So anyway, there's this pen, this twisted, and then, but then it releases into this release
of the green, you know, and it keeps, and at a certain point you don't know if the leaves
are moving or the camera's moving, right, but you, it's this sliding release, and then
you cut at this thing very dark, and I love that kind of cut where you go from the, where
your psyche's beginning to fill with luminosity and release, and then all of a sudden the
remembrance of the shadow in your psyche, you know?
So there's an example, as I said, where it's visual and psychological, and when the films
are good, to me there's always that, there's that level of layering, which wasn't your
actual question, but that's in a very important level of layering, right?
So then there's the other subject of the layered shots, which seem to be direct metaphors
for state of mind, in the sense that you're all seeing me, I'm seeing you, right?
So that's one layer, and then there's this other layer, which is what each, each of
your own emotional history and emotional landscape is super, you know, is in a way layered with
seeing me, right?
And then there's also the kind of surface, you know, the kind of surface tension between
inside and outside.
So I think that the good shots have the, the internal world, the kind of surface tension
of like this, like the surface of a pond of water, you know, and then what you see out
through that, all three.
And in the first film I made, when I was 20, this film called Ingrid, I used the motif,
I didn't realize this till later, how, from the beginning these things are, I used the
motif of, you know, in English you call it a screen, it's a, keep that, mosquitoes, you
know, you know, a kind of screen, right?
And in that film there's a motif of focusing right up, like out of focus and then focusing
onto the screen, and it does that a lot through the film, right up.
And then at a certain point, actually in the, in the film, the character has an orgasm,
sexual orgasm, and I go up to the screen and then I focus through, so there's this kind
of release from the containment, and I realized that right from the beginning I was very interested
in coming up to the surface where your psyche maybe holds its own territory, you know, psychologically
where you, where you stop, and then all of a sudden dissolving that, that tension into
union, you know.
So I think a lot of the cinema metaphorically has to do with using the layers to express
the holding pattern of the psyche, you know, of your own self-identity, and then at what
point that you release through that, because it seems to me that mine does that, you release
and then there's fear, right, and then you re-establish, you know, the wall in a way,
and then you can release, so I think the films in a way are exercising that, you know, the
fear establishing the territory, releasing the territory, you know.
And then also in traditional cinematography, there's always, I mean, great traditional
cinematography always has three layers, there's always a foreground, middle ground, and background.
You know, the greater filmmakers, if you look at them, there's always, as the music,
you know, they use the word counterpoint, you know, there could be a bass line, you
know, a vocal line, another line, you know, but in good cinematography, there's something
about the three is this kind of magical combination of foreground, middle ground, and background,
you know, but if you look at paintings from a very great period of time, was in the middle
of the 1400s, as a very great time of painting, halfway between the medieval and the Renaissance,
there's a period, in Madrid, there's some great paintings from that period.
Yes, but I'm not thinking of earlier period, you know, about 100 years earlier, you know,
but it's not so much Spanish painting, you know, it's more belt painting from Belgium,
you know, from Northern painting or Italian painting, like, you know, this painter Memling,
or this, I'm trying to think of the paintings that are in the Prado, which are great, the
point is, you know, there's a period when it wasn't the flat world, which, you know,
and it wasn't the showing off of perspective, but there's some kind of balance point.
I like that period of painting very much, you know, so in good cinematography, there's
something about, or good painting, there's something about, I don't know why the three
is so magical, you know.
If you look at filmmakers who are really great, you realize there's always layers, there's
always two or three layers going on.
In the famous shot of Fort Apache, at the end of the film, when John Wayne dies, a lot
of layers in front of the mirror.
Yeah, well, Fort always does that, Fort always has, always has those layers of activity.
You know, I think it's, he made so many silent films as a youth, you know, these 20-minute
movies, and then he made his first feature film, he was about, when he made his, it's
called Straight Shooting.
Straight Shooting, just films.
Oh, you guys are smart.
