FILM PRAGUE SPRING
When a person is consistent at all costs, it is close to madness.If I stuck kakihto ingrained in me the principles in which I firmly believe it's probably safe to say that I remain valsya consistent.And I really think this is true because of my documentaries to the first war films, the films of the postwar period up to the present is, even through a variety of searches, odnaedinstvennaya line.You can not, for example, to deny that the "white ship" and "The Man with the Cross," in "Payza" and "Francis", in a short episode of "miracle" and the final two "Stromboli" spiritual world is one and the same. - How povashemu, "Francis - minstrel of God" - a realistic movie?- Of course, imagining what would be Francis as a man, I never deviated from the action sequences either in terms of events, nor on kakihlibo other elements that contribute to build again NIJ picture of events. For example, the costumes are like a part of the "reality." They are so authentic that they just do not notice.In this movie, I tried to open some new direction of Francis, a new, but does not lie outside of reality: it is a Francis, which in any case must be persuasive in human and artistic terms. - What principles you followed in his films? - I have no recipes and solutions.But when I look back on the films, of course, I see in them permanent motives, but they are not repeated because they were software, but because it came out so naturally. First of all, this chorale. Realistic movie itself chorales.Sailors in the "White board" is as important as the refugees had taken refuge on a farm, in the final of "The Man with the Cross", as the townspeople in "Rome - Open City" as partisans in the "Payza" and monks in the "Francis". "The White Ship" - a sample of choral film:from the first scene, where sailors write letters godmother, and the scenes of battle, where the wounded hear Mass or sing, accompanying themselves.Even in this film, there is a motive machine ruthless cruelty to man, negeroichesky aspect of human existence-of-war, where he almost overshadowed instrumentation, goniometers and helmsman wheels and knobs. At first glance, not a heroic and lyrical - and it is certainly an incredibly heroic aspect.Then, this documentary style watch and analyze, that I download the film Prague Spring
and learned in my first short films - "Underwater Fantasy", "stream Ripasottile", "Prelude to the Afternoon of a Faun" - and continued in "Payza", and "Germany - a year zero ", and" Stromboli. "Then this constant appeal to the imagination, even in a documentary in the strictest sense, the film, as in man kakayato one side tends to the concrete, and the other tends to be imagined. The first desire should not overwhelm the other.From here and goes all fantastic in "Miracle" in "Machine, killing villains," if you want, "Payza," as well as in the "Francis" in the opening scene where the soldiers are pushing a nun in the rain, and near a hut is St. Clara. And the finale - all in the snow - also had to have a fantastic flavor.
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Finally, religiosity:I mean, not so much appeal to the divine will, heroine of "Stromboli" in the final, but as precisely the themes that I opened ten years ago.