FC: Except for a brief and vague remark at the beginning, the narrator does not reflect on anything beyond this one story and these local characters. And his last words are: “I never saw any of them ever again.” The paradoxical effect, of course, is that we immediately start to think of where and when we might have encountered them in other shapes—throughout history or in our own lives. This is a good example of your double strategy to leave some things open but also leave enough traces for substantial interpretation.
MH: I always look for the places in a story where leaving things open can become really productive for the viewer. I often compare filmmaking with building a ski jump; the actual jumping should be done by the audience. For the filmmaker, this is pretty hard—it’s much easier to do the jump yourself, to do it for the viewer. Because there’s always the fear of frustrating them. What do I have to indicate? What do I leave out? How much can I not spell out when constructing a film and still not frustrate the audience? Such strategies have become widely accepted in modern literature, but much less so in cinema. That’s a bit sad.
FC:When writing a script, do you always have too much stuff at first, too much explanation, and then you hack away at it?
MH: It’s an issue at an earlier stage—during construction. That’s when I ask myself all these questions. When I start writing the actual script, the storyline is already set. The actual writing is a pleasurable process that also involves the unconscious. But before that I need to know in detail the economy and the means of the narrative. I don’t think that any artwork based on a vector of time can be constructed in a free-flowing manner. You can certainly write a novel or a poem without knowing at the start where it will lead you. The author of a book can navigate differently from its reader. But the distinct vector of time involved in any drama, film, or musical piece asks of you to include a notion of the viewer or listener in your artistic construction. In film this presupposes, of course, that the mise en scène will be on the same artistic level as the writing. The films that have really excited me, emotionally and intellectually, were always created from such a unity, the unity of form and content. It may sound old-fashioned, but I don’t know any sensible approach that would have superseded it.
segunda-feira, fevereiro 01, 2010
Narrativa em Haneke
Excelente momento da entrevista da Film Comment (Nov.-Dec. 2009) a Michael Haneke na senda do seu último filme The White Ribbon (2009) em que este desmonta e explica o modo como constrói narrativamente os seus filmes.