I remember my mother when she was dyin’, looked all shrunk up and gray. I asked her if she was afraid. She just shook her head. I was afraid to touch the death I seen in her. I couldn’t find nothin’ beautiful or uplifting about her goin’ back to God. I heard of people talk about immortality, but I ain’t seen it. I wondered how it’d be like when I died, what it’d be like to know this breath now was the last one you was ever gonna draw. I just hope I can meet it the same way she did, with the same… calm. ‘Cause that’s where it’s hidden - the immortality I hadn’t seen.
In a way, Only God Forgives is like an accumulation of all the films I’ve made so far. I think I was heading toward a creative collision, full speed ahead, in order to change everything around me and to see what would come after. I have always said that I set out to make films about women but I end up making films about violent men. Now that everything is colliding, it may end up turning things upside-down for me. This collision is exciting because everything around me becomes so uncertain and we must not forget that the second enemy of creativity, after having ‘good taste’, is being safe.
Nicolas Winding Refn
Don’t forget, a great impression of simplicity can only be achieved by great agony of body and spirit.
moonrise kingdom (2012), dir. wes anderson
THE BREAKFAST CLUB TRIVIA: (Deleted Scene) John and Claire’s kissing scene in the closet was cut because Hughes felt that “screen kissing wears thin very quickly.” Molly Ringwald described it as a “great kiss”
Vivre sa vie, booklet spread, The Criterion Collection
Young couple cuddling as they sit down in a hole in the sand while others lie around behind them on a hot Independence Day at the beach. Photo by Ralph Crane, 1949.
Jean-Pierre Léaud and François Truffaut, at Cannes Film Festival, 1966.