Nothing I read currently rather than Dominik Graf's slightly varied and always precise diatribes against the bulk of the German television and the contemporary taste for clean, clear and digital. As in the collection Sleeps a song in all things these well-formulated hate speech in the interview tape In the face of the crime. TV working on the example of a series embedded in a declaration of love to another, dirty, vibrant, imperfect nature of cinema. The ill-tempered sense that everything was better, turns in reading from Graf's precise comments on all aspects of filmmaking in a certainty and the hope that there will always be artists who work off at the Untimely.
such as James Gray, a director will often be the "classic" style of directing made the allegation. The Yards, We Own the Night and Two Lovers I discovered recently, three of the best, most intense, the wildest played, exciting and most intelligent films ever made. No idea whether Graf in the design of his Russian gangster and the design of the great party scene in A View to a crime Gray inspiration. Both directors are united by their love for the genre, for the design of the moment, to their actors, for not all lit, the Dionysian excess, the analogs. And both can be very nice to talk about their work. The passages below are from In the face of the crime. TV working on the example of a series (Dominik Graf and John Sievert, Alexander Publisher ) and Subverting the Moment: James Gray on We Own the Night (Andrew Tracy, Cinemascope 32)
FOOTAGE
"Against 'realism' as a form available in the modern film a tremendous amount of artificiality, artificial indoor environments, subjective perception, computer animation - all these elements have in modern day cinema against cooper beautiful concept of that little reality 'that we all need a conspiracy. First, one must again correct the footage in office use. The film producers and film laboratories have taken on 16-mm positive farewell, before all of the positive development of the 16-mm films. 16 mm is positive but the resolute, the 'realistic' material of all. Super 8 is indeed gone (and for this unverzeihliche Entscheidung müßten eigentlich nachträglich noch Köpfe rollen).“ (Dominik Graf)
„I was deliberately aiming to capture this look, because I like it: what I call the sodium vapour, this orange streetlight glow that produces these rich tones, the almost classical beauty of it. The two films [ The Yards und We Own the Night ] do look very similar, in fact they’d look even more similar if certain film stocks hadn’t been eliminated from usage. The Yards was shot on a great film stock called 5277, which no longer exists, so that’s probably the reason the new film doesn’t look even more like the last one.“ (James Gray)
DIGITAL
know "you, my problem with this forced circulation is this: When you make films, a highly complex process, as we know everyone has the emergence of a new technology - whether image or sound (and this very vulnerable , faulty new technology may well make some people happy, completely ok) - access to the old technologies still remain reliably protected. Digital sound is now even worse than Analaogton. Records are better than CDs. So it is with the scene, of old movie-positive copy to the DVD, whether or not Blue Ray. It is colorfast, durable, it is not matter, Pixel. Das weiß ja auch jeder.“ (Dominik Graf)
„This whole discussion about film or DV is kind of moot, in a way, because the system will determine it for you – like I said, the stock that The Yards was shot on no longer exists. But it is strange the way things are appraised, because if you said, ,This new format came along and it’s got a better contrast ratio than digital and it’s got better resolution than digital,‘ – well, that’s film. If everybody were shooting digital and film came along, everybody would want to shoot film. So my own view is why shoot with something that’s not as good? I’ll do it when I have to, but until then why bother?“ (James Gray)
ACTOR
"I imagine that what I think about actors [...] are always externalities, such as gestures snap my fingers out of nervousness, mimic game, irritation stage, about to long ash on the cigarette have, where can the go?, chew gum. [...] I give him a purely superficial details with which he can express what you through long, how the role now anfühlt'-talk between the director and actors can not manage otherwise. "(Dominik Graf)
" What I love in acting is when you are constantly Subverting the moment. The key is playing the moment with utmost sincerity but Subverting it, and they're not contrary. Playing the moment means making it clear, not losing ambiguity, but making it so it's not vague - and at the same time conveying that clarity by a line, or a gesture, or to expression that is seemingly antithetical to the idea or the feeling that to stage is being expressed "(James Gray)
ACTION
" Action of X-Large clothing size as the showdown of winner -. the cat was so strictly speaking, a single two-hour showdown - for me something of cinematic, land art '. The motif is found during planning and covered during the filming of physical and strategic forces, we shall speak, a blood cloth over the landscape. A big action scene, you realize for days or weeks away, sometimes simultaneously with three units, designed for a director an immense pull. It is the most intensive for a spin. Some are silly 'thanks, it makes Peng, they say, off,' at the Actiondreherei, they say twenty times, and possibly Please!, Again, please ' Like robots in the nursery or stupid computer games. But in her heart a great action scene is always a pure physical force, it is about power, pain, death. And the scene is at the end of a bloody Arena.“ (Dominik Graf)
„I found it quite unpleasant. They’re [Actionsequenzen] very boring to shoot because you have to shoot them one thread at a time. So you plan them meticulously, everything has to be planned out. And you have to keep your eye on the prize, no imagination – in fact imagination is actually a problem. You have to understand how these things are done: you say ,OK, shoot the gun when I say action and flip backwards – OK, action! Shit, that didn’t look real, let’s do another take.‘ So they’re very boring.“ (James Gray)
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Tuesday 7 December, 20.15 clock on Arte: The cat (directed by Dominik Graf)
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