0:00 to 1:45
0:00 to 1:45
Last edited by suedehead; 05-28-2014 at 12:25 AM.
"I detest the idea that love between two persons can lead to salvation. All my life I have fought against this oppressive type of relationship. Instead, I believe in searching for a kind of love that somehow involves all of humanity."
“People are terrible. They can bear anything. Anything! People are hard and brutal. And everyone is disposable. Everyone! That's the lesson.”
“And I don't believe that melodramatic feelings are laughable - they should be taken absolutely seriously.”
"It isn't easy to accept that suffering can also be beautiful... it's difficult. It's something you can only understand if you dig deeply into yourself."
"So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well."
edit: just to clarify, you get the gruff density of Ni-EJs in the second pic, the kind of feminine refinement of beta NFs in the third, and the somewhat distant airiness common to Ni types (but more pronouncedly ethereal in beta NFs) in the fourth and (less so) fifth.
Last edited by strrrng; 05-28-2014 at 10:37 PM.
Mortal, mortal, what would you
With that beauty once was yours?
Perishable is the dew,
And the dust endures.
"Fassbinder's death, at the age of 37, from heart failure following a lethal cocktail of cocaine and sedatives, was also grist to the media mill. Though many claim he died of overwork, drugs had become a frequent tool for his breakneck production process, and some suggest he had exhausted his oeuvre and lost the will to live.
His chaotic personal life went back to his childhood and his relationship with his mother, Liselotte Eder. There were frequent separations, primarily through his mother's hospitalisation with tuberculosis. His father moved out when he was six and the household was anarchic, with frequent visitors, but, says Eder, in a 1982 interview in Christian Braad Thomsen's biography, little love or openness.
Fassbinder went on to cast Eder in his films, often in humilating roles such as the unforgiving mother in Effi Briest. She worked as his business manager from 1971-78 and set up the Fassbinder Foundation in 1986 to protect his legacy. Before her death in 1993, she handed over the Foundation to Lorenz.
Caven met Fassbinder during the days of the collective Action Theatre. They were united by sixties utopian idealism. The ghost of Nazism haunted a generation who determined to do things differently. Personal relationships and working practices were both up for grabs. Caven describes Fassbinder as 'an intellectual who approached the erotic like a street hawker'.
Fassbinder worked with a loyal clique with whom he was frequently intimate. By 1969 they lived in a commune, jokingly described by one friend as 'Sodom and Gomorrah'. Rows were frequent and furious. Yet creativity thrived. Fassbinder's working method was fast and intensive - he made 10 films between 1969 and 1970. He worked in a hierarchy that kept actors struggling for status and attention. Dependency and jealousy flourished. His tactics included insults to create the rage and humiliation crucial to a role. He also encouraged no-holds-barred truth games."
"Margit Carstensen, who played Martha, has said Fassbinder 'was the first person who wanted to see me the way I was. He made me aware that the character I was playing was also about myself'. But there was a downside. 'There comes a point when one feels reduced to a few specific traits and it is humiliating to be used in this reduced state.' Like Schygulla and Hermann, she needed a break. 'He provoked and tormented me daily with snide remarks. What he demanded was love, or let us say, voluntary submission'.' Caven dismisses Fassbinder's alleged cruelty as 'childlike'. She says his collaborators understood this and forgave him. And indeed for many the experience of working with Fassbinder bordered on love. Others, like Schygulla, kept their distance. 'There was always this fear of being exposed or learning more about yourself than you wanted to know,' she says. He had something of a cougar, that watchful tension of his eyes.' But other evidence is not so forgiving or forgetful. Germany In Autumn (1977-78), a documentary response to terrorism, shows the psychological cruelty to Armin Meier, in a series of staged arguments between him and Fassbinder. Fassbinder met Lorenz in 1976 when she was 19, during the crisis of this relationship. They became intimate after Meier's suicide, in 1978. In his last years Fassbinder had become calmer, Lorenz says. He no longer had sex with men and he produced some of his most popular and mature work, including the 15-hour TV masterpiece, Berlin Alexanderplatz. Braad Thomsen claims they were drifting apart in the last year, but she denies it.'
Ni-EIE could work. so/sp or sp/so.
Last edited by Amber; 12-10-2014 at 11:16 AM.