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(تم النسخ بواسطة TurboScribe.ai. الترقية إلى غير محدود لإزالة هذه الرسالة.) It happens quite often that you come back

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with the impression from shooting, oh this was

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a great moment and so, but in context,

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in editing, it doesn't really work out, it

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doesn't fit.

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So you have to be careful that you

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do not enforce your will and your structure

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on your material.

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It has happened to some films where you

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can tell that the footage was squeezed into

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a form and into a flow of narration

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that was not within the nature of the

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footage.

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You sense it as an audience and what

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I'm doing is quite often I consider my

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footage as if I found it somewhere, somebody

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made it.

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So let's be curious, what's there?

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What does the material tell you?

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What does it have to offer?

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And all of a sudden you discover elements

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in the footage that you would never have

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discovered if you had had a very strong

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will to enforce upon the footage.

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What I do prepare during shooting is, let's

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say, creating long-term, over a full hour

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of film, a climate which makes a seemingly

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unobtrusive shot into something grandiose, land of silence

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and darkness.

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If you see the scene at the end

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with a deaf and blind man who touches

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and feels the branches of a tree and

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by itself it is insignificant, but the film

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sensitizes you more than an hour, an hour

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and a half almost, until you are there.

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Or for example in Aguirre, The Wrath of

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God, throughout the film you see the army

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or the troop of Spanish conquistadors and they

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have a clear goal, they move from left

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to right.

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When they are floating in the water on

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the raft, somehow, imperceptibly, bit by bit, very

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carefully planned, we lose orientation because they are

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losing orientation.

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And at the end of the film, and

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we showed a clip, it seems to go

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in circles.

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In fact, the camera is circling around it.

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It's like a vicious circle which is going

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into infinity.

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And having a movement throughout a movie very,

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very elaborately planned until it ends in an

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infinite circle, that's something which was anticipated for

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editing.

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The 22nd of February.

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Most of the men are so weak and

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sick with fever that they cannot even stand.

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The soldier Justo Gonzales has drunk my ink

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thinking it was medicine.

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I cannot write anymore.

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We are drifting in circles.

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When we watch the footage, I write logbooks

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and I love this very solid paper, like

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doing aquarelles for artists.

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And I write down what I see and

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I give it some sort of time code.

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And when I come across something very, very

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strong, I give it one exclamation mark.

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Sometimes you find two exclamation marks and sometimes

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you find three of them.

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And in these cases, I know this is

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footage, it is so intense, it is so

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strong.

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If I do not use this in the

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film, I have lived in vain.

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And I actually write down quite a bit.

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You can see how much there is written

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down and how far I follow the footage

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of everyone.

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And sometimes I start to write commentary, which

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I do later in editing.

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But because I write it down in longhand,

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I can memorize footage for a very, very

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long time, or not very long time, but

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a lot of footage, up to 30, 40

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hours, I know by heart, like learning a

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poem by heart.

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And I could say to the editor, let's

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not go into take one and take two,

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because in both cases, there's a dialogue mistake.

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In this, there's something wrong.

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Let's only go for the three exclamation marks.

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And I keep writing, writing, writing, writing.

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And that's the only time I look at

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the footage.

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When you watch your footage for the first

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time, and probably for the last time for

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much of it, you are very, very attentive.

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So you cannot do it too long.

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I do it maybe six hours, maximum seven

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hours, and you exhaust yourself and you do

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not store anything in your memory anymore.

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So depending on how much footage you have,

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and I shoot very small amounts of footage,

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but sometimes I end up for a big

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feature film with, let's say, 40 hours of

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footage.

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In this case, it will take me, let's

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say, a week to go through the entire

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thing.

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And I do that very systematically, and I

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do not start to edit until I've seen

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it all.

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It is a process that you cannot learn

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at once.

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I just would advise, keep open and try

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to find out what did this strange guy

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deliver here into my editing room, and forget

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that the strange guy was yourself.

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It depends on how much footage you have,

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but I have never edited a film all

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on my own, because I always found it

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very right and very valuable to have a

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second set of eyes and a second opinion,

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or a separate opinion.

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You see, I'm not working with yes-men.

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Nobody who works with me is a yes

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-man.

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And so it's healthy to look at it

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together with someone else.

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We start actually working from the beginning to

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the end.

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We say, how should we begin it, and

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what should come next?

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And now we have a long dialogue sequence.

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We need some landscape.

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What do we do now?

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We need a moment for music.

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We need a moment for sitting back in

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contemplation for the audience.

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So we plow through it from the beginning,

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through a big pile of material, like the

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mouse drilling a hole through it.

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And at the other end, we come out,

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and that's basically the film.

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I hardly ever go back into the footage

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that I didn't consider as being worthwhile to

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end up in the film.

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I do it sometimes.

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And sometimes it made my editors nervous that

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I was so dismissive of things.

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I throw things away at once, and you

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have to be ruthless, ruthless with your own

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material, because otherwise you end up with a

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nine-and-a-half-hour film.

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After, let's say, half a year of a

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film being out in theaters, I would throw

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out all the outtakes forever.

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They would be gone.

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And my argument is that a carpenter does

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not sit on his shavings either.

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So you just plow through it, and you

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throw away in forever.

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You have to take strong decisions.

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And sometimes I had to throw out some

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of the best I've shot.

