Through the art of photography Greek artist Anastasia Mastrakouli creates unique typography by incorporating the bare human figure. These naked silhouettes form gestures to create each letter of the alphabet as they interact and press against the pane of wet glass. The identities of the figures are obscured by the surrounding water and panel adding symmetry to the overall appearance of the letters. Mastrakouli’s work exposes the connection between typography, art, and the human figure in a new and unique way. See more images here!:
http://hifructose.com/2013/03/29/the-naked-alphabet-by-artist-anastasia-mastrakouli/
I don’t like the ambition in American films, and these characters don’t have ambition really and are also not intellectual characters, so it’s not an existential film. They’re not constantly questioning their existence or questioning the state of the world around them. Instead they have a kind of acceptance of it. Instead they move through the world of the film in a kind of random, aimless way, like looking for the next card game or something, rather than interpreting things as philosophical symbols or anything. So that relates to the reason why there isn’t the violence and sex and certain expected things in the film. The whole idea of the film was not really to give the audience anything that they would be expecting. And the form of the narrative itself works that way, too. If you stop the film at any point the audience wouldn’t have any idea what was gonna happen next, or really be that aware or that conscious of the narrative itself. Instead they’re more interested in smaller details, and situations, and characters. The sense of humor works in the film that way, too. It works from details, not from big gags or jokes, verbal or visual. Instead it’s humor of small details. - Jim Jarmusch on Stranger Than Paradise
“There may be more beautiful times, but this one is ours.”
— Jean-Paul Sartre
Viggo Mortensen loved riding the horse he used in Lord of the Rings so much that he ended up buying it after the films were complete.
Lord of the Rings: Fellowship of the Ring (2001)
“Cinema is identical to life, because each one of us has a virtual and invisible camera which follows us from when we’re born to when we die. In reality cinema is an infinite film sequence-shot. Each individual film interrupts and rearranges this infinite sequence-shot and thus creates meaning, which is what happens to us when we die. It is only at our moment of death that our life, to that point undecipherable, ambiguous, suspended, acquires a meaning. Montage thus plays the same role in cinema as death does in life.”
Pier Paolo Pasolini
March 5, 1922 — November 2, 1975