Good morning and welcome. Relax, have a seat, a cup of coffee perhaps, and please allow me to introduce myself. I’m a nineteen-year-old girl living in Paris, France. I’m right-handed and left-winged. Considering my age, you won’t be much surprised to learn that I’m still a student; but in a more peculiar and typically French way, my studies don’t really have their international equivalent. After spending two ways in a classe préparatoire, which may resemble an intellectual slaughterhouse destined for the bright youth of France, I managed to enter the very private club of the École Normale Supérieure, which may resemble a public scholarly Ivy League destined for those slaughtered during their two years of classe préparatoire. Until now, I was studying a broaaad – open your mouth on the ‘a’ – range of subjects such as Philosophy, Literature, English, History, Latin… Now that I’ve been officially called to enter the circle of the true literati, I’ll be focusing on Philosophy and Cinema studies, as odd as the combination may seem.
I have a deep and strong passion for cinema in general, filmmaking in particular. Despite my fondness of music, literature or art in general, no other art has brought me to this day to such a point of emotional involvement. They say the screen is ruthless in its impermeability, that stage and ‘live action’ convey much more intense shades to the public. The comparison between stage and cinema may be the most stupid I’ve been informed of since the one between the Beatles and the Rolling Stones. It is not a question of assessing the superiority of one upon the other; as in the problem of mesuring the square’s diagonal, there stands the difficulty – not to say the impossibility – of bringing together two separate entities. Therefore, there is no use for reason here. I do not explain my passion; my heart goes to the rhythm of editing, to the flickering of the film, to the intervals of the score. There exist many alphabets, many grammars in the world; likewise, there exist many cinemas, and all are equally interesting to me. Let’s drop the snobbish – and to push the confession further, quite European – way of despising the Hollywoodian recipe of making a movie. In spite of the fact that it’s full of white sugar, artificial flavors and colouring substances, everyone loves a cupcake from time to time, don’t they? On the contrary, let’s also consider movies from the rest of the planet, and what’s more, for their own sake. A Korean or an Iranian movie is not simply valuable as a “world movie”, as if it were a sort of souvenir hushed into the suitcase at the end of a touring trip. It contains its own meaning, it follows its own flow, and part of the pleasure is getting slowly dazed and confused by unleashing one’s personal and usual thoughts, and abandoning to the particular rhythm of this movie.
This leads me to my two statements.
1) I want to see movies. Movies that will make me cheer, think, brood, smile, thrill, chill… Your suggestions, wherever you come from, are not only welcomed; they’re wished!
2) I want to make movies. The elegant formulation: the appeal of creation. The shouting from the heart: filmmaking is exciting as hell!

Editors

• hippie2049

Being a would-be filmmaker (in mind) and being a student (in flesh and blood).

Well, I'm trying to be good at filmmaking. I've played the piano for quite a long time now, and I write too (but I'm better at it in French, so...). I'm somewhat interested in everything that's connected to film technics in general (editing, sound editing, recording, film scoring, etc.), so if you have some knowledge in these domains, please leave me a message after the tone.

I'd be glad if they noticed me in the first place. I get bumped quite often, unfortunately.

Philosophy: Rawls, Habermas, Heidegger, Nietzsche, Adorno Hume, Foucault, Kant (yesss I do), Seneca, Spinoza (come give me power!) French literature: Céline, Camus, Sartre, Verlaine, Apollinaire, Saint-John Perse, Buffon, Flaubert, Rousseau, Montaigne Foreign literature: William Blake, Nabokov, Shakespeare, Kerouac, Whitman, Burroughs, T.S. Eliot, T.E. Lawrence, Vergil, Malaparte, Propercius, Austen, Goethe, Tchekov, Murakami Ryû, Kawabata, Oscar Wilde, Walt Whitman, Allen Ginsberg, Bret Easton Ellis...

Movies: Works by Lynch (esp. Lost Highway), Cronenberg, Kubrick, Welles, Tarkovski, Miike, Scorsese, Coppola, Carpenter, Wajda, Kieslowski, Fellini, Bunuel... Einsenstein's October, definitely.

Music: Classical music (Mozart, Brahms. Chostakovitch, Rachmaninov, Mendelssohn, Preisner and so many others... How can you sum up 6 centuries?), rock (Queen, The Doors, Nine Inch Nails, Pink Floyd, Tool, A Perfect Circle...), jazz (John Coltrane,Ravi Coltrane, John Zorn, Archie Shepp, Marcus Miller, Charlie Parker, John Lee Hooker...), blues (John Lee Hooker, Robert Johnson, B.B. King, Rory Gallagher...) Plus, Tom Waits. Surf music. Dark ambient (especially my master... Lustmord). And stuff like that. Industrial shit (it keeps me running). Several CDs by the Red Army Choir, because "God I miss the Cold War" (M).

Foods: Er, I'm allergic to nuts. So... something without.

- Needle with adrenaline (I told you I was allergic) - Pen with pad (anything to write or draw on) - Movie camera or camera - A piano - A list of contacts - My eyes

Crumbs of ideas for movies, politics, news from the rest(s) of the world (including the Onion world), idiocracy... The Man Who Mistook His Wife For A Hat, shea butter, lighting, taichi, latin, Critique of pure reason, "What would Special Agent Cooper do on such occasions?"], chess.

There is no typical Friday night anymore.

I'm a Twin Peaks nerd.

- You find me appealing.
- You find me repulsive.
- You live in the Santa Monica area. Or in Paris. And fill one of the two conditions above.
- You want to do something creative with me. Yey, let's make a movie!
- You want to talk about French politics (or politics in general). I'm an angry young woman.

Editors

• hippie2049