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despre structura celui mai spectaculos film al acestui an: Atlasul Norilor

De vineri intra pe ecrane Atlasul Norilor, un film despre care vom vorbi multa vreme: e scris si produs de fratii Wachowski – cei care au facut Matrix si e regizat impreuna cu domnul care a facut Run Lola Run,Tom Tykwer.

fiecare dintre cei trei a revolutionat lumea filmului cu limbajul sau cinematografic. pun pariu ca si de data aceasta ne vom uita de mai multe ori la film ca sa despicam firul in patru si sa parem destepti.

stiu cel putin 2 carti care au analizat matematic, filosofic si din perspectiva limbajului cinematografic Matrix ( pe una am si cumparat-o la vremea lansarii ei, dupa primul episod care a fost si cel mai bun din serie, dupa gustul meu)

mi-ar placea ca inainte de a merge sa vedeti filmul sa cititi un spectaculos story din NewYorker despre fratii Wachowski si munca lor la acest proiect. spun spectaculos, nu pentru ca are informatii scandaloase de tabloid, ci pentru ca intra cu decenta in intimitatea acestor doi oameni geniali ( unul dintre frati si-a schimbat sexul de la primul Matrix incoace, din Larry acum e Lana) si va arata viata lor, dar si cum au facut acest film.

unul dintre fragmentele mele preferate e cel care se refera la cit de greu a fost sa gaseasca o structura pentru film. intregul text aici

 

The main challenge was the novel’s convoluted structure: the chapters are ordered chronologically until the middle of the book, at which point the sequence reverses; the book thus begins and ends in the nineteenth century. This couldn’t work in a film. “It would be impossible to introduce a new story ninety minutes in,” Lana said.

The filmmakers’ initial idea was to establish a connective trajectory between Dr. Goose, a devious physician who may be poisoning Ewing, in the earliest story line, and Zachry, the tribesman on whose moral choices the future of civilization hinges, after the Fall. They had no idea what to do with all the other story lines and characters.

They broke the book down into hundreds of scenes, copied them onto colored index cards, and spread the cards on the floor, with each color representing a different character or time period. The house looked like “a Zen garden of index cards,” Lana said. At the end of the day, they’d pick up the cards in an order that they hoped would work as the arc of the film. Reading from the cards, Lana would then narrate the rearranged story. The next day, they’d do it again.

sper sa nu am treaba vineri dimineata ca sa pot fi printre primii spectatori.

One Comment Published

10 years ago / Reply

Astept cu nerabdare filmul, m-ai facut si mai curioasa.
Multumesc.

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