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antes e durante as filmagens de A cidade onde envelheço.

// 7 de novembro de 2014 / 17:05 PM // CATS > Diário, Journal // TAGS > + + + + + +

Em 1972, com 21 anos, Marie Rivière viu L’amour l’après-midi de Eric Rohmer, o último tomo dos “seis contos morais” de Eric Rohmer num cinema de Saint-Germain-des-Prés, em Paris. O seu encontro com uma história escrita e filmada pelo realizador francês, o elemento mais velho da nouvelle vague francesa, moveu-se por um reconhecimento íntimo nas suas imagens: o retrato de personagens que abrem os seus sentimentos em contos de desejo, solidão e amor nos quadros depurados e simples da vida humana.
Marie Rivière, desejosa de ser actriz, escreveu uma carta a Rohmer e enviou-lhe uma fotografia sua. Este, sempre comovido pelo contacto familiar e humano – uma fonte do seu cinema -, respondeu com um convite à morada da produtora “Les Films du Losange”, fundada com Barbet Schroeder (ainda hoje responsável por algum do melhor cinema europeu). Daí nasceu uma profunda amizade entre Rivière e Rohmer que se estendeu a oito filmes: Perceval le Gallois (1978); La femme de l’aviateur (1981), o seu primeiro papel principal; Le rayon vert (1986), vencedor de Leão de Ouro do Festival de Veneza, comoventíssimo filme em que Rivière chega a colaborar na escrita; Quatre aventures de Reinette et Mirabelle (1987); Conte d’hiver (1992); Conte d’automne (1998); L’anglaise et le duc (2001); e Les amours d’Astrée et de Céladon (2007).

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// 22 de setembro de 2013 / 23:49 PM // CATS > Diário, filmes, films, Journal, portraits, retratos // TAGS > + + + +

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Jean-Claude Brisseau, 1989.

// 18 de setembro de 2013 / 11:17 AM // CATS > Diário, filmes, films, Journal // TAGS > + + + +

Dear Mrs. Bergman,

I have waited a long time before writing, because I wanted to make sure what I was going to propose to you. But first of all I must say that my way of working is extremely personal. I do not prepare a scenario, which, I think terribly limits the scope of work. Of course I start out with very precise ideas and a mixture of dialogues and intentions which, as things go on, I select and improve. Having said so much I must indeed make you aware of the extraordinary excitement which the mere prospect of having the possibility to work with you, procures me.

Some time ago…I think it was at the end of February last, I was traveling by car along the Sabine (a region north of Rome). Near the source of the Farfa an unusual scene called my attention. In a field surrounded by a tall barbed-wire fence, several women were turning round just like mild lambs in a pasture. I drew near and understood they were foreign women: Yugoslavs, Polish, Rumanians, Greek, Germans, Latvians, Lithuanians, Hungarians. Driven away from their native countries by the war, they had wandered over half Europe, known the horror of concentration camps, compulsory work and night plunder. They had been the easy prey of the soldiers of twenty different nations. Now parked up by the police, they lived in this camp awaiting their return home.

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// 24 de janeiro de 2013 / 16:50 PM // CATS > Diário, inspirações, inspiration, Journal // TAGS > + + +

Dear Mrs Bergman,

I send you as promised a short synopsis of my story: I can’t call it a real full length story, because it is not a story. I am used to following a few basic ideas and building them up little by little during the process of the work as the scenes very often spring out of direct inspiration from reality. I don’t know whether my words will have the same power of the images: anyhow, I assure you that, during this work of mine, my own emotions have been strong and intense as never before. I wish I could speak to you about Her and He, the Island, the men and women of the Island, the humility so primitive though so antique, made wise by experience of centuries. One could think that they live so simply and poorly just because of that knowledge of the vanity of everything we consider civilized and necessary.

Leia Mais

// 21 de janeiro de 2013 / 08:36 AM // CATS > Diário, inspirações, Journal // TAGS > + + +
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