On this day in 1893, silent superstar Lillian Gish was born in Springfield, Ohio. In 1988, I wrote to her asking if silent films had actual dialogue written out in the scripts or if there was just a general description of what was being said. This was her remarkable reply.

Letter from Renoir to Chaplin about Chaplin's unfinished film The Freak, 1968

unseen John Ford silent ft Harry Carey unearthed in Chile!!

Serge Daney's THE EXERCISE WAS BENEFICIAL, SIR, for the first time in English––the first 16 pages––translated by Laurent Kretzschmar and myself. Includes Jean-Claude Biette's Introduction, + other material/links. 🧣 kinoslang.blogspot.com/2024/12/the-ex… [script note by Lang on MOONFLEET]

John Ford directing hula girls on the set of DONOVAN'S REEF.

Brünnhilde, 1936

at the Cinématheque française La Cinémathèque The "Bible" of Murnau's FAUST A collage-book of photos and drawings gathered by Robert Herlth, one of the film's set designers. Comprised of over 400 images, the "Bible"was given to Murnau at the end of filming, on March 24, 1926.

Deleuze weighing in on laughing during screenings

"Eric Rohmer by his friend trufo"

Dog #artbots #bacon

Akira Kurosawa

Some essential Luc Moullet-related reading courtesy of the Film Comment Magazine archives: - Moullet’s tribute to his New Wave compatriot Jean Eustache. - Jonathan Rosenbaum’s essay ‘À la recherche de Luc Moullet,’ the first major piece of writing about Moullet in English.

A commissioned cover painting by Johnny Craig of Vault of Horror no. 25 🔮🧟‍♂️

Samuel Beckett's letter to Sergei Eisenstein from 1936, asking to be admitted to his film school

"What bothers me about the screen, whether it's a TV or a computer, is that the sound goes with the image and we believe what we are seeing. That's advertising." Revisit Jean-Luc Godard in conversation with Dmitry Golotyuk and Antonina Derzhitskaya for Débordements, translated

Jean-Luc Godard on Contempt (1963): "Moravia’s novel is a nice, vulgar one for a train journey, full of classical, old-fashioned sentiments in spite of the modernity of the situations. But it is with this kind of novel that one can often make the best films. I have stuck to

Fritz Lang on Jean-Luc Godard: "I like him a great deal: he is very honest, he loves the cinema, he is just as fanatical as I was. In fact, I think he tries to continue what we started one day, the day when we began making our first films. Only his approach is different. Not