"There is a pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society, where none intrudes,
By the deep sea, and music in its roar:
I love not man the less, but Nature more.."

"The world in which you were born is just one model of reality. Other cultures are not failed attempts at being you; they are unique manifestations of the human spirit."

"Like sunlight, sunset, we appear, we disappear. We are so important to some, but we are just passing through."

"The thing that separate us from others forms of lives is not our ability to make tools, the thing that separated early humans beings was the ability and desire to cooperate and to comunicate, the need we have to move one another and to be moved, to connect."

"We used to wonder where war lived, what it was that made it so vile. And now we realize that we know where it lives: Inside ourselves."

"Within our lifetimes, we've marveled as biologists have managed to look at ever smaller and smaller things. And astronomers have looked further and further into the dark night sky, back in time and out in space. But maybe the most mysterious of all is neither the small nor the large: it's us, up close. Could we even recognize ourselves, and if we did, would we know ourselves? What would we say to ourselves? What would we learn from ourselves? What would we really like to see if we could stand outside ourselves and look at us?"

"Eu, longe dos caminhos de mim próprio, cego da visão da vida que amo, cheguei por fim, também, ao extremo vazio das coisas, à borda imponderável do limite dos entes, à porta sem lugar do abismo abstrato do Mundo."

"There are days when solitude is a heady wine that intoxicates you with freedom, others when it is a bitter tonic, and still others when it is a poison that makes you beat your head against the wall."

“And then there's the sickness I feel from looking at legs I can't touch, or at lips that don't smile at me. Or hips that don't reach for me. And hearts that don't beat for me.”

"Cause your home's the sweetest thing inside of you
And our home is bigger than a mountain view
You find something you believe that you should do
Sometimes it won't come so easy but sometimes you've gotta go get mad"

"The fantastic breaks the crust of appearance … something grabs us by the shoulders to throw us outside ourselves. I have always known that the big surprises await us where we have learned to be surprised by nothing, that is, where we are not shocked by ruptures in the order."

“Why are women... so much more interesting to men than men are to women?”

"You can have anything that you want
Except the thing you really want"

"Solitary. But not in the sense of being alone. Not solitary in the way Thoreau was, for example, exiling himself in order to find out where he was; not solitary in the way Jonah was, praying for deliverance in the belly of the whale. Solitary in the sense of retreat. In the sense of not having to see himself, of not having to see himself being seen by anyone else."

"Every book is an image of solitude. It is a tangible object that one can pick up, put down, open, and close, and its words represent many months if not many years, of one man’s solitude, so that with each word one reads in a book one might say to himself that he is confronting a particle of that solitude."

"I’ve never seen an exploding helicopter. I’ve never seen anybody go and blow somebody’s head off. So why should I make films about them? But I have seen people destroy themselves in the smallest way. I’ve seen people withdraw. I’ve seen people hide behind political ideas, behind dope, behind the sexual revolution, behind fascism, behind hypocrisy, and I’ve myself done all these things. In our films what we are saying is so gentle. It’s gentleness. We have problems, terrible problems, but our problems are human problems."

"- It's beautiful.
- What?
- Life. So long."

"I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience—and not only enhances it but makes it longer, significantly longer. That is the power of cinema: ‘stars’, story-lines and entertainment have nothing to do with it."

"I am alone, I thought, and they are everybody."

"Am I in love? ― yes, since I am waiting. The other one never waits. Sometimes I want to play the part of the one who doesn’t wait; I try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time. The lover’s fatal identity is precisely this: I am the one who waits."

"Impossible, I realize, to enter another’s solitude. If it is true that we can ever come to know another human being, even to a small degree, it is only to the extent that he is willing to make himself known. A man will say: I am cold. Or else he will say nothing, and we will see him shivering. Either way, we will know that he is cold. But what of the man who says nothing and does not shiver? Where all is intractable, here all is hermetic and evasive, one can do no more than observe."

"Nothing happens. Nobody comes, nobody goes. It's awful"

"I don't know how but seeing the world before my own existing was fascinating to me. And I don't know how exactly that this relates to dreams but it almost seems like I was dreaming because i was receiving visual information of something that no longer existed in our conception of time and history"

"This tremendous world I have inside of me. How to free myself, and this world, without tearing myself to pieces. And rather tear myself to a thousand pieces than be buried with this world within me."

(do retorno à palavra escrita)

- de certo, estamos todos desolados.

