8. In the company of the director, don’t bend over. No matter how charming he is, the director is not your friend and collaborator. He is your enemy. He wants to impose his creative vision on yours. He wants to take what you’ve written and make it his and then take credit for it. 9. Blacken your heart a little bit. My old and beloved agent, Guy McElwaine, told me “There is no heart as black as the black heart of an agent.” Even though he’d been my agent for a long time—and even though I truly loved him—the day came when I fired him. 10. Don’t let the bastards get you down. If you can’t sell your script, or if you sell the script and they bring in another writer to butcher it, or if the director claims in interviews that he really wrote your script, or if the actors claim that they improvised all of your best lines, or if you’re left out of the press junket, simply sit down and write another script. And if the same thing happens to you on that one, write another and another and another and another, until you get one up there that’s your vision translated by the director to the big screen.

Guillermo del Toro's sketches

Guillermo del Toro's sketches reveal his At the Mountains of Madness

Wim Wenders - 50 Golden Rules of Moviemaking

If you do have something to say, you’d better stick to it. (But then don’t give too many interviews.)
Respect your actors. Their job is 10 times more dangerous than yours.
Before you say “cut,” wait five more seconds.
Other people have great ideas, too.
Never fall in love with your temp music.
Never fall in love with your leading lady!
It’s always good to make up for a lack of (financial) means with an increase in imagination.
Having a tight schedule can be difficult. But having too much time is worse.
A “beautiful image” can very well be the worst thing that can happen to a scene.

Wim Wenders - 50 Golden Rules of Moviemaking

Art of Looking for Trouble

Politics is the art of looking for trouble, finding it everywhere, diagnosing it incorrectly and applying the wrong remedies.
Groucho Marx

Television

I find television very educating. Every time somebody turns on the set, I go into the other room and read a book.
Groucho Marx

İşte Ekip

Yönetmen Ertem Eğilmez in önderliğinde 1974 başında oluşturulan senaryo çalışma grubu.Soldan sağa : Metin Akpınar ,Ertem Eğilmez , Sadık Şendil ,Zeki Ökten,Ergin Orbey,Münir Özkul, Kemal Sunal ,Zeki Alasya ve Halit Akçatepe

Luis Bunuel

Sinemada Betimleme Sanatı

"İzleyiciye sunulan film çerçevesi içinde gerçekçiliği vermek için bir yönetmen, bu çerçeveyi çevreleyen boşlukta belli seviyede gerçekliğe aykırı davranışlara göz yummalıdır. Örneğin, ayakta durdukları farz edilen iki kişinin öpüşmesinin yakın çekimi ancak bu kişileri mutfak masası üzerinde diz çöktürerek sağlanabilir. Hatta masayı çerçeveye girsin diye 20 cm yukarıya bile kaldırabiliriz. Bir adamı masanın arkasında ayakta dururken göstermek mi istiyorsunuz? Adama yaklaştıkça masayı da yukarı kaldırmalısınız. Tabii masanın da görüntüde yer almasını istiyorsanız. Her neyse, çoğu yönetmen böyle şeyleri küçümsediği için, masayı da görüntüye almak amacıyla kamerayı çok uzağa yerleştirirler. Her şeyin perdeye, tıpkı sette göründüğü gibi yansıyacağını sanırlar. Çok gülünç! Görüntüleri perdeye yerleştirmek, hiçbir zaman olgulara bağlı bir tarzda ele alınmamalıdır. İstediğiniz her şeyi, gerek duyduğunuz görüntüyü almanızı sağlayacak sinema tekniğinin yerinde kullanımıyla elde edebilirsiniz. Kısa kesmeler yapmaya gerek kalmayacağı gibi, almak istediğiniz görüntü ile elde ettiğiniz görüntü arasında da uzlaşma sağlamaya gerek yoktur. Çoğu filmin yeterince kuvvetli olamamasının nedenlerinden biri, sinema endüstrisinde çalışan çok az kişinin, betimleme sanatı hakkında bilgi sahibi olmasıdır."(Alfred Hitchcock, Truffaut ile Söyleşiler'den)

Rigoletto - A Film by Jean-Pierre Ponnelle

Let The Sunshine In

Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by James Rado and Gerome Ragni and music by Galt MacDermot. A product of the hippie counter-culture and sexual revolution of the 1960s, several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy. The musical broke new ground in musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "Be-In" finale.

Angel Heart

Angel Heart (Theatrical Trailer) by NakedBrotha2007
It's 1955. Small time New York City gumshoe Harry Angel is hired through a law firm by a mysterious man named Louis Cyphre. Cyphre tells Harry that choosing him as the private investigator for this case was by no accident despite Harry not knowing who Cyphre is or in turn Cyphre not directly stating why he chose Harry. The case is to locate a man by the name of Johnny Favorite, a popular singer before World War II, who served in the war and supposedly was institutionalized due to his injuries since, although Cyphre has not seen Favorite during that time. As Harry progresses through the case, he doesn't quite trust Cyphre as every step Harry takes leads to people angry about his questions and/or who what to beat him. Johnny's associates are highly populated by those into mysticism and particularly voodoo, which takes Harry to New Orleans. As Harry continues his investigation, one by one, the people he interviews turn up dead. Although Harry isn't sure if he wants to continue with the case, he does so if only to satisfy his own curiosity as to Johnny's whereabouts and why Cyphre wants to find him

Blade Runner

Rick Deckard, a retired cop of the Los Angeles Police Force, is summoned back to work to help find and destroy escaped Replicants who pose a threat to the rest of humanity. Replicants were originally created by the Tyrell Corporation in the same design as humans to act as slaves on Earth and in the off-world colonies. Some of these Replicants are originally used to explore new off world colonies, but a bloody battle ended one such exploration and caused them to be left to exist on a colony by themselves. They have a tendency for violence and super-human qualities: superior strength, agility and equal intelligence to that of humans. Their life span was only four years and it was believed they would die out, ending any threat to mankind.
Four Replicants somehow manage to hijack a ship from another colony, kill its occupants, and return to Los Angeles....

Peter Sellers On Drums