- Αγαπημένοι σκηνοθέτες + οι ταινίες τους - - Κινηματογράφος -

επίσης μία λύση ακόμα είναι να ψάξεις μέσα στον νετ για ταινίες του που να μπορείς να παραγγείλεις με κάποια κάρτα.. το κακό βέβαια είναι ότι δεν είναι βέβαιο πως θα βρεις εύκολα με αγγλικούς υπότιτλους τουλάχιστον, αλλά λογικά ναι...

Ναι ο Κουροσάβα είναι καταπληκτικός .. εχω δει τις ταινίες που αναφέρεις το run τί απίστευτη ταινία?

Πάντα με φιλική διάθεση...

Luis Buñuel was born in Spain in 1900. His first two films were made in collaboration with the painter Salvador Dali, and both caused an uproar on release. Un Chien Andalou in 1928 and L'Age D'Or in 1930, both displayed dreamlike sensationalist images, that were designed to shock and startle the audience. They did just that, and L'Age D'Or was banned for forty-nine years.

His roots have always been in surrealism, and savaging the bourgeois and religion. His later films were less outrageous, but were always scathing. The Exterminating Angel and The Phantom of Liberty being good examples. He moved to Mexico in 1946 and became a Mexican citizen, and made a lot of films there. He returned to France in his later years and made his last several films there. Even though he was over seventy years-old, he was still at his very best. He died in Mexico in 1983, and left a trail of brilliant and unforgettable films in his wake.

Some Buñuel Quotes

"Poor workers! First they're cuckolded, and, as if that weren't enough, then they're beaten! Work's a curse, Saturno. I say to hell with the work you have to do to earn a living! That kind of work does us no honour; all it does is fill up the bellies of the pigs who exploit us. But the work you do because you like to do it, because you've heard the call, you've got a vocation - that's ennobling! We should all be able to work like that. Look at me, Saturno - I don't work. And I don't care if they hang me, I won't work! Yet I'm alive! I may live badly, but at least I don't have to work to do it!" - Luis Buñuel

"All my life I've been harassed by questions: Why is something this way and not another? How do you account for that? This rage to understand, to fill in the blanks, only makes life more banal. If we could only find the courage to leave our destiny to chance, to accept the fundamental mystery of our lives, then we might be closer to the sort of happiness that comes with innocence." - Luis Buñuel

"You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Life without memory is no life at all, just as an intelligence without the possibility of expression is not really an intelligence. Our memory is our coherence, our reason, our feeling, even our action. Without it, we are nothing." - Luis Buñuel

"The bar… is an exercise in solitude. Above all else, it must be quiet, dark, very comfortable - and, contrary to modern mores, no music of any kind, no matter how faint. In sum, there should be no more than a dozen tables, and a clientele that doesn't like to talk." - Luis Buñuel

"Salvador Dali seduced many ladies, particularly American ladies, but these seductions usually consisted of stripping them naked in his apartment, frying a couple of eggs, putting them on the woman's shoulders and, without a word, showing them the door." - Luis Buñuel

"Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether." - Luis Buñuel

"If you were to ask me if I'd ever had the bad luck to miss my daily cocktail, I'd have to say that I doubt it; where certain things are concerned, I plan ahead." - Luis Buñuel

"If someone were to prove to me right this minute that God, in all his luminousness, exists, it wouldn't change a single aspect of my behaviour." - Luis Buñuel

"In the name of Hypocrites, doctors have invented the most exquisite form of torture ever known to man: survival." - Luis Buñuel

"Frankly, despite my horror of the press, I'd love to rise from the grave every ten years or so and go buy a few newspapers." - Luis Buñuel

"God and Country are an unbeatable team; they break all records for oppression and bloodshed." - Luis Buñuel

"Give me two hours a day of activity, and I'll take the other twenty-two in dreams." - Luis Buñuel

"Tobacco and alcohol, delicious fathers of abiding friendships and fertile reveries." - Luis Buñuel

"I can only wait for the final amnesia, the one that can erase an entire life." - Luis Buñuel

"A paranoiac. . . like a poet, is born, not made." - Luis Buñuel

"Thank God I'm an atheist." - Luis Buñuel

What others have said about Buñuel

"He showed us we didn't need to be afraid of existence and the catastrophes of existence. For him, those catastrophes were lies, political lies, fascism, Franco, and the Pope." - Michel Piccoli

"He had that face... that broken boxer's nose, that gaze of his that was asymmetrical and terrible, showing brutal concentration. He loved to make jokes, but with a serious expression on his face. That was disturbing." - Claudio Isaac

"I learned the quality of silence with Buñuel, because we could sit for ten minutes without speaking, looking at each other or drinking, without a word. That's the height of friendship." - Carlos Fuentes

"He had the art of provocation, but he was so lively about it. That's what he wanted, to disturb people, make them question things and have fun at the same time." - Angela Molina

"With Luis Buñuel, it's difficult to look for the explanation, because most of the best things about him had no explanation." -
Jose Bello

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"A paranoiac. . . like a poet, is born, not made." - Luis Buñuel

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Ω Μητέρα! Ο αέρας είν'εκείνο το ανάλαφρο πράγμα..
που γυρίζει μέσα στο κεφάλι σου και γίνεται πιο καθαρό όταν γελάς!

