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Tim Burton'in yonettigi, Johnny Depp, Martin Landau, Sarah Jessica Parker'in basrollerini paylastigi biyografi-komedi-drama Ed Wood filmi 28 Eylul 1994 tarhinde vizyona girdi.
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Bela: Peki bu sahne ne hakkinda ? / So, what's this scene about ?
Eddie: Sen cok onemli ve saygin bir adamsin ve evini terk ediyorsun; acelen var. Buyuk sosyal bir kargasaya dogru gidiyorsun. Tamam mi ? / You're a very important and respected man. And you're leaving your house; you're in a hurry. You're on your way to a big social brouhaha. Okay ?
Bela: Eddie, o kadar da acele etmesem olmaz mi ? Ya bir dakikaligina yavaslasam; hayatin guzelliginin tadini cikartsam; bir, bir tomurcugu koklasam. / Eddie. What if I'm not in so big a hurry ? What if I take a moment to slow down; to savour the beauty of life; to, to smell a budding flower ?
Eddie: Muthis! Bu muthis! Haydi cekelim. Tamam mi ? / That's great. That is great. Let's do a take. Okay ?
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3 Akademi, 4 Golden Globe Odullu Istanbul dogumlu Amerikali yonetmen ve yazar ( Elias Kazantzoglou - Alia Kazanjoglous ) Elia Kazan'in dogum yildonumu ( 28 Eylul 2003 )
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“ O gunlerde iki isim vardi. Peynir ekmegimi, reklamciliktan kazaniyordum. Beni yasatan ise oteki isimdi. Yaptigim, dergilerde yazi yazmakti. Reklamcilik kargasasindan sonra, gercek duygularimi bir yol bulup bosaltma gereginin olagan sonucuydu bunlar saniyorum. (...) Hic yalan soylemedigim bir yer oldugunu soylerdim kendi kendime; o yer dergilerde yazdigim yazilardi.(…) Yazilardaki adim Evans Arness oldu. Islerimin birinde Eddie Anderson’dum, otekinde Evans Arness. ” Uzlasma
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" I had two jobs in those days. My bread and butter was Williams and MacElroy. My other work kept me living. What I did was write for magazines. I guess after all the advertising custard I had to let my true feelings out some way. (...) But I used to say to myself there was one place where I never lied, and that was in the pieces I wrote for the magazines. (…) My pen name became Evans Arness. Conclusion : in one job I was Eddie Anderson, in the other, Evans Arness. "
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Paul Thomas Anderson’in yonettigi, Daniel Day-Lewis, Paul Dano, Ciarán Hinds’i basrollerini paylastigi Kan Dokulecek ( There Will Be Blood - Il petroliere ), 28 Eylul 2007 tarihinde Austin, Texas, Fantastic Fest’te gosterime girdi.
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” Bazen insanlara bakiyorum da hoslanmaya deger birsey gormuyorum. Herkesten uzaklasmayi saglayacak kadar para kazanmak istiyorum. / A volte… guardo la gente e non ci trovo niente di attraente. Voglio guadagnare abbastanza per stare lontano da tutti. ” Daniel Plainview
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Turk yazar, burokrat ve avukat Turgut Ozakman'in olum yildonumu ( 28 Eylul 2013 )
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“ Ortada oturan Aziz Hudai, ' Pandikyan Efendi ' dedi, ' Turk milli kuvvetlerinin misafirisin. '
Pandikyan titredi. ' Sen de bizim gibi bu toprakta dogdun, buyudun, okudun. Ne Ermenisin diye asagilandin, ne Hiristiyansin diye eziyet gordun. Yuzyillarca birlikte caldik, oynadik, yedik, ictik, agladik, gulduk. Cunku yurt kardesiydik. Sonra aramiza birtakim entrikacilar, dunyayi yalniz kendilerinin sanan gucler ve satilik, kiralik, hayalci adamlar girdi. Aci olaylar oldu. Bugune geldik. ' "
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“ 'Mr Pandikyan, you are a guest of the Turkish national forces, ' said Aziz Hudai, who was sitting in the middle.
