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M: One of the side benefits of moving Zoetrope up to San Francisco in 1969 was to take the filmmaking out of a self-contained film universe. In Los Angeles it's very easy, if you get to a certain level in your profession, to live, breathe, eat, think, sleep film. And to have so many offers that you're working all the time—without that ability, given by time and space, to reinvent.
In San Francisco there's not that much work. There aren't that many producers up here. There's a kind of enforced idleness between projects that allows you to develop other interests and then, in the best sense, to plow the results of those interests back into the next film.
It has to be said—both systems have their risks. The risk of the Hitchcock-ian system is that you may stifle the creative force of the people who are collaborating with you. The film that results—even if it's a perfect vision of what somebody had in his head—can be lifeless: it seems to exist on its own, without the necessary collaboration either of the people who made the film or even, ultimately, the audience. It says: I am what I am whether you like it or not.
On the other hand, the risk with the process-driven film is that it can collapse into chaos. Somehow the central organizing vision can be so eaten away and compromised by all the various contributors that it collapses under its own weight.
You remember you told me how much you liked the line breaks in my translations of Malaparte? The decision where to cut film is very similar to the decision, in writing poetry, of where to end each line. On which word? That end point has little if anything to do with the grammar of the sentence. It's just that the line is full and ripe at that point, full of meaning and ripe with rhythm. By ending it where he does, the poet exposes that last word to the blankness of the page, which is a way of emphasizing the word. If he adds two words after it, he immerses that word within the line, and it has less visibility, less significance. We do very much the same in film: the end of a shot gives the image of that last frame an added significance, which we exploit.
The advantage of writing and editing is that at any time you can stop what you're doing and walk around the block, or have lunch, or take a phone call, or go dig in the garden and think. At any particular moment, the editor has the freedom to interact or not interact with the material. You can always step away and let the subconscious do some work.
When I write a script, I lie down—because that's the opposite of standing up. I stand up to edit, so I lie down to write. I take a little tape recorder and, without being aware of it, go into a light hypnotic trance. I pretend the film is finished and I'm simply describing what was happening. I start out chronologically but then skip around. Anything that occurs to me, I say into the recorder. Because I'm lying down, because my eyes are closed, because I'm not looking at anything, and the ideas are being captured only by this silent scribe—the tape recorder—there's nothing for me to criticize. It's just coming out.
That is my way of disarming the editorial side. Putting myself in a situation that is as opposite as possible to how I edit—both physically and mentally. To encourage those ideas to come out of the woods like little animals and drink at the pool safely, without feeling that the falcon is going to come down and tear them apart.
In any film scene there's a petitioner and a grantor, a weaker character and a stronger. Otherwise you don't have a scene. It may be obvious what the power relationship is, or it may be hidden from one or even both of the characters themselves. So at each moment in every scene there is a dynamic between two people that can be expressed in many ways.
In making a film you're trying to get the most interesting orchestration of all these elements, which, like music, need to be harmonic yet contradictory. If they're completely contradictory, then there's chaos. It's like when instruments are tuning up before a performance, you can't make anything coherent out of it. It's a fascinating, evocative sound, but only for about fifteen seconds. If, on the other hand, all the instruments play the same notes—if they're too harmonic, in other words—yes, there's coherence, but I'm bored after a few minutes. Just as bored as with the chaos of tuning up.
Do you think Claire knows?
Claire talks to me every night, and I don’t say a word about you, and she must wonder why I don’t say a word about you.
Then Claire knows.
Some afternoons she spoke to him in an earnest schoolgirl French—as though she were not someone who had grown up alongside him, almost a sibling. Or she’d move away from his desire and read him a description of a city. Sometimes she snuggled against his brown shoulders and after making love burst into tears. There were times she needed this boy or man, whatever he was, to cry as well, to show he understood the extremity of what was happening between them. When he was in her, about to come, looking down on her, his passive face looked torn open, but still he was wordless. It was easier for him. He did not accompany her down to the farmhouse each evening and eat a meal with her father and sister, and play a game of whist during which she’d look up suddenly to see Claire staring at her, attempting to break into her privacy. They were long, maddening, sterile games of chance and counting and collecting pairs or runs, with her father keeping score obsessively. (Besides, Coop was the only one among them good at cards. There were games in the past, Anna remembered, when he would sit laughing at their incompetence.) Worst of all, she had to sleep in the bed next to Claire in mutual silence.
The husband, smoking his pipe, would walk the perimeter of the walled garden and consider how well the pollarding of the trees had succeeded. He would eventually circle the house to where the door leading to the back pasture would be open, and through the opening see Anna hunched over the table writing, or reading some large book, never looking up, never conscious of him a few yards from her open doorway, and he’d shake his head and drift away. The woman was from America, his wife had told him. When she stood up she was as tall as he was, lightcoloured hair to the neck. She looked strong and healthy. She had asked him in her New World French where the good places to walk were, and he had drawn a map with the best paths, routes that weaved through other properties and crossed the river. He reminded her to close all the gates. When the owner of the manoir came there, he’d always be driving off immediately— to pick up floc from an Armagnac distillery or on some other errand. But this guest was different. She had no desire to spend time in town. She was content here. She might spend half an hour talking when they came their one day a week, but then she would be back at the table, with her books. He knew she walked into the village now and then. As a postman he travelled all the time, it was in his blood. Staying in a house the whole day seemed unnatural. So when she asked him into the back room, and escorted him through the lean corridor of the house to the kitchen, where he saw the open door leading to the pasture, which was where he had stood watching her work the previous week, and where now she offered him a sheet of paper, he drew the map for her clearly and to scale—his job had taught him exact kilometre distances and property boundaries and stream beds. He drew the rectangle of the house and a quick oval for the herb bed, then re-created the world outside, ending with distant copses and deer forests, dismissing places she should avoid, those that tourists inhabited. In Anna’s terms the map was a ‘keeper,’ and she might one day frame it and hang it in her living room on Divisadero Street in San Francisco, a private core of a memory. In some part of her mind, she felt that if worse came to worst, she could always escape back here.
<3
France had meant a quiet and anonymous time for Anna. Apart from the visits of Monsieur and Madame Q, she saw no one. And there was nothing in the house of the writer to remind her of North America. She was escaping the various aspects of her professional life—acquaintances, deadlines, requests for prefaces—all of which, if she were in her real world, would be essential duties. The only thing that had truly jostled her in the time she had spent so far in the Gers region of France was the group of men at the crossroads with their dogs, the men’s tongues lolling in parody and their fists twisting in the air as she walked away. She felt at ease in the modest house, her curiosity almost aimless, as if she were beginning a new life. She was enjoying the process of filling a notebook with fragments and even drawings, something quite apart from her research. If there was the sound of a bird through the open door by her table she would try to articulate it phonetically on the page. She did this whenever she heard one clearly enough. And when she leafed through her obsessive notes, Anna would find a series of chords of birdsong, or her drawing of a thistle, or of the Qs’ Renault.
reading this makes me want to spend some time in a remote village in france lol