![mizoguchi:
One of the greatest struggles in a human life is against time. We confine ourselves to some routines, we think it’s time—and it’s not, it’s just action. But if you think of time, it’s just about death and mortality and so are my films. I struggle with time but also respect space; they go together. For them to harmonize in my praxis I need to do long takes or one take. I’m trying to be truthful. I don’t want to manipulate time or space. I’m trying to subordinate the idea that [in cinema] we’re just following the characters.
— Lav Diaz [x]](http://24.media.tumblr.com/1d983e20c604c105a2d88bd1c63feb6c/tumblr_mhk7dajbPz1qzg2mso1_250.jpg)
“A reason behind the renewal of Iranian cinema — one of the most important — was the banning of Hollywood films. That was the only positive point about censorship in Iran. The rest of the time it only did damage. They shouldn’t have banned them completely, just set up national quotas. Why stand by idly? What about our voice? What is this monologue? Why are 90% of cinemas in the grip of Hollywood? Do other countries not have thinkers or images? Dreams or sorrows? Why do some countries not have filmmakers? Why should one country do our dreaming for us and impose its lifestyle?”— Mohsen Makhmalbaf, Iran: A Cinematographic Revolution (via aloofshahbanou)
(via unpopularculture)
