If you could make your own house motto and sigil, what would they be?
i think we can all relate to the motto of house bradley-west
Perfect in so many ways.
The Scottish side of my family actually does have a crest and a motto. It translates to “Victory or Death” or “Conquer or Die”.
Apparently my surname has a crest and the motto is “Virtue lives after death”.
Jim Jarmusch: “It was my thesis film for NYU, a 70 minute film. Then when I turned it in they told me it was a piece of shit, and that they weren’t going to give me my degree. I didn’t graduate until years later when they were using my name in ads saying “Scorsese, Spike Lee, Jim Jarmusch…all NYU film graduates.” I mentioned that in an interview, not in a bitter way, that it was kind of ironic since I never got a degree. I guess they saw the interview, because I got a degree in the mail not long after that. (laughs) Funny how that works…”
Philip Baker Hall and Paul Thomas Anderson on filmmaking:
Both men break down the 15+ minute Motel scene in Sydney. Philip Baker Hall also talks about the differences and challenges between cinema and theater acting and directing. —filmschoolthrucommentaries
Previously on Cinephilia and Beyond:
- Paul Thomas Anderson on filmmaking — part I, part II
- Hard Eight (also known as Sydney) screenplay by Paul Thomas Anderson
- Hard Eight audio commentary (1996) with director PT Anderson and actor Phillip Baker Hall
- This is an exclusive, it’s never been released on any DVDs of the film, it stayed on the Criterion LD for ages — until it was ripped a while ago. So the only way anyone could ever hear this is if they had a LaserDisc player. Well, not anymore. “You can learn more from John Sturges’ audio track on the ‘Bad Day at Black Rock’ LaserDisc than you can in 4 years of film school.” P.T. Anderson
Frank Capra said “Film is a disease”.
He went on, but that’s enough for now. I caught the disease early on. I used to feel it. And they used to take me to the movies all the time. I used to feel it whenever we walked up to the ticket booth with my mother, my father, my brother. You’d go through the doors, on the thick carpet, to - past the popcorn stand that had that wonderful smell - then to the ticket taker, and then sometimes they’d get - these doors would open in the back and there were little windows in it in some of the old theaters and I could see something magical happening up there on the screen, something special. And as we entered, for me I think now, it was like entering a sacred space, a kind of a sanctuary where the living world around me seemed to be recreated and played out.
What was it about cinema? What was so special about it? I mean I think I’ve discovered some of those - some of my own answers to that question a little bit at a time over the years.
First of all, there’s light. Light is at the beginning of cinema, of course. It’s fundamental - because it’s created with light, and it’s still best seen projected in dark rooms where it’s the only source of light. But light is also at the beginning of everything. Most creation myths start with darkness, and then the real beginning comes with light - which means the creation of forms. Which leads to distinguishing one thing from another, and ourselves from the rest of the world. Recognizing patterns, similarities, differences, naming things - interpreting the world. Metaphors - seeing one thing in light of something else. Becoming enlightened. So light is at the core of who we are and how we understand ourselves.
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Martin Scorsese, “Persistence of Vision: Reading the Language of Cinema” (2013 National Endowment for the Humanities’ Jefferson Lecture, live at the Kennedy Center) |