I love it.
I love it, you know, Straight Shooting, he was, what, he was about 20, 21, 22, or so.
No, I, 19, I think.
19?
Yes.
He's something shocking, you know.
Yeah.
But Straight Shooting, you know, you can see, he's already getting it, you know, it's all
starting to happen, the textures, and I know with myself, let's say if there are five or
six filmmakers, let's say, you know, who affected me, or affected me, Fort is one of them key
ones, and people say, how is your films like, Fort, and, and, and, and I would say that one
thing Fort discovered is that he always shot, you know, toward the light source, and as
most filmmakers shoot with the light, going this way, Fort always shot against the light,
and when you shoot against the light, in a way, it's kind of cosmic, because in a way,
it's almost like you're in the dark, looking, if you look at any exterior shot in a Fort
film, the shadows are coming toward the camera, or, or this, at least this amount, you never
see, it's never that, they're never going away from you, the shadows are coming towards
you, so you have that attention, and you can see in the early sound films, he's discovering
that.
And all of a sudden, there'll be some shots, it's a real Ford shot, it's got, and what
it is, it's, it's, it turns the camera toward the light, and I think the cameraman used
to complain to him, because it's more difficult to get the exposure, how do you, you know,
get the exposure of the area that's in the shadow, come, you know, you know, you have
to front light it a little bit, I mean, obviously in a feature, you'd have reflectors, and you
could kick light back toward, you know, even though light's coming this way, you could
kick light back, you know, toward, and fill in, but still there's that tension, you know,
you know, the Ford is very, very strong with the, with the layers of activity, oh, yeah,
because, I mean, I think Ford is, I mean, he, I think he understood that, he understood
the cosmic thing that films were, films were a vision, you know, and that vision is cosmic,
you know, where other, other directors might not know that vision is cosmic, and they're
just taking pictures of a drama, but he understood that act seeing itself was cosmic, you know,
it's very important, very helpful, you know, do you know, do you know the black and white
films of Antonioni? Of course, of course, the early, the, before the trilogy, do you
know it, like, like, like, like, shout, well, the, the very, you know, the very earliest,
the Chronicle of a Love Affair, his first feature, first he made some shorts, yes, about five
or six shorts that are one, they're gray, documentary shorts, and, and then, oh, that
was the first, yes, and that ends very suddenly, because I think he lost some of the negative
with the, during the war, and then, and then, and then the one on the street cleaners of
Rome is gray, that has very layered, and that is one, there's, there's, you know, the camellias,
but that's a feature, but the, but the shorts, the shorts, the shorts, no, no, it's no big
deal, and then there's, there's the one on suicide is quite amazing, then there's one
on superstition, but anyway, if you can, they have a very good DVD now of his first feature
called, Chronicle of a Love Affair, just watch that film, I mean, you can watch it, just
watch the camera attitude, and what happens in it, it's, it's, it's, it's sort of like,
anyone can make a first feature film of that quality is astounding to me, but in terms
of layers, and also, you know, later in life time, people make a big deal, and maybe in
traffic that Godard did a 360 degree shot, but it's kind of very, it's not really, it's
not profound, and it's not subtle, and it's no big deal, where there's a scene where they're
planning the, the murder in Chronicle of a Love Affair, or they're going to shoot some,
you know, shoot someone in a car, the whole planning scene is this 360 degree shot, starts
with a car coming up a road, it, you wouldn't know it, it's so amazing, but you could not
even realize that it's happening, the shot, you know, just, that, that film is, just to
watch that film, and you can watch it in the, in the camera attitude, the way it is with
people in the room, the way it, it, it, it, it caresses people, and that's, it's astounding
film, yeah, I, I really, I, I, I, I haven't watched it, no, no, no, you'll, you'll see,
you can get it, it's, it's fabulous, yeah, it's, it starts out very modest, just like
a detective story, first you say, oh why, why did he recommend this film, it's, it seems
kind of ordinary for a while, you know, the first like five or six, you know, then it
slowly gets, shh, you know, like that, you know, that's a great film to watch for the
very, very long time, yes.
