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Ray Pride

By Ray Pride Pride@moviecitynews.com

First DVD Edition Of Rivette’s epic OUT 1 Out In November

Out 1

Jacques Rivette’s 12-hour-nine-minute Out 1: noli me tangere is coming to DVD in November for a mere 70 euro, with German subtitles from absolut-medien.de. So where’s the English subtitled version! One go among worshipful viewers was not enough. Rivette talked about Out 1 to Bernard Eisenschitz, Jean-Andre Fieschi and Eduardo de Gregorio in April 1973. (Translation: Tom Milne.) This passage seems to speak to this hardly-seen “text.” ”A film is always presented in a closed form: a certain number of reels which are screened in a certain order, a beginning, an end. Within this, all these phenomena can occur of circulating meanings, functions and forms; moreover, these phenomena can be incomplete, not finally determined once and for all. This isn’t simply a matter of tinkering, of something mechanical constructed from the outside, but rather… of something that has been ‘generated’ which seems to entail biological factors. It isn’t a matter of making a film or a work that exhausts its coherence, that closes in on itself; it must continue to function, and to create new meanings, directions and feelings.

“Here one comes back to the Barthes definition. I refer to Barthes a good deal, but I find that he speaks more lucidly than anyone else at the present time about this kind of problem… and he says: there is a text from the moment one can say: things are circulating. To me it is evident that this potential in the cinema is allied to the semblance of monumentality we were just talking about. What I mean is that on the screen the film presents a certain number of events, objects, characters in quotes, which are closed in on themselves, turned inward, exactly as a statue can be, presenting themselves without immediately stating an identity, and which simultaneously establish comings-and-goings, echoes, among one another.” Let the echoes begin.

Out 4

5 Responses to “First DVD Edition Of Rivette’s epic OUT 1 Out In November”

  1. Damn, looks like it’s been delayed till next October.

  2. Ray Pride says:

    aw

  3. David says:

    It’s finally out and it does have English subtitles for Noli me tangere. Spectre however doesn’t.

  4. Ray Pride says:

    That is the version, Spassky. Mine arrived 3 days after shipment. Check the Rosenbaum link on front page for information. SPECTRE and the extras don’t have English subs. OUT 1: NMT does.

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CATHERINE LACEY: Do you think that your writer DNA was sort of shaped by how your family was displaced by the Nazi regime before you were born?
RENATA ADLER: It’s funny that you should mention that because I think it affects a lot else, specifically being a refugee. I wasn’t born there. I didn’t experience any of it. But they were refugees. So then I was thinking of this business of being a refugee, no matter in what sense.

Prenatal refugee.
Prenatal refugee and actually postnatal refugee. And I thought there are probably things in common between being a child and being a refugee and being an anthropologist.

It gives you a sense of curiosity.
But also a complete displacement. You’ve got to read the situation. You’re the new kid in school all the time. But I wasn’t aware of it then. I’m aware of it now because language affects you differently, or not. But I used to talk to Mike Nichols about it because he was a refugee. Do you envision an audience when you write? Do you envision a particular person? 

No.
Every once in a while I think: Now, what would Mike say to that?

There’s that idea that when you’re blocked, you can always just write as if it was a letter to one specific person.
Oh, that’s good. That’s a wonderful idea. Mine is more in terms of criticism. If someone was to say, “I know what that is. Do you really want to do that?” But anyway, about Mike and his attitude toward language, I remember him saying—it was a question of whether something written was fresh or not—and he would ask, “Why not smell it?” Which, from an English speaker’s point of view, is hysterical.

~ Renata Adler and Catherine Lacey In Conversation 

“Oh it was just hellish. This is the worst thing that ever happened to me. It would be stupid for me to say that I didn’t know what I was getting into. It has taken me five years to decide on a first film and I always held out for something like this. The lesson to be learned is that you can’t take on an enterprise of this size and scope if you don’t have a movie like The Terminator or Jaws behind you. Because when everybody’s wringing their handkerchiefs and sweating and puking blood over the money, it’s very nice to be able to say, ‘This is the guy who directed the biggest grossing movie of all time, sit down, shut up and feel lucky that you’ve got him.’ It’s another thing when you are there and you’re going ‘Trust me, this is really what I believe in,’ and they turn round and say ‘Well, who the hell is this guy?’ If I make ten shitty movies, I’ll deserve the flak and if I go on to make 10 great ones, this’ll probably be looked upon as my first bungled masterpiece.”
~ David Fincher, 1992

 

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