One of the most influential directors in cinema.
One of the most influential directors in cinema.
Looks SLI to me
Dual type (as per tcaudilllg)
Enneagram 2w1sw(1w9) helps others to live up to their own standards of what a good person is and is very behind the scenes in the process.
Tritype 1-2-6 stacking sp/sx
I'm constantly looking to align the real with the ideal.I've been more oriented toward being overly idealistic by expecting the real to match the ideal. My thinking side is dominent. The result is that sometimes I can be overly impersonal or self-centered in my approach, not being understanding of others in the process and simply thinking "you should do this" or "everyone should follor this rule"..."regardless of how they feel or where they're coming from"which just isn't a good attitude to have. It is a way, though, to give oneself an artificial sense of self-justification. LSE
Best description of functions:
Clearly Maritsa has never watched a Godard film.
So it's just the generic male I'm not really attracted to: SLI typing.
Godard is Ni something.
"[Scapegrace,] I don't know how anyone can stand such a sinister and mean individual as you." - Maritsa Darmandzhyan
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Ni-leading is very possible methinks. Especially considering his films.
SLI isn't a bad typing per se but I would have to hear as to why.
ESI-Se could be it (so/sp 4), his second wife Anna Karina was of type IEI-Fe (so/sp) and it's doubtful that they were identicals
quotes: (very distinctly an involutionary type, condensing what he wants to convey to the simplest axiomatic forms)
"Why must one talk? Often one shouldn't talk, but live in silence. The more one talks, the less the words mean."
"Beauty is composed of an eternal, invariable element whose quantity is extremely difficult to determine, and a relative element which might be, either by turns or all at once, period, fashion, moral, passion."
"My aesthetic is that of the sniper on the roof."
"All you need for a movie is a gun and a girl."
"American pictures usually have no subject, only a story. A pretty woman is not a subject. Julia Roberts doing this and that is not a subject."
"Poetry is a game of loser-take-all."
"Art attracts us only by what it reveals of our most secret self."
"A story should have a beginning, a middle and an end, but not necessarily in that order."
"Objects exist and if one pays more attention to them than to people, it is precisely because they exist more than the people. Dead objects are still alive. Living people are often already dead."
"The truth is that there is no terror untempered by some great moral idea."
"Take a drawing by Matisse, a simple curve of a leg or a shoulder. Is there a basis, at the beginning when he starts drawing his curve? There isn’t. This is what I’m trying to say. And that’s what comprises the originality of Max Ophuls, which he acquired a little bit at a time, because in Liebelei, in Letter from an Unknown Woman, in his American films, it’s not there. It’s a freedom that is earned and that is found, that isn’t applied. On a basic level, it’s neither better nor worse as a way of making a film. But there’s something extremely original that we found so satisfying back in the day and that continues to satisfy me now … There’s a kind of pure cinema of that era – you might even call it experimental – which has disappeared. There’s no literature…not that there’s no text or dialogue, but there’s no pre-literature."
Anna Karina on their relationship:
Anna Karina: That happened while we were shooting the picture in Geneva. It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long. We were like animals. One night we were at this dinner in Lausanne. My boyfriend, who was a painter, was there too. And suddenly I felt something under the table – it was Jean-Luc’s hand. He gave me a piece of paper and then left to drive back to Geneva. I went into another room to see what he’d written. It said, “I love you. Rendezvous at midnight at the Café de la Prez.” And then my boyfriend came into the room and demanded to see the piece of paper, and he took my arm and grabbed it and read it. He said, “You’re not going.” And I said, “I am.” And he said, “But you can’t do this to me.” I said, “But I’m in love too, so I’m going.” But he still didn’t believe me. We drove back to Geneva and I started to pack my tiny suitcase. He said, “Tell me you’re not going.” And I said, “I’ve been in love with him since I saw him the second time. And I can’t do anything about it.” It was like something electric. I walked there, and I remember my painter was running after me crying. I was, like, hypnotized – it never happened again to me in my life.
So I get to the Cafe de la Prez, and Jean-Luc was sitting there reading a paper, but I don’t think he was really reading it. I just stood there in front of him for what seemed like an hour but I guess was not more than thirty seconds. Suddenly he stopped reading and said,” Here you are. Shall we go?” So we went to his hotel. The next morning when I woke up he wasn’t there. I got very worried. I took a shower, and then he came back about an hour later with the dress I wore in the film - the white dress with flowers. And it was my size, perfect. It was like my wedding dress.
We carried on shooting the film, and, of course, my painter left. When the picture was finished, I went back to Paris with Jean-Luc, Michel Subor, who was the main actor, and Laszlo Szabo, who was also in the film, in Jean-Luc’s American car. We were all wearing dark glasses and we got stopped at the border – I guess they thought we were gangsters. When we arrived in Paris, Jean-Luc dropped the other two off and said to me, “Where are you going?” I said, “I have to stay with you. You’re the only person I have in the world now.” And he said, “Oh my God.”
I agree with silke that Anna Karina is IEI.
Like Anna Karina (IEI) to Jean-Luc Godard (ILI), ILIs are definitely my muse!
I can see how some of his movies are reflect Fi, especially when he portrays romantic relationships (somewhat 'stiff' or restrained in expression, distant, lots of repressed angst, unspoken bonds, etc.) The couple in Tout Va Bien (Jane Fonda's character and that other guy) seems Gamma. There's also this sort of 'bring-people-from-all-sectors-of-society-together-for-the-sake-of-progress' vibe to the politics in that film which seems vaguely democratic + Ni-visionary ideals (or just..socialism?), I think. The journalists, factory workers, immigrants, the young, the elderly, people shopping at the supermarket, etc. are all seen as part of the same collective struggle - no distinction needs to be made between them.
Last edited by suedehead; 04-24-2014 at 11:50 PM.
'Contempt' is one of my favorite films. So beautiful and intriguing. I find that as I get older, though, I like his films less than I did when I was a kid.
Last edited by suedehead; 05-22-2014 at 04:07 AM.
I haven't changed my opinion, ESI