Thank you.
I
Sembrava di essere in Africa passavano tinteri a guardare l'estelle
Su andiamo non c'è niente da scopire siamo noi che le immaginiamo dentro che cosa abbiamo fatto niente
è proprio questo lo so ma quello che conta è che pericoli concreti non c'è nessuno non possono esser c'è
Quando ci vediamo paola non so se posso restare ancora voi scherza non mi racerai solo proprio adesso non puoi
Alla farina fari anche tu come Enrico
Ti ringrazio per il paragone ma è un'ironia almeno per me che so come stanno le cose che vuoi dire
Voglio dire che a fari non ne ho
Ne cerco ma non ne ho voglio dire che i pochi patrimi che mi giro notte le tasche li guadagno per caso quando capita
Voglio dire che il viaggio a milano per vederti e poi a cerrara per parlare con matilda e mi hanno messo a terra
Voglio dire che da la fine della guerra sono così uno spostato senza una lira è chiaro senza una lilla
Ma un guido non hai denaro t'importa ne ho io finché vuoi
Si mancherebbe al
Perchè non vederai mica queste sciocchetti tra di noi cosa vuoi che conti un po di denaro sono ben altre le cose che conta senti
Per favore non ne parliamo
Non ti occupi di questa storia nell'interesse comune hai l'esperio anche per me
No paola non voglio mi arrangerò non insistere
Un momento non hai detto che occupavi d'automobile forse posso procurarsi
Mio marito me ne deve regalare un quali sono le macchine che costano di più ma ferrari maserati
Ecco ne la potreste procurare tu
Foi tu da intermediario io non so come vanno queste cose ma forse puoi guadagnarci non ti pare
Ma come si fa una sera andiamo da qualche parte con mio marito e vieni anche tu meglio se vieni con un amico che tratti lui non
Tu preferisco che ricono ti conosco
I
Cos'hai da dirne una sorpresa
L'inchiesta del poliziotto viene da mio marito
è lui che mi fa segnere
E lui che ha chiesto informazioni a ferrare
Me l'ha detto
Quando?
Ieri
Come mai?
Me venuto in camera mia
Era un po' brilla
No
Niente di quello che pensi
Si che lui che cosa gli ha preso
Genosia
Ho lasciato in giro delle vecchie fotografie e ha voluto sapere della mia vita di ragazzo
E che cosa saputo?
Niente
Non è vero che me ne ha parlato vivendo
E perché allora ti ha fatto seguire fino a Milano?
Chi lo sa
Ma ha dato ordine di smetterla
Me l'ha assicurata
Così potremmo vederci più liberamente
No, non lo so
Con questa faccenda della gelosia tu non lo conosci
Che cosa vuoi dire?
Che cosa vuoi dire?
Non mi lascerà più in pace, un talegoista
Prima che ho detto una bugia
Nelle sera ho dovuto sopportarla
Da quando ci sei tu?
Lo detesta
Non posso tornare la sua vicinanza
Mi da fastidio
Quella sua ria di padrone, la sua voce, i suoi gesti
La mia, la mia, la mia
La mia, la mia, sopica
The only time I come back to something
Is if I didn't have my camera with me
You know and I see something
But you always learn that you can never come back
It's never the same
You know the light is different, the wind is different
Something is different
Sometimes you can
There are things in my film that I try three or four times
You know I try it the first time
And I realize it's potentially really interesting
But I didn't get it
And then I'll go back two or three times
But most of the time it's something
Which spontaneously happens in the moment
You know I'm angry, I didn't bring my
With myself, I didn't bring my bolex with me
On this trip
Because I thought well everything's going to be new
I've never been to Spain
There's going to be no time
You know and in Madrid it's true
And also there's so many
I'm crazy looking at paintings there every day
You know there's about four museums
With the most astounding collection of paintings
I think it's the best city in the world
That I've ever been to for painting
You know so but then I came here
And all of a sudden this light is like San Francisco light
You know it's the sea air, the cool sea air
The hot sun and the light
Because of all the water the light has a certain kind of
I don't know quality
And yesterday I was walking around and I go
Why didn't I bring the camera?
