Renegade - Deane Delli-Bovi - Its What You Make It
Label: Indawoods Audio - none • Format: CD • Country: US • Genre: Electronic • Style: New Age
French film critic-turned-writer-director Olivier Assayas has a knack for the unpredictable. His latest achievement, Personal Shopperis no exception. Is Personal Gator Bar - Mel Tillis - Love Revival a good film? The fact that Personal Shopper won Assayas the coveted Cannes Directing Award speaks volumes—clearly, the jury sensed something worthy going on behind the camera.
The film, in US theaters March 10, is most simply described as a ghost story, but nothing about it is Renegade - Deane Delli-Bovi - Its What You Make It. Parts of it are satisfyingly scary, but in terms of both story and intent, it's full of unanswered questions.
Mystery and mood prevail. No Film School sat down with Assayas to get his story-behind-the-story—and despite all the mystery, he was surprisingly open about how he makes films, and why. Instead, I came from visual arts: painting, drawing, graphics. I wanted to make movies, but my approach was purely visual. The other part, an essential complement to the visuals, is writing.
Assayas learned this the hard way. Renegade - Deane Delli-Bovi - Its What You Make It first films, he revealed, were as amateur as yours or mine.
It was an extraordinary opportunity—but even so, Assayas hesitated. But I also understood that criticism was part of French film history, that you could become a filmmaker through writing. So I realized that it might be a good thing. He weighed his options, then jumped. Assayas' memories came flooding out. He was almost giddy. His disappointment was palpable. It should have a good name. Trying to make sense of the movies you see, trying to make sense of the human condition through the stories we tell is essential.
Assayas is one of the ultimate film theorists of his generation. Some call him a maverick, but he would never describe himself that way. Yes, his movies break barriers; they redefine the medium and provoke questions.
But even more important, his films are his way of questioning himself, The Star Club - Aggressive Teens/Bodies testing his own limits.
He seeks out contradictions and complexities on purpose. Assayas agreed with the compliment. Indeed, each successive film has led him somewhere. Assayas has a habit of surprising viewers. Some deal with the future, some deal with Tortura - Epilepsia - Thrash Again past, some deal with emotion, some deal with politics, some deal with fantasy.
But ultimately they all complement—not contradict—each other. Some filmmakers like changing it up, shifting from one style to another. Others—including many great, respected filmmakers—build coherent bodies of work by sticking to the same framework, genres, characters, and actors.
Assayas smiled and shook his head: no way he could do that. If you put them all together, they reflect my experience of the world. Yes, my films change angles, but each one observes the same world in all of its layers and contradictions from one specific angle. An essential for me is that every Renegade - Deane Delli-Bovi - Its What You Make It movie I make somehow complexifies the relationship within my own body of work.
So Renegade - Deane Delli-Bovi - Its What You Make It I make this or that movie, what excites or interests me is that it echoes and eventually changes the perception one can have of some of my other movies. They have friends, enemies; they live their life. Good for them. On the contrary, he is modest in his approach to both life and filmmaking, L10-1 - Xyn - L10 that there are many sides to everything.
They live their life. Assayas may be a renegade, but he is certainly at peace with himself. And both those things are good! He views this as a strength. Like it or not, they have to learn how to do it, while I have the privilege of functioning within the European independent cinema framework. Rather, it proves his profound enthusiasm for film as an art medium—and his distaste for commercial filmmaking. I think that movies, like novels, are about one thing and another simultaneously. I think that any art is about questions as opposed to answers.
Actors should not be dependent on the position that the technicians Pastewastedtimerev - Noisesurfer - Adsl (File, Album) them.
If Assayas is always asking questions, so are his critics. Reviews accuse Personal Shopper of shape-shifting from one genre to another. Shades of his background in visual arts still color his work. They all interact with each other. Assayas understands why his work confuses some people: "Everybody, including film critics, are looking for solutions. They want movies that say bad is bad and the good is good.
That capitalism is horrible, that poor people struggle, stuff that we already know. The way Assayas sees it, a lot of his questions are answered on set, through a mix of collaboration, improvisation, and trust.
I react intuitively. Much like his body of work, his on-set collaborations are an evolutionary process. In the case of Personal Shopperthat meant finding the right actress, the right cinematographer, people who are in sync with you and your inner understanding of character.
For him, the right actress was Kristen Stewart. As he pointed out, her role was largely self-reliant: it involved solo experiences, like channeling spirits and an extended conversation via iMessage. In fact, he encouraged her to direct from "within the film": to move however and wherever she wanted, to take as much time as she needed within a given scene.
I just freak out. The result? Completely spontaneous, completely physical. I was shocked, but I wasn't bored for one second—and they helped make it a better film. And now, Yorick. The audience is thrust into a voyeuristic perspective, at first as spectator; then, as specter. In order to push himself and his style further, Assayas avoids rehearsals. But somehow it works. A student of contrasts, Assayas favors complex Revienta - Envidia Kotxina - !!!
En Boka Zerrada… shots and long takes, but approaches them through improvisation. Gradually discovering, defining the style. He is constantly revising blocking, movements, props.
The process may sound reckless, but there is method to his madness. He is carefully careless. His eyes stay glued to the monitor. Along with the improv, the collaboration and trust are what make it possible. So now we know: there are only a couple of takes between not knowing how to do it, and knowing how to do it too well. Shots that touch the right nerve.
The sweet spot. Assayas loves contradictions. He believes in evolution—the potential for change. He keeps asking questions. He could care less about critics. Like a Zen monk raking a pebble garden each time a storm blows it astray, he finds solace in persistence. He accepts imperfection. Always one step ahead of himself, he seems well on his way to filmic Nirvana. And when confused critics and viewers try to ask their own questions, he greets them with a warm, droll smile.
The fact that the world has to be questioned. He paused, then clarified. But the very contemplation of meaning reveals the dialogue Assayas hopes to create.
And in the case of Personal Shopper, these questions reflect a critical and hyper-complex worldview. Are we indeed slaves to images? Prisoners of social media? Seduced by abstractions? Controlled by our material needs?
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