His main contribution was to help Buñuel write the script for the film.

Also, in The Secret Life Dalí suggested that he had split with Luis Buñuel because the latter was a Communist and an atheist.

Film maker Luis Buñuel reports that Clair was utterly horrified by the effectiveness of the film, crying out that this should never be shown or the West was lost.

Federico Fellini was Allen's first choice to appear in the cinema lobby scene because his films were under discussion, but Allen chose cultural academic Marshall McLuhan after both Fellini and Luis Buñuel declined the cameo.

Friedkin had asked his casting director to get a Spanish actor he had seen in Luis Buñuel's French film, Belle de Jour, who was actually Francisco Rabal, but Friedkin did not know his name, and Rey, who had played in several other films directed by Buñuel, was instead contacted.

The idea for the film began when Buñuel was working as an assistant director for Jean Epstein in France.

In spite of varying interpretations made since the film originated, Buñuel made clear throughout his writings that, between Dalí and himself, the only rule for the writing of the script was: " No idea or image that might lend itself to a rational explanation of any kind would be accepted.

Luis Buñuel Portolés (; 22 February 1900 – 29 July 1983 ) was a Spanish filmmaker who worked in Spain, Mexico and France

When Luis Buñuel died at age 83, his obituary in The New York Times called him " an iconoclast, moralist and revolutionary who was a leader of avant-garde surrealism in his youth and a dominant international movie director half a century later.

Buñuel was born in Calanda, a small town in the province of Teruel, in Aragón, Spain, to Leonardo Buñuel, the cultivated scion of an established Aragonese family, and María Portolés, many years younger than her husband, with wealth and family connections of her own.

When Buñuel was just four and a half months old, the family moved to Zaragoza, where they were one of the wealthiest families in town.

Even as a child, Buñuel was something of a cinematic showman ; friends from that period described productions in which Buñuel would project shadows on a screen using a Magic lantern and a bedsheet.

In his youth, Buñuel was deeply religious, serving at Mass and taking Communion every day, until, at age 16, he grew disgusted with what he perceived as the illogicality of the Church, along with its power and wealth.

Buñuel was especially taken with Lorca, later writing in his autobiography: " We liked each other instantly.

" Before long, Buñuel was working for Epstein as an assistant director on Mauprat ( 1926 ) and La chute de la maison Usher ( 1928 ), and also for Mario Nalpas on La Sirène des Tropiques ( 1927 ), starring Josephine Baker.

When Buñuel somewhat derisively refused to acquiesce to Epstein's demand that he assist Epstein's mentor, Abel Gance, who was at the time working on the film Napoléon, Epstein dismissed him angrily, saying " How can a little asshole like you dare to talk that way about a great director like Gance?

'" In deliberate contrast to the approach taken by Jean Epstein and his peers, which was to never leave anything in their work to chance, with every aesthetic decision having a rational explanation and fitting clearly into the whole, Buñuel and Dalí made a cardinal point of eliminating all logical

It was Buñuel's intention to shock and insult the intellectual bourgeoisie of his youth, later saying: " Historically the film represents a violent reaction against what in those days was called ‘ avant-garde ,’ which was aimed exclusively at artistic sensibility and the audience ’ s reason .” Against his hopes and expectations, the film was a huge success amongst the French bourgeoisie, leading Buñuel to exclaim in exasperation, " What can I do about the people who adore all that is new, even when it goes against their deepest convictions, or about the insincere, corrupt press, and the inane herd that saw beauty or poetry in something which was basically no more than a desperate impassioned call for murder?

Buñuel then went back to Hollywood where he worked in the dubbing department of Warner Brothers from 1942 to 1946.

Still from Un Chien Andalou a 1929 film by Luis Buñuel and artist Salvador Dalí

** Cinéfondation – About fifteen shorts and medium-length motion pictures from film schools over the world are presented at the Salle Buñuel.

* Luis Buñuel, film director from Calanda

Often associated with the Surrealist movement of the 1920s, Buñuel created films in six decades, from the 1920s through the 1970s.

Concurrent with the succès de scandale, both Buñuel and the film's leading lady, Lya Lys, received offers of interest from Metro-Goldwyn-Mayer and traveled to Hollywood at the studio's expense.

