拙时

极为讲究的摄影，构图都来源于油画，宗教题材的油画。

想像力丰富，甚至可以说疯狂，正搞（不是饿搞的恶搞，是肚子里有料）

对蒙古的感情也很真切，对现代化进程的判断也不是流行的二分观念，几乎抛弃所以的异者眼光的拍摄，

完全不跑低劣题材。在这个全球没有电影，没有艺术的环境下，

太难得，

突闻导演下部作品竟然会是安地山脉， 莫非我们这个时代的何索转世？

http://www.fragmentsofgrace.com/

终于看到这部神往以久的纪录片，尽管十年前我就有这张唱片主题专辑，尽管其中提到的片中一大半我都在十年前看过，在忙乱中重温那些精彩的片断绝对是享受。

砂之女的击鼓，陷阱结尾的加料钢琴，怪谈中的木质感的原声都是叹为观止的 杰作。同样难忘片中武满彻谈声音，谈日本的自然观。小林正树谈他的艺术观既反对权贵。

飞翔天堂鸟一片中武满彻的音乐辅助导演最后剪接，给黑泽明进谏，乱片中不用传统音乐，独用战场人声；这些极为可贵的电影音乐观念让人享用不尽。

日本战后那一代导演真是令人敬佩，禁锢后的爆发，人性写照，反思历史的诚意精致前卫的影像。

怪哉， 为什么今日全球膜拜日本战时导演的小津。难道是怀旧式的日本情节。是时候了，翻出书箱里藏的日本新浪潮。

…but let me say that there are some very basic skills that any
filmmaker must have. First of all, learn languages. One also needs to
be able to type and to drive a car. It is like the knights of old who
had to be able to ride , wield a sword and play the lute. At my
utopian film academy I would have students do athletic things with
real physical contact, like boxing, something that would teach them to
be unafraid. I would have a loft with a lot of space where in one
corner there would be a boxing ring. Students would train every
evening from 8 to 10 with a boxing instructor: sparring, somersaults
(backwards and forwards), juggling, magic card tricks. Whether or nor
you would be a filmmaker by the end I do not know, but at least you
would come out as an athlete. My film school would allow young people
who want to make films to experience a certain climate of excitement
of the mind. This is what ultimately creates films and nothing else.
It is not technicians that film schools should be producing, but
people with a real agitation of mind. People with spirit, with a
burning flame within them.

(From Herzog on Herzog