Béla Tarr

Jacques Ranciére před časem napsal drobnou, ani ne stostránkovou knihu Béla Tarr, The Time After ... záznam diskuse, kde Ranciére o knížce, o Tarrovi a o filmu mluví v angličtině... https://www.youtube.com/watch?v=Letbl2zJQ1w ; knížka je k přečtení online třeba na http://www.docfoc.com/ranciere-bela-tarr-the-time-after ...

Dodatočne si dovolím zapriať k šesťdesiatke, tak ako organizátori Be2Can, „další plodná léta trmácení, mnoho vařených brambor a pálinky." Len s tou pálenkou to neprehánať, jeden by sa z toho mohol i zblázniť a vykrikovať v nemčine, že je hlupák.

Rosomak , hero_bk , lupuscanis

Tu je celý dokument https://www.youtube.com/watch?v=KRZ9D_6Zypk   I Used To Be a Filmmaker. Len pokiaľ ste to čisto náhodou ešte nevideli.

s madarskym kinematografiom mam zle skusenosti .....

sPaRk

Pohled za oponu, svýho druhu obscénní pornografie. Nostalgie. Pěkný. Chtěl bych to vidět. ___  [To mi připomíná, že na sklonku loňského roku vydal Andras Balint Kovacs tarrovskou monografii. Anglicky. Kdyby chtěl někdo vědět víc, napište mi...] 

na příspěvěk reagoval jaklee

http://vimeo.com/76164896

na příspěvěk reagoval lupuscanis

RE : "Rozhovor prostřednitcvím mailu, tzn. nikoli pod tíhou situace, promyšlený, přesný, odvážný. Možná bychom právě takto měli dělat s rozhovory s lidmi, kteří píšou"

- Súhlasim.

Tarr ostříhán, oholen, opálen a se slunečníma brejlema :)  ____ Tak já taky něco přidám. Laszlo Krasznahorkai o spolupráci s Tarrem:

Paul Morton: Your work first gained an audience in the English-speaking world filtered through your longtime collaborator Béla Tarr, whose 450-minute version of Satantango became a semi-fixture on the festival circuit in the 1990s. If you push and stretch the sentence to absolute extremes, Tarr does the same with the long take. The observation is so obvious, I'm sure thousands of others have already made it, but do you yourself see a connection between this aspect of Tarr's methods and yours? Have your novels transformed in any direct way as a result of your collaboration with Tarr? Do you visualize them in your head in anyway filtered through Tarr's style?

L. Krasznahorkai: My feeling is that those who love Tarr's films don't see it quite like that. A writer doesn't need anything to write a book, he is completely alone and it's good that it should be so. A director on the other hand can't make a film without others. How does this work with Tarr? Because no one has really spoken about this, and it's unlikely that anyone will, let me do so now and say that Tarr's cinema changed from the time he met me and we started working together to make our first film. The cause of this radical change was the effect of reading my work, in particular of reading Satantango, getting to understand my vision, my way of thinking, my style. In all the big stories, and in every serious collaboration, someone has to be the initiator, the source from which work flows and in this case it was me, I was the source; in other words it was my vision that decided what kind of films we would make together. The films Tarr made before me were "honest," that was their strength, it was what characterized them — it was why I, for example, liked them so much. I liked the fact that in these early films of his the single task of the central character was not to lie, that they would not lie — it was the solitary basis for the aesthetic of the films which were a particular form of documentary. Tarr employed amateur actors, or the kind of actor he could torture on camera until he or she spoke the truth. When we met in 1985, Tarr suddenly discovered what he had been desperately seeking and which he very much needed: the only literary material he could possibly work with, the only possible style, the only visual world and dramaturgy, the only appropriate visual rhythm, in other words an artistic vision, spirit and corpus. From this point on everything was suddenly simple. I gave him everything, all I knew, body and soul, really everything, and despite all this he created an absolutely original cinema, something utterly authentic, a form of art quite different from mine. I willingly gave my heart to helping him and now, looking back at these works, these collaborations between myself and Tarr — Tarr's work — I must say that I almost like the results, that Tarr's cinema is the only cinema I can really tolerate. There was never any question in these collaborations as to who would make the film. We called them Tarr's films — it is Tarr who went to the movie festivals and still does, and will as long as he lives: it is right that Tarr should wear the crown, the rest of us who worked with him, and particularly me, we are anonymous in this happy set of events and that is as it should be. Only one thing matters, Tarr's cinema itself — the others, the sources of the inspiration, the cast, are all unimportant. Making films isn't a matter of fairness. And that too is as it should be.

