eerilyschtum.

“sometimes I wonder if you were the one, when you opened the door, cracked me wide open, something about it doesn't sit right with me, and how could it be? when I walk away, it always comes in threes, we don't get on, can't make you laugh, personality, but I don't invest the way I'd prefer, someone to in me, I really hate to admit it, I put my pride on the line, 'cause when I met you, I knew it, I'd thank you for your time, I'd thank you for your time, thank you for the time, sometimes I want somebody to see me, how you opened my doors and left them wide open, why doesn't this happen more naturally? if I tried, maybe, when you're lonely, you'll just do anything to drink it all up, the feeling, it's the memory, that's when it all aligns, I can really see what you meant to me, I really hate to admit it, I put my pride on the line, 'cause when I met you, I knew it, I'd thank you for your time, I'd thank you for your time, thank you for the time, all because of you, all because of you, I really hate to admit it, I put my pride on the line, 'cause when I met you, I knew it, I'd thank you for your time, I'd thank you for your time, thank you for the time.”

یکی از دلایلی که این فیلم رو برای من خیلی عزیز کرده، شخصیت اصلیشه. وقتی ادیث کلور رو دیدم، یاد مامان‌بزرگم افتادم، کسی که چند سال قبل از به دنیا اومدن من از دنیا رفته و من هیچ‌وقت فرصت نکردم ببینمش. با توجه به عکس‌هایی که ازش دیده بودم، به نظرم ادیث خیلی شبیه مامان‌بزرگم بود و وقتی عکسش رو به مامانم نشون دادم، اون هم تأیید کرد که واقعا شباهت زیادی بینشون هست. شاید دلیل خاص یا مهمی به نظر نرسه، اما دیدن اون شباهت یه حس دلگرمی عجیبی توی وجودم روشن کرد، انگار برای چند لحظه، از طریق یک شخصیت خیالی، به کسی نزدیک شدم که هیچ‌وقت فرصت شناختنش رو نداشتم.

— The Left-Handed Woman, 1977 Dir. Peter Handke

“here's room five-four-six, it's enough to make you sick, brigid's all wrapped up in foil, you wonder if she can uncoil, here they come now, see them run now, here they come now, chelsea girls, here's room one-fifteen, filled with s and m queens, magic marker row, you wonder just how high they go, here they come now, see them run now, here they come now, chelsea girls, here's pope, dear ondine, rona's treated him so mean, she wants another scene, she wants to be a human being, here they come now, see them run now, here they come now, chelsea girls, pepper, she's having fun, she thinks she's some men's son, her perfect loves don't last, her future died in someone's past, here they come now, see them run now, here they come now, chelsea girls, dear ingrid's found her lick, she's turned another trick, her treats and times revolve, she's got problems to be solved, here they come now, see them run now, here they come now, chelsea girls, poor Mary, she's uptight, she can't turn out her light, she rolled susan in a ball, and now she can't see her at all, here they come now, see them run now, here they come now, chelsea girls, drop out, she's in a fix, amphetamine has made her sick, white powder in the air, she's got no bones, and can't be scared, here they come now, see them run now, here they come now, chelsea girls, here comes johnny bore, he collapsed on the floor, they shut him up with milk, and when he died, sold him for silk, here they come now, see them run now, here they come now, chelsea girls, here they come now, see them run now, here they come now, chelsea girls.”

”سینما زبان خودش را دارد و می‌توانی با آن چیزهای زیادی بگویی، چون زمان و ترتیب رویدادها در اختیار تو است. دیالوگ داری، موسیقی داری، جلوه‌های صوتی داری، ابزارهای زیادی در اختیار داری. پس می‌توانی احساس یا فکری را بیان کنی که به شیوهٔ دیگری قابل بیان نیست. این رسانه سحرآمیز است. برای من فکر کردن به این تصاویر و اصوات بسیار زیباست؛ آن‌ها در کنار هم طی زمان و به ترتیب جاری می‌شوند و چیزی را می‌سازند که تنها سینما از پس آن بر می‌آید. فقط واژه‌ها یا موسیقی نیستند، بلکه مجموعه عناصری هستند که گرد هم می‌آیند و چیزی را می‌سازند که قبلا وجود نداشته است. با آن می‌توان قصه گفت و دنیا یا تجربه‌ای را ابداع کرد که مردم تا پیش از دیدن فیلم، بهره‌ای از آن نداشته‌اند.“ — صید ماهی بزرگ، از دیوید لینچ

”با خراب کردن، چیزی کشف می‌شود و روی خرابه بنا می‌گردد. طبیعت نقش مهمی در این امر بازی می‌کند. کنار هم قرار دادن مواد ناهمگون — مثل پختن چیزی در دمای آفتاب یا استفاده از ماده‌ای که با دیگری در تضاد است — واکنش طبیعی خود را به بار می‌آورد و این باعث می‌شود که بنشینی و بارها و بارها بررسی کنی؛ بعد یک‌دفعه می‌بینی بلند شده‌ای و می‌روی سروقت کار بعدی. این یعنی کنش و واکنش.“ — صید ماهی بزرگ، از دیوید لینچ

— des chats duveteux et l'art au fil des instants d’automne

“between the gaps, I was swimming laps, got close to some epiphany, I'll convince a friend to join deep ends, have your toes touch the lack of cement, we'll gather to our corner of the woods, echo chambers inside a neighborhood, in centerfold, humility's shown, you're not as good as what your mama's sewn, aren't you glad that you reside in a hell and in disguise? nobody yet everything, a pool to shed your memory, could you say you've even tried? you haven't called your family twice, I can hope tonight goes differently, but I show up to the party just to leave, between the gaps, keep it under wraps, how I got to some epiphany, I'll convince myself when it turns to twelve, the photos keep the sentiment, we'll gather to our corner of the woods, echo chambers inside a neighborhood, in centerfold, humility's shown, you're not as good as what your mama's sewn, aren't you glad that you reside in a hell and in disguise? nobody yet everything, a pool to shed your memory, could you say you even tried? you haven't called your family twice, I can hope tonight goes differently, but I show up to the party just to leave, pulling back, I tried to find the point of wasting precious time, I sip and toast to normalcy, a fool's way into jealousy, I mock and imitate goodbyes when I know that I can't deny, that I'll be here forever-while, I show up to the party just to leave.”

“I hope that you don't start to lose all the sounds I found in you, as it goes, I can't explain why we feel so uncertain, and as it stems, it fades away, on a hopeful day, it does the same, as it goes, I can't explain, why we feel so uncertain, and as it stems it fades away, on a hopeful day, that's not the same, I dare to find, you never choose, but in the calm, I find my truth, as it goes, I can't explain, why we feel so uncertain, and as it stems it fades away, on a hopeful day, it does the same, as it goes, I can't explain, why we feel so uncertain, and as it stems it fades away, on a hopeful day, that's not the same.”

— Jennifer's Body, 2009 Dir. Karyn Kusama