"You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete."

"The future, Madame, is something we should have started on a long time ago." 

"He is outside of everything, and an alien everywhere. He is an aesthetic solitary. His beautiful, light imagination is the wing that on the autumn evening just brushes the dusky window."

“In the depth of winter, I finally learned that within me there lay an invincible summer."

"It is obvious that art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all. We should long ago have become angels had we been capable of paying attention to the experience of art, and allowing ourselves to be changed in accordance with the ideals it expresses. Art only has the capacity, through shock and catharsis, to make the human soul receptive to good. It’s ridiculous to imagine that people can be taught to be good…Art can only give food – a jolt – the occasion – for psychical experience."

"Take me, subtract movies and you get zero."

"We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of any image, of any reality."

Michelangelo Antonioni
(29/09/1912 – 30/07/2007) 

"But I think that films should be made not for the audience or to make money or to attain popularity. In my opinion, films should be made to be as good as they can be. And this, it seems to me, is the best way to work and be sincere."

Michelangelo Antonioni
(29/09/1912 – 30/07/2007) 

"I don't know, I think I'd like to tell them only this, to know how to find themselves more often alone - to enjoy being alone with themselves more frequently. I think the tragedy of today's youth is that they try to unite on the basis some noisy events, a couple even violent, and this desire to unite in order not not to be alone is an unpleasant condition, from my point of view. I think a person needs to learn from childhood to find himself alone. It means to not be bored when you're by yourself, because a person who finds himself bored when he is alone, it seems to me, is a person in danger."

"The immense sadness of films without woman. I hate war films, except for the moment when the soldier takes out of his pocket the photo of a woman."

"The best people possess a feeling for beauty, the courage to take risks, the discipline to tell the truth, the capacity for sacrifice. Ironically, their virtues make them vulnerable; they are often wounded, sometimes destroyed."

"I'm convinced we all are voyeurs. It's part of the detective thing. We want to know secrets and we want to know what goes on behind those windows. And not in a way that we would use to hurt anyone. There's an entertainment value to it, but at the same time we want to know: What do humans do? Do they do the same things as I do? It's a gaining of some sort of knowledge, I think."


"(...) I think people are fascinated by that, by being able to see into a world they couldn't visit. That's the fantastic thing about cinema, everybody can be a voyeur. Voyeurism is a bit like watching television - go one step further and you want to start looking in on things that are really happening."

"To be silent; to be alone. All the being and doing, expansive, glittering, vocal, evaporated; and one shrunk, with a sense of solemnity, to being oneself, a wedge-shaped core of darkness, something invisible to others. Beneath it all is dark, it is all spreading, it is unfathomably deep; but now and again we rise to the surface and that is what you see us by."

"Perhaps I seek certain utopian things, space for human honour and respect, landscapes not yet offended, planets that do not exist yet, dreamed landscapes. Very few people seek these images today."

"(...) 'Um quarto está ceifando, e esse sou eu.'
Vem isto tudo, que vai dito como vai sentido, a propósito do grande cansaço, aparentemente sem causa, que desceu hoje súbito sobre mim. Estou não só cansado, mas amargurado, e a amargura é incógnita também. Estou, de angustiado, à beira de lágrimas — não de lágrimas que se choram, mas que se reprimem, lágrimas de uma doença da alma, que não de uma dor sensível.
Tanto tenho vivido sem ter vivido! Tanto tenho pensado sem ter pensado! Pesam sobre mim mundos de violências paradas, de aventuras tidas sem movimento. Estou farto do que nunca tive nem terei, tediento de deuses por existir. Trago comigo as feridas de todas as batalhas que evitei. Meu corpo muscular está moído do esforço que nem pensei em fazer.
Baço, mudo, nulo… O céu ao alto é de um verão morto, imperfeito. Olho-o como se ele ali não estivesse. Durmo o que penso, estou deitado andando, sofro sem sentir. A minha grande nostalgia é de nada, é nada, como o céu alto que não vejo, e que estou fitando impessoalmente."

"- I feel my eyes tearing up. What should I do with my eyes? What should I watch? 
- You ask what you should watch. I ask how I should live. It's the same thing."

"I hate to break it to you, but there is no big lie. There is no system. The universe is indifferent."

"Que é necessário sair da ilha para ver a ilha, que não nos vemos se não nos saímos de nós"

"Invisible things are the only realities."