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In the Enigma of Kaspar Hauser, there was

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a six-minute sequence that was incredibly strong,

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but it took attention away from the leading

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character.

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We were so much involved with him.

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And then all of a sudden, there's a

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detour, and it took you 20 minutes as

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an audience to step back into the story

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and into the character.

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So I decided, throw it out, and it

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was thrown out.

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So it can be quite painful, but you

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have to learn it.

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How can you learn to stay away from

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endless tweaking, endless fiddling?

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You just have to have the nerve.

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It's a profession.

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It's not raising a pet.

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It's not an animal.

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It's not a pet.

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It's a narrative form of somehow which will

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show up at the end on the screen.

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And you have to have the nerve, just

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be professional.

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And you better deliver, and deliver soon.

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Heart of Glass, which was under hypnosis, all

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actors under hypnosis, very slow pace because of

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that.

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They move all like movement underwater, and they

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speak slowly.

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And I showed it to an American distributor,

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and they immediately rejected the film.

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They said, oh, this is too slow.

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And the film is going to go fast.

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They said to me like this.

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So I said, fine, yes.

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But I showed it in Scandinavia, in Norway.

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Of all my films, I showed 25 films

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in Norway.

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And among these films was Heart of Glass,

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the slowest of the slow, the strangest of

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the strange.

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And the Norwegians were bonkers over it.

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They went bonkers.

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That was the film of films for them,

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the pace of the film.

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So there's no common denominator worldwide how, for

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example, pace of a film should go.

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It changes.

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The same film is a different film if

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you show it in Algeria, or in Brazil,

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or in Russia.

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All of a sudden, the film changes with

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the audience.

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But that's the power of cinema that it

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completes, complements itself with an audience.

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Nobody can really calculate that otherwise studios wouldn't

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make such massive mistakes and wouldn't create such

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massive flops in between.

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And they do a very, very, very precise

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market research.

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What age group, what kind of subject, what

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kind of music?

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So there's a whole science about it.

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And yet, they have gigantic flops.

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If you start to do that, you lose

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yourself in the mostly labyrinth of stupidity.

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When I show an edited film for the

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first time, I would invite, let's say, three,

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four people, but they are not trusted confidants.

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You see, you would get the yeses and

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you will get the applause, but some people

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who would not really find it wonderful, everything

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that you have done.

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My older brother, who is a boss in

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the family, he says, I don't want to

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do it.

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I don't want to have done this kind

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of crap again.

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And you're just a movie maker.

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And so it's all my feet are getting

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numb when I see the first two minutes

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only.

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This kind of echo, for me, has been

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of greater value than, let's say, the echo

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from a larger test audience.

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What is good about a larger test audience

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is things, for example, humor.

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I do believe that there's a lot of

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humor in my films and it seeps through

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when you have, let's say, two, three, four

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hundred people in an audience and you hear

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the ripples from behind of laughter and how

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it catches on.

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My feeling has always been that Final Cut

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quite often doesn't belong to the director.

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It doesn't belong to the financiers.

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It doesn't belong to the production company or

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the network, TV network.

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It ultimately belongs to the audience.

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And you see it in test screenings.

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All of a sudden, everybody finds your ending

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way, way, way too long and you better

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get back into editing and shorten it.

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And it happens, you see, for example, Steven

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Spielberg, who always has Final Cut because he's

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so successful.

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He goes into a test screening and people

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find his ending way too long.

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You know what?

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30 minutes later, he's back in editing and

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he trims it down.

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However, sometimes you have to ignore it and

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they have to be accustomed.

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They have to get acquainted to your editing.

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And sometimes you just hold a shot way

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below what normally anyone else would do.

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And it sinks in that there's something special

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about the length of a shot.

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You have to absorb things right and you

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have to take a fresh eye on things.

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And of course, since I can rely on

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what I have marked down in, for example,

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Cave of Forgotten Dreams, there's an end to

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it.

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Maybe we can show it.

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We've discovered by coincidence albino crocodiles.

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And I said, this must be in the

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film.

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It has to do with perspectives, with perception.

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We have to have it.

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And we filmed it without knowing exactly how

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it was going to be connected to the

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film.

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Crocodiles have been introduced into this brooding jungle

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and warmed by water to cool the reactor.

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Man, do they thrive.

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I invented a pretext.

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This crocodile tourist place is heated up with

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hot water, which had cooled a nuclear plant

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nearby, only half a mile away.

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There's a nuclear plant.

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They brought in three, four hundred crocodiles.

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And all of a sudden I see two

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small albino crocodiles.

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In fact, they are not even crocodiles.

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And you see how they split up in

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doppelgängers because it's the same, but with a

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water line in the refraction of light.

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It's just totally strange and beautiful.

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And Peter Zeigling affirmed it in a way

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that is just remarkable.

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And here I write three exclamation marks.

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Minute 13, fourth, 51.

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Underwater.

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Meeting as if in mirror.

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1401.

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One exclamation mark.

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Left one dives away.

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Camera follows.

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And it's great and incredible until minute 1537.

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Nothing is real.

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Nothing is certain.

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It is hard to decide whether or not

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these creatures here are dividing into their own

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doppelgängers.

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And do they really meet or is it

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just their own imaginary mirror reflection?

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And we just take this chunk and that

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makes a wonderful end of the film.

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Are we today possibly the crocodiles who look

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back into an abyss of time when we

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see the paintings of Chauvet Cave?