# Palabra de cineasta II.

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 24 Jun 2024, 32 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/60483603/lloviendo_frases_2.mp3

En el programa de hoy de Lloviendo cine volvemos a la palabra de director. Por cuanto vamos a repasar frases pronunciadas o quizás escritas por grandes cineastas y realizadores, todos ellos pertenecientes a la época clásica del cine. Conoceremos así la manera de enfocar el oficio de dirigir y la visión que cada uno de ellos tenía del séptimo arte. Las músicas del podcast proceden de: https://musopen.org/music/43775-the-planets-op-32/ Maurice Ravel, CC BY-SA 3.0 , via Wikimedia Commons

## Transcript

[0:26] Come on, but we more podcast you' re all pertinent guests, you
[0:39] don' t need entry, you don' t need any permission. The
[0:43] doors are wide open one more program of it watching cinema in what is going
[1:03] to be a kind of reissue of a program that we already did, a
[1:07] program about movie phrases, but not the phrases that you are all thinking,
[1:15] not the phrases, not the dialogues that you release to them. Don Rick
[1:19] Blaine to go health and vide deversa in the White House. Not great cinema
[1:25] phrases contained in the script, but those phrases spoken by directors, not only
[1:32] directors, that great directors, great filmmakers of the history of cinema who,
[1:38] perhaps, had to do with some film they had just directed. But rather
[1:42] they referred to phrases that contained their way of seeing cinema, their way of
[1:48] seeing life, their way of understanding the profession of filmmaker because already in their
[1:55] day, we did it with people like Achcaury Maquie, as donea Agnes true,
[2:00] as Don Michael Janicke, as Don Christoph Killockey, or Don Victor Erice
[2:06] oh En, André and Tarcos, or Don Robert Burson or Doning Marberman or
[2:10] the sympather Lars Bondrier. Well, this time we' re going a little
[2:17] further back. We will listen to the beautiful and wise advice of the great
[2:23] masters of the classical era, but we will comment on all these phrases of
[2:46] cinema, of great filmmakers, as we did in that first program. First
[2:53] we' ll say the phrase or even a few sentences, and then you
[3:00] ' ll have to guess and well said the clue itself. They are all
[3:04] great filmmakers of the classical era of cinema and we begin with this phrase.
[3:12] Anyone can direct a film if he knows the fundamentals directing is not a mystery,
[3:22] it is not an art. The main thing about management is photographing people
[3:28] ' s eyes. Well, then, who may be behind this phrase,
[3:34] in part demystifying the office of director. Ah, but that end is about
[3:43] photographing people' s eyes. More than one would have to take note and
[3:49] see that we could have pulled one of the many famous film phrases of this
[3:57] director, of the author of this sentence, or we could have even pulled
[4:04] that phrase that only knew attention to the track, because either we served the
[4:13] name of the director on a silver platter. We could throw I say of
[4:18] that phrase that only Don Steven Spielberg knew, that thanks to the film The
[4:25] Fabelmans we already know that it is no other phrase than that wise Council on
[4:30] how to place the horizon line within the picture of the House, because the
[4:36] author of the phrase that we just said was john Ford. Anyone can direct
[4:44] a film if he knows the fundamentals, as every great phrase does not fail
[4:49] to have its debutat part and considering that who more than least starts to direct,
[4:55] because it must not be a mystery or an art either. But look
[5:00] at that ending we repeat the main thing about the direction is photographing people'
[5:06] s eyes. We understand the close- ups of the quiet man, the
[5:15] man' s diligence, who killed Liberty Ballance. So, if you want
[5:20] to make a film heard of the patch photographed people' s eyes and you
[5:27] know where, you have to place the horizon line next sentence. In short,
[5:35] wise advice at the time in this case, to consider that of a
[5:42] placement in this one and there goes the phrase. Let' s imagine we
[5:47] ' re sitting in a normal, ordinary room. Suddenly they tell us there
[5:53] ' s a dead body behind the door. In an instant, the room
[5:58] we' re sitting in changes completely. Everything in it has taken on another
[6:04] aspect. The light, the atmosphere have changed, even if physically they are
[6:12] the same. This is because we' ve changed and the objects are just
