Post by Real Duality on Apr 3, 2017 15:57:39 GMT
It's a must read of course. I've only gotten through half of it, but I thought I would put it up before I had an opportunity to finish it.
link
Some highlights I read so far:
When I have a thousand options, I actually have none at all. Film requires you to plan each detail meticulously, and this is exactly why it’s so different from writing a novel.
I despise films that have a political agenda. Their intent is always to manipulate, to convince the viewer of their respective ideologies. Ideologies, however, are artistically uninteresting. I always say that if something can be reduced to one clear concept, it is artistically dead. If a single concept captures something, then everything has already been resolved—or so it appears, at least…
My objective is a humanistic one—to enter into a dialogue with my viewers and to make them think. There isn’t much more you will be able to achieve in the dramatic arts. And frankly, I don’t know what else you should be able to achieve.
I only ever write about things with which I’m intimately acquainted. I would never ever make a film about a dockworker, for example, because I have no insight into his psychology. I cannot make films about topics with which I’m not familiar. My concern is with common human problems such as guilt or recklessness—the stuff of our everyday lives. Of course, I always set out to create a context that sparks added interest. If there is an opportunity to do that, as there was with Caché and The White Ribbon, then I’m grateful for that. But my first concern is always how people relate to one another. And that is my artistic interest on the whole.
link
Some highlights I read so far:
When I have a thousand options, I actually have none at all. Film requires you to plan each detail meticulously, and this is exactly why it’s so different from writing a novel.
I despise films that have a political agenda. Their intent is always to manipulate, to convince the viewer of their respective ideologies. Ideologies, however, are artistically uninteresting. I always say that if something can be reduced to one clear concept, it is artistically dead. If a single concept captures something, then everything has already been resolved—or so it appears, at least…
My objective is a humanistic one—to enter into a dialogue with my viewers and to make them think. There isn’t much more you will be able to achieve in the dramatic arts. And frankly, I don’t know what else you should be able to achieve.
I only ever write about things with which I’m intimately acquainted. I would never ever make a film about a dockworker, for example, because I have no insight into his psychology. I cannot make films about topics with which I’m not familiar. My concern is with common human problems such as guilt or recklessness—the stuff of our everyday lives. Of course, I always set out to create a context that sparks added interest. If there is an opportunity to do that, as there was with Caché and The White Ribbon, then I’m grateful for that. But my first concern is always how people relate to one another. And that is my artistic interest on the whole.
