Matthew Rivera and Evan Sennett are from Louisville, Kentucky and have been making films together for ten years. The beginnings were humble: clay, legos and a point-and-shoot camera were all they needed to get into the picture business. Now they've got a gang of trusty Louisville artists by their side and a 16mm camera to boot, but the original spirit remains. With a Rivera-Sennett picture you're in for a healthy dose of romance, violence and action. The pair have written and directed seven short films that have played in festivals in the U.S., England, France, Russia, Brazil, Israel, India, the Dominican Republic, Spain, Canada, Belgium and Serbia. They are currently working on an 8th film to be completed this year.
"George had turned at the sound of her arrival. For a moment he contemplated her, as one who has fallen out of heaven. He saw radiant joy in her face, he saw the flowers beat against her dress in blue waves. The bushes above them closed. He stepped quickly forward and kissed her."
"At that supreme moment he was conscious of nothing but absurdities. her reply was inadequate. She gave such a businesslike lift to her veil. As he approached her he found time to wish that he could recoil. As he touched her, his gold pince-nez became dislodged and was flattened between them.
Such was the embrace."
A Room with a View by E.M. Forster
"He sat down. He drank some of the white wine... He hadn't been a success in the police. He wasn't cut out for any service... What was he cut out for?... He opened a drawer and took out a green folder. In the top righthand corner he wrote: Dossier Gévigne. Then he slipped a few blank sheets of paper into it, and sat staring in front of him with vacant eyes."
Boileau-Narcejac, D'entre les morts
"I didn't do more than ninety back to Los Angeles. Well, perhaps I hit a hundred for a few seconds now and then. Back on Yucca Avenue I stuck the Olds in the garage an poked at the mailbox. Nothing, as usual. I climbed the long flight of redwood steps and unlocked my door. Everything was the same. The room was stuffy and dull and impersonal as it always was. I opened a couple of windows and mixed a drink in the kitchen. I sat down on the couch and stared at the wall. Wherever I went, whatever I did, this is what I would come back to. A blank wall in a meaningless room in a meaningless house. I put the drink down on a side table without touching it. Alcohol was no cure for this. Nothing was any cure but the hard inner heart that asked for nothing from anyone."
Raymond Chandler, Playback
"'I have spent many, many years in lobbies, in lounges and bars, on porches, terraces and ornate gardens in hotels all over the world. I have outlived everyone in my family. I shall go on being useless and inquisitive until the day comes when the stretcher carries me off to some nice airy corner room in a hospital. The starches white dragons will minister to me. The bed will be wound up, wound down. Trays will come with that awful loveless hospital food. My pulse and temperature will be taken at frequent intervals and invariably when I am dropping off to sleep. I shall lie there and hear the rustle of the starched skirts, the slurring sound of the rubber shoe soles on the aseptic floor, and see the silent horror of the doctor's smile. After a while they will put the oxygen tent over me and draw the screens around the little white bed and I shall, without even knowing it, do the one thing in the world no man ever has to do twice.'"
Raymond Chandler, Playback
"How many things haven't I seen in my line of work? I've seen a father die in a garret, without a cent or a stitch, abandoned by two daughters whom he'd given forty thousand francs a year! I've seen testaments burned; I've seen mothers stripping their children, husbands stealing from their wives, wives killing their husbands to serve themselves the love that inspired their husbands to be fools or imbeciles, so they can live in peace with a lover. I've seen women giving the child of their first marriage the taste of death, so to care for their other child of an illicit love. I can't tell you all I've seen, for I've seen crimes against which justice is powerless. In the end, all the horrors that the novelists believe to invent are less miserable than the truth. You're going to find out all these nice things for yourself; me, I'm going to live in the country with my wife, Paris horrifies me."
Derville in Le Colonel Chabert by Honoré de Balzac
Even more of a mental conditioner than the movies, is the actual movie house ... The physical confinement of the dark box-like room indirectly conditions the mind. Even the place where you buy your ticket is called a "box office." The lobbies are usually full of box-type fixtures like the soda-machine, the candy counter, and telephone booths. Time is compressed or stopped inside the movie house, and this in turn provides the viewer with an entropic condition. To spend time in a movie house is to make a "hole" in one's life. Robert Smithson, Entropy and the New Monuments
The screen would light up, they would feel a thrill of satisfaction. But the colors had faded with age, the picture wobbled on the screen, the women were of another time; they would come out; they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed for ever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. From Les Choses by Georges Perec