por aí

1) [...]“blithely neglectful of basic storytelling tropes in order to indulge his auteurist peccadillos” (Time Out New York) [...]. Ou seja, a minha expectativa é cada vez maior e feliz. And I want my scalps!

2) JLG: I put in Hitchcock because during a certain epoch, for five years, in my opinion, he really was the master of the universe. More than Hitler, more than Napoleon. He had a control of the public that no one else had.

JR: What about Ronald Reagan? Didn’t he have the same control?

Esta pergunta de Rosenbaum não é nada despicienda. Lembro-me que em petiz Reagan exercia sobre mim um tal controlo que não foram poucas as vezes em que, durante um certo período (que mais tarde viria a saber tratar-se do "caso Líbano"), eu pensei que ele desembarcaria na terrinha e exerceria o seu "controlo" da maneira mais brutal possível. Ecos de uma era em que em casa se começava a ouvir Zeca Afonso por volta do pequeno-almoço.

3) Imagine being JVS and you're basically living at Marlene's estate, painting a picture out on the lawn and here comes Gary Cooper's car and you know that you wont be sleeping with Marlene all weekend, and will just have to wait til she gets bored of Cooper, who is taller and younger than you, etc. Do you throw your canvas to the ground and have a fit? Get a gun and run around the estate like the thuggish gamekeeper in Rules of the Game? Neither one will get you anywhere but in jail or laughed at. The artist Von Sternberg on the other hand lives for that moment, converting the emotional energy via artistic sublimation, Sternberg's painting merely becomes darker and more twisted... better, in short.

Apontar no caderno diário: vantagens artísticas de ser corno.