I'm seeing
I know that I went through this interview
I would see there might be four days
I know I had three days now
Where I could just walk around with my camera
And now I'm really
I've got a little lazy
I said oh I'm not going to bring it
You know because it's heavy and on the plane
You can't put the raw stock in your luggage
You have to carry it in your backpack
But as I say so usually
In the films 99 percent
90 percent of the stuff happens spontaneously
And I would only come back if
As I said I didn't have my camera with me
Otherwise I would
And I always am happy I have my camera with me
Because someone could just ask you to go to
Have coffee one morning
And you go oh no I want to do my work
And you go alright
And then all of a sudden you're sitting
Like in Pastorelle
There's this hand
What are you asking me about that?
Someone else is that another
The interviews are piling up
Someone said you know how these fingers come forward
And you think
You don't know at first if they're legs
It's erotic but it's not specific
It's flesh and it feels
And you feel like there's a seducer
There's something right
So that was someone who wanted to have
Coffee one morning
And I was resisting
I go no I want to do my work
And I go wait a minute
I'm rolling out of to just go with your camera
And then all of a sudden his hand was on the table
And this light was coming through some kind of
Forget what it was that made it very
And then that ended up being an important
Image in the film
So I think with the kind of filmmaking
I'm doing now it's important
To always be open to circumstance
You don't know when the magic will happen
You can go out with your camera
To a very pretty spot
And come back with no footage
And you can go to Paris for two weeks
With the camera and not have any footage
And then you're waiting some place
In the airport and there's this little thing
And that becomes
You know
That becomes the magic
Do you know what
What actually happens is
You see something which is interesting
There's a certain tension in the light
Sort of a traction psyche
Just like you'd be walking down the street
And there might be someone you'd find attractive
You know
Before you even thinking about it
You know
You're looking
You know what I mean
All of a sudden it could be a shape
It could be a down the block
One block
You know
You know what I mean
But you know
All of a sudden there's something
Which before your concept
You know
It's the animal part of your mind
You know
You know how like your mind knows
Things before you do
Your mind is
You know
Your mind is smarter than you are
Didn't you
I mean as you get older
You realize that more and more
Like you know
You know
There's your mind knows
You're the last person to know
Your mind knows
You know
You know
Sometimes your mind waits
Ten years for you to know
You know
The mind already knew
You know
But
So you see something
Some kind of tension in the light
Like we were talking
I was looking out here
You know
You know
These shadows from the palm trees
On that
Some
You know
On that cement
You know
Something might just attract you
Which
Anyway
So
So the point is
That's saying you see some kind of tension
Which attracts you
But then you look at it through the camera
And it may not translate
That's where the skill comes
Sometimes I look through the camera
For a minute
And then just
And never push the button
Because when you're looking in here
You're waiting for it to translate
And then all of a sudden you realize you can't
It was nice in the real world
But you can't get this
You can't get the frame
It's one thing that I learned from Hitchcock
He said the only
You know
He said the only thing you see
The only thing that counts in a film is the frame
Because he was talking about
It doesn't matter where
The only reality is the frame
He was very
I remember learning
Hearing him reading an interview
In my 20s
And it really struck me
You know
The frame is the only thing
So sometimes you can't turn the frame
Into something
But sometimes you're attracted to something
And you look at it
And it's kind of dead in the camera
And then you let it grow from there
Where you might
There are shots
Many shots in my films where
Let's say I start to shoot something
And then you just start to tilt
To get some kind of tension
Where it's not a corny tension
Now sometimes it's corny
When the gravity in the bottom of the screen
You're the same thing
Sometimes it's very strong
Like with Ford
The gravity
The earth and the gravity is very important
So sometimes in a shot
The gravity is very
That's where the profoundness is
Other times
The gravity in relationship to the shot
Is a corny
It keeps the shot from taking off
Into a more state of mind
So then you start to get it
Move it
And sometimes you're all the way
You know
All the way upside down
There are three quarters of the way upside down
Before all of a sudden
The frame becomes magic
Because it takes a while to realize
It's the frame is the only reality
You know
So then the frame becomes magic
And you take the shot like that
But if it's magical
You don't know
If you know you're doing that
Then it's not magical
You know
But if it just has a kind of reality
So I think in my films
Where people don't understand things
Is sometimes
You're looking at something almost upside down
But it feels
Full
It doesn't feel like upside down
Because then that would be a concept
Oh that's an upside down shot
You know it just feels like something
Hmm
Do you know that he
Have you ever seen the film
He made in Germany
Before he came to Hollywood?
