(…)

QUESTION: Can you talk about the moment you read about the coverage of the original case, how it inspired you?

FERRARA: I wouldn’t say it inspired me, I had no choice, you wake up it’s here, it’s in the newspaper, everyone’s talking about it, I’m fuckin’ stuck with it. What am I going to say? “It inspired me”?

QUESTION: That’s the wording you have at the beginning of the film, that’s why I used that word.

FERRARA: Yeah but I didn’t put that [text] there. I would never put something like that in front of the film.

QUESTION: What was the moment when you thought, “that’s it, that’s my next film.”

FERRARA: I don’t think like that, because I got a bunch of films we’re making and I’m working with a group. So the guys in France, where I come up with my money, obviously that’s the story they’re seeing. It’s something you kind of group around, saying “look at this, blah, blah, blah.” Gérard was totally not interested in this guy, or the research. He said it at the beginning of the movie, what’d he say? “I don’t care about this guy, I don’t like these guys, I don’t give a shit.” That’s where it’s at. It’s always something that kind of puts everybody together to make a film. He’s talking about King Lear. Every conversation I had with Gérard, we’re not talking about Strauss-Kahn; we’re talking about King Lear. He’s talking about an epic thing, he’s talking about characters, he’s talking about films, he’s talking about Greek tragedy. The writer is a brilliant psychiatrist who wrote the script; I didn’t write the script. These guys are talking…I can’t even understand what the fuck they’re talking about—but I get the gist, I know what it’s about, I know where we’re going with this guy. I’m making films from my point of view. I’ve been where this guy’s been, believe me. Worse. I’m not passing judgment on it. I’m trying to deal with it. I’m not condoning it, and I’m not passing judgment on the guy.

QUESTION: But you gave him a human face.

FERRARA: Gérard did. But yeah we gave him a human face because we put the camera in front of him, it’s not behind him [laughs].

QUESTION: In this film, you show us the guy is sick, actually. So you defend Strauss-Kahn.

FERRARA: I’m not defending him. How? But I’m not talking about Strauss-Kahn, I’m talking about Gérard.

(…)

https://mubi.com/notebook/posts/the-pursuit-of-freedom-abel-ferrara-discusses-welcome-to-new-york

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  1. Raul Arthuso disse:

    “QUESTION: Does it change your direction on the set if you’re basing the drama on real life?

    FERRARA: When you get there, even when you’re shooting documentaries, you put the camera in front of people and after a while you wonder: just cause it’s a documentary, are these people telling the truth? Everything becomes a stage, the line between what’s real and what’s not.”

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