ca. 1860-90’s, [carte de visite portrait of an enigmatic figure with an obscuring umbrella]
June Marlowe c. late 1920s
A Picture of the Sky and the Earth - Vladimir Dunjić
Vigil 3 (2013)
charcoal on paper | 15 x 10 in.
Sergei Parajanov/ The Color of Pomegranates
Die Triumphirende Liebe/ umgeben Mit den Sieghafften Tugenden : In einem Ballet Auff dem Hochfürstlichen Beylager/ Des … H. Christian Ludowigs/ Hertzogen zu Brunswig und Lüneburg [et]c. Gehalten/ mit Der … Fräulein Dorothea/ Hertzogin zu Schleßwi…/ Stephan Körner. - Hamburg : Rebenlein, 1653
"Private Confessions he said was one of his favorite films, and he wanted me to do it because he felt that I really believed in God and did not question him. He claimed he could never do that film because, as he said, "I don’t believe in God." But I don’t think it was true. With Faithless, he wasn’t allowed to see it until it was finished and edited. There, he had things that he didn’t like or wanted taken out of the film. Because the film was so personal, he felt maybe I had overspread or lied because I knew him so well. But the strange thing about the movie: There’s a character Erland Josephson plays, called “Bergman,” and Ingmar said that this character is not him, that he just happened to give him that name, which is funny. But there’s a scene where “Bergman” goes to a window and he looks out and sees himself walking on the beach. That scene is not in the script. And Ingmar said, "You have to take that out. Take that out." And so I took it out when it was shown in Cannes, but later Ingmar called me and said to put it back in. And the strange thing is that when Ingmar made his own documentary much later, there is a scene where he’s sitting at his writing table, and then he gets up from his table and goes to the window and looks out, and who does he see on the beach but himself?"
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