Before
Schluss Accord
It means final accord
The only print I've ever seen
Is at the British Film Institute
It's my
It's really great to see him do
Not a Hollywood film
You know
But a European type of film
It's about a symphony conductor
At the Berlin Philharmonic
It's fabulous
It's really extraordinary
Because it's not the Hollywood syntax
It's a different feel
You know
He did a three or four
There's one he did in
About Australia called
What is it called?
Distant shores
Or undistant shores
But the one Schluss Accord
Final Accord
It's really great
Well it's
It takes place in New York and Berlin
At the same time
There's a
You know
There's a conductor
The Berlin Philharmonic in Berlin
And then there's these two music lovers
Who listen in New York
On the radio
To the Berlin Philharmonic
And then
Believe it or not
Their lives become
Part of one another
Through a child
That they adopt
It's extraordinary
You know
It's very imaginative
You know
No but at any rate
I don't know if I could
I mean I know that Hitchcock
You know
His sense of color is
You know
It's amazing
You know
Vertigo of course
Yes
And
You know that
Jimmy Stewart of course is
Brown
You know
He's in brown
And Madeline is in green
That kind of thing
And
The parts of Vertigo
That I feel identify with a lot
Is when
He follows her into the graveyard
In the Mission
Mission Dolores
When she's going to see
The
Carletta Valdez's grave
And he's following her
You know
In the Mission
You know that scene
That's it
There's a section of that film
About ten minutes long
Which is one of the most astounding
You know
It's up there with the great things
Of cinema
I guess
Does it start with his
Watching her come out of
Her house
And following her driving
It has everything
It has going to the
It has going to the museum
Watching her looking at the painting
And then it has
Going
Following her
And going to the graveyard
It's this long sequence of
But in the graveyard
The shots are so beautiful of
You know
What Hitchcock
His main syntax is
Point of view
And you know
The person looking
And what they see
Right that's his main
You know
Profundity
And film
No one else does that
Where the filmmaking is about
It's like you
And then what you see
You and what you see
You know
So it's a very primordial cinema
Because it has to do with
Someone seeing something
No
It's not about a draw
It's about seeing things
And so there's this area
In that graveyard
Where there are these irises
These flowers
When he's shooting this way
He keeps reversing
The angles
And the things that are in the foreground
Become the background
In another
It's really
And of course
The musical score at that point is
You know
There's no better musical score
Can you imagine
Vertigo without that score?
Yes
You know
Some personal
You know
It's very strange
Have you ever seen the film
The Nick Ray film
The Dangerous Ground?
Of course, yes
Oh, you guys are extraordinary
Because that's a great score
I mean, there's a Bernard Herrmann score too
I don't remember
I saw the movie
10 years ago
Okay, see it again
It's a score
That he
It's a sketch for Northwest
Northwest
In terms of music
It's an extraordinarily great score
Every once in a while
Now people are having festivals
Bernard Herrmann film scores
And you know
Do you know that he did the music
For Citizen Kane?
