87-Manhattan - Director:Woody Allen - Cast:Woody Allen,Mariel Hemingway,Diane Keaton,Michael Murphy,Anne Byrne and Meryl Streep.

"Q:You're certainly not fond of Manhattan. Why did you beg United Artists to burn the negative?

Woody Allen:I was sick of it by the time I'd finished editing it. The same is true of many of my films. It's like being a chef: you prepare the meal, you add all the spices and by the time it's ready you don't want to eat it. I'd lived with Manhattan for too long. I wanted to be rid of it. In fact, I've never gone back to any of my movies. I made 'Take The Money And Run', my debut, 35 years ago, and I've not seen a single frame since. People always ask me about certain scenes in my movies and, more often than not, I can't remember them. They know my films better than I do.
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"I write about what I know. I mean, Marty(Scorsese) knows a certain New York and Spike Lee knows a certain New York. They feel it and they write about it very, very well. I wouldn't have credibility in my work if I was writing about those kind of things. As a citizen, I'm interested in social issues and political commitments. As an artist, I'm not. It's philosophical subjects and relationships that interest me."

-Woody Allen-

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"I don't think Woody Allen even remembers me.I went to see Manhattan and I felt like I wasn't even in it...I only worked on the film for 3 days,and I didn't get to know Woody.Who gets to know Woody?"

-Meryl Streep-

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"I had a real huge urge to show New York as a wonderland and I completely exorcised that feeling in Manhattan."

-Woody Allen-

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"There's a problem in the self-definition and public perception of me.I'm an art-filmmaker,but not really.I had years of doing commercial comedies,although they were never really commercial.Pictures like Take the Money and Run and Bananas were forerunners of movies like Airplane--although they didn't make a fiftieth of what Airplane made.First there was a perception of me as a comedian doing those comic films,and then it changed to someone making upgraded commercial films like Annie Hall and Manhattan.And as I've tried to branch off and make more offbeat films,I've put myself in the area of kind of doing Art films--but they're not perceived as Art films because I'm a local person,I'm an American,and I've been know for years as a commercial entity.So they're not seen as being Truffaut films or foreign films or Bunuel films,yet they really don't have much more commercial appeal than that."

-Woody Allen-

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"I can never bear seeing a headline like 'Woody Dying to be Taken Seriously',It misses the point entirely.I don't want to be taken seriously.I have been taken seriously.The comic films are taken quite seriously--too seriously.It isn't that.Certain ideas occur to me that are not comic and that's the long and the short of it.I don't sit at home wanting to play Hamlet or wanting to be taken seriously.I just want to feel free to create any kind of work that occurs to me and do my best of it."

-Woody Allen-
Woody Allen: A Biography by Eric Lax

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"For all the fuss about Manhattan, it never won any awards - even Gordon Willis' photography was ignored. We shot in black and white because it's so beautiful, and we went for widescreen because I wanted to do an intimate picture in a format that was associated with epics and war pictures. I wanted to show that you didn't need thousands of soldiers to fill the frame.

I knew it was beautiful - I was working with a great DoP - but I had no idea it would become so iconic. We went down to the 59th Street Bridge at five in the morning, taking our own bench because there aren't any there! We shot the scene again and again as the sun came up"

-Woody Allen-(about the most famous shot on the film)

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86-The Discreet Charm Of The Bourgeoisie -Director:Luis Bunuel - Cast:Fernando Rey, Delphine Seyrig, Stephane Audran, Jean-Pierre Cassel,Paul Frankeur and Bulle Ogier.

"For me Surrealism was not an aesthetic, just another avant-garde movement;it was something to which I committed myself in a moral and spiritual way.You can't imagine the loyalty Surrealism demanded in all aspects of life."
-Luis Bunuel-

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"Give me 2 hours a day of activity,and I'll take the other 22 in dreams"

-Luis Bunuel-

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"I make a film for a regular audience and also for friends,for those who will understand such-and-such a reference that is more or less obscure to others.But I try to see that those latter elements don't interrupt the flow of the story I'm telling."

-Luis Bunuel-

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"Reality without imagination is only half of reality."

-Luis Bunuel-

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"I'm not completely irrational,but I do not make a film as an intellectual argument,or with a predetermined idea as to it's meaning."