[6:18] as we conceive them That' s the effect I want to get in my
[6:26] movie. It is O is not a wise advice deposed on the cinematic scene,
[6:33] for to know the author of this phrase we have to come to Europe,
[6:41] specifically to the north of Europe, because it was not Don Alfred Hiscock,
[6:46] however much the author of it might lose it. We have to go
[6:50] concretely to Dinamark, because that director, that filmmaker, had that nationality and
[7:00] his name could not be another, obviously, Carl Theodor Dreyer. If we
[7:09] repeat the phrase, we could be inside a decide or ordet scene. Mr
[7:16] Dreyer was a real master deposed on the scene, just as Don Hansoatrifo also
[7:24] did Car Theodo Reyer could have signed his films behind Missannessen the best of all
[7:33] these phrases is that we are going to do with a magnificent compendium of movie
[7:41] rules that we already carry a few and we still have a few more next
[7:48] sentence. Art has to be severe. It can' t be commercial,
[7:57] it can' t be for the producer or the public. It has to
[8:03] be for oneself, an authentically radical phrase, almost almost asking man. The
[8:11] cinema of this director was not as radical as he could imply the phrase we
[8:18] just mentioned and, obviously, it is not at the other end of the
[8:24] industry either. To meet its author. We also have to stay in Europe.
[8:31] In this case we have to go to the boot, to Italy.
[8:37] And he is not Michel Angelo Antonio nor the author of it as much as
[8:45] he could appear, but he is an author who also triumphed in the United
[8:50] States, who taneer rolled in Hollywood for tastes of colors, but one of
[8:56] the three best Italian directors of all time, the greatest personality of Italian cinema
[9:03] of all its history, Don Vittorio de Sica, that cinema has to be
[9:09] for oneself. Well, you relate it to that cinema having to do with
[9:16] the heart, and the movies of Vittorio de Sica make them have to do
[9:20] with that vital organ. Each and every one of them gets us deep inside.
[9:28] As much as I say that art and cinema don' t forget.
[9:33] It' s number seven. It can' t be for us, it
[9:39] can' t be for the public. But if things are done with passion
[9:43] and heart, at least, at least, it is easier for it to
[9:48] reach one' s heart and the bike thief shoe cleaner miracle in Milan or
[9:56] Humberto de pas the heart and soul filter of désica victory had greater chances of
[10:03] them passing through ours. We were going with the following sentence, very direct,
[10:16] but very effective. Nothing is more honest than a dream. Who could
[10:22] say this is a question, but a definite phrase rather than a phrase,
[10:30] seems like a true sentence to know the author. We also have to stay
[10:33] in Italy. We repeat the phrase. Nothing is more honest than a dream,
[11:07] for we are indeed still in Italy and as soon as we think of
[11:13] the arch of possible recipients of our inquiries it would greatly reduce its scope.
[11:20] Let' s see, dream the dream and be honest with oneself and with
[11:26] dreams until the end of his days, until his last film, for yes,
[11:33] he could not be another director than Federico Fellini, the trademark of the
[11:41] transalpine director, who are his films without the dreams, but as much as
[11:48] much as memories Roma Amarcor, who are without the dreams of the poor little
[11:56] she- solmina on the stand, or the dreams are the heavy ones of
[12:01] them at night of cabria, on the nights of cabilla. And what is
[12:05] but a joint dream the dolce vita was eight and a half and already says
[12:11] the same title Julietta of the Spirits. And now that we have lost the
[12:16] great Donald' s Atherland, what is but Frederick Fellini' s nova house,
[12:22] but a dream of what might have been and was not of the life
[12:28] work and miracles of the great Italian seducer. Curious that Federico Fellini began his
[12:35] career as one of the main virtuosos of Italian neorealism and that, from good
[12:41] to good to purest style, Igmar Berman gave a turn of 180 degrees to
[12:46] his filmography, to his way of filming and becoming one of the champions of
[12:54] what, in short, is cinema a factory of dreams. Next sentence,
[13:03] a director makes a single film in his life, then divides it and remakes
[13:11] it who could also say this phrase authentically denitifying and, on the other hand,
[13:20] not so far from reality. For to know the author of this sentence
[13:26] we have to go to France, but not happy to have said this.
