Directors Forum
Summary
vtheatre.net
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* flickr.com/people/vtheatre images 2006 + del.icio.us/anatolant/film links
MOVIES or FILMS:
What if we to consider HERO as the plot, and his struggle to understand himself as a story? What is a true major event of your day? Could be questions about meaning of your life be the subject of a film? And how "organized" is my day?
Fellini offers a different way to understand the Narrative, and the Narrator.
Is it a biography?
Is anything in Godfather from Coppola's own life? How about the questions about right and wrong, family, losing and winning? I think we only can truly relate to any character/story when it's confessional, i.e. relates to my own life with its conflicts and confusions.
Is Charlie, the Trump, just a way to tell about the world of filmmaker Charlie Chaplin?
Does Bergman talk about himself in The Wild Strawberries?
The films we are watching now are trying to do what good literature was doing for so long -- telling about our secret, hidden, inner state of mind.
Is it possible for this "recording" device (camera) that sees everything from the Outside?
Can the film language allow to tell more than words do?
How? That's why we study it.
And here is the finale issue -- what does the end mean?
Why do we see all characters, real, imaginary, dead together on the set of the silly movie, which got the "plot" -- but doesn't speak about Guido, or me.
I believe that entertainment rules because we try to escape ourselves, not to face our problems. So, does he, Guido, or Fellini.
* I like subtitles; not only I want to hear the original voices, but reading it keeps my mind awake.
There are two more great films for us to watch on this topic -- Mirror by Tarkovsky and Dreams by Kurosawa.
I hope you will remember where and why the style/form was originated when you want Tarantino. He knows. As well as Coppola.
Keep posting.
We'll talk more in class.
Anatoly [ from google.com/group/filmstudy ]
Tarkovsky : Mirror : One Shot