-Luis Bunuel-

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"I've known bourgeois people who are both charming and discreet.Do you think that everything having to do with the bourgeoisie has to be bad?No. There are some valuable things about them that are worth conserving."

-Luis Bunuel-

85- Belle De Jour - Director:Luis Buñuel - Cast:Catherine Deneuve,Jean Sorel,Michel Piccoli,Geneviève Page, Pierre Clémenti,Macha Méril and Françoise Fabian.

"This film has been attached to me, as an actress, for all of my career.Even today, some people cannot not ask me about "Belle de jour".

It says a lot about fantasy, and I don't think fantasies have changed since then."

-Catherine Deneuve-

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"I am not preoccupied by my obsessions.Why does grass grow in the garden?Because it is fertilized to do so."
- Luis Bunuel-

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"It's very attractive to me to see thighs with something viscous running down them because the skin is brought closer;it's as if we were not only seeing them but touching them"
-Luis Bunuel-

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"I am against pornography because I believe in love.One of Andre Breaton's poems calls love a secret ceremony that should be celebrated in darkness at the bottom of a cave.For me,that is gospel."

-Luis Bunuel-

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"I'm not interested in characters without contradictions because I know everything about them from the first moment."

-Luis Bunuel-

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"Dreams are uncontrollable. Their secret has not yet been discovered. I wish I could direct my dreams according to my desires.Then...I would never wake up."
-Luis Bunuel-

84-Paths of Glory - Director:Stanley Kubrick - Cast:Kirk Douglas, Ralph Meeker, Adolphe Menjou, and George Macready.

http://video.google.com/videoplay?docid=-789711168896857438&q=charlie+rose

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"When I was looking at soundstages in England to build our sets for "Raiders of the Lost Ark" in 1979. Stanley was just finishing construction on the sets of "The Shining" and we were about to move onto those stages the second Stanley wrapped photography on his film. In touring the lot and looking at the stages, I was told that Stanley Kubrick was on one of the stages. I asked if it would be okay if I met him. He knew who I was from "Jaws" and "Close Encounters." He met me at the soundstage door and invited me to his home for dinner that night and we were friends ever since.

I was surprised at how gregarious and funny he was. I was surprised at his wit and how kind of shy he actually was. I didn't expect any of those things. I expected a kind of MIT intellectual, a man who gets into the molecular structure of cinema. He was also a gifted storyteller."

-Steven Spielberg-

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http://video.google.com/videoplay?docid=-986703449007492181

83- The Silence - Director:Ingmar Bergman - Cast: Ingrid Thulin, Gunnel Lindblom, Birger Malmsten, Håkan Jahnberg and Jörgen Lindström.

"My original idea was to make a film that should obey musical laws, instead of dramaturgical ones. A film acting by association—rhythmically, with themes and counter-themes. As I was putting it together, I thought much more in musical terms than I'd done before. All that's left of Bartók is the very beginning. It follows Bartók's music rather closely—the dull continuous note, then the sudden explosion."

-Ingmar Bergman-

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"Ester loves her sister; she finds her beautiful and feels a tremendous responsibility for her, but she would be the first to be horrified if it were pointed out that her feelings were incestuous. Her mistake lies in the fact that she wants to control her sister—as her father had controlled her by his love. Love must be open. Otherwise Love is the beginning of Death. That is what I am trying to say."

-Ingmar Bergman-

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"For me the important thing is that Ester sends a secret message to the boy. That's the important thing: the message he spells out to himself. To me Ester in all her misery represents a distillation of something indestructibly human, which the boy inherits from her."

-Ingmar Bergman-

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"What shall I say about The Silence? I think it is about the complete breakdown of illusions....It's very difficult to tell you....It's about my private life....It's an extremely personal picture....It is a sort of personal purgation: a rendering of hell on earth—my hell. The picture is so....It is so strange to me that I do not know what it means."