Celý porozuhodný rozhovor tady:  http://bit.ly/1dLOHyG

(Rozhovor prostřednitcvím mailu, tzn. nikoli pod tíhou situace, promyšlený, přesný, odvážný. Možná bychom právě takto měli dělat s rozhovory s lidmi, kteří píšou...?) 

http://www.youtube.com/watch?v=ejsJHUPyKeA

Jednym slovom génius !!! Jeho filmy majú neopakovateľnú atmosféru, vlečú sa pomaly v sprievode magickej harmoniky, cez príjemnu melanchóliu až do zatratenia. Z každého jeho filmu srší naprostá osobitosť a akási špinavá poetika. (Karhozat, Satantango a Jesenný Almanch)  -  Čiernobiela maďarská romantika, však nič pre slabé povahy !

Tarrova filmová škola... http://art.ihned.cz/film-a-televize/c1-57676210-na-filmove-akademii-bely-tarra-budou-ucit-jarmusch-kaurismaki-i-tilda-swinton

upuscanis: Tarrovy odpovědi jsou ovšem anglicky a byť je simultánně tlumočen do francouzštiny, tak je mu celkem dobře rozumět ;-) (sám jsem ale  zatím viděl jen půl hodiny z té jeho přednášky neb momentálně zdolávám devítihodinový film od Lav Diaze).

Artran: Tys zapomněl taktně dodat, že je to ve francouzštině? :)

Masterclass Bély Tarra k vidění zde: http://www.dailymotion.com/video/xnbsma_master-class-avec-bela-tarr_creation

lupuscanis: Díky za info :)

na příspěvěk reagoval jaklee

hero_bk: , Rosomak: Od Prokletí psal Krasznahorkai scénáře ke všem Tarrovým (dlouhovečerním) filmům. Z toho literární předlohy jsou jeho u všech kromě Muže z Londýna, a v případě Turínského koně je to tak nějak napůl, tedy: Existuje Krasznahorkaiova starší povídka o Nietzschem v Turíně (kterou ho Tarr viděl předčítat). Snmad od té doby "spatřil světlo světa" společný Tarrůva Krasznahorkaiúv nápad naspat pokračování, a zfilmovat jej. Na podkladě téhle povídky napsal nakonec Krasznahorkai pokračování, které je scénářem Turínského koně. Pokud vím, u  nás (zatím) vyšlo Satanské tango (2003) a Od severu hora Od jihu jezero Od západu cesty Od východu řeka (2008).

hero_bk: Pokud vím, tak adaptací literární předlohy od Krasznahorkaie jsou jenom Werkmeisterovy harmonie a Satanské tango. Na ostatních spolupracoval, ale nejde o adaptace jeho předchozích děl. A Muž z Londýna je podle stejnojmenné knihy Gorgese Simenona.

na příspěvěk reagoval jaklee

Neví někdo, který všechny filmy jsou adaptacemi knih Krasznahorkaie? Podle anglické wiki je jich pět: Prokletí, Satanské tango, Werckmeistrovy harmonie, Muž z Londýna a Turínský kůň, popisky na CSFD se ale o tomto spisovateli zmiňují jen u prvních dvou... A pokud je pravda to, co píšou na wiki, nevíte, kde bych mohl ty knížky sehnat?

http://www.youtube.com/watch?v=K104Srbj7h0

(sensesofcinema.com:)

FD & MLC: You've often said you wanted to be a philosopher. Do you think you're doing philosophy cinematically?

BT: No. When I wanted to be a philosopher, I was sixteen and when I wanted to go to university, I was twenty. And they stopped me for a political reason, because we made an 8mm movie about a gypsy worker's group in Hungary who had sent a letter to the boss of the communist party saying "Please, we would like relief from the country. We would like to go to Austria because we cannot live here anymore. We have no job, we have no food, we have nothing." And it looks like a letter the Russian Mouzhik sent to the Tsar... And I made this movie about them when I was sixteen and afterwards applied to.

FD & MLC: Film school?

BT: No, to university. And I wanted to be a philosopher and they said immediately "No because what you do is incredible." It was really an absolutely political reason. And afterwards I started another short film about a worker's family in this squat house. And the police took the family away and were very brutal and aggressive and I wanted to shoot on 8mm and I couldn't because the police took me to prison. And afterwards I applied for some money from the Béla Balász Studio which was a little independent film studio in Hungary. It was a group of young film makers and they had some money at that time just for experimental things. And I explained I would like to make a movie about the family, a worker's family who squat in a house and finally they said "Okay, we will give you a little money and you can shoot for two days and afterwards we will watch what you did and if we like it, we will give more money to finish it, the whole movie." That was my first movie. And afterwards I didn't go back to the university and I didn't apply anymore, I didn't worry about philosophy. I am not a philosopher and I don't want to be a philosopher in movies.

Vykopli? Na zadny vysoky skole nebyl, na filozofii se totiz ani nedostal... Tusim, ze to bylo zmineno i v rozhovoru v cinepuru (cca tri roky zpatky?),