We can experience nature as it is, not as it was transformed by human beings. When we leave the house, instead of passing cars and people on the street, we see hares, foxes, deer in the forest. The relationship we have with a creature who doesn’t use language, but with which you empathize, and its psychological space and complexity of its emotions - it’s just as important as what Jerzy was just saying. We’ve always had an animal next to our side. We have a house in the forest in which we’ve lived for quite a few years. Piaskowska: And just as important is our absolutely genuine affection towards animals, our appreciation of nature. Our boredom with that narrative made us explore all the ways to find different ways to narrate the film, and we thought having an animal as a center of the story would give a new way to do this. We know those stories so well that after 10 minutes of watching a film in the cinema, we know what’s going to happen next. They try to part, but their feelings are stronger than the need for parting. There’s a repetition of a certain pattern of telling this story: two people meet, they fall in love, start to date, they’re very happy, then something happens and they’re not happy anymore. This film is connected to my negative attitude to linear storytelling and narratives, which constitute 99% of film narratives. Skolimowski: We wanted to have an animal as a hero of the movie. Why did you choose to anthropomorphize EO? There are a number of flashback scenes that suggest he has real feelings and has cherished memories of his former owner. This was the lesson I got from Bresson: That an animal hero is able to move you even more than a human hero. In an interview I gave soon after I saw the film, I mentioned that it was the only occasion that, at the end of the film, tears appeared in my eyes. When I saw who was in first place, I immediately went to the cinema to see the film. I was in Paris at the time, and I’d seen the Cahiers du Cinema with my own eyes. Bresson’s film was number one on that list, and my film was second on the list. Skolimowski: I saw the film by Robert Bresson a year after it was made, and in 1966, Cahiers du Cinema published a list of the 10 best films made that year.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |