This book, which consists of interviews with the director and in-depth articles about the director's cinema, as well as an interview with Andy Warhol, gives a 'Hitchcock touch' to world cinema with cult films such as "Birds", "Rebecca", "Secret Agent", "We Want to Live" and many more. It is a satisfying study of Alfred Hitchcock's cinema, with the director's perspective on the cinema, key clues to the shooting process, his sense of fear, and surprising views on his relationship with the audience… (From the Bulletin)
“As in all branches of art, there is only one choice in terms of cinema principles. As Camus said, it is the artist's revolt against actuality. After strict adherence to this principle, what does it matter what tools are used to reveal reality? Whatever a film critic finds in a novel, a news story, or in his imagination, what matters is the way he or she confines, shelters, shapes and appropriates what he finds. If it can do that, it doesn't matter where the source is. ” (Antonioni)
The End Of The Fucking World: “When I was 16, I thought I was in love with Alyssa…” James and Alyssa are two teenagers facing the fears of approaching adulthood. As we listen to their stories alternately from their own mouths in each episode, we witness that these very familiar adolescence experiences evolve into a nihilistic end. The increasingly sociopathic character James forces the duo to the menacing end of a forced journey like “Badlands” or “The Catcher in the Rye”.
"After imitating my father and writing poetry, and then quitting writing poetry to get rid of my father, my first step into the cinema was as Pasolini's assistant. Pasolini was inventing a language and I was his assistant. All the love and passion one would expect from a bourgeois who chose Marxism at that time. I was a Marxist full of despair and arguments. We used to fall asleep at night with arguments and dreams, and at dawn we opened our eyes not to the morning but to the future. Our guides were Rosselini and Godard. Actually, I think cinema is always political, but all films made within the system are also open to exploitation by the system. .