Εσείς από πού βρίσκεται παλιές ταινίες;

Φοβερή ταινία επίσης ήταν ο πολίτης Κέιν του Όρσον Γούελς καθώς και το θωρηκτό Ποτέμκιν του Άζεινστάιν.

"ΤΟ ΟΤΙ ΚΑΠΟΙΟΣ ΠΡΟΤΙΜΑ ΝΑ ΠΑΡΑΜΟΡΦΩΝΕΙ ΤΗΝ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑ ΓΙΑ ΟΠΟΙΟΔΗΠΟΤΕ ΛΟΓΟ ΔΕ ΣΗΜΑΙΝΕΙ ΑΠΑΡΑΙΤΗΤΑ ΟΤΙ ΕΙΝΑΙ ΨΕΥΤΗΣ"
JUST IMAGINE A BETTER WORLD!!!!

Edited by - clearthought on 01/02/2004 03:00:21

Όταν ήμουν παιδί, μου είπαν να μη κοιτάζω τον ήλιο.
Στα έξι μου χρόνια τον κοίταξα
Αρχικά δεν άντεξα τη λάμψη
Συνέχιζα να κοιτάζω, χωρίς να κλείνω τα μάτια
Μετά η λάμψη χανόταν.
Οι κόρες μου μίκρυναν...
και είδα τα πάντα ξεκάθαρα
Και για μια στιγμή κατάλαβα
Και υποθέτω οτι αν είμαστε φτιαγμένοι απο σπείρες...
και ζούμε σε μια γιγάντια σπείρα...
τότε ό,τι αγγίζουμε εμπεριέχει σπείρες.
10:15 Προσωπική σημείωση
Πρέπει να πω οτι κινδυνεύω, αλλά είμαι στο μεταίχμιο.
Κι εκεί συμβαίνει
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12:45 Επανατοποθέτηση της υπόθεσής μου.
Πρώτον: Τα μαθηματικά είναι η γλώσσα της φύσης.
Δεύτερον: Τα πάντα μπορούν να εκφραστούν με αριθμούς.
Τρίτον: Κι απ' τους αριθμούς προκύπτουν τα πρότυπα.
Υπάρχουν πρότυπα παντού στη φύση.
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17:13 Προσωπική σημείωση. Όλα γίνονται πιο γρήγορα.
7:10 Κοιτάζεις το διάστημα λες και θα τυφλωθείς
Δε βλέπεις χωρίς το μυαλό; Δε σχηματίζονται οι εικόνες.
12:13
Το μυαλό μου ήταν πολύ πίσω. Τα μάτια μου το ένιωθαν
14:50
15:10
16:55
9:15
Αρχίζω να βλέπω...

Known mainly for his dark and eccentric style of directing, Tim Burton has carved for himself a unique place among Hollywood's leading filmmakers. As a youth, Tim was quite the recluse, never really feeling at home in his suburban Southern California neighborhood. He spent much of his time watching horror films -- particularly those starring his idol, Vincent Price. During these formative years, he also began to practice drawing as a means for expressing himself. Among these early sketches was one which would figure prominently later in his career -- that of a boy with hands made out of scissors.

When Burton was twenty-one, he won a scholarship to work as an apprentice animator at Disney. Burton's unique slant on the classics did not really fly at Disney, and his short film Frankenweenie (1984) was quickly shelved (the film would only secure a general theatrical release after Burton's rise to fame on the strength of his later features). Once he left Disney, Burton teamed up with another irreverent performer -- Paul Reubens, better known as Pee-Wee Herman -- and the result was the young director's first feature project, Pee-Wee's Big Adventure (1985). Burton was able to infuse the film with his own brand of stylized reality, and the movie was one of the year's biggest box-office hits.

Burton's next project was Beetlejuice (1988), a movie whose subject matter afforded him the opportunity to once again give the audience its fair dose of exaggerated and surreal characters. Burton was quickly making his reputation in Tinseltown, and he was soon rewarded with the biggest prize of all -- a call from Warner Brothers to direct their multi-million franchise-to-be Batman (1989). Burton was tailor-made for the assignment; his dark and gothic vision helped bring Gotham City to life like never before, and helped mold the Dark Knight into a colder and more serious servant of justice than had previously appeared on-screen. Batman was indeed the blockbuster it was geared up to be, and Burton was suddenly a very hot commodity.