-Ingmar Bergman-

------------ Bergman R.I.P---------------

Woody Allen on the BBC http://news.bbc.co.uk/player/nol/newsid_6920000/newsid_6924500/6924524.stm?bw=nb&mp=rm&news=1&ms3=4&nol_storyid=6924524

Woody on Bergman New York Times- TIME http://www.time.com/time/arts/article/0,8599,1648917,00.html

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"I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman.
His death, at the age of 89, may not have been a surprise. He was an old man. But what he has left is a legacy greater than any other director. He made film-making a serious and introspective enterprise. No one had been able to pull that off until he showed up. I really wasn't that interested in being a film-maker, except in the way that Bergman redefined what you could be as a film-maker

-Paul Schrader-

http://arts.independent.co.uk/film/news/article2819580.ece

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"*By the end of the 50s, Bergman took the Cinema on unknow paths.To places that,up to that point, were exclusive and reserved to Literature;That thing,that comes from the deep of the human soul,always between man and woman,and with a Black and White that transformed ghosts into his characters and his characters into ghosts"

-Bernardo Bertolucci-(* translated by me)

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"*One of the most brilliant and controversial directors in history.We lost a great man and a great director.Like Bunuel,Rossellini, and Bresson he surpass that 'Genius-line'."

-Manuel De Oliveira-(*) Portuguese filmmaker

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"Great life he had. Congratulations...(to)a great man...on this world and Cinema of small men."

-Arnaldo Jabor-(*) Brazilian Filmmaker

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World film-makers pay tribute to the master, Ingmar Bergman

and on RogerEbert.com

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20070730/PEOPLE/70731001

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Ang Lee interview-Northwest Asia Weekly

"NWAW: Two years ago, you recorded an introduction for The Criterion Collection DVD of Ingmar Bergman’s The Virgin Spring,” a film that had a tremendous impact on you as a student in Taiwan. Does Bergman continue to be an influence? Is there a trace of him in 'Lust, Caution'?

Lee: During preproduction, I was told there would be a delay in the art direction, so I got a chance to go to his island to see the man himself. This was a spiritual pilgrimage, to give me the strength to finish this movie. 'Lust, Caution' is more film noir than Bergman. It doesn’t ask where God is. It’s a much more Buddhist, existential deconstruct.

In the time we had together, he mostly asked how I worked with actors. And I said to him, sometimes I hate myself because I tear them apart to see myself. I tear them (he pantomimes ripping something in half), kill them to expose what’s underneath—that’s how I feel about my relationship with actors.

Bergman said, “You have to love your actors.” He was a very warm, lovely person. Because of The Virgin Spring, it felt like 30-some years ago the man took my innocence. And then years later, he gave me a very motherly hug. It’s a strange, miraculous, magic power. I never think the way I make movies has any relation to his; he’s like God to me. I will take inspiration. I won’t dare to imitate. But a hug is a hug, filmmaker to filmmaker."

82-Hiroshima,Mon Amour - Director:Alain Resnais - Cast: Emmanuelle Riva, Eiji Okada, Stella Dassas, Pierre Barbaud, and Bernard Fresson.

"There are any number of ways of constructing a screenplay, and many ways of filming it. It is evident that Resnais envisages all of them."

-Francois Truffaut-

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"I think that in a few years,in ten,twenty,or thirty years,we will know whether 'Hiroshima Mon Amour' was the most important film since the war,the first modern film of sound Cinema"

-Eric Rohmer-in 1959

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"...Then we can say that the very first thing that stikes you about this film is that it is totally devoid of any cinematic references.You can describe 'Hiroshima' as Faulkner plus Stravinsky,but you can't identify it as such and such a filmmaker plus such and such another"

-Jean-Luc Godard-

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"Hiroshima is a circular film.At the end of the last reel you can easily move back to the first,and so on.'Hiroshima' is a parenthesis in time.It is a film about reflection,on the past and on the present.Now,in reflection,the passage of time is effaced because it is parenthesis within duration.And it is within this duration that 'Hiroshima' is inserted.In this sense Resnais is close to writers like Borges,who has always tried to write stories in such a way that on reaching the last line the reader has to turn back and re-read the story right from the first line to understand what it is about--and so it goes on,relentlessly.With Resnais it is the same notion of the infinitesimal achieved by material means,mirrors face to face,series of labyrinths.It is an idea of the infinite but contained within a very short interval,since ultimately the time of 'Hiroshima' can just as well last 24 hours as one second."

-Jaques Rivette-

81- GoodFellas - Director:Martin Scorsese - Cast:Robert De Niro, Ray Liotta, Joe Pesci,Lorraine Bracco and Paul Sorvino.

