Alphabetarion # Jump | Carl Jung / Gianni Berengo Gardin

Gianni Berengo Gardin, Venice, Italy, 1958

"If there is a fear of falling, the only safety consists in deliberately jumping."

Carl Jung

Book//mark - Women in Love | D.H. Lawrence, 1920

 Women in Love, D. H. Lawrence, first edition, 1920                                                                                                     D. H. Lawrence

“They stood together in a false intimacy, a nervous contact. And he was in love with her.” 

“But both had the remote, virgin look of modern girls, sisters of Artemis rather than of Hebe.”

“She was not herself--she was not anything. She was something that is going to be--soon--soon--
very soon. But as yet, she was only imminent.”

“I want us to be together without bothering about ourselves- to be really together because we ARE together, 
as if it were a phenomenon, not a thing we have to maintain by our own effort.”

“I should feel the air move against me, and feel the things I touched, instead of having only to look at them.''

“But better die than live mechanically a life that is a repetition of repetitions.” 

"Either the heart would break, or cease to care. Best cease to care."

“Now go away then, and leave me alone. I don't want any more of your meretricious persiflage.”

“You've got to lapse out before you can know what sensual reality is, lapse into unkowingness, 
and give up your volition...You've got to learn not-to-be before you can come into being.” 

“I want to be gone out of myself, and you to be lost to yourself, so we are found different.” 

“For to desire is better than to possess, the finality of the end was dreaded as deeply as it was desired.” 

“Try to love me a little more, and want me a little less.” 

“In sleep, you dream, in drink you curse, and in travel you yell at a porter. No, work and love are the two. 
When you're not at work you should be in love.' 'Be” 

“His suave loins of darkness, dark-clad and suave”

“She could hear a distant coughing of a sheep.” 

“There was a glimmer of nightly rabbits across the ground.” 

“It seethes and seethes, a river of darkness, putting forth lilies and snakes” 

“Special natures you must give a special world.” 

“Instead of chopping yourself down to fit the world, chop the world down to fit yourself. ”

"I'm sure life is all wrong because it has become much too visual - we can neither hear nor 
feel nor understand, we can only see. I'm sure that is entirely wrong.”

“That’s the place to get to—nowhere. One wants to wander away from the world’s somewheres, 
into our own nowhere.”

Women in Love, D.H. Lawrence,1920 

Women in Love, D. H. Lawrence, 1920

Alphabetarion # Embrace / Cactus | James Joyce

Grete Marks (1899-1990), The Cacti

"People trample over flowers, yet only to embrace a cactus. "

James Joyce

The Fluid State of Beauty | Nudes by Studio Manasse | Vienna (1922-1938)

 Studio Manasse, Treasure box, 1930                                                                                            Studio Manasse, Study, 1933 

 Studio Manasse, Veiled nude, 1930s                                            Studio Manasse, Study, 1933           
Studio Manasse, The Cry, 1947                                                                Studio Manassé, Vienna, 1935
Studio Manasse, Study, 1930s                                                                          Studio Manasse, Bondage, Paris studio, 1933
Studio Manasse, Study, 1926                                                                              Studio Manasse, Study, 1930s
Study, 1930s
Madame Blaubart, 1931                                                                                         Study by Manasse-Ricoll, 1931
 Lil Dagover played that character in Conrad Wiene’s movie, 1931
Study in blue, 1926                                                                                  Studio Manasse, Study in blue, 1928

Olga Solarics (1896-1969) and her husband Adorja'n von Wlassics (1893-1946) 
ran the Manasse' Foto-Salon in Vienna from 1922-1938.

I was not a Man like You | Benjamin Fondane, 1933

Man Ray,  Benjamin Fondane, 1928                                                             Victor Brauner, The Head of Benjamin Fondane, 1931

Yes, exactly like you I was cruel,

I yearned for tenderness, for power, 

for gold, for pleasure and pain. 

Like you I was mean and anguished, 

solid in peacetime, drunk in victory, 

and staggering, haggard, in the hour of failure. 

Yes, I was a man like other men, 

nourished on bread, on dreams, on despair. Oh, yes, 

I loved, I wept, I hated, I suffered, 

I bought flowers and did not always 

pay my rent. Sundays I went to the country 

to cast for unreal fish under the eye of God, 

I bathed in the river 

that sang among the rushes and I ate fried potatoes 

in the evening. And afterwards, I came back for bedtime 

tired, my heart weary and full of loneliness, 

full of pity for myself, 

full of pity for man, 

searching, searching vainly upon a woman’s belly 

for that impossible peace we lost 

some time ago, in a great orchard where, 

flowering, at the center, 

is the tree of life. 

Like you I read all the papers, all the bestsellers, 

and I have understood nothing of the world 

and I have understood nothing of man, 

though it often happened that I affirmed 

the contrary. 

And when death, when death came, maybe 

I pretended to know what it was, but now truly I can tell you at this hour, 

it has fully entered my astonished eyes, 

astonished to understand so little- 

have you understood more than I? 

And yet, no! 