It was at this point that Burton was able to bring to the screen the project that he had been thinking about for years -- the story about the young outcast with hands made out of scissors. The film was Edward Scissorhands (1990), and its importance in the career of the director was twofold. Firstly, it showed that he could impart even the most bizarre of screen characters with the sensibilities required to make them empathetic, and even lovable, to audiences. Secondly, it paired him for the very first time with Johnny Depp, an actor whose own eccentric and brooding nature is not unlike that of Burton himself, and one whose main talent lies in conveying the pathos and quirkiness found in so many of Burton's screen characters. Depp and Burton went on to make two more films, Ed Wood (1994) and Sleepy Hollow (1999), both of which were very well received by critics and audiences alike. Just like Martin Scorsese had his Robert De Niro, now Burton had his Johnny Depp.

Other notable projects by the director include his second foray into Batman territory, Batman Returns (1992), as well as his unique take on the holiday movie, The Nightmare Before Christmas (1993), as Burton-esque a film as there ever was. More recently, he helmed a "reimagining" (as opposed to a remake) of the 1968 cult-classic Planet of the Apes.

Planet of the Apes (2001) Sleepy Hollow (1999)
Mars Attacks! (1996) Ed Wood (1994)
Batman Returns (1992) Edward Scissorhands (1990)
Batman (1989) Beetlejuice (1988)
Peewee's Big Adventure (1985) Aladdin and His Wonderful Lamp (1983)

Producer -- The Nightmare Before Christmas (2000)
Producer -- James and the Giant Peach (1996)
Producer -- Mars Attacks! (1996)
Producer -- Batman Forever (1995)
Producer -- Cabin Boy (1994)
Producer -- Ed Wood (1994)
Producer -- Batman Returns (1992)
Screenwriter -- Edward Scissorhands (1990)
Producer -- Edward Scissorhands (1990)

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Tim Burton, as well as being recognized as an accomplished director, producer, and writer has also been identified as an animator, artist, and photographer. Tim has two book-credits to his name, both are for illustrated children's books; The Nightmare Before Christmas and The Melancholy Death of Oyster Boy & Other Stories. He occasionally has public showings of his photography in the Los Angeles area. Tim has even been an actor, aptly appearing as a director in a video dating agency in Cameron Crowe's movie Singles

Actor
• Singles (1992)

Animation Director
• Spike & Mike Two Pack (2001)

• Spike & Mike's Classic Festival of Animation (2001)

Cameo
• Singles (1992)

Director
• Big Fish (2003)

• Solaris/Planet of the Apes 2-Pack (2003)

• Planet of the Apes (2001)

• Sleepy Hollow (1999)

• Mars Attacks! (1996)

• Ed Wood (1994)

• Batman Returns (1992)

• Edward Scissorhands (1990)

• Batman (1989)

• Beetlejuice (1988)

• Pee-Wee's Big Adventure (1985)

• Frankenweenie (1984)

Producer
• The Nightmare Before Christmas (2000)

• James and the Giant Peach (1996)

• Mars Attacks! (1996)

• Batman Forever (1995)

• Ed Wood (1994)

• Batman Returns (1992)

• Edward Scissorhands (1990)

Production Designer
• The Nightmare Before Christmas (2000)

Screenwriter
• The Nightmare Before Christmas (2000)

Story
• Edward Scissorhands (1990)

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Η πονηρία απαιτεί και μια δόση ευφυίας, νομίζω ότι συμφωνείς.

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Η γνώση της εποχής δεν νομίζω ότι μπορούσε να σου πει αν θα νικήσεις στον πόλεμο ή όχι, τουλάχιστον όχι με βεβαιότητα. Εκτός κι αν εκείνη η γνώση έχει χαθεί εντελώς σήμερα.
Αν όμως ισχύει ότι τα μαντεία και τα ιερά είχαν επικοινωνία μεταξύ τους ακόμα και στα πιό μακρινά μέρη και δικούς τους ανθρώπους παντού, διάφοροι πληροφοριοδότες μπορεί να μετέδιδαν τον λόγο της επίσκεψης ενός ανθρώπου στο μαντείο, πολύ πριν αυτός φτάσει εκεί, μαζί με όλες τις χρήσιμες πληροφορίες.
Μην ξεχνάτε ότι τα μαντεία ήταν τα χρυσωρυχεία της εποχής. Υπήρχε μπόλικο χρήμα για να στηρίξει μία τέτοια οργάνωση.

Φυσικά δεν ήσαν και τόσο χαζοί ώστε να μην τους είχε περάσει η ιδέα ότι κάποιος προέτρεχε στο μαντείο και αυτό με τη σειρά του τους παραμύθιαζε.

