·
‘In this film [The Passenger] I have instinctively looked for narrative solutions that are different from my usual ones. It's true, the basic format may be the same, but as I was shooting, every time I realized that I was moving on familiar grounds I tried to change track, to deviate from the norm, to resolve in some other way certain moments of the story. Even the way in which I had these realizations was strange. I noticed a sort of sudden disinterest in what I was doing, and that was the sign that I had to move off in another direction. We are talking about an area which is fraught with doubts, anxieties, and sudden, enlightening flashes. The only certain thing was my need to reduce the suspense to a minimum, even though there had to be some left - and I do think some has been left, even if it is an element of indirect, filtered suspense. It would have been very easy to make a thriller. I had the pursuers and the pursued; nothing was missing, but it would have been banal.’ (Michelangelo Antonioni, The Architecture of Vision, p346)
‘In this film [The Passenger] I have instinctively looked for narrative solutions that are different from my usual ones. It's true, the basic format may be the same, but as I was shooting, every time I realized that I was moving on familiar grounds I tried to change track, to deviate from the norm, to resolve in some other way certain moments of the story. Even the way in which I had these realizations was strange. I noticed a sort of sudden disinterest in what I was doing, and that was the sign that I had to move off in another direction. We are talking about an area which is fraught with doubts, anxieties, and sudden, enlightening flashes. The only certain thing was my need to reduce the suspense to a minimum, even though there had to be some left - and I do think some has been left, even if it is an element of indirect, filtered suspense. It would have been very easy to make a thriller. I had the pursuers and the pursued; nothing was missing, but it would have been banal.’ (Michelangelo Antonioni, The Architecture of Vision, p346)
·
Q:
‘Why do you have such a strong preference for location shooting?’
MA: ‘Because reality is unpredictable.
In the studio everything has been foreseen’.
(Michelangelo Antonioni, The Architecture of Vision, p334)
No comments:
Post a Comment