6.3.07

This fire that must always be in the shot

(...) It takes a lot of patience, sweat, blood, tears and fatigue to begin to represent something that is close to life. Look at Bresson, for example. He shows our world, and at the same time it appears strange, this world. It's odd how people move in Bresson's films. They walk strangely, their gestures are very fast or very slow. That's the work. It's our world, and at the same time it's very abstract. Cinema is not exactly life. It works with the ingredients of life and you organise, construct these ingredients in a manner different from life. We're going to see them in a different light. It's not life, but at the same time, it's made using the elements of life, which is something very mysterious and sometimes quite beautiful. A director would have to live in tension all the time, but it's complicated because we can't. Films should be tight, but directors are only human. We can't be tense all the time, because we would have to be listening to everything, seeing everything, all the time. To begin to see what's happening, to condense it, we must see everything. As Cézanne says, we must see the fire that's hidden in a person or in a landscape. We must strive for what Jean-Marie Straub describes: if there's no fire in the shot, if there's nothing burning in your shot, then it's worthless. Somewhere in the shot, something must be on fire. This fire that must always be in the shot, it's the love letter in the bank. Very few people are going to see this love letter in the bank, and still fewer are going to write a love letter in a bank. So, to finish with the metaphor, I would say that my work as a director, your work as students, future directors – it's in this bank, here. Your work is to continue trying to write love letters, and not cheques. Sometimes people don't notice your work, of course. Well, we resist and we keep going to the bank to write love letters.

21 comentários:

Anonymous Anônimo escreveu:

"tv is an epidemic of seeing".
isn`t it?
It can be found everywhere and also in Don Delillo, Underworld

14:44  
Anonymous carolina escreveu:

Look what else:
Capital burns off the nuance in a culture. Foreign investment, global markets, corporate acquisitions, the flow of information through transnational media, the attenuating influence of money that’s electronic and sex the that’s cyberspaced, untouched money and computer-safe sex, the convergence of consumer desire – not that people want same things, necessarily, but that they want the same range of choices."

18:45  
Blogger Produção escreveu:

Trabalho com cinema e só agora me deparo com os textos do Pedro Costa. Extremamente inspirador, esse trecho. Ele conseguiu traduzir o que eu sentia em relação aos filmes do Bresson, mas ainda não tinha conseguido explicar pra mim mesmo. A maneira como os personagens se movem em Bresson é algo hipnotizante. E como eles se tornam parte do fluxo da cidade é estonteante. Esse é o desafio que estou passando na preparação do meu curta agora: colocar os personagens do meio da cidade, coreografá-los no fluxo da cidade. Bresson faz isso lindamente. E é preciso acender o fogo de cada cena... Isso é um puta desafio, porém a maior verdade sobre direção de um filme. Você também trabalha com cinema?
Abraço,
Cássio.

20:07  
Anonymous Tatiana escreveu:

Olá, ilustre desconhecido!!! Venho com um pedido totalmente fora de hora e de lugar! Será que você nào tem aí guardada com você a íntegra da conferência do Agambem que você citou alhures, "O que é um dispositivo?"? Eu me chamo tgr_girassol@yahoo.com.br.
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