Yes
You know
So the
It's very interesting to
But see on Dangerous Ground
Just from the point of view
I mean, it's great
It's great
I think it really influenced
The new wave a lot too
Yes
Because of that sense of
Going out into the country
Out into the snow
I think it affected
Like Bo Serge
And also
Of course, shoot the piano player
And things like that
I think that film really affected
The new wave tremendously
But the score is so gorgeous
You know, just
Jeez
Are we lost?
We're lost in the
No, right
But we talked about color
A little bit
As to
Okay, so one thing
In my own work
The articulation of color
Is extremely important
I don't know of any other
Filmmaker
Excuse me
I don't mean to be self
I'm just talking objectively
Where the
You know
Where the progression of color
Is really articulate
Yeah
I mean, of course
You have people like Hitchcock
And so forth
Where it's designed
And every color
When
If
You know, if someone has a
If Marnie has a yellow
Pocket book
You know, everything is
You know, thought about
Very carefully
Like a painter
It's a visual medium
You know, just
That's one of the reasons
I can't go to movies
So much anymore
Modern movies
I don't enjoy
Is they're not interested
In the way anything looks
And most modern movies
Are very monotone
They're brown
They're all brown
Or they have the famous
Backlit blue
Smokey scene
With the backlit blue
Or it's just brown
Or orange too
Yeah, brown
Yeah
But there's
You know
No one cares what clothes
Anyone is wearing
Or
You know
They're not visually gratifying
And they're not lit well
And they're not
There's this other weird
Thing about them
Is that
I think there's something
About taking actors
And putting them
I don't know
In color
With a color
Film emulsion
Putting them in real situations
But not being aware
Of the color
In the real situations
I mean, there are very few people
I think
What's your
Oh my god
The French filmmaker
Who's
Films always
Is a new wave
He made like
Cluc
Cousin
I'm having a
Big blank out
He's such a famous
A new wave filmmaker
A French filmmaker
French one
French
French
Yeah
It makes films right till today
But films always end up with murder
He gets bored
Chabrol
Chabrol, yeah
Chabrol is like a kid
When we were kids
We used to play sports
You know
After school
But at a certain point
We'd just go into chaos
You know
We'd be playing
An organized game
But then it would always end
With everyone
Just jumping
And I think like
Chabrol is like that
He's like very disciplined
And then with about
20 minutes to go
He just says
Fuck it
Fuck it
I'm going to just start
Machine gunning every carrot
You know
You know
It's like he like
Gives up
Gives up
And says
I'll just have everyone
Kill everyone
You know
But he's
I think he's
Times
Very, very good
With a color articulation
With a framing
You know
Not all the time
But you know
And
You know
It's great
Are Ozu's color films
I don't know
If you've ever seen
Equinox flower
I think
It's called
Yeah
Of Ozu
Equinox flower
And also late autumn
Equinox flower
Just
Just now
And also late autumn
It's the most amazing
Late autumn
Yes
It's my favorite
So
In other words
When he does a close up
Exchange
Right
Shot
Counter shot
Each
The two shots
Are gorgeous together
You know
There might be a woman
In western clothes
With a
Yes
With a plaid
And then the woman
In the kimono
With a
But he's
In other words
He's
The only person
Even Hitchcock
Doesn't do this
Where he's
Aware that
The
Cut
Are going to be
The colors
Are going to be
Really interesting
On the counter shots
No
He never went over
The shoulder
You know
With a
No
No
Yes
Because
With his
Everything
Is
Related
Frontally
So
That
You as the audience
Are receiving everything
You know
He never wanted you
To be outside
With this point of view
Never outside
Looking at
Other people
Talking to each other
Do you know
Yes
You know
Where most
Most filmmakers
They're willing
To go outside
The situation
He never went outside
It was always
Two things
At the same time
It was
You as the audience
Receiving
The information
Directly
And the drama
Working
Both at the same time
You know
Yes
In devotional cinema
I talk about a sequence
In
Her only son
You know
Where they go out
And they look at the sky
So it's
Both the drama
It's working as the drama