[13:31] We' re leaving with another line from the same director. All technical refinements
[13:37] discourage me. The perfect photograph, the biggest screens, the high- fidelity
[13:46] sound. All this allows mediocres to servilely reproduce nature, and this reproduction bores
[13:54] me. What interests me is the interpretation of life by an artist, the
[14:01] personality of the Cinematist interests me more than the copy of an object, because
[14:09] pragmatic also the phrase of this French director, who seems not to know if
[14:16] he has advanced to his time, but seems to be part, for example,
[14:22] of the current of the noel back and not good. He was one
[14:26] of the French directors who were saved from burning, one of the French directors
[14:33] who worshipped people like Ofhatshatrifo or Yan Nico Dack. Of course it could have
[14:58] been any of these directors of the Great New French Wave if we went over
[15:05] the two sentences we just said. Well, it could have been signed by
[15:13] Eric Romer Trifo or Clochagol Oian Nigoda who' s out there. But this
[15:18] phrase was not said, for practically the father of all of them, Jean
[15:24] Renoir, at least the spiritual father of the noel back. We say,
[15:30] Mr Renoird was one of the few to be saved from burning, one of
[15:33] the few French directors exalted from the street of cinema and to faith that all
[15:41] these disciples followed the postulates of this phrase. From perfect photography, the biggest
[15:48] screens, the sound of high faith, I got bored and we used to
[15:54] talk about a whole compendium of movie rules coming out. Well, then,
[15:58] the rule of Jangenic' s game could be summed up in this last sentence,
[16:06] because what I am interested in is the interpretation of life by an artist,
[16:11] can be connected with that phrase that we have quoted from Vittorio de Sica.
[16:18] Art has to be for oneself. The artist is the knot or orrdian
[16:23] of all this. The filmmaker must be the principal judge of a film,
[16:30] yes, judge and part and if you want, even elevator, but not
[16:36] for the bad, but precisely for the opposite. In this film, what
[16:41] ' s important is me, what' s important is what the director says,
[16:47] as he said dormitory, about Sigue, not the producer. The bad
[16:51] thing you already know. That can only be achieved if you have a name
[16:57] like Jangnoi or as Victorio. Désica next sentence. Blondes are the best victims,
[17:04] they' re like virgin snow that shows blood tracks. Well, in
[17:11] the same sentence we have the great clue of who could have said the same.
[17:18] We hardly even have to think true, Don Alfred his Cock, he
[17:22] ' s an eternal enemy intimate to the blondes, a phrase that does not
[17:29] stop containing, since another of the many and multiple obsessions that the British genius
[17:34] had throughout his life and let' s say of his work in this case,
[17:40] are totally indissoluble. Rebellious soul by means of which she was also blonde.
