How to make movie JODOROWSKY //English version

~ ** Magic Nights Part II: Featuring- The Dance of Reality

~ ** Magic Nights Part II: Featuring- The Dance of Reality at Good Orneing Collective


From original version, Como Hacer Cine

it down from sunrise to sunset in front of a tree, and feel the light. Come back for the next seven days and do the same.

Come back at night with a flashlight and illuminate the tree from infinite points.

Place yourself one kilometer from the tree. Stare at the tree and move towards it inch by inch until after a few hours your bump the bark with your nose.
(The first two lessons are used to develop a sense of light. The third is to develop the sense of distance.)

Place yourself inside, or in a landscape, and move around thinking that you were filming with your very own breast, then filming with your face, then with your sex, then with your hands.

Put yourself in a place feel that you are the center of it. Then you feel that you are always on the surface surrounding the place. Finally, break the idea of center and surface. You are there, everything is inside of your self and outside of your self at the same time. You are far from the place. The place exists. You have disappeared!

Search for the color in that which has no color. Pick up a white piece of paper and see its colors. Pick up a black piece of paper and see their colors. See the colors of transparent glass. Discover the rainbow in a piece of dirt, in spit on a dry leaf. Expresses color with colorless materials. Verily I ask you, do you know how many colors the skin on your face has?

Feel the tips of your fingers as if they were the tip of your tongue. Rest your fingertips in the objects of the world thinking that they are fragile, and that the slightest pressure can break them. Ask their permission before you touch them. Before putting your fingers in their surface, feel as if you were penetrating their atmosphere. Learn to feel and to caress with respect. Any action you do in the world with your hands or your body can be a caress.

Think that the actors are living inside a body as if they were living inside the center of a cave. Ask them not to shout with their mouth, but inside their mouth. Ask them not to express with their face, but to feel beneath their face. When I despair, from deep inside, I punch inside my chest, which is still facing the camera. I don’t express myself with movements but with vibrations. I live below the surface. The surface of the river does not move, but you know it has deep currents.

Never mind the movements of the camera. It must only move when it cannot stay still. You have food in your hand. The camera is a dog. Make it hungry, to follow the food. Hunger makes the animal disappear. There is no dog, no hunger, no camera. There are events. You can never eat the whole apple in the very same moment. You have to keep biting. While you eat, you have a piece of it. You should know that the piece that you chew on is not the entire apple. You can never have the entire apple in your mouth no matter how big your mouth is. The fruit which is a part of the tree, and the tree which is the part of the earth, can never fit in your mouth. The screen is your mouth. Pieces go into it. Pieces of the accident. Do not try to work with absolute takes. Don’t think that there exists a best take. You can bite an apple anywhere. If the apple is sweet, it doesn’t matter where you start eating. Worry about the apple, not your mouth. Filmmaker! Anthology of fragments, you are also a fragment; your move is unfinished, you are a piece, a continuation. There are no endings. Kill the word end. You will start a movie the day you realize that you are simply continuing. Don’t look for prestige. Disdain effects. Do not adorn. Do not think about what the image will produce. Do not look for it. Receive images. Hunting is prohibited. Fishing, permitted.

Never work out your camera movements on paper. Arrive places thinking that you will not move the camera, that you won’t use lights, that you won’t invent. Arrive empty, with no intention whatsoever. Start the engine of the camera and live. Don’t create scenes, create accidents. Don’t create accidents for the camera. You are not making a movie, you are in an accident. Part of the accident is movement of your camera.

And suddenly the great pleasure. A take imagined, with a camera having opinions with artificial light,  with performances (a real treat!)

Verily I tell you, that this way you can one day make the Hollywood movies of the 40s. If you want to be a great avant gard filmmaker, make “Gone with the Wind”, exactly the same, with actors whose bodies are twins to those of Clark Gable and Vivien Leigh. If you succeed, and your movies can’t be distinguished from the original, you have made history.

Translation by Belen Atienza & Holmes Wilson
Piece performed by Belen Atienza at Good Orneing Collective

17. October 2014 by midiadmin
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