photographs of american teenagers taken by joseph szabo, 1969-1988.
Paris is always a good idea. Indeed.
Eugen von Blaas (1843-1932), Two Venetian Women (detail)
Une femme mariée: Suite de fragments d’un film tourné en 1964 en noir et blanc
(A Married Woman: Fragments of a Film Shot in 1964 in Black and White)
Dir. Jean-Luc Godard
The Ravenclaw common room is located high up within a tower and known for its panoramic views of the school grounds. It is a large circular room filled with bookcases and blue furnishings. It is also one of the only common rooms to feature a statue of their house founder. The entrance requires no password but the solving of a riddle asked by a bronze eagle knocker. Incorrect answers result in having to wait outside for someone else to answer their riddle successfully. Once inside you can sit under the impressive starry domed ceiling and listen to the relaxing sounds of the wind whistling around the exterior of the tower windows.
I don’t know that I find myself anywhere.
'Maybe I've seen too many movies, you know, love at first sight. What do you think about love at first sight? You think you can love somebody just by looking at them?'
When I discovered cinema, there was a moment when I was only concerned with movies who had a real link between the reality of the director and the life they had. I was only interested in Truffaut, Godard, and Pialat—movies that existed because they were connected to their own lives. In my head I was thinking, okay, if I like the movie, if I like the idea of living in the movie, I can say to myself, this woman exists because it’s the world of the life of the director—which is a bit stupid and naive, but I loved the idea of autobiography. When I’d watch a movie and say to myself, okay it’s just imagination and it never happened, I was a bit disappointed. But if I could see a movie that was connected to reality, I was so happy. This was maybe because of the kind of movies my father was making. But then I was fascinated by the movie Magnolia. At the age of 29 years old, I can’t even imagine how a young man [Paul Thomas Anderson] could create so many characters so well and have it be so well done and so well painted, and from the imagination. So it all changed a little bit. But for example, Wes Anderson, when you start to think about it, he makes movies from some part of his life, and it’s also very joyful. The game is also to try and understand who he is. He doesn’t make documentaries about his life, he makes movies made about elements of his life.