Микеланджело Антониони цитаты

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Микеланджело Антониони

Дата рождения: 29. Сентябрь 1912
Дата смерти: 30. Июль 2007

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Микела́нджело Антонио́ни — итальянский кинорежиссёр и сценарист, классик европейского авторского кино, которого называли «поэтом отчуждения и некоммуникабельности». В центре его внимания — рассмотренные под углом философии экзистенциализма проблемы современного общества: духовное омертвение, эмоциональная усталость, одиночество людей.

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Цитаты Микеланджело Антониони

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„She isn't my wife, really. We just have some kids.
No. No kids. Sometimes, though, it feels as if we had kids.“

—  Michelangelo Antonioni
Context: She isn't my wife, really. We just have some kids. No. No kids. Sometimes, though, it feels as if we had kids. She isn't beautiful, she's just easy to live with. No, she isn't. That's why I don't live with her. Thomas (David Hemmings) to Jane (Vanessa Redgrave) in Blow-Up (1966)

„The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears.“

—  Michelangelo Antonioni
Context: The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up. On his film Blow-Up, as quoted in Michelangelo Antonioni : The Complete Films (2004) edited by Seymour Chatman and Paul Duncan, p. 113

„The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization.“

—  Michelangelo Antonioni
Context: The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.

„I think people talk too much; that's the truth of the matter. I do. I don't believe in words. People use too many words and usually wrongly. I am sure that in the distant future people will talk much less and in a more essential way.“

—  Michelangelo Antonioni
Context: I think people talk too much; that's the truth of the matter. I do. I don't believe in words. People use too many words and usually wrongly. I am sure that in the distant future people will talk much less and in a more essential way. If people talk a lot less, they will be happier. Don't ask me why.

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„My work is like digging, it's archaeological research among the arid materials of our times.“

—  Michelangelo Antonioni
Context: My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing... On Zabriskie Point (1970) in Esquire (August 1970)

„I want my characters to suggest the background in themselves, even when it is not visible.“

—  Michelangelo Antonioni
Context: I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space.

„This was in part the meaning of Blow-Up.“

—  Michelangelo Antonioni
Context: The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up. On his film Blow-Up, as quoted in Michelangelo Antonioni : The Complete Films (2004) edited by Seymour Chatman and Paul Duncan, p. 113

„I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot.“

—  Michelangelo Antonioni
Context: I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. This is the system I prefer: to arrive at the moment when shooting is about to begin, absolutely unprepared, virgin. I often ask to be left alone on the spot for fifteen minutes or half an hour and I let me thoughts wander freely.

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„I always have motives, but I forget them.“

—  Michelangelo Antonioni
Context: It's very difficult to explain what I do. It is much more instinctive than you realize; much, much more. … the reasons that make me interested in a subject are, how shall I say, fickle. Many times I have chosen, among three stories, one for reasons that are entirely accidental: I get up and think this one will be stupendous because the night before I had a certain dream. Or perhaps I put it better by saying that I had found inside myself reasons why this particular story seems more valid. … I always have motives, but I forget them.

„We are saddled with a culture that hasn't advanced as far as science. Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer.“

—  Michelangelo Antonioni
Context: We are saddled with a culture that hasn't advanced as far as science. Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer. Hence this upset, this disequilibrium that makes weaker people anxious and apprehensive, that makes it so difficult for them to adapt to the mechanism of modern life. … We live in a society that compels us to go on using these concepts, and we no longer know what they mean. In the future — not soon, perhaps by the twenty-fifth century — these concepts will have lost their relevance. I can never understand how we have been able to follow these worn-out tracks, which have been laid down by panic in the face of nature. When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them.

„You must be painter who takes a canvas and does what he likes with it.“

—  Michelangelo Antonioni
Context: You must be painter who takes a canvas and does what he likes with it. We are more like painters in past centuries who were ordered to paint frescoes to specific measurements. Among the people in the fresco may be a bishop, the prince's wife, etc. The fresco isn't bad simply because the painter used for models people from the court of the prince who ordered and paid for it.

„Everything depends on what you put in front of the camera, what perspectives you create, contrasts, colors.“

—  Michelangelo Antonioni
Context: Everything depends on what you put in front of the camera, what perspectives you create, contrasts, colors. The cameraman can do great things, provided he is well grounded technically. If a person hasn't the raw material, I obviously couldn't do anything with him. But all I ask of a cameraman is technical experience. Everything else is up to me. I was amazed to find that in America cameramen are surprised that this is the way I work.

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