Απλά πήγαινε στο μαντείο να ανάψει ένα κερί, όπως λέμε σήμερα.
Για πόλεμο θα πήγαινε κι όχι για κρουαζέρα.

Ζητούσε κάποια βοήθεια από πάνω.

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Φυσικά δεν ήσαν και τόσο χαζοί ώστε να μην τους είχε περάσει η ιδέα ότι κάποιος προέτρεχε στο μαντείο και αυτό με τη σειρά του τους παραμύθιαζε.

Απλά πήγαινε στο μαντείο να ανάψει ένα κερί, όπως λέμε σήμερα.
Για πόλεμο θα πήγαινε κι όχι για κρουαζέρα.

Ζητούσε κάποια βοήθεια από πάνω.

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'We are either alone in the universe or we are not. Both ideas are overwhelming'
-Arthur C. Clarke-

Δεν ξέρω αν έχει ψυχολογικό ή αν προσπαθεί να ορθοποδήσει, ξέρω όμως για να σκεφτεί κάποιος κάτι πονηρό χρειάζεται ευφυία ο χαζός δεν μπορεί να σκεφτεί κατά αυτόν τον τρόπο

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dimitris2
"Πονηρό λέμε τον άνθρωπο που επειδή έχει ψυχολογικά προβλήματα προσπαθεί να ορθοποδήσει με απάτη."

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Τι θέλει να τονίσει και σε τι θέλει να πάρει απάντηση.

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Ποια ακριβως ειναι τα επιχειρηματα των χριστιανων ενατιων των παγανιστων: οτι λατρευουν αιμοβορους και <<κακους>> θεους που πιστευουν στο μισος και στον πολεμο, αλλα που να συνειδητοποιησουν τα βαθυτερα νοηματα που κρυβονται πισω απο τους μυθους αυτους.

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http://www.seasite.niu.edu/Indonesian/Indonesian_Elections/Indo-pemilu99/21.jpg
"Non, nisi parento, vincitur"
ΒΑΚΩΝ

Πρέπει να υπογραμίσουμε οτι η αρχαία ελληνική θρησκεία και γλώσσα δεν γνωρίζει το όρο αμαρτία, διότι το να είσαι ανθρώπινος δεν ήταν αμαρτία.
Συχνά συναντάμε στην Ηλιάδα αλλά και αλλού τους θεούς να έχουν μια ανθρώπινη πλευρά, να έχουν πάθη και αδυναμίες.
Αυτ΄΄ο γινόταν για να σου πει:
-Κοίτα και των θεών ο βίος είναι ανθρώπινος.
Αυτό είχε σαν αποτέλεσμα ο άνθρωπος να ζει χωρίς ανόητες τύψεις και ενοχές για το οτι είναι άνθρωπος.
Αντίθετα ο θεός των εβραίων έπρεπε να είναι αόρατος, αδίστακτος τιμωρός, φοβερός και τρομερός ουρανοκατακτητής και των ανθρωπίνων αδυναμιών βασανιστής για έναν και μόνον λόγο.
Για να νιώθουν οι εβραίοι ασφάλεια απέναντι στους εχθρούς τους.

Αυτήν την ασφάλεια οι εβραίοι την πλήρωσαν και την πληρώνουν μέχρι σήμερα με τον πνευματικό ευνουχισμό τους.
Ποιός άλλος λαός θα σκεπτόταν να ιδρύσει σχολή πορνείας στην Ιερουσαλήμ? (Δεν σας κάνω πλάκα, έχουνε ανοίξει σχολή πορνείας τα άτομα και μοιράζουν και πτυχία).

Κι' όμως έμελε οι έλληνες να κατρακυλήσουν στην δική τους κοσμοθεωρία και θεοσοφία.
Έμελε ορισμένοι έλληνες ακόμα και σήμερα που η πληροφορία είναι ελεύθερη, να εθελοτυφλούν μπροστά στα γεγονότα, να αρνούνται την αλήθεια της ελλάδας και να υποστηρίζουν ακόμη το ανυπόστατο.

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Μήπως έχουμε υπερεκτιμήσει τους αρχαίους σοφούς; Μετά ας μην ξεχνάμε ότι κάποιοι απο αυτούς ήταν μέρος του "συστήματος"...

Πήγαιναν στο μαντείο για να ανάψουν ένα κερί; Οχι, δεν νομίζω ότι πήγαιναν στο μαντείο γι αυτό, πήγαιναν στους ναούς. Τα μαντεία είχαν ειδική αποστολή, να προβλέπουν ή να προειδοποιούν. Πήγαιναν να μάθουν τις προθέσεις των θεών για κάτι που τους ενδιέφερε (δεν ήταν μόνο ο πόλεμος).

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