But the audience
Is receiving the same
The direct information
From the screen
So if the
Characters
Looks up at the sky
And the screen
Cuts to the sky
You feel
The presence
Of that space in heaven
You know
It isn't like
Watching them
Have a literary experience
You are
Participating
In a primal way
Visually with the same
Experiences of the characters
Yes
Both at the same time
So
So Ozu
No one talks about him
As being a great
A color filmmaker
Because
There's only what
Maybe
Four
In Ohio
Late out in
Ohio
In
That afternoon
The one with the lighthouse
The one with the gop
The one who
Who ends with the kraus
The head of the family dies
And then
Appears some kraus
And I think it's the light
Yes
That was
Then there's the one
I love where
The husband is unhappy
Because he can't buy
The golf clubs
That one's great
That's
That's the autumn afternoon
That's the autumn afternoon I think
But the point is that
Like especially
I think late autumn
You know
Which has the double lie
There's two marriages
Which have to happen
Right
The mother
Right
But that
No one talks about him
As being a great
Color filmmaker
You know
I don't know
Of anyone who
Made a greater color
Articulated feature
You know
Than late autumn
You know
I mean
It would be fun to
Actually put together
A small series of
Like great color things
You know
I guess you
You know
You might even do
What
You think you would
Make me like
Marnie or something
I think Marnie's
Very beautiful
This color
You know
Vertigo
Late autumn
This would be interesting
You know
Yeah
Where there's
You know
Antoniani to me
Fell apart with color
Which is
You know
He lost it
I don't
To me he didn't make the trend
It didn't
You know
For me
It's a bit
Okay
And red
Red
For me
It's one of
Was it the
The second color maybe
No
The first
He did the first
He did one other
Little short thing
That never got finished
The Arab person
Put up the money for
His wife was in it
It's an unfinished show
I've only seen it
Very thorough retrospectives
It's never shown
It's great
It's about 20 minutes long
It's about a woman
From the Middle East
A movie star
Who
Wants to get a job
In Chinichita
Right
But
It's actually that too
Because it's the producer's wife
Who's
Who he wants to have
You know
They're both happening
At the same time
That's amazing
I've only seen it once
It has to be a
Really complete retrospective
The archive has to really
Work hard
Anyway
With my own films
You know
We discussed before
Like that progression
Of the colors
With the
With the reeds
And the pink
You know
And
It's very, very interesting
You know
About when the colors
Echo back
You know
It's
You'll see
There's a lot of things
That may be a little obvious now
Because I was just learning
But
When you see variations
Tonight
You'll see
There's a red
What is it?
There's a red something
Is it a little child
Sleeping in a
And then it cuts
There's something else
And then it cuts to
Someone handing out
On the street
Where people hand
Paper out
It's red
You know
I was just
At that point
That echo
How you could have
A color go away
For two shots
Return to the color
You know
See
But there are
People who
They might
Make a nice color film
But there's not that many
People who actually
Articulate with the color
Where the shots
And cuts
Are using the color
So do you
Memorize
All the techniques
Of the
Material
No
I did
When I first was
Making
When I was first
Making films
I had very elaborate
Notebooks
I would write
All the shots
That have read
In them
These are all ways
To avoid actually
Making the movie
You know
And also you're taught
When you're young
You should have a log
Of every shot
You know
This is the way
You're taught
But now
I do
Zero writing
Zero
It's all
Just the actual
You know
What I mean
I look at a
Roll of film
I get back
Ten rolls of film
I look at it once
I immediately take out
The twelve shots
I want to use
And put the other away
Maybe I'll check it later
You know
To see if I made a mistake
I'm going to throw it in
The corner
You know
I'll check it later
But at this point
It's just very
Everything's very actual
I don't write
Anything down
When I first started
You'd write
Everything down
Because you didn't
Really have the confidence
It's like
Our translator
At the show
What is his name?
