In 1930, Charlie Chaplin and Sergei Eisenstein got together to “play” tennis, literally. Eisenstein spent considerable time with Charlie Chaplin, who recommended that Eisenstein meet with a sympathetic benefactor in the person of American socialist author Upton Sinclair, who would later arrange for Eisenstein to go to Mexico.
More great stuff from the Lenguaje Cinematográfico: Robert Bresson [Notes on Cinematography] expressed its position on the art of film in an interview that Paul Schrader, writer of Taxi Driver, made in 1972. Public pdf below.
“It is a reflection on life, and life does not always have clear meanings.” —Akira Kurosawa
THE MOST IMPORTANT requirement for editing is objectivity. No matter how much difficulty you had in obtaining a particular shot, the audience will never know. If it is not interesting, it simply isn’t interesting. You may have been full of enthusiasm during the filming of a particular shot, but if that enthusiasm doesn’t show on the screen, you must be objective enough to cut it. EDITING IS truly interesting work. When the rushes come up, I rarely show them to my crew exactly as they are. Instead I go to the editing room when shooting is over that day and with the editor spend about three hours editing the rushes together. Only then do I show them to the crew. It is necessary to show them this edited footage for the sake of arousing their interest. Sometimes they don’t understand what it is they are filming, or why they had to spend ten days to get a particular shot. When they see the edited footage with the results of their labor, they become enthusiastic again. And by editing as I go along, I have only the fine cut to complete when the shooting is finished. —Akira Kurosawa, Something Like an Autobiography [pdf] (For educational purposes only)
A brilliant book, and a MUST HAVE for anyone interested in film. Something Like An Autobiography is available on Amazon.