1. I studied film at the University of Southern California for a very short time, but USC left me feeling like I didn’t have any talent. I really didn’t find their methods of teaching were that interesting or exciting. That lack of interest made me start to doubt myself and whether I had made the right choice. I simply said to myself, “Okay, I tried, but I didn’t make it.” I went back to my old job as an engineer… I found a job in Seattle designing computers [at the University of Washington], and started working from eight to five. By the time I was thirty, I felt so old…

    One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn’t go back to Seattle. After ten years my mom was still calling and asking, “When are you coming back to your regular job?”

    Edward Yang

    (Source: strangewood)

  2. reel-drone:

    Like Someone in Love dir. Abbas Kiarostami (2012, Japan/Iran)

    (via andreii-tarkovsky)

  3. Laurence Anyways (2012) dir. Xavier Dolan

    (Source: king-trashmouth, via tarkovskymalick)


  4. kamustakanamare:

    White Feminist Science Fiction as Cinéma Verité, or what else is fuckin’ new: vulnerable white girl aesthetically brutalized at the hands of stock character Asian crime mobsters (apparently in Taipei, but the boss seems to be played by Choi Min-sik,…

  5. My Daily Travel Kit in Bangkok

  6. "There are always bits of myself in my films but sometimes people don’t know that. I used to feel very distant from my films. In my earlier films, I really kept myself out of the picture. But now every film is more or less a personal experience, from dreams or from people close to me. That’s why I keep making films in certain locations. They are mostly places where I cherish my childhood memories. I keep revisiting them to try to—how do you say—reinterpret my memories. […] I think this is one of the reasons I make films: my personal memories are always interwoven with those from various other sources, reading, listening and traveling (my own travels and those of others). It was hard then to remember the real past clearly, so I made films without knowing how true they really were. This was an important detail; it was like waking the dead and giving them a new soul, making them walk once more. It is the same when writing, sometimes it is just our imagination, arising from our desire to remember, as Gabriel García Márquez wrote: ‘The memory is clear but there is no possibility that it is true.’" — Apichatpong Weerasethakul

    (Source: strangewood, via weerasethakul)

  7. Midnight in Bangkok

  8. La Vie En Rose 

    (Source: judidenchs, via filmsaremything)

  9. omglikeomg:

    Collages made by me based on movie stills.

  10. The only shirt that matters