Il bello del mio mestiere: Scritti sul cinema by Martin Scorsese

By Martin Scorsese

"Il bello del mio mestiere. Scritti sul cinema" è una raccolta di saggi e interviste in cui Scorsese ricorda e commenta i movie che ha girato e quelli che ha amato, gli attori con cui ha lavorato e i registi a cui si è ispirato; poi ci fa entrare idealmente nell'"officina" dell'artista raccontando in dettaglio l. a. produzione delle sue opere, dalla sceneggiatura alla colonna sonora al montaggio.

Questo libro raccoglie, tradotti in step with los angeles prima volta fuori dalla Francia (titolo originale: Mes plaisirs de cinéphile : textes, entretiens, filmographie, Éditions Cahiers du Cinéma, 1998), gli articoli scritti da Martin Scorsese in step with una delle più autorevoli riviste di cinema del mondo (e in particolare quelli realizzati in keeping with il numero 500, di cui Scorsese è stato curatore), nonché interviste e conversazioni finora inedite in Italia. Il regista americano racconta in prima personality i suoi capolavori, dal rapporto con gli attori (Robert De Niro su tutti) alla sceneggiatura, dalla colonna sonora agli aspetti tecnici del montaggio, e commenta con los angeles passione del cinefilo e l'esperienza del grande maestro i movie che ha amato e l'hanno ispirato, e lo stile dei grandi autori di cui ha subito il fascino fin da ragazzo. Aneddoti dal set, ritratti di amici, riflessioni teoriche, ricordi familiari e dichiarazioni di poetica: una raccolta appassionante e imperdibile in step with qualunque fan del vero cinema d'autore.

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In his conclusion, he states: Introduction 17 Most people are principally aware of one culture, one setting, one home; exiles are aware of at least two, and this plurality of vision gives rise to an awareness of simultaneous dimensions, an awareness that – to borrow a phrase from music – is contrapuntal. (2000: 186) To what extent is contrapuntal awareness something different from exile and nomadism? Instead of a single view of home from a distant homeland, with all its attendant melancholy, resentment, or longing, what of the more complex dual viewpoint – this contrapuntal to-ing and fro-ing of the dislocated – and how it might be rendered in aesthetic terms?

15 Buñuel directing Jeanne Moreau in Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 16 Filming Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 17 Buñuel and Jeanne Moreau on the set of Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 18 Jean Sorel, Luis Buñuel, and Catherine Deneuve on the set of Belle de jour. Courtesy of the Filmoteca Española. 19 Michel Piccoli, Catherine Deneuve, and Buñuel filming Belle de jour. Courtesy of the Filmoteca Española.

Moreover, it is in this last period of creativity from Buñuel that Deleuze, following Jean-Claude Bonnet, notes a change in the regime of dream or fantasy in his films that is “less a question of a state of the imaginary than of a deepening of the problem of time” (Deleuze, 2005b: 99). Thus, the deployment of two very different actresses (Carole Bouquet and Introduction 39 Ángela Molina) to play the same role in Cet obscur objet du désir is not a jape or a fantasy but a fact. As Deleuze contends: It is as if Buñuel’s naturalist cosmology, based on the cycle and the succession of cycles, gives way to a plurality of simultaneous worlds; to a simultaneity of presents in different worlds.

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