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Ray Pride

By Ray Pride Pride@moviecitynews.com

Holy HOLY MOTORS!! 9 images, video, press kit extracts

  The tweets after the first screening: c’est incroyable!

Epigraph to the press kit: “History adds that before or after dying he found himself in the presence of God and told Him: “I who have been so many men in vain want to be one and myself.” The voice of the Lord answered from a whirlwind: “Neither am I anyone; I have dreamt the world as you dreamt your work, my Shakespeare, and among the forms in my dream are you, who like myself are many and no one.”

— Jorge Luis Borges, “Everything and Nothing”

“From dawn to after nightfall, a few hours in the life of Monsieur Oscar, a shadowy character who journeys from one life to the next. He is, in turn, captain of industry, assassin, beggar, monster, family man… He seems to be playing roles, plunging headlong into each part… but where are the cameras? Monsieur Oscar is alone, accompanied only by Céline, the slender blonde woman behind the wheel of the vast engine that transports him in and around Paris. He’s like a conscientious assassin moving from hit to hit. In pursuit of the purely beautiful act, the mysterious driving force, the women and ghosts of past lives. But where is his true home, his family, his rest?”

HIM Jean, there’s something you don’t know. HER About you? HIM About us. Denis Lavant (monsieur oscar / banker / beggar woman / motion capture specialist / monsieur merde / The father / The accordionist / The killer / The victim / The dying man / The man in the house) Carax: “Like cinema itself, Denis comes from the stage, the fairground and the circus. His body is sculpted like those of the athletes chronophotographed by Marey. and when I film this body on the move, I feel the same pleasure I imagine Muybridge felt watching his galloping horse.” Carax: “Holy Motors was born of my incapacity to carry out several projects, all of them in another language and another country. They all ran into the same two obstacles: casting and cash. Fed up with not being able to film, I used Merde, which had been commissioned in Japan, as inspiration. I commissioned myself to make a project under the same conditions, but in France—come up with an inexpensive film, quickly, for a pre-selected actor. All of it made possible by digital cameras, which I despise (they are imposing themselves or being imposed on us), but which seem to reassure everyone. There’s never any initial idea or intention behind a film, but rather a couple of images and feelings that I splice together. For Holy Motors, one of the images I had in mind was of these stretch limousines that have appeared in the last few years. I first saw them in america and now every Sunday in my neighborhood in Paris for Chinese weddings. They’re completely in tune with our times—both showy and tacky. They look good from the outside, but inside there’s the same sad feeling as in a whores’ hotel. They still touch me, though. They’re outdated, like the old futurist toys of the past. I think they mark the end of an era, the era of large, visible machines. These cars very soon became the heart of the film – its motor, if I may put it that way. I imagined them as long vessels carrying humans on their final journeys, their final assignments. The film is therefore a form of science fiction, in which humans, beasts and machines are on the verge of extinction—“sacred motors” linked together by a common fate and solidarity, slaves to an increasingly virtual world. a world from which visible machines, real experiences and actions are gradually disappearing.”

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Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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