Benjamin Fondane, I was not a man like you
from “Super Flumina Babylonis”  c.1933 

Benjamin Fondane (1898-1944)

Carnival | Nikos Economopoulos, Peloponnese, Krokees (1988-1989)

 Nikos Economopoulos,  Peloponnese, Krokees. Carnival. 1988

 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos,  Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos,  Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1988
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1988
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1988
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1989
 Nikos Economopoulos, Peloponnese, Krokees. Carnival. 1988


Attached | Mary Shelley / Cy Twombly, 1818-2001

Cy Twombly, Miramare - Sunset by the Sea, Gaeta, 2001

“It is true, we shall be monsters, cut off from all the world;
but on that account we shall be more attached to one another."

Mary Shelley, Frankenstein; or, The Modern Prometheus, 1818

On directing > There’s nothing besides the Rectangle | Pedro Costa, 1989-2014

Pedro Costa, Blood / O Sangue , 1989

''There’s nothing besides the rectangle, everything comes from it, which isn’t meant in
 a formalist way. You have to think about what’s inside your frame, what’s outside and 
what’s your own angle. I am always looking to have behind and in front of the camera, 
what’s inside and outside the frame, in tune.''

''Realism is film and film is reality - the reality of film. It is ingrained 
in the medium that film can only show reality.''

''Trust is more important than responsibility. It’s mutual trust and 
you just feel when something isn’t right.''

''For me, a film is always in the present, because of my way of working. Because of this, 
the work doesn’t start with me as the director, but we work together from the start, 
everyone in front and behind the camera. In order to work like this, one actually
 requires some form of innocent faith or a kind of naivety.''

''To me the film is always in the present, as I said, there is no past or future.  
I could feel the music in silent films.''

''I think that in the end music is pure movement, which does not have to express.
 I have the feeling that music nowadays always comes from the outside of the film. 
In the worst cases, it’s very bad, because music is only there to say something that 
the actors or the film can’t say, so it fills the urgency to bring some meaning to 
the scene that otherwise wouldn’t have been there.''

 Conversation with iiiixiii / four by three mag, 2015

Down to Earth / Casa de Lava , 1995

''Opening a door, in a film, not only is it very difficult, it has always been very difficult, 
even in the old days. When you watch a film like Farrebique [Georges Rouquier, 1946] 
you see a lot of things, there is an incredible number of things you see per second and 
they were there, they existed. That’s the most incredible thing; everything existed on the
 screen. I don’t know if it’s just me, or the power of documentary, or life being so raw... 
I think we’re losing a lot of stuff, every day. We’re losing the ability, the craft, we don’t
 know how to use our minds and our tools – myself included. What we see mostly today
 is a million ways of escaping a confrontation with reality.''

''To do the same thing today, to achieve such a construction with all that complex layering,
 it would take any contemporary director 3, 4, 5 hours of film. Just to get to that crucial 
moment when the girl or the boy breaks down, it would take any of us at least 3 hours…''

''In our films... You have to work on your schedule, prepare your daily 
plan with a different attitude, with a point of view.''

Conversation with Stefan Ramstedt & Martin Grennberger, 26 Oct. 2015

''Art is not anything else but reality. We should be concerned with thinking
 about the things that are there, and not with the things that are not.''

''When you see filming on the streets, you have an immediate feeling there's some kind 
of imposture there. There's some kind of lie. It's all created to escape reality. The talk
 is always of aesthetics when it should be more about the morals and the money.''


''Work with the neighborhood’s memory. That’s what the film does. It is very untrue sometimes.
 I don’t think the films worry about memory as a virtue. There is no identity factor in their memory.''

Conversation with Jeanette Samyn & Jonathon Kyle Sturgeon / n+1

Bones / Ossos,1997

''Those years I spent as an assistant gave me a very bad feeling of things to come. It wasn’t 
the work I’d wanted to do. I started wondering, without finding an answer, how I could make
 my films without falling into these traps. Filmmaking seemed to mirror the worst relations 
in our society.''

''Because I never say “silence” or “action.” Even Vanda asked me many times, 
“When are we starting?” And we had started already, months ago.''

''I had to remind them that cinema could be just a girl in the corner of a room and, I don’t 
know, some flowers, let’s say. No cars, no explosions, no guns. That was part of the job. 
All this is to say that I’m always aware of the fact that I’m a filmmaker and they’re actors. 
There is a ritual. We go into this mode and we do this take and then we try to do another
 take that could be better. Sometimes I like that they behave a little capriciously, or star-like. 
I like them to be actors I don’t know if I was directing them. I was organizing something.''

''I always had this impression that filmmaking was a good way to learn about yourself, 
about what you like and don’t like, even to learn how to accept or refuse certain things,
 to let things in that you could never imagine possible.''

''The antithesis of emotionally strength, its people are ill prepared to live with other 
human beings, this petit bourgeoisie that regards money as something very dirty, that 
you keep to yourself. These are things I’ve been trying to destroy.''

''I had to focus myself, like a lens—even if my films seems out of focus, which they
 often are. [Laughs] But I’ve been focused on finding a centre for myself. If I feel that 
if I’m not having a confrontation with some sort of reality when I’m working, I’m 
in danger.''

