Hello, stranger...

Hello, stranger...

This is a private blog for my cinematic obsessions and scintillating (one-sided) reflections about movies. Feel yourself at home!

18 septembrie 2021

How color works in writing (and filming as well) [September's Marathon: Day 18]

Allan Gurganus (un scriitor american de care nu cred să fi auzit cineva p-aici):
I caught the habit of looking, then looking again, again. A crucial verb for writers is revise. Which means, of course, to re-see. As for painter-to-writer, from Caravaggio, Rembrandt, and Jan Steen, I learned how to present crowds. I love writing large gatherings that bracket one small, specific, personal transaction. From Matisse, Derain, and Soutine, I learned that a human face is often more eloquent when shown not at noon, but shadowed and illuminated at three-fourths turn. From great colorists such as Braque, I learned that - since my books are printed in classic black and white - naming a color on the first page of any tale lets the reader participate in setting up the book’s palette. The shades mentioned should not be overfamiliar and primary like red, white, and blue. Instead try taffy white, sparrow brown, or even baby-shit yellow. The reader comes out to help mix the paint, using her or his own experience, and a sensual bond, a true collaboration, is formed. One of my art school classmates became the film director David Lynch. So whatever you learn of art history will have multiple applications!”
Ce zice el aici e aplicabil sută la sută și în film. 

Și la fel ca literatura, filmul intervine și el tot oblic în viețile noastre.
«Literature works obliquely. Literature is a backstage pass. If fiction is partly blueprint, it’s mostly dream. In Kafka’s great tale, Gregor Samsa awoke from uneasy dreams to find himself transformed into a three-foot cockroach. “Waking” is his first act. No final alarm clock will undo the unpleasantness. Reality itself often constitutes the nightmare. Trouble is our subject. Escape is desired, if unlikely. We love seeing the virtuosic dodging of major difficulty, Chaplin’s tramp avoiding a gigantic cop with the grace of a chimney-sweep Nijinsky. Fact is, the cisgender male novelist who boasts of unanimous control of ways and means has largely missed the point of being an artist.»

Din interviul acordat acestei reviste 👇