Film Production

The productive apparatus and the goods and services which it produces “sell” or impose the social system as a whole. The means of mass transportation and communication, the commodities of lodging, food, and clothing, the irresistible output of the industry and information industry carry with them prescribed attitudes and habits, certain intellectual and emotional reactions which bind the consumers more or less pleasantly to the producers and, through the latter, to the whole. The products indoctrinate and manipulate; they promote a false consciousness which is immune against its falsehood. And as these beneficial products become available to more individuals in more social classes, the indoctrination they carry ceases to be publicity; it becomes a way of life. It is a good way of life—much better than before—and as a good way of life, it militates against qualitative change. Thus emerges a pattern of one-dimensional thought and behavior in which ideas, aspirations, and objectives that, by their content, transcend the established universe of discourse and action are either repelled or reduced to terms of this universe. They are redefined by the rationality of the given system and of its quantitative extension.

A good opening and a good ending make for a good film provide they come close together.

It is not a question of trying to reproduce objective features, only of good practice for the fingers and for the perceptive faculty, and that too is very useful. You must have read how Van Gogh was always getting his brother to send him drawings to copy. And how Rembrandt used to copy Indian an Italian pictures. Not of course, because they were short of material, but to get 'du corps'. So one should be always drawing... ...Oh, you’d love the Indians. The pure, Aryan Indians, not those one could see in Berlin, whose forms had become rigid and sterile through mingling with the Chinese.