Conversation with J. B. / The Phantom Country,  29 Mar. 2010

In Vanda's Room / No Quarto da Vanda, 2000 

''The fake stillness of digital. The depth and distance of things with DCP is very fake. 
We, filmmakers and technicians, feel that blacks are not black.''

''I aspire to be a director, a filmmaker.  I'd just like to breathe or be human and have ears 
and eyes and hands. Not filmmaking, but capturing reality. That's what I thought film was.''

''I think I still like certain things—history, the past, researching, going to places, watching things.''

''My problem is not film. It's the people I work with. I'm not a fetishist. That's one of the 
things I'm not. I'm not saying it's bad, but it's not the camera, it's not the tripod, it's not the
 light, it's not the money. I hate money. I hate money. It's what I have in front of me that 
scares me. If I see a girl or a man… like, for instance, Ventura who I've worked with. 
Three months ago his rent went from €200 to €400. It has to do with my next film. 

''I know a lot of my friends are like that, they have an idea for a shot or an idea for two 
shots or an association. That only comes to me in editing. For me it's deceptive. It's trying 
to figure out why something is sad. Or why is that person always there. I never make shots.
 The other day I was thinking of a guy I worked with and I kept seeing him, every day, stood 
in the same spot. Filmmaking is gathering the courage to ask him why. I have to know.''

''What I want is to believe in Ventura, Vanda, the bottle, my shot. Nobody more than them. 
It's got to be pure in the Straubian sense. The camera is here and the distance between the 
subject has to be absolutely clear. The only thing I want to be certain of is this focal point.''

Conversation with David Jenkins / MUBI, 11 Mar. 2013

Colossal Youth / Juventude em Marcha, 2006 

''I never believed in working inside the system. Because this happens outside the system.
 I Always believed in the outside. It’s a position, and then you have to live with it. But 
you cannot turn the system around.''

''The difficult part is not making the film, it’s believing in the film.''

''When I was younger this seemed to me a way to make politics… not to make a film, 
but politics. The charm was to do something as violent, as gentle as everything that 
Straub says in this way. Against the language of cinema.''

''When I was younger, I fantasized that the movement in a film was not only there on the 
screen, but up here, in our head. So the work you have to do is not an intellectual work:
 if you understand, you understand, If you don’t, go home, wait, grow older or forget, 
go somewhere else. It’s a balance: you have the movement in your head, as if the 
camera is your head. For me, the camera was always in our eyes.''

''It’s like poetry: they are poets. You’re stuck if you’re into language. Everybody knows 
that. At the same time you cannot do poetry with poetic words. You cannot write a 
poem with poetic terms. You have to escape, work, work a lot.''

''I was never into the avant-garde or experimental film, I was never seduced by it, I always 
thought it was too easy. It’s my Capricorn side. When I go to museums and I see those 
videos, I always say “it’s too easy, let’s work a little bit more and be a bit more provocative.” 
To go beyond, you have to respect some things. It’s hard to say, to confess, but you have to 
observe, and not forget things.… not the angles or the shots, but the spirit.''

Horse Money / Cavalo Dinheiro, 2014 

''I had to find the people, the place, the story, the narrative, the politics, everything, to be 
able to start again. It’s about production, in the Walter Benjamin sense. It’s the nights you
 spend thinking about production. The mornings you think about the art mean nothing. Or 
the nights when you think about the shot, or the girl, or the flower. It’s not like that. It’s a
 little bit abstract sometimes: it’s money, it’s cars, aspirin, social security, going up a stair,
 making a phone call, those kind of things that have to do with real fear. Should I call, 
should I explain, expose, should I go.''

''We are doing things to forget, not to remember. First I was doing things to remember,
 now I ‘m doing things to forget. That’s my feeling. I cannot explain.''

''This art direction comes from there, from a much more violent and difficult place. It always 
comes from a very serious thing. It’s not about faking, imitating or fantasizing. He believes 
in this, I don’t and when we get together, it works because he believes. That’s why I work 
with this kind of people behind and in front of the camera, because professionals do not 
believe. It’s always technological, technical, artistic. It’s never political.''

''The guys working in the labs are not working, but just pushing buttons. Again, they have
 a language inside them, a digital language in their brains, their hands, their eyes. I’m afraid
 in their hearts, already, and that blinds them a bit from what I’m trying to tell them.''

''The battle that is won is saying that cinema is a language. I fought against that a little bit.
 Not enough. The Straubs have fought a lot, Godard fought a lot, Rouch fought a lot. It was 
supposed to become something else than a language. Breaking the grammar. But again: I 
don’t believe in working inside the language. I don’t even know if it’s possible anymore
 not to.''

''Flms by Murnau or Lang: it’s very different. You cannot fake it. You cannot do it again, 
you have to do something else, but you have to break a little, be a bit violent, not gentle. 
You cannot be gentle with Murnau or Lang. The way people are, speak, act: they are from
 today. This is today. That woman: I know her. And I don’t see that in today’s cinema. 
Films by Warhol or Straub: that is the revolution. Proof is: nobody sees them.''

Conversation with Stoffel Debuysere / Diagonal Thoughts, 2 Feb. 2013

 Pedro Costa

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