#1 Kucamo na vrata zaboravljenih asova
Posted: 01/08/2005 06:57
topic je zamisljen kao deponija slika, recenzija, eseja, izjava, komentara , razgovora, diskusija, misljenja, itd. na temu zaboravljenih filmskih rezisera.
na vama je da odlucite ko spada medju zaboravljene.
moj prvi prilog je posvecen velikanu yu-kinematografije i jednom od znacajnijih pripadnika svjetske avant-garde, dusanu makavejevu. prenosim i neke odlomke iz intervjua sa reziserom iz 2000. intervju mozete procitati u cjelini na: http://www.sensesofcinema.com/contents/ ... vejev.html
Makavejev: W.R. - Mysteries of the Organism wasn't released in Yugoslavia until sixteen years after it was made. It was banned for sixteen years. When it was produced, they banned it by a kind of fiat. It was not banned by a court or by censorship. We got a censorship license, and local production approved of it. But we were not allowed to show it. But because the film was successful and played everywhere else, the local press translated everything that was published in ten or fifteen different countries. Finally, to defend the film, we produced a 500-page book of material supporting the film. Out of 500 pages there were probably ten to twenty negative statements about the film. But it didn't help. The courts banned the book immediately. But fortunately we had already distributed the book. Then a policeman came and said: you have to get the books back from whoever bought the book, because they are not allowed to read the book. Not only was the book banned for sale, but whoever had it was not allowed to read it. It was quite something, and it got worse and worse. Finally it ended with me, about two years later, leaving the country.
W.R. Misterije organizma (1971)
… After all this, I was wiped out. I was persona non grata in Yugoslavia, and I had moved to Paris. Sweet Movie was made between Canada, Holland, and France. And some money came from Germany and Sweden, too. These governments gave me money. I kept my passport from Yugoslavia, but I was not allowed to work there. I got support from foreign governments for my film. That was a nice feeling. I had a Hollywood agent, and had all sorts of invitations, and everybody talked to me. But for seven years I did not make a film. So I was rewarded for my five successful films. I was asked to disappear. No one in the West would let me do my next film the same way I did those five.
I would show them these films, and they would say, yes, we like these films; do another one! And I would say, okay, can I get some development money. They said, no, we have to have a script first. I said that if I have a script first you cannot get this kind of film. A script is a verbal attack on a visual world. Potentially a film has a universe of visuals to deal with. Once you tame it and restrain it within a script that means you have a hundred pages of dialogue. It is heavily cut off in terms of visuals. Blah blah blah. But of course this is how popular films work. I was unaware of this. All my previous films were very popular in Yugoslavia and elsewhere, and I thought the way I worked was fine.
na vama je da odlucite ko spada medju zaboravljene.
moj prvi prilog je posvecen velikanu yu-kinematografije i jednom od znacajnijih pripadnika svjetske avant-garde, dusanu makavejevu. prenosim i neke odlomke iz intervjua sa reziserom iz 2000. intervju mozete procitati u cjelini na: http://www.sensesofcinema.com/contents/ ... vejev.html
Makavejev: W.R. - Mysteries of the Organism wasn't released in Yugoslavia until sixteen years after it was made. It was banned for sixteen years. When it was produced, they banned it by a kind of fiat. It was not banned by a court or by censorship. We got a censorship license, and local production approved of it. But we were not allowed to show it. But because the film was successful and played everywhere else, the local press translated everything that was published in ten or fifteen different countries. Finally, to defend the film, we produced a 500-page book of material supporting the film. Out of 500 pages there were probably ten to twenty negative statements about the film. But it didn't help. The courts banned the book immediately. But fortunately we had already distributed the book. Then a policeman came and said: you have to get the books back from whoever bought the book, because they are not allowed to read the book. Not only was the book banned for sale, but whoever had it was not allowed to read it. It was quite something, and it got worse and worse. Finally it ended with me, about two years later, leaving the country.
W.R. Misterije organizma (1971)
… After all this, I was wiped out. I was persona non grata in Yugoslavia, and I had moved to Paris. Sweet Movie was made between Canada, Holland, and France. And some money came from Germany and Sweden, too. These governments gave me money. I kept my passport from Yugoslavia, but I was not allowed to work there. I got support from foreign governments for my film. That was a nice feeling. I had a Hollywood agent, and had all sorts of invitations, and everybody talked to me. But for seven years I did not make a film. So I was rewarded for my five successful films. I was asked to disappear. No one in the West would let me do my next film the same way I did those five.
I would show them these films, and they would say, yes, we like these films; do another one! And I would say, okay, can I get some development money. They said, no, we have to have a script first. I said that if I have a script first you cannot get this kind of film. A script is a verbal attack on a visual world. Potentially a film has a universe of visuals to deal with. Once you tame it and restrain it within a script that means you have a hundred pages of dialogue. It is heavily cut off in terms of visuals. Blah blah blah. But of course this is how popular films work. I was unaware of this. All my previous films were very popular in Yugoslavia and elsewhere, and I thought the way I worked was fine.
mlohava akademska ikebana 
