Sidney Uh Jenkins

I wouldn't bother him. At the time, he was a huge influence over the way I made films (I screened Silence of the Lambs, Something Wild, & Stop Making Sense countless times ahead of each shoot). I regretted not saying anything to him, because about a year later, he passed away.

...just before the cast and crew intros were about to start, we stood behind Jonathan Demme. I wanted to tap his shoulder, maybe ask him to sign my copy of Something Wild, but overheard him say to the person standing next to him, "I haven't seen you in years!"

On the occasion of Silence of the Lambs 35th anniversary, am reminded of when I went to the 25th anniversary at MoMA; friend & I missed our train, got caught in traffic, then stood at the end of a long line; timing was fortuitous however, because as we got on the escalator...

Watching Jia Zhangke's films and saying to myself, "What the FUCK are you doing with that camera" while also giggling maniacally at...I'm not even sure what! Audacity? Beauty? Bitterness? Hilarity? The texture of a shot, so hard to describe and yet totally inescapable

@deaesthetics I didn't know of their existence; I have yet to explore much of Henry King outside of The Gunfighter and Twelve O'clock High, from many moons ago...I'm amazed that he adapted it twice, and so soon together! As always, thank you for the rec!!

@movingjournals1 did u watch Henry King's adaptation? and Beloved Infidel?

Thinking of Tender is the Night because of Pierrot Le Fou. Reminded me that I started & stopped that book at least 5 times in my youth because of the way it was structured; the first part was my favorite of Fitzgerald's writing, but I didn't like the way the momentum shifted...

...in part II. 6th time was the charm; I remember loving it—& being terribly depressed by it—after forcing my way through, but now I'm wondering if I would love it differently and more totally at this stage. It's on my mind and in the records. More thoughts to come, maybe.

...eyes and mind of my youth to be able to appreciate a film like this without intellectualizing it into a corner. Maybe thinking about films in the new way I do is better, but watching films like this—perhaps irrationally—makes me sad about change, loss of innocence, etc.

...and how I wish I had seen a film like this in my youth so that I would have had a little time to love it. In the space I'm in now, a film that makes me love as blindly and intensely as I once did is hard to come by, and Herzog tests my patience, such that I wish I had the...

Stroszek has me thinking about lost time; a friend of mine always asks me if there is worth in a film I loved when I was younger but don't anymore because of aging, changing conceptions of cinema, etc. I never have a good answer. Not having seen this film before, I mourn...

@tnyfrontrow Often think of this Jonas Mekas quote in relation to this idea

The other day, friends were talking about being in an editing room and seeing a film with production sound and then again after the sound edit and finding it vastly improved; I suspected I'd have enjoyed the production sound more, and then just now landed on this.

Éric Rohmer, from 1981 @cahierscinema on sound in The Aviator's Wife: "The sound was taken with lavaliers and transmitters. With Georges Prat, the sound engineer, hidden in the bushes...And also, sometimes, a boom captured ambience to make up for the radio mike's inadequacies...

This morning's listening: had the main theme from Op. 19 rummaging around, no particular reason open.spotify.com/track/5f22ZvAa…

Cheered every time someone ran or drove off in the distance to signal the end of an episode, the end of a day. Pialat taking advantage of how much of a sucker I am for that type of grammar. Never the sunset, also! Always some overgrown path in the forest of countryside freedom

"Because the rest of the film, the part with the characters, will be shot in a studio—at the other end of the spectrum of cinema. With a camera, shooting in 16mm, we will discover this route through Asia and we will react to this footage through fiction."

"And I want to take my director of photography, Sayombhu Mukdeeprom, as well as the people who will write the screenplay, with me. This in order to inspire the script, but also to construct an archive of images and sounds that will play a very important role in the film."

Randomly thinking of Grand Tour tonight, and of Miguel Gomes; am touched by this quote, about the working methods he employed on the film: "...before writing the script I want to go on the same journey across East Asia that the characters will go on."

oh fuck, im on the subway. damn i hate that i can just sit here and read or watch something. i really wish i was responsible for manually operating a more confined vehicle that is more likely to get me killed than this one

It has always been my favorite way to keep a cultural journal, but my ignorance has led me to believe in nothing, hence why I stopped sharing thoughts—what's the point in sharing something you don't believe is right anyway? Trap after trap after trap I've set for myself. Misery.

...well-written script by Kubrick be enough? I didn't used to have all the answers, but I had confidence in the answers I had; not any more. In any case, Twitter was essential to my initial period of rediscovery, and I'm hoping to find that spark again. New ideas, dialogue, etc.

Moved to Jersey City recently, hoping to think about/center cinema in a way I haven't for the past 2 years. Most nights feel like trying to reason my way out of my usual way of thinking—do I feel little over this film because of my ideological prison, because it's...