By Ray Pride Pride@moviecitynews.com

Christina Kallas

“Kate Millet suggests that by changing our storytelling we could change our consciousness and, in doing so, change our reality. But what does that mean, when applied to film? I have long subscribed to the idea that Ancient Greek dramas were so very important, because they were serving as emotional education — what some scholars call the poets’ solution to the riddle of civilization. Might we be in dire need of a new poets’ solution? It would be worth it to add that Aristotle did not see drama as superficial entertainment in the sense of escapism, distraction or diversion. He speaks of the double-goal of entertainment and awareness. Drama should not only increase enjoyment, he says, but also enrich experience and knowledge. This presupposes stories that challenge and interest the audience, that shake up our everyday life; that broaden the spectrum of our experience since they intrinsically represent an experience themselves.”
~  

Comments are closed.

Quote Unquotesee all »

“Yes, yes, yes. Now I am also the producer on Jean-Luc’s films, so I need to raise the money. Yes, there are two projects in preparation with the pretext of virtual reality. We are beginning with two approaches: we can either do or undo VR. Maybe we will undo it more than we do VR, because thinking about VR leads to the opposite of VR. Is there concrete imagination in virtual reality? For me, cinema is concrete imagination because it’s made with the real and uses it. VR, virtual reality, is totally the opposite of that, but it might be interesting to use this and then to destroy it. No, we’ll see, we’ll see. First, it’s just an idea of a beginning. There is a forest to cross, and we are just at the beginning of the forest. The first step is development. As they say in business, first there is development and research. We have to develop somehow an idea for the film; I won’t say a script, but to see what we can do with this system, and what we can undo with this system.”
~ Fabrice Aragno On Godard’s Next Projects

“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray