i did not even think about death. but [indistinct] going through that, i should be. anybody with a camera was shot. immediately. that time, i did not think about it. i found out [indistinct] anthony: you were alive and holding a camera at a very important time in history. it is very easy to make beautiful pictures. but pictures which mean something more than what is in it. that is a totally different story. i took a walk through this beautiful world the league felt the cool rain on my shoulder found something pure in this beautiful world i felt the rain on my shoulders anthony: you know these images. you grew up with them. they are burned into your brain. they are iconic sequences. framed and seen through the lens in ways that change the filmmaking forever. all made by the same man. so who made these beautiful things? where did he come from? it did not begin in hollywood. it began here in the streets of budapest. what about his life, his past, his upbr
one of the last remnants of a society where artists and writers were valued citizens regardless of financial means. when this caliphate was built, if those café was built, this was the biggest and nicest café in the world never to be closed. anthony: here like most cafés, of you sense or a few bucks could buy you space all day long sipping your coffee, thinking great shot thoughts. no one would hassle you. it was a petri dish of creativity, no hipster or birds that would make you feel bad about not spending any doubt. waiters were speaking several languages and they invited a writer occasionally if you did not have money because they appreciated, where are we now compared to that? anthony: don t try that now, of course. today s new york café patrons spent both their time and their money on things like goose liver terrine. fog wall is everywhere and
literature and they invited the writer occasionally if he didn t have money because they appreciated the literature. where are we now compared to that? anthony: don t try that now, of course. today s new york café patrons spend both their time and their money on things like goose liver terrine. foie gras is everywhere in hungary, all over every menu, and it s good. real good. peter s going for the lamb ragu, a soup. peter: if you would look like a writer, they immediately would bring you a paper and ink. they would bring up the dictionary, whatever you were looking for. also, most people didn t have telephones at home and you could be called here, and you could get your mail. anthony: why do i want to attract writers? it s like, i need more jazz musicians in my restaurant. they re deadbeats. peter: yeah, it was a different anthony: there s no money there. peter: it was a different time. it was not simply about the money. anthony: so it was about? peter: identity.
of course. today s new york café patrons spend both their time and their money on things like goose liver terrine. foie gras is everywhere in hungary, all over every menu, and it s good. real good. peter s going for the lamb ragu, a soup. peter: if you would look like a writer, they immediately would bring you a paper and ink. they would bring up the dictionary, whatever you were looking for. also, most people didn t have telephones at home and you could be called here, and you could get your mail. anthony: why do i want to attract writers? it s like, i need more jazz musicians in my restaurant. they re deadbeats. peter: yeah, it was a different anthony: there s no money there. peter: it was a different time. it was not simply about the money. anthony: so it was about? peter: identity. yeah. anthony: we want to be the place that attracts the best and the brightest. peter: yeah. anthony: even if they don t have money. those days will never return. peter: no,