[17:45] And it is that if the Coen brothers started their career with a confessional
[17:51] remake of frenzy with easy blood, well we could say that if Alfred Hiscock
[17:57] had continued to make films, for it would not differ much from the practicer
[18:04] by don Joel and by donut, that, that is, the phrase of
[18:08] virgin snow that lets see the traces of blood and come from the head irremediably
[18:15] the images of the snow of doña franc Smart Dorman in farc next sentence,
[18:22] since the phrase of a theorist and we are almost giving the clue before saying
[18:29] the same in themselves. The images, the phases, the elements of the
[18:34] whole are innocent and indecipherable. The blow occurs only when the elements juxtapose in
[18:42] a sequential image already takes first- direction theoretical phrase, so we will repeat
[18:52] it in themselves. The images, the phases, the elements of the whole
[19:02] are innocent and indecipherable? The blow occurs only when the elements are juxtaposed in
[19:10] a sequential image to know the author of this absolutely theoretical phrase that then we
[19:18] have to put into practice if we want to make a film, because we
[19:23] do not have to go to the former Soviet Union. This one' s
[19:29] off and let' s go. It cannot be another Don Sergey my Hillowich
[19:33] Einchestein, the great film theorist, the great practical theorist of the history of
[19:41] the first third of the 20th century. The battleship Botenkin is summed up in
[19:48] this sentence that sees that we have seen scenes like Odessa' s staircase one
[19:55] by one and on their own. But of course, the staircase on that
[20:00] one is like a little short film inside the potentile battleship. It has a
[20:07] beginning, a knot and an outcome, a magnificent outcome based on the Soviet
[20:14] montage, but it is that the rest of the scene is also an absolute
[20:18] compendium of what has to be the Soviet montage and, in short, any
[20:26] kind of montage, no matter how much you throw that ideology behind you.
[20:32] Pablo Gedelamo, the great editor of the history of Spanish cinema, also made
[20:37] ideological montage from where we do not believe that the good of Don Pablo drank
[20:44] his sources See the different productions of the films of Elias Querejeta. The great
[20:52] blow of the scene of the diodessa staircase, indeed, occurs when all those
[20:57] elements, from the eating to the end of it, are placed. Those
[21:03] soldiers that advance that mother with the carricoche, those soldiers that advance that crowd
[21:11] that walks calmly down that carricoche out of the way are soldiers that that crowd
[21:22] that runs, that you win have entered not only to see the scene of
[21:57] the stairs already, but to see completely the powerful battleship. Next sentence,
[22:06] and that is that we are already talking about older words, because taken care
[22:11] of with the three directors that remain in today' s program of raining next
[22:19] sentence selected my interpreters from a feeling that comes to me when I am with
[22:26] them, a certain sympathy, we could say or a vibration that exists between
[22:34] us, that convinces me that they are the right ones. This phrase impares
[22:40] this European director to Hollywood with kerio said, we do not yet say who
[22:48] is the same sentence of the same director in Hollywood. You' re as
[22:55] good as your last movie, because yes, it won' t be for
[23:02] dismissing or humping the marrana. But Mr Eric Phon Strogan was calling things for
[23:07] his not putting the dots around ten o' clock and giving Caesar what was
[23:14] treasure, because how much a movie earns if you select your actors that way.
[23:22] Not for how good you are, not for how good you have been
[23:26] or what you have shown before, but for how you really are as a
[23:33] person in that sense, to what extent you reach me for myself. And
[23:41] that is, indeed, what Don Kenlowich also said. Before you' re
[23:47] an actor, you need to be a person. Tell you what happened,
[23:52] you have to show me your commitment to the profession and that' s what
[23:56] he comes to say in short, Don Eric Folnes, you have to get
[24:03] to me you have to convince me. In short, you also have to
[24:07] make an effort to prove that you are the right actor or actress for this
[24:15] character. You have to convince me and look like a job interview of why
[24:21] you want to act with that character in my movie. And this is the
[24:26] second part of that regret in the form of disenchantment in Hollywood. You'
[24:32] re as good as your last movie. Don Erick vanes Trogin knew it well
[24:37] after the maiming of his film greed by producers as a young producer again.
