This strategy of automatic writing, it’s not controlled by thinking or conceiving, but straight intuition. Then comes a period of molding and sculpting intuitively gained material, and control starts there. In conceiving the film, and then also in shooting, we actually are controlling, are not really into this spontaneity of discovering something that hasn’t been conceived. I think the very beginning is the place where control isn’t welcome.
One thing I’d like to add: because of that control-freak aspect of us, it’s maybe important to have scenes, actions, moments where a certain kind of improvisation or something uncontrolled can happen, like the cat, or Clara [the young girl]. They cannot be controlled. Because of that nature, it’s important to put those elements, which can give more life to your controlled universe. It’s important that you can’t control everything."
"No film which only translates into film what is known already (from the newspaper, a book, TV) is worth anything. A film has to find an expression in its own language."
— Harun Farocki (R.I.P.)
We’ll be opening up the Etsy store to international customers very soon (before the end of August?) - just a matter of doing some research so we can set shipping prices. I’ll post here when we do. Thanks for your interest!
"Suppose a character, in one of the stories you and I write, tried to conceive of his origin, and tried to foresee beyond what he knows of his destiny at any given point of the story. His enquiries, his speculations, would lead him to hypotheses (infinity, chance, indeterminacy, free will, curved space and time …) very similar to those at which thinkers arrive when speculating about the universe.
This is why the traffic between storytelling and metaphysics is continuous.
The notion that life, as lived, is a story being told is a recurring one. Rationalism rejected this notion by proposing that the laws of nature were ineluctably mechanical. Most recent scientific research tends to suggest that the natural working of the processes of the universe resemble those of a brain rather than a machine. To think of such a ‘brain’ as a narrator—although many scientists would protest that the thought was too anthropomorphic—has again become feasible. The metaphysics of storytelling has ceased to be a merely literary concern.
What separates us from the characters about whom we write is not knowledge, either objective or subjective, but their experience of time in the story we are telling. This separation allows us, the storytellers, the power of knowing the whole. Yet, equally, this separation renders us powerless: we cannot control our characters, after the narration has begun. We are obliged to follow them, and this following is through and across the time, which they are living and which we oversee.
The time, and therefore the story, belongs to them. Yet the meaning of the story, what makes it worthy of being told, is what we can see and what inspires us because we are beyond its time.
Those who read or listen to our stories see everything as through a lens. This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless.
If we storytellers are Death’s Secretaries, we are so because, in our brief mortal lives, we are grinders of these lenses."
— John Berger, And Our Faces, My Heart, Brief as Photos
"In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry."
Yikes! Don’t know how I missed that. I must have just been thinking about Jack Lemon as I wrote that sentence. Fixed now. Thanks for the correction.
Okay! I’ve been meaning to see it. Probably will soon. If I write about it, I’ll probably just end up writing about whatever details strike me, as I usually do, but I’ll take these into consideration for sure. I haven’t really read much about the movie - had no clue a main character was queer! Annie and I have this idea to write a series of zines where we go through every single Wes Anderson film and write about how every single POC character is depicted (no matter how minor). Add that to my endless list of overambitious future projects!