"...he understood there was no way to escape Time, and that this moment he had been granted to watch as a child, which had never ceased to obsess him, was the moment of his own death."

Chris Marker (1921-2012)

"(...) I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange."

"Talvez por muito tempo, você ainda pode continuar a mentir para si mesmo, matando seus sentidos. Mas o jogo acabou. O mundo mudou, mas você não. Indiferença não lhe fez qualquer diferença. Você não está morto. Você não enlouqueceu. Não há maldição que paira sobre você (...) Tempo, que tudo vê, tem proporcionado a solução, apesar de si mesmo. O tempo, que sabe a resposta, continua a fluir. É um dia como este, um pouco mais tarde, um pouco mais cedo, que tudo começa de novo, que tudo começa, que tudo continua. Pare de falar como um homem em um sonho. Olhe! Veja aquilo! (...) Não, você não é o mestre anônimo do mundo."

"O cinema não é um ofício. É uma arte. Não é um trabalho de equipe. O diretor está só diante de uma página em branco. Para Bergman estar só é se fazer perguntas; filmar é encontrar as respostas. Nada poderia ser mais classicamente romântico."

"everything burns when nobody is looking."

"- I'm not daydreaming. 
- Right. You're not daydreaming. You're sleepwalking."

"The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.

Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like like disaster."

"Artists to my mind are the real architects of change, and not the political legislators who implement change after the fact."

"Sometimes everything seems just like a dream. It’s not my dream, but someone else’s, that I have to participate in. What happens when the one who dreamt us wakes up and feels ashamed ?"

"Myself I must remake."

"And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment." 

"Pain is strange. A cat killing a bird, a car accident, a fire.... Pain arrives, BANG, and there it is, it sits on you. It's real. And to anybody watching, you look foolish. Like you've suddenly become an idiot. There's no cure for it unless you know somebody who understands how you feel, and knows how to help."

"i can tell a great picture, but it it very rarely that i identify so much with someone's style (a process literally soothing) -yours is so strong through its subtlety, sort of impressionistic, hermetic and a bit outlandish and highly emotional and i guess one could go on and on searching for accurate adjectives, but then the whole thing would turn to self‐referentiality, wouldn't it?.
i tend to believe that apart from the phenomenal world what a photographer captures is their own soul. sounds a bit tacky, i know, but persistence in subjects, persistence in the way one chooses to portray reality more or less indicates the individual's effort to express itself and decode itself and communicate itself and so on.
concluding all this mumbling of mine, your photographs made me happy and while i watched them, the world felt less of an insecure place. i now was less alone."

"Silence, yes, but what silence! For it is all very fine to keep silence, but one has also to consider the kind of silence one keeps."

"An intellectual is a person who's found one thing that's more interesting than sex."

"There is no coming to consciousness without pain. People will do anything, no matter how absurd, in order to avoid facing their own soul. One does not become enlightened by imagining figures of light, but by making the darkness conscious."

"Every breaking away from the conventional, dead, official cinema is a healthy sign. We need less perfect but more free films. If only our younger film makers – I have no hopes for the old generation – would really break loose, completely loose, out of themselves, wildly, anarchically! There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses."

"Cada plano isolado vale por um filme, é um filme. Foi assim que a história do cinema começou. Lumière: O almoço do bebê é uma cena simples, a mulher e a criança; por trás, as folhas das árvores se movem. Existe um equilíbrio entre os galhos que se movem e a historinha em primeiro plano. Este equilíbrio é o melhor de tudo. Cada parte da imagem vive, independentemente, e isto é bom de ver. A indústria do cinema procura exatamente eliminar este equilíbrio. Se você elimina a historinha contada num filme convencional, as imagens se tornam absurdas, sem vida. Se você elimina a historinha de qualquer de meus filmes, ou a historinha contada num filme de Dovjenko, ou nos filmes de vários outros como nós, restará sempre um jardim de imagens. E, tal como num jardim as imagens não precisam formar um conceito claro. Você nem precisa entendê-las, basta fazer o que se faz num jardim: caminhar, caminhar entre elas"

"But here’s the thing
 I am not there
I have fallen to misty pieces
yet you attempt to name and embed me."

"I suppose I give as much as I want to give. I decide immediately if I like a person and if I do, then I'm myself, and if I don't, then I give nothing. (...) But people do have completely the wrong idea about me, almost the opposite, in fact. And I'm quite happy for it to be like that. Do I want loads of people to know who I am? I'd much rather they didn't have a clue."