[24:48] Well, we' re left with that wise advice from Don Vonestrogain when it
[24:55] comes to choosing the actors from a movie and next runr. But I know
[25:00] who could say I let the public use their imagination. I can prevent them
[25:07] from misinterpreting my suggestions. You' re done with your movie. You'
[25:12] ve done your best, but in short, it' s all in the
[25:18] public' s hands. As much as you' ve wanted to do it
[25:23] your way, but I' ve let my film have room for the audience
[25:32] to participate in it. How difficult it is to do something similar, as
[25:37] the author of this sentence did, who also said another that has caught our
[25:42] attention by cryptic. Sometimes I' ve made films that didn' t reach
[25:51] the level I demand, but the only thing you can say about a mediocre
[25:56] is that his entire work reaches the level that is demanded. As it was
[26:02] said in the school text comment that you meant with this sentence. Don Ernes
[26:11] Luwich, man, we all have a roof when it comes to making a
[26:17] movie or when it comes to performing any act in your life. And you
[26:22] don' t have to ask, either, but in the living room.
[26:25] But the one who' s going to turn out it' s true what
[26:29] you' re saying. Two Erners Luwich, we all have our roof,
[26:34] but yours had no limit. Let' s not forget. Billy Bilder'
[26:41] s teacher to be Dvid Biller' s teacher to sign a phrase like let
[26:45] the public use his imagination and if he can prevent them from misinterpreting my suggestions
[26:53] and to see that in his films the audience can participate in them, it
[27:00] cannot be a mediocre that. By the way, there is one phrase that
[27:06] we all attributed to Don john Ford and it turns out that the good Don
[27:11] Ernesto said it and it is that phrase there are a thousand ways to point
[27:17] a House, but in reality only one to that you too. You thought
[27:19] that phrase was spoken by john Ford and who said it. I don'
[27:26] t know what my formula is. All I know is that I like my
[27:32] characters walking in the clouds. I kind of like the fairy tale that other
[27:37] pictures in the ugliness of the world. I don' t want to distress
[27:44] people, not if you were thinking about it. It was not frank,
[27:48] even if it seemed like the author of this sentence. This phrase was said
[27:56] by a contemporaneous capra. He told her I read to c or who tops
[28:02] her way of watching the cinema with this other phrase. I love it when
[28:07] people laugh. I love it when I cry. I like a story to
[28:14] say something and I hope that the public will feel happier to leave the theater
[28:22] than, when he entered a moment in raining cinema to claim the figure of
[28:27] a forgotten genius, as was Leo macare' s go two phrases that was
[28:33] marked for posterity. The good of Don Leo is that, as much as
[28:38] you look like we repeat the author of these two phrases, the good of
[28:45] Franca pra told them someone who was halfway there. We could say between capra
[28:51] and ernest lumis, man you see. Either of the two versions of You
[28:55] and Me signed by Leomacarey and you explain the meaning of these two phrases that
[29:02] if someone had to do in the history of cinema the two versions of You
[29:07] and I, that director was not called Franca, that director had to be
[29:14] Leo Maccarey and we subscribed lyrics for lyrics, word for word, that when
[29:19] people came out of the theater they felt happier than when they came in and
[29:55] so far there came a program more of your favorite podcast, I watching cinema
[29:59] in which we took a step to those words of the director, to those
[30:03] phrases of cinema, said aside from the script, apart from a film by
[30:10] those filmmakers, of those filmmakers, in this case, of the classical era
[30:15] of cinema, in short, their ways of understanding a profession, of understanding
[30:22] a life, the life of filmmaker, in short, wise advice for everyone
[30:29] who wants to get into this world of cinema, to get into the adventure
[30:34] of being filmmaker of being director, of the one who wants to be part
[30:42] of the seventh Art And in question of listening to Mr Dreyer, to Mr.
[30:52] We hope that the program has been to your liking. We said goodbye
[30:59] until next week, which we will talk about a topic that, as always,
[31:02] comes to mind in the coming days. Until then we can only thank
[31:06] you very much for your attention, much more your patience and make you the
[31:12] final culinary recommendation of everything raining cinema eat a lot of bananas, which is
[31:18] very healthy in this case the word of raining cinema. And above all,
[31:22] when you look at heaven, you know what you have to do. Find
[31:26] your cloud. We all have one and when you have entered into trust and
[31:32] conversation with her, you have to tell her loudly and clearly what I evade
[31:38] cinema par ten

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