Producers, who have hopes of getting financed, hit a brick wall with many questions and skeptic comments before they are even able to explain what their idea is all about. Transforming an idea into a movie and getting it to the screen requires incredible pragmatics and if you are not one, then your best bid is to find someone who is to work with.
Let us get it over with right away. The end of Lars von Trier's film 'Melancholia'. Not just the guests at the grand wedding held in the first part of the film at an ever-so-romantic castle surrounded by a golf course. And not just all life on Earth.
For in the world evoked by the Danish film maker this time, we are absolutely alone in the universe. So what ends in our planet's cosmic embrace with the ten times bigger planet, Melancholia, is life as such and our recollection of it.
No ending could be more final. And, as Trier remarks with a black humour germane to him: Indeed the ending was what was in place from the outset when he started to work on the idea of 'Melancholia', just as he immediately knew that the audience needed to know it from the first images of the film.
And it is my thesis that most films are like that, really. It can get exciting nonetheless. And some things may The movie a beautiful thrilling precisely because we know what's going to happen, but not how they will happen.
In 'Melancholia' it's interesting to see how the characters we follow react as the planet approaches Earth. Justine, played by Kirsten Dunst. A melancholic by the grace of God, she has a hard time finding her place in the world and assuming all its empty rituals, but feels more at home when the world draws near its end.
And then her sensible big sister Claire, played by Charlotte Gainsbourg, who thrives in the world and consequently finds it hard to say goodbye to it.
She is based a lot on my person and my experiences with doomsday prophecies and depression.
Whereas Claire is meant to be a The first time I called on Lars von Trier in connection with our book, he was looking for an idea for his next film. He sought inspiration at museums, listened to music and mentioned snippets of thoughts in bits and bobs, images and plot segments which I now find have reached the screen.
But the film was not the main objective. The main objective was his emotional well-being. The work consisted of scheduled walks and office hours with the aim of gradually pulling himself out of the depression that struck him some years earlier.
For Lars von Trier is a melancholiac incarnate. He drags himself through the times when he is not making films and could actually just enjoy life, but is at his best when the shit hits the fan and everything depends on him.
Film crews and investors, actors, lines and plots. Not to mentions the cinematic language itself, which at best must be supplied with a few neologisms along the way while he is looking for some sore toes of culture, politics or ethics that he can step on, as he will do.
From then on, things were speeding up. Less than a year later, the script was written, the actors found and the crew in the process of shooting. On the edge of plastic Throughout most of the year when I interviewed the director, his mood gradually improved as the work progressed.
And as he is lying there on the couch in his black hooded sweatshirt and his grey beard, he seems even more cheerful.Disclaimer: torosgazete.com has zero-tolerance policy against illegal pornography. All galleries and links are provided by 3rd parties.
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