Pandikyan trembled. ' Like us, you were born on this land, grew up here, studied here. You were neither belittled for being an Armenian, nor tormented for being a Christian. For centuries we played together, ate, drank, wept and laughed together. Then a few plotters came between us, powers that believed the world was theirs only, men who had sold themselves, dreamers. Bitter things happened. Now we are here. ' ”
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Galli sair ve doktor Dannie Abse’nin olum yildonumu ( 28 Eylul 2014 )
Cogu zaman baskalarinin duyamayacagi bir muzigi
dinliyor gibisin. Rilke gorseydi, severdi seni
kimseye karismiyor, hic soru sormuyorsun
karanlikta aglayan en yakinlarina bile.
Her zaman kendinle ilgili bir seyler sakliyorsun
kendine isikli kahvelerde, yatak odalarinda bile.
Rilke gorseydi, overdi seni: yakinligin uzak,
bu yuzden de, tipki yildizlar gibi uzakligin.
Gene de bir seylere erisemiyor, bir seyler
yitiriyorsun, kollarini hep actigin icin;
bazi seyleriyse hic bilemeyeceksin, hic degilse,
biri cikip seni yakindan, insanca ayrintilarinla taniyincaya degin.
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Often you seem to be listening to a music
that others cannot hear. Rilke would have loved you:
you never intrude, you never ask questions
of those, crying in the dark, who are most near.
You always keep something of yourself to yourself
in the electric bars, even in bedrooms.
Rilke would have praised you: your nearness is far,
and therefore, your distance like the very stars.
Yet some things you miss and some things you lose
by keeping your arm outstretched; and some things
you'll never know unless one, at least knows you
like a close-up, in detail - blow by human blow.
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" Apollinaire'in 'Couleur de Temps'in Renée Maubel Konservatuvari'nda ilk oynandigi gun, antraktta Picasso'yla gorusurken bir delikanli yanima geldi, bir seyler kekeledi; sonunda, beni savasta oldugu bildirilen bir arkadaslarindan birine benzettigini anladim. Dogal olarak konusmamiz orada kaldi. Kisa bir sure sonra, Jean Paulhan araciligiyla, Paul Eluard'la yazismaya basladim, o zamana dek ikimiz de birbirimizin en ufak bir fiziksel tasarimina sahip degildik. Bir izin sirasinda beni gormeye geldi, meger Couleur de Temps'da yanima gelen oymus. " Andre Breton, Nadja
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“ Le jour de la première représentation de Couleur du Temps, d’Apollinaire, au Conservatoire Renée Maubel, comme à l’entracte je m’entretenais au balcon avec Picasso, un jeune homme s’approche de moi, balbutie quelques mots, finit par me faire entendre qu’il m’avait pris pour un de ses amis, tenu pour mort à la guerre. Naturellement, nous en restons là. Peu après, par l’intermédiaire de Jean Paulhan, j’entre en correspondance avec Paul Eluard sans qu’alors nous ayons la moindre représentation physique l’un de l’autre. Au cours d’une permission, il vient me voir : c’est lui qui s’était porté vers moi à Couleur du Temps. ”
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“ Her seyiyle durust bir film cekmek istemistim sadece, yalansiz, riyasiz… Icimizde tasidigimiz butun olu seyleri sonsuza dek gommemize yardimci olabilecek bir sey. / Volevo fare un film onesto, senza bugie di nessun genere… Un film che potesse essere utile un po' a tutti, che aiutasse a seppellire per sempre tutto quello che di morto ci portiamo dentro. / I wanted to make an honest film. No lies whatsoever... A film that could help bury forever all those dead things we carry within ourselves. Instead, I'm the one without the courage to bury anything at all. ” Marcello Mastroianni, 8½ ( 1963 )
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