"I opened the window of my room, which was on the second floor and, pretending that my diploma was a telescope, I surveyed as much of the world as I could see. Then I threw the diploma down on the desk and lay on the floor in the middle of the room. In that position, I though back over my past and tried to imagine what my future would be. I thought about my diploma lying on the desk and, though it seemed to have significance as a kind of symbol of the beginning of a new life, I could not help feeling that it was a meaningless scrap of paper too." |
| ~ Kokoro, Natsume Soseki (via allyrsongs) |
![bbook:
criterioncorner:
THIS IS THE STORY OF HOW ANNA KARINA & JEAN-LUC GODARD FIRST “GOT TOGETHER”
Anna Karina: That happened while we were shooting the picture in Geneva. It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long. We were like animals. One night we were at this dinner in Lausanne. My boyfriend, who was a painter, was there too. And suddenly I felt something under the table – it was Jean-Luc’s hand. He gave me a piece of paper and then left to drive back to Geneva. I went into another room to see what he’d written. It said, “I love you. Rendezvous at midnight at the Café de la Prez.” And then my boyfriend came into the room and demanded to see the piece of paper, and he took my arm and grabbed it and read it. He said, “You’re not going.” And I said, “I am.” And he said, “But you can’t do this to me.” I said, “But I’m in love too, so I’m going.” But he still didn’t believe me. We drove back to Geneva and I started to pack my tiny suitcase. He said, “Tell me you’re not going.” And I said, “I’ve been in love with him since I saw him the second time. And I can’t do anything about it.” It was like something electric. I walked there, and I remember my painter was running after me crying. I was, like, hypnotized – it never happened again to me in my life.
So I get to the Cafe de la Prez, and Jean-Luc was sitting there reading a paper, but I don’t think he was really reading it. I just stood there in front of him for what seemed like an hour but I guess was not more that thirty seconds. Suddenly he stopped reading and said,” Here you are. Shall we go?” So we went to his hotel. The next morning when I woke up he wasn’t there. I got very worried. I took a shower, and then he came back about an hour later with the dress I wore in the film - the white dress with flowers. And it was my size, perfect. It was like my wedding dress.
We carried on shooting the film, and, of course, my painter left. When the picture was finished, I went back to Paris with Jean-Luc, Michel Subor, who was the main actor, and Laszlo Szabo, who was also in the film, in Jean-Luc’s American car. We were all wearing dark glasses and we got stopped at the border – I guess they thought we were gangsters. When we arrived in Paris, Jean-Luc dropped the other two off and said to me, “Where are you going?” I said, “I have to stay with you. You’re the only person I have in the world now.” And he said, “Oh my God.”
Extract taken from an interview with Anna Karina conducted by Graham Fuller in Projections 13: Women Film-makers on Film-making, edited by Isabella Weibrecht, John Boorman and Walter Donohue (Faber & Faber, 2004)
(via Focus Features)
[please insert my guttural weeping]](http://25.media.tumblr.com/tumblr_m4lh4xsk401qebry0o1_400.jpg)
"It was beautifully awkward at times — how she misses the kiss with Jay Pharoah because he’s bowing to her, how Bobby Moynihan ducks away in a hurry because he’s losing it, how seeing Bill Hader is the moment she starts to buckle and the first one where there’s no gag to the dance. And then how grateful she is that Kenan Thompson shows up and does a little “keep going” reset for her and makes her smile, how she and Seth Meyers boogie because that’s who they are, and how that moment with Sudeikis is obviously completely wrecking — he doesn’t look right for the rest of the number, honestly. And of course, because it’s live television, Andy Samberg doesn’t realize he’s almost pulling her dress up. And of course, because she’s not made of stone over here, she sneaks in a hug with Jon Hamm as the credits are rolling. The whole thing is really pretty perfect, and pretty perfectly human, right down to the fact that it’s so emotional that nobody is paying a lot of attention to the fact that they’re doing a “Ruby Tuesday” singalong with Mick Jagger. You can see, too, the miracle of people who can instantly make other people feel better — that’s what guest Amy Poehler is doing when it turns into that “Ruby Tuesday” singalong. She’s the one my eyes kept returning to when I watched it, because some part of me believes that she’s somebody who left, and who knows that it’s really, really sad to go, but that your life can also get really, really good when you leave something you love to do something else you also might love. And, of course, you can always come home. " |
| ~ Linda Holmes, NPR Monkey See | ‘Saturday Night Live’ Shows Its Heart On Kristen Wiig’s Last Night [x] (via e-pic) (via gigglemonster) |