Paulo
Paulo
Yeah
Last night
He suddenly got the confidence
That he didn't have to
Write it down
He could just listen
And say it
But that's fun
It's like learning
To ride a bicycle
You know
You know what I mean
Right
Like all of a sudden
You have the confidence
You don't have to have
Those extra wheels
You know
They still have that
That was
Maybe when I was
A kid
They have these extra wheels
You know
They don't have that anymore
Do you know
Do you know
When you were
I had them
You had them
Maybe because of our
Right
No
But I don't
Write down anymore
You know
I think you
Write
Same
Bush
Same tree
Yes
There's this one
Bush
Which became a star
I couldn't stop
It's
Near my house
In San Francisco
There's an
Arboretum
You know
With all the plants
From around the world
Right
And
It's a very nice place
To go with the camera
But there's this one
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
Bush
So, you know, like if people are too good looking in a movie, it can be distracting sometimes.
You know, if they're not in, you know, you know what I mean?
Sometimes it's not, you know, that's a whole, that's a whole nother topic.
But the, yeah, so, yes, I think just like a painter, you know, you know, the things you return to, you know,
and then at a certain point you realize you better not do it.
Having these retrospective and Rotterdam, and then in here and starting to see my films a lot,
there's certain things that say, you know what, I've, you know, you start to see, you know,
and then you look at all your films and you go, oh, I bet I'm going to move away from that, you know.
But sure, you exercise the same thing.
No one would question it as a painter, right?
If you went in and you saw eight paintings by Brock or by Picasso and they had,
if they had a guitar in them or they had, you know, you would accept it as exploring again with that language.
The filmmaking is, sometimes people I think are less tolerant,
but then, of course, the films aren't necessarily made to be seen in a set.
The four I like as a set.
Last night, I find, for me, it's a very, I like that set of four.
And the Museum of Modern Art bought them in New York and they wrote in the contract,
we'll only show them as these four in that order.
You know, they wanted to call that, you know, like a work.
But eventually, probably after I'm dead and if the films continue to have value, I have no idea.
You never know if what you're doing has value beyond the moment.
Then, let's say there's something like Blu-ray or better, right?
And let's say someone presented them.
Then you could have the privilege, you don't have to go to a film show and see four of them or three of them.
You could just look at one, just like reading a poem.
And that would be wonderful.
Bruce Connor had a retrospective show of all his artwork in San Francisco.
You know, he's a graphic artist mostly.
You know, draw us things and photos.
He created three rooms where only one film played in each of those rooms.
So, do you know the film 5, 10 to Dream Land?
So, there's one room that had the film 5, 10 to Dream Land.
Another film had a movie.
You've seen a movie?
Oh, you would love that.
It's really strong.
Have you seen 5, 10 to Dream Land?
No.
Anyway, so there's only one film in one room and it was very, very interesting to be at someone's show where you'd have his works on the wall.
Right?
And then you'd go into one room and there would be not a DVD or a Blu-ray, but a 16 projection of just that one work.
It wasn't a film.
So, it was interesting to see a film show that what, I'd rather a film, not in the context of a film show,
but just in the context of that film is in that room.
It changed the whole relation.
It was very startling to be able to go into a room and that, well, 5, 10 to Dream Land is 5 minutes and 10 seconds.
That's where the title comes from.
So, to go in and just see this thing that's 5 minutes and 10 seconds as an artwork, complete.
It was very different than if you saw three films like set in an auditorium and saw three films.
So, sometimes I think, well, you know, these films don't necessarily have to be shown all together.
It's just the format now, you know.
Because if you buy, if there's a poet you like, you don't want to read four poems necessarily.
You read one poem and you see, you know, that's fine.
And then you can put it, you don't want to, now you don't have to read another poem.
You know what I'm saying, because of the film show.