The opening sequence of the film alludes to that interpretation, by Dalí and Buñuel, with an excerpt from a natural science film about the scorpion, which is a predatory arthropod whose tail is composed of five prismatic articulations that culminate in a stinger with which it injects venom to the prey.

James Knowlson has suggested images from Luis Buñuel ’ s 1928 film, Un chien andalou or a photograph by Angus McBean of Frances Day but there is no clear evidence to support either.

Art films were also influenced by films by Spanish avant-garde creators such as Luis Buñuel and Salvador Dalí ( e. g., L ' Age d ' Or from 1930 ) and by the French playwright and filmmaker Jean Cocteau ( e. g., The Blood of a Poet, also from 1930 ).

An image of a moth from Luis Buñuel and Salvador Dalí's surrealist 1929 film Un Chien Andalou

Other influences include Luis Buñuel, Werner Schroeter or Herbert Achternbusch-and Schlingensief's filmic works have been compared to just as wide a range of filmmakers, from Jean-Luc Godard to Russ Meyer.

Following his long exile from Spain, since the Spanish Civil War ( 1936 – 39 ), Luis Buñuel was invited back to his country of origin in 1960 by General Francisco Franco and asked to direct a movie of his choice.

The film, originally called The Outcasts of Providence Street, was renamed The Exterminating Angel after Buñuel picked it from an unfinished play his friend José Bergamín was writing at the time.

Nonlinear film emerged from the French avant-garde in 1929 with Luis Buñuel and Salvador Dalí's Un Chien Andalou ( English: An Andalusian Dog ).

In hindsight, the disunion of 1929-30 and the effects of Un Cadavre had very little negative impact upon Surrealism as Breton saw it, since core figures such as Aragon, Crevel, Dalí and Buñuel remained true the idea of group action, at least for the time being.

In his 1982 autobiography Mon Dernier soupir ( My Last Sigh, 1983 ), Buñuel wrote that, over the years, he had rejected Dalí's attempts at reconciliation.

** Short Films – The shorts competing for the Short Film Palme d ' Or are presented at the Buñuel and Debussy theatres.

A middle-aged man ( Luis Buñuel ) sharpens his razor at his balcony door and tests the razor on his thumb.

Buñuel told Dalí at a restaurant one day about a dream in which a cloud sliced the moon in half " like a razor blade slicing through an eye ".

In Zaragoza, Buñuel received a strict Jesuit education at the private Colegio del Salvador.

Buñuel finished the last two years of his high school education at the local public school.

Anxious that it was over twice as long as planned and at double the budget, Buñuel offered to trim the film and cease production, but Noailles gave him the go-ahead to continue the project.

The film, entitled L ' Age d ' Or, was begun as a second collaboration with Dalí, but, while working on the scenario, the two had a falling out ; Buñuel, who at the time had strong leftist sympathies, desired a deliberate undermining of all bourgeois institutions, while Dalí, who eventually supported the Spanish fascist dictator Francisco Franco and various figures of the European aristocracy, wanted merely to cause a scandal through the use of various scatological and anti-Catholic images.

The friction between them was exacerbated when, at a dinner party in Cadaqués, Buñuel tried to throttle Dalí's girlfriend, Gala, the wife of Surrealist poet Paul Éluard.

All that was required of Buñuel by his loose-ended contract with MGM was that he " learn some good American technical skills ", but, after being ushered off the first set he visited because the star, Greta Garbo, did not welcome intruders, he decided to stay at home most of the time and only show up to collect his paycheck.

Later, on 3 December 1930, the great popular success of the film provoked attacks by the right-wing Ligue des Patriotes ( League of Patriots ), whose angry viewers took umbrage at the story told by Buñuel and Dalí.

An enthusiastic participant in the cultural and literary life at the famous Residencia de estudiantes ( which at this time counted among its residents Federico García Lorca, Luis Buñuel and Salvador Dalí, amongst others ), Alonso also wrote for the literary magazines Revista de Occidente (' Western Review ') and Los Cuatro Vientos (' The Four Winds ').

It's a religion that permits sin, and Buñuel at the very deepest is one of the most moralistic directors but he does everything to the contrary.

After completing his military service, Panahi enrolled at the College of Cinema and TV in Tehran, where he studied filmmaking and especially appreciated the works of film directors Alfred Hitchcock, Howard Hawks, Luis Buñuel and Jean-Luc Godard.