Interview with Alain Resnais

La Jetée, directed by Chris Marker in 1963 (inspiration for Terry Gilliam's 12 Monkeys) - 1/3

la jetée (Engl.) 2/3

la jetée (Engl.) 3/3

Stories From the Field - Edited by Isaac Pereira Tavares da Silva

Please visit www.storiesfromthefield.org for further information on this important Film Festival

Mon oncle d'Amerique, directed by Alain Resnais - Excerpts

Prof. Henri Laborit (played by himself) uses the stories of the lives of three people to discuss behaviorist theories of survival, combat, rewards and punishment, and anxiety. Rene (Gerard Depardieu) is a technical manager at a textile factory and must face the anxiety caused by corporate downsizing. Janine (Nicole Garcia) is a self-educated actress/stylist who learns that the wife of her lover is dying and must decide to let them reunite. Jean (Roger-Pierre) is a controversial career-climbing writer/politician at a crossroads in life

Le Mépris, directed by Jean Luc Godard - Opening

Le Mépris: Opening

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Andrei Rublev, directed by Tarkovsky - Initial scenes

Copacabana Mon Amour, directed by Rogério Sganzerla in 1970

"fazer do cinema brasileiro o pior do mundo" - Rogerio Sganzerla
(to make the Brazilian cinema the worst of the world)

Close Encounters of the Third Kind

Blade Runner- "Tears in the rain"

The Magnificent Ambersons, directed by Orson Welles - A few scenes

Lost Highway, directed by David Lynch - Misterious Man Scene

L.A. Confidential - Title Sequence by Pablo Ferro

"M" Fritz Lang movie trailer

The Third Man, directed by Carol Reed - Last Scene

Seven Beauties - Opening Scene

Dr. Strangelove Trailer

After seeing Ferro's commercials, Kubrick hired him to direct the advertising trailers and teasers for Dr. Strangelove and convinced him to resettle in London (Kubrick's base of operations until he died there in March 1999). Ferro was inclined to be peripatetic anyway, and ever anxious to bypass already completed challenges he agreed to pull up stakes on the chance that he would get to direct a few British TV commercials, which he did.

The black and white spot that Ferro designed for Dr. Strangelove employed his quick-cut technique - using as many as 125 separate images in a minute - to convey both the dark humor and the political immediacy of the film. At something akin to stroboscopic speed words and images flew across the screen to the accompaniment of loud sound effects and snippets of ironic dialog.

At a time when the bomb loomed so large in the US public's fears (remember Barry Goldwater ran for President promising to nuke China), and the polarization of left and right - east and west - was at its zenith, Ferro's commercial was not only the boldest and most hypnotic graphic on TV, it was a sly subversive statement.

Dr. Strangelove was key to Ferro's eventual shift from TV to film. And working with Kubrick was the best possible introduction to the movie industry since this relationship bypassed the stultifying Hollywood bureaucracy. Ferro was free to generate ideas and Kubrick was self-confident enough to accept (and sometimes refine) them

A Clockwork Orange and Beethoven

Scenario (in portuguese)

Um dia em que tudo aconteceria
onde todas as criancas fossem abandonadas
Eu queria viver somente nesse unico dia

Naquele dia,
As vitorias seriam lentas e superfluas
Os caminho seriam curvos e diretos

O olhar mudo das ruas me apresentaria
Os conjuntos os altares as lajotas

eu saberia que
ja havia vivido essa vida
e alem dessa muitas outras

que eu ja tinha sido o olhar mudo das pessoas
que eu ja tinha conquistado as farcas, as dores
eu ja saberia

Naquela dia
Eu iria me descobrir do silencio
Eu iria me afastar aos poucos das verdades

Naquele dia
eu iria voltar enfim a casa
e me quedar enfim estatico num soh unico lugar

Naquele dia,
as verdades me corromperiam aos poucos
os caminhos estreitados e os corpos marcados

a primavera se aproximaria
no horizonte calado, irriquieto
e no olhar umido da chuva eu me desbravaria

as vontades seriam prisoes vazias e vendadas
os olhares caidos e atrevidos nada mais desejariam
para tudo haveria mais de um sujeito, um adjetivo

eu queria viver apenas um dia eterno
Um vitorioso dia de amor e paranoias despertas

Naquele dia
os infernos nao seriam mais ignorados
os ceus nao esconderiam mais as estrelas
os sols nao seriam mais vendados

"Pierrot Le Fou" directed by Jean-Luc Godard -Trailer

Godard on "Tout Va Bien" -1973

A forca do momento me apavora (words in portuguese)

de coragem bateu o peito
e dos recantos sombrios sompraram as vozes

de remorso chorou a saudade

as mentiras se julgaram desonestas

de alegria bateu o peito
de saudade bateu o peito
de revolta bateu o peito
de vergonha chorou o soldado

das historias os detalhes foram omitidos - parecia -
e de palavras inumanas e desconhecidas
meu sonho acabado se nutria

Zabriskie Point, directed by Antonioni - Trailer

Chaplin - "The Champion" - Fight Scene

Erich Von Stroheim in "The Great Garbo" -1929

For the ventriloquist Gabbo his wooden dummy Otto is the only means of expression. When he starts relying more and more on Otto, he starts going mad.

The Wedding March, directed by Erich Von Stroheim in 1928

Blind Husbands, directed by Erich Von Stroheim in 1919

Tristana, directed by Luis Bunuel - Trailer

Germany Year Zero, directed by Roberto Rossellini - Final Scene

Attack of the Killer Tomatoes - Police Car Crash

Trainspotting Opening/Ending

Rosemary's Baby Trailer

Clockwork Orange, directed by Stanley Kubrick - Opening scene set with "Atom Heart Mother" by Pink Floyd

Rebel Without a Cause, directed by Nicholas Ray - Trailer

Taxi Driver Trailer

Taxi Driver, directed by Martin Scorsese. Scenes "talking to me"

Scenes of Tron, the first CGI film

Di Cavalcanti, directed by Glauber Rocha - in Portuguese

glauber rocha

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This film is still forbidden to be exibited in Brazil.

Vertigo, directed by Alfred Hitchcock - Trailer