"You don't really need to go to film school to learn how to watch a film. You can learn everything you need to know with your eyes. The only way you really learn is to make a film. You have to have an obsessive nature, I think. You have to want to make the film more than anything else in life, I'm sorry to say...I received two short film scholarships; that was very important. Then my parents said, ‘Maybe he's not that crazy since there are people who really like the picture."

-Martin Scorsese-

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"The influence of the European cinema at that time in the late 50s and early 60s, the French cinema of Truffaut, Godard, Rivette and everyone, and Italian cinema, which means not really the narrative cinema of Hollywood...They made us understand that we didn't have to tell a straight story... "

-Martin Scorsese-

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"I became conscious of camera movement when I began to realize how certain scenes are made and why I was affected certain ways. But I really think it was through American musicals and the use of camera movement by Fellini, and the freedom of the camera in the French New Wave. I think it has more to do with choreography."

-Martin Scorsese-

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"We came from the same New York neighborhood but hung out on different streets,---We can finish each other's sentences and understand things that are not said.--It's like a professional marriage, and the offspring are the movies."

-Martin Scorsese-on Robert De Niro

80- 42nd Street - Director:Lloyd Bacon - Musical Numbers by Busby Berkeley -Cast: Warner Baxter, Bebe Daniels, George Brent, Dick Powell,Ruby Keeler, Guy Kibbee and Ginger Rogers.

"Parallel to the gangster film was the rise of a very different genre--the musical.An interesting coincidence.The harshness of the times...the Depression...colored the most escapist of all film genres.With Busby Berkeley, the genre came into it's own. A former dance instructor, Berkeley was the first to realize that a movie musical was totally different from a staged musical.On film, everything was seen through on eye--The Camera.In designing his production numbers,he would therefor rely on unusual camera movements and angles.The camera itself could partake in the choreography. Berkeley's ballets could not have existed outside of the movies.They were pure cinematic creations.

Berkeley's Films's were viewed as pure entertainment ,but sometimes he applied his wizardry to the grim realities of American life caught in the grip of the Depression. Always stretching the limits of the musical genre,Berkeley even dared choreograph human tragedies.

Berkeley's early musicals at Warner Brothers offered backstage stories whose pacing was not unlike that of the gangster film.They were dominated by figure of the crazed,manic,often embittered Broadway producer.In "Footlight Parade" you had James Cagney.In "42nd Street" Warner Baxter.In these times,if you showed any ambition you either became a Gangster or a showbizz performer...at least in the fantasy world of Warner Brothers.

Broadway offered a metaphor for a desperate,shattered country. Director or chorus girl,your life depended on the show's success.(In 42nd Street) Against all odds,Warner Baxter achieved his dream.But on opening night he was too drained to enjoy the production's thiumph.The show had taken on a life of it's own.The taskmaster's lot ,in the end, was solitude.

-Martin Scorsese-
A Personal Journey With Martin Scorsese Through American Movies

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"Berkeley was a lyricist of eroticism,the high-angle shot,and the moving camera;he made it explicit that when the camera moves it has the thrust of the sexual act with it. ...

It is notable that his Warners films are more dowright suggestive than most of the films made after his move to MGM in 1939."The Gang's All Here" is a surrealist escape,but at Warners he kept a lofty survey over lagoons of water-lily vaginas opening and closing with delirious facility."...

-David Thomson-The New Biographical Dictionary of Film: Expanded and Updated

Incredible! Groundbreaker!Incomparable! The Vagina-man Busby Berkeley!!!

79-The Big Sleep - Director:Howard Hawks - Cast:Humphrey Bogart, Lauren Bacall, John Ridgely and Martha Vickers.

"I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore."

-Howard Hawks-

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"(And)as far as men go, I don't care about the size of them or anything, but I like the strength of them. I mean Bogart was a giant, but he was a little man physically ... Cagney is another one.

-Howard Hawks-

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"I've listened to 30 French directors in a room, German directors, Swedish directors, Italian directors ... I think too many of them want to analyze films. Too many of them want to find a motive for doing it. I keep telling them, “You're just storytellers. If you got a story, tell it, tell it good.” If you're any good at all, you wont't think about where you're going to put the camera or what you're gonna do. You'll know that you want to get in close on this, you'll know ... And if you're not any good, you'll use a lot of tricks and think that they're new. Just if I like a story, I don't say well it’s about this and that’s been popular then ... It’s more or less been the other way. "

-Howard Hawks-