ELIA KAZAN

BELIEVE IN YOURSELVES, IN YOUR OWN PERFORMANCES..

EVERY FIGHTER HAS ONE FIGHT THAT EITHER MAKES OR BRAKES HIM.

JEAN LUC GODARD

ALL YOU NEED FOR A MOVIE IS A GUN AND A GIRL

CINEMA IS THE MOST BEAUTIFUL FRAUD IN THE WORLD

TO BE OR NOT TO BE, THAT'S REALLY NOT A QUESTION

LAWS OF POWER

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LAW 1- NEVER OUTSHINE THE MASTER- YOU WILL ATTAIN THE HEIGHTS OF POWER

LAW 2-NEVER PUT TOO MUCH TRUST IN FRIENDS, LEARN HOW TO USE ENEMIES

LAW 3- CONCEAL YOUR INTENTIONS

LAW4- ALWAYS SAY LESS THAN NECESSARY

LAW 5- SO MUCH DEPENDS ON REPUTATION- GUARD IT WITH YOUR LIFE

LAW 6- COURT ATTENTION AT ALL COSTS

LAW 7-WIN THROUGH THE ACTIONS, NEVER THROUGH ARGUMENT

LAW 8- INFECTION- AVOID THE UNHAPPY AND UNLUCKY

POSE AS A FRIEND, WORK AS A SPY-----------

CRUSH YOUR ENEMY TOTALLY

USE ABSENCE TO INCREASE RESPECT AND HONOUR

KLUTE...................................

1971-USA 114 MIN THRILLER

"TELL ME, KLUTE. DID WE GET YOU A LITTLE? HUH? JUST A LITTLE BIT? US CITY FOLK? THE SIN, THE GLITTER, THE WICKEDNESS?"

"JANE FONDA DOMINATES THE FILM FROM HER FIRST TO HER LAST APPEARANCE. IN A BRILLIANT PERFORMANCE THAT ALMOST BURSTS THE CONFINES OF THE CHARACTER SHE PLAYS, SHE COMBINES SUBTLE EXPRESSIVENESS WITH INTELLIGENCE AND FEMININE SELF-ASSURANCE. YET SHE ALSO SHOWS THE SUFFERING AND UNCERTAINTY OF A LONELY HUMAN BEING"

THIS FILM BELONGS TO JANE FONDA. SHE PORTRAYS A PROSTITUTE WHO IS BOTH THE CLASSIC VICTIM AND THE CAPTAIN OF HER FATE.

THE BEGUILED

1971 USA 105 MIN WESTERN

"IM GOING TO HAVE TO WATCH YOU FROM NOW ON. YOU MIGHT JUST DECIDE TO CUT OFF MY OTHER LEG"

This is my house ......

STRAW DOGS

1971 GREAT BRITTAIN/USA 118 MIN THRILLER

"THE FILM IS A PROVATION AND A DIAGNOSIS. IT TAKES THE HYSTERICAL DEBATE ABOUT THE PORTRAYAL OF VIOLENCE IN THE MEDIA TO NEW HEIGHTS, THUS QUESTIONING ITS OWN RIGHT TO EXIST. WITHDRAWAL TREATMENTS OF THIS KIND ARE VITALLY NECESSARY"

"I CAN THINK OF NO OTHER FILM WHICH SCREWS VIOLENCE UP INTO SO TIGHT A KNOT OF TERROR TAHT ONE BEGINS TO FEEL THAT CIVILIAZATION IS CRUMBLING BEFORE ONE'S EYES"

God's lonely man

Martin Scorsese was the second great Italian-American director to make a breakthrough. In contrast to CAPPOLA, the son of established middle-class parents, Scorsese came from a poor family of Sicilian immigrants to New York. He grew up in Little Italy and had first hand experience of life on the mean streets: the claustrophobic narrowness, the co existence of the catholic church and the Mafia. The open and respressed aggression.