"Talkies substituted passive participation instead of the deeper state of active communion that silence encouraged."

"(...) I simply looked at the world, not really prepared for anything.”

"Many is the mirage I chased. Always I was overreaching myself. The oftener I touched reality, the harder I bounced back to the world of illusion, which is the name for everyday life. 'Experience! More experience!' I clamored. In a frantic effort to arrive at some kind of order, some tentative working program, I would sit down quietly now and then and spend long, long hours mapping out a plan of procedure. Plans, such as architects and engineers sweat over, were never my forte. But I could always visualize my dreams in a cosmogonic pattern. Though I could never formulate a plot I could balance and weigh opposing forces, characters, situations, events, distribute them in a sort of heavenly lay-out, always with plenty of space between, always with the certitude that there is no end, only worlds within worlds ad infinitum, and that wherever one left off one had created a world, a world finite, total, complete."

"The confusion is not my invention. We cannot listen to a conversation for five minutes without being aware of the confusion. It is all around us and our only chance now is to let it in. The only chance of renovation is to open our eyes and see the mess. It is not a mess you can make sense of."

"I see only one common point shared by young directors: we all play pinball while older directors drink scotch and play cards."

"It’s good to be free; for then you can sleep and let desire and malaise follow each other without caring what happens. I’m going to become completely rusty."

"Boring damned people. All over the earth. Propagating more boring damned people. What a horror show. The earth swarmed with them."

"But your solitude will be a support and a home for you, even in the midst of very unfamiliar circumstances, and from it you will find all your paths." 

"'Como todo mundo, sinto necessidade da família e dos amigos, de afeto e contatos amigáveis. Não sou feito de pedra ou de ferro, como um hidrante ou um poste.'
Talvez seja isto o que realmente conta: chegar ao cerne do sentimento humano, apesar das evidências."

"And what next? (...) Little by little everything will return to normal. I'll find new interests, new acquaintances, but I won't be able to devote all of myself to them. (...) The only thing left to for me is to wait."

"We question life to seek out some meaning. Yet to preserve all the simple human truths we need mysteries. The mystery of happiness, death, love. (...)"

"Yes, what I need now is a touch of the unimaginable, coloured for preference, that would do me good."

"Religion comes from the period of human prehistory where nobody — not even the mighty Democritus who concluded that all matter was made from atoms — had the smallest idea of what was going on. It comes from the bawling and fearful infancy of our species, and is a babyish attempt to meet our inescapable demand for knowledge (...)"

"Normally I didn’t see a great deal. I didn’t hear a great deal either. I didn’t pay attention. Strictly speaking I wasn’t there. Strictly speaking I believe I’ve never been anywhere."

"Won't let the creeping ivy
Won't let the nervous bury me
Our veins are thin
Our rivers poisoned"

"When you're in the muck, you can only see muck. If you somehow manage to float above it, you still see the muck, but you see it from a different perspective. And you see other things, too. That's the consolation of philosophy"

sobre tudo aquilo que não se pode controlar.

"(...) The intervention of the camera necessarily distorts and alters human behaviour, ergo the resulting piece of film cannot be objective or truthful so that film is deemed to have failed. Why failure? It is perhaps more generous and worth while to simply accept that a documentary can never be the real world, that the camera can never capture life as it would have unravelled had it not interfered, and the results of this collision between apparatus and subject are what constitutes a documentary – not the utopian vision of what might have transpired if only the camera had not been there."

"There are too many ideas and things and people. Too many directions to go. I was starting to believe the reason it matters to care passionately about something, is that it whittles the world down to a more manageable size."

"I am free and that is why I am lost."

da aniquilação pela vida prática: dois meses já planejados pra domínio do photoshop.

(e a consequente constante criação surgida disto)

sobre este ano: percepção de isolamento é apenas real na sua forma mais crua.

após a percepção, a busca por sua aniquilação.

negação do terceiro sujeito, e retorno ao primeiro.

