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by zvezda je zivot 2024-05-15, 13:52pre par nedelja izaso jako dugacak intervju s pedrom kostom https://othoncinema.com/interview-with-pedro-costa/. potpuno se identifikovo sa tonom svojih uzora. i to je dirljivo i pomalo komicno. ceo intervju je doompillovan (sve je u kurcu i svet i filmska kultura, svi su umrli i strauba i riveta se niko nece secati za 10 godina), dosta remblovanja, asocijaciranja i nejasnih primera, sto ja jako volim, ali ima zanimljivih stvari.
npr. ovaj starinski odnos prema filmofiliji koji je potpuno izgubljen danas, sa kojim se ja 100% slazem i pitam se da li je moguce uopste biti filmofil a ne biti reditelj
ne voli da pitchuje
onda ima ovaj godarovski momenat
ne svidja mu se pojam slow cinema:
i da iz nekog razloga proziva ridlija skota u svakom odgovoru
ili npr
npr. ovaj starinski odnos prema filmofiliji koji je potpuno izgubljen danas, sa kojim se ja 100% slazem i pitam se da li je moguce uopste biti filmofil a ne biti reditelj
A minority, a few people against everything, but they were very explosive, very special. There is something that Marguerite Duras said that is very beautiful. She talked about some commercial filmmaker in the seventies or eighties, a big one, like Kubrick, and she said, yes, that guy has three thousand spectators in the cinema, and I have three. But my three spectators, he will never have, and that tells a lot about the special nature and the attitude of even the spectators that had a very punkish attitude. If we liked Straub or Godard, we were against everything else. We didn’t need to see the other things; we just didn’t like them.
ne voli da pitchuje
That’s what you have to do today to get financed for a film. You have to tell what you want to do, and I’m completely against that because you get lost in things when you tell your film. You get lost in your own discourse, your own fascination. It’s bad, and the film should be a secret between you and very few people, or between you and the space, you know, it’s that forest, it’s that girl, it’s that man, it should be between you, and it’s very intimate, and it’s a part of secrecy. The pitching idea, method, or politics of pitching is killing a lot of things for those projects; it’s obvious, and then you go into a system which is the normal, conventional, commercial, capitalistic way of making a film. Financing and thinking through the discourse around these things. (...) They need to be judged by people with eyes and ears and feelings again, and there are still people that can do this. It’s very terrifying because most of the films I see suffer from something they lost in the pitching. I mean, the first idea that you have to make a film, it’s very intimate, it’s sometimes something you are ashamed to tell your girlfriend or boyfriend. It’s also, it makes you shiver, it’s very fragile. You think: Is this really nice? Is it what I think? Is this my idea? You know, there are a lot of things that you have to balance. To sell this first idea immediately…
onda ima ovaj godarovski momenat
The conventions are a mirror of all the situations we see in our society. I mean, a film crew is a very ugly thing to see. It’s competition, it’s dispute, it’s separation. It is a hierarchy of competences, talents. Even worse things, like we are discussing today. The film crews are the place where all the most awful, obnoxious behaviors are in practice. I mean, it’s very easy, the actors, the actresses, the fake love, those kinds of things that you know, the love that the director has for his actors, his actresses, sometimes. Now we’re seeing what happens; I mean, it’s so awful. So, all this system has functions because there is a scenario behind and a budget behind. And those things, you can get rid of easily.
ne svidja mu se pojam slow cinema:
I mean, I’ve never seen faster films than Straub’s. It’s too fast for me. When I was younger and with my friends when we had the guitar band, I used to tell them: we have to play faster than this film. And they would say: Ah, I see, I see. Because there’s so much, it’s the rhythm of the world, it’s the rhythm of nature, you know. Just think about the rhythms of nature if you are in front of a volcano or a mountain. I mean, it’s vertigo really, you are dizzy. So it’s the opposite. I think it was a woman that invented this slow cinema thing. That’s what they told me, some film studies person. If she had said “fast films” or “super speedy films” or “super speedy cinema” or “Speedy Gonzales cinema” or “go go go fast fast fast cute pussycat cinema”, that would be much better. “Slow cinema” doesn’t mean much. It doesn’t mean much and gives a really fake idea of what it is. Because there’s nothing faster than life. So the films we like, I think all agree, Straub and Mizoguchi, are the films that are closer to life. The films that are far away from life are, let’s say again, Ridley Scott.
i da iz nekog razloga proziva ridlija skota u svakom odgovoru
Cinema is something that brings us together, in a way, it’s a gentle thing, it’s a peaceful thing. I think Godard said that. Images are peaceful things. They can be violent and clashing and colorful and tell about difficult things like “In Vanda’s Room”, for instance. It’s very difficult to watch that film. People refuse this film, many other films, like Straub’s films. Actually, I talked a lot with Danièle especially about why people sometimes are not prepared, or they refuse “Othon” or “The Death of Empedocles”. They refuse it. They say it’s boring, it’s theater. It’s not about that. It’s just they don’t want to think with the film. They want to be amused. Life is violent; life is a very violent thing. Cinema should not forget that, but should be something like medicine almost. I know that when I see a Straub film, I’m better. Immediately, it’s like taking a pill. I’m not saying drugs, but it can be like drugs, like aspirin. I’m better. If I see a film by Straub or by Godard or by John Ford or Mizoguchi, the moment after it’s super. And then I know I will have more ideas; it’s like feeling that I’m back. I’m sure you feel the same thing. We are here now, super stupid and awful. Then we see this film or read a book, but cinema is more punchy. You think, “I’m back”, “I’m back to myself”, “I’m back in the world I like”, back in the world I feel that could be the world for all of us. I mean, it’s the world that Straub invented and Ford. That would be our world. So that’s the fascism I’m talking about when I say fascist films that are the opposite of Straub and Ford. Of course, Ridley Scott is absolute fascism; there’s nothing there to take; you see that and you say no, I won’t take anything. Because it’s real populist, like you say in politics. He is a populist guy. He will abuse you, promise to give you everything, that you will be happy and free, etcetera.
ili npr
Well, until now, I was always very respectful, a little bit fearful, not afraid, and I think if you put music in your film, it’s difficult. It’s already so difficult to do a film, and then with music, and not being Jean-Luc Godard. He’s completely alone in that field of music and film; he is completely alone and unique in an absolute way. Except for Straub, in a different way, that took and worked with music and images in the most beautiful, productive, interesting, and rich way. And I’m not Godard; nobody is. And the system, the codes, the American codification, that’s gone. I mean, if you do a musical like that today, there are some attempts, “La La Land” and things like that. I don’t know. I’m not super critical of that. But I think they should have worked a bit more. But I’m not saying it’s bad. There is something interesting to be done with music, I think. That’s what music does in film; it elevates everything. It gives enchantment and gives it a sentimental dimension that is not in the image. So that’s the problem. Ridley Scott, poor guy. People like him, they put music because there’s nothing in their films. And the music will help.
Od manje bitnih vesti, premijera Kopolinog Metropolisa u petak. 
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