"Quando a tecnologia e o dinheiro tiverem conquistado o mundo; quando qualquer acontecimento em qualquer lugar e a qualquer tempo se tiver tornado acessível com rapidez; quando se puder assistir em tempo real a um atentado no ocidente e a um concerto sinfônico no oriente; quando tempo significar apenas rapidez online; quando o tempo, como história, houver desaparecido da existência de todos os povos, quando um esportista ou artista de mercado valer como grande homem de um povo; quando as cifras em milhões significarem triunfo, - então, justamente então – reviverão como fantasma as perguntas: para quê? Para onde? E agora? A decadência dos povos já terá ido tão longe, que quase não terão mais força de espírito para ver e avaliar a decadência simplesmente como... Decadência. Essa constatação nada tem a ver com pessimismo cultural, nem tampouco, com otimismo... O obscurecimento do mundo, a destruição da terra, a massificação do homem, a suspeita odiosa contra tudo que é criador e livre, já atingiu tais dimensões, que categorias tão pueris, como pessimismo e otimismo, já haverão de ter se tornado ridículas."

"It tastes like ashes."

"[the existence of God, life after death, the meaning of life] were always obsessions of mine, even as a very young child. These were things that interested me as the years went on. My friends were more preoccupied with social issues-issues such as abortion, racial discrimination, and Communism-and those issues just never caught my interest. Of course they mattered to me as a citizen to some degree...but they never really caught my attention artistically. I always felt that the problems of the world would never ever be solved until people came to terms with the deeper issues-that there would be an aimless reshuffling of world leaders and governments and programs. There was a difference, of course, but it was a minor difference as to who the president was and what the issues were. They seemed major, but as you step back with perspective they were more alike than they were different. The deeper issues always interested me."

"In the times of bigness, spectaculars, one hundred million dollar movie productions, I want to speak for the small, invisible acts of human spirit: so subtle, so small, that they die when brought out under the Klieg lights. I want to celebrate the small forms of cinema: the lyrical form, the poem, the watercolor, etude, sketch, portrait, arabesque, and bagatelle, and little 8mm songs. In the times when everybody wants to succeed and sell, I want to celebrate those who embrace social and daily failure to pursue the invisible, the personal things that bring no money and no bread and make no contemporary history, art history or any other history."

"It is when we try to grapple with another man’s intimate need that we perceive how incomprehensible, wavering, and misty are the beings that share with us the sight of the stars and the warmth of the sun. It is as if loneliness were a hard and absolute condition of existence; the envelope of flesh and blood on which our eyes are fixed melts before the outstretched hand, and there remains only the capricious, unconsolable, and elusive spirit that no eye can follow, no hand can grasp."

"And they say there is no fate, but there is: it's what you create. And even though the world goes on for eons and eons, you are only here for a fraction of a fraction of a second. Most of your time is spent being dead or not yet born. But while alive, you wait in vain, wasting years, for a phone call or a letter or a look from someone or something to make it all right. And it never comes or it seems to but it doesn't really. And so you spend your time in vague regret or vaguer hope that something good will come along. Something to make you feel connected, something to make you feel whole, something to make you feel loved. And the truth is I feel so angry, and the truth is I feel so fucking sad, and the truth is I've felt so fucking hurt for so fucking long and for just as long I've been pretending I'm OK, just to get along, just for, I don't know why, maybe because no one wants to hear about my misery, because they have their own. Well, fuck everybody."

"Interior liberty is universal."

"(...) But you must have imperfect hours to get perfect hours. You must kill ten hours to make two hours live. What you must be careful of is not to kill all the hours, all the years."

note to self: creation can come from routine.

"For Peixoto, the experience offered by Limite cannot be adequately captured by language, but was made to be felt. Therefore, the spectator should subjugate himself to the images as to “anguished cords of a synthetic and pure language of cinema”. According to the director, his film is “meticulously precise as invisible wheels of a clock”, where long shots are surrounded and linked by shorter ones as in a “planetary system”. Peixoto characterizes Limite as a “desperate scream” aiming for resonance instead of comprehension. “The movie does not want to analyze. It shows. It projects itself as a tuning fork, a pitch, a resonance of time itself”, capturing the flow between past and present, object details and contingence as if it had always “existed in the living and in the inanimate”, or detaching itself tacitly from them."

"There are days when solitude, for someone my age, is a heady wine that intoxicates you with freedom, others when it is a bitter tonic, and still others when it is a poison that makes you beat your head against the wall."

"Our heads are round so thought can change direction."

sobre a época da ignorância (imposta pelo cinema):

quentin tarantino e robert rodriguez deveriam ser proibidos de fazer filmes.

em oposição, david lynch em 1080p é alucinante.