did you make that up all by yourself?
08:44 | 12-01-2013 | Cinematograph, Theatre | 2 Comments
вслед за “In Bruges” прекрасный Мартин Макдонах снял и еще один фильм, “Seven Psychopaths”:
Hans: So, you know, your <…> psycho story becomes the final thoughts of a man who chose not the darkness, but the light. The light being, you know.
лента абсолютно изумительна, точно змея, что вьется и манит зрителя из кинозала прямиком на экран — это фильм о том, как снимают фильм о том, как снимают фильм. вновь metafiction, да.
и не хуже иных персонажей, зритель начинает общаться с героями напрямую, рассуждает о жизни и смерти. вдруг оказывается на сцене забытой декорацией — или еще одним актером:
Marty: The first half should be a perfect setup for an out-and-out revenge flick. Violence. Guns. All the usual bullshit. And then… I don’t know, man, it’s… The lead characters should just walk away. They should just drive off into the desert and pitch a tent somewhere and just talk for the rest of the frigging movie. No shoot-outs, no payoffs. Just human beings talking.
автор перекраивает наши ожидания, выворачивая наизнанку жанры и сюжеты — один наслаивается на другой, и тут же сгорает рядом или увлекает в сторону. меняется, точно развевающийся на ветру флаг. или мелькнувшая red herring?
Hans: Martin, I’ve been reading your movie.
Marty: Oh. What do you think?
Hans: Your women characters are awful. None of them have anything to say for themselves. And most of them get either shot or stabbed to death within five minutes. And the ones that don’t probably will later on.
Marty: Well… It’s a hard world for women, you know?
в шаге от фарса или комедии, лента говорит с нами обо всем на свете, — и мы слушаем, очарованные, затаив дыхание, сглотнув подступивший к горлу ком. это фильм о природе творчества (“It’s not what I wanna really be writing about anymore.”), о бездне забот (“I don’t have a drinking problem. I just like drinking.”), о поиске (“God loves us. I know He does. He’s just got a funny way of showing it sometimes.”), о политкорректности (“You can’t let the animals die in a movie. Just the women.”), о смерти (“This movie ends my way.”), — и о дружбе, наконец:
Marty: How far is the walk to the Welcome Center?
Hans: We can’t leave him.
Marty: You ain’t gonna fight.
Hans: Of course I ain’t gonna fight, but I ain’t gonna run.
Marty: What are you gonna do, then?
Hans: I guess I’m gonna die.
Marty: Friends don’t make their friends die, Hans.
Hans: Psychopathic friends do.
Макдонах исследует нас, исследует себя, исследует мир. вот, например, хорошее из интервью:
QUESTION: Given your background in theater, I’m wondering whether there’s a fundamental difference in the way you approach writing for the screen versus writing for the stage?
ANSWER: Not really but it took me a longer time to get my head around the whole idea of writing a script. With a play you can have a series of three conversations in a room and that could be the whole show. Or nine if there’s nine scenes. But with a film you can jump around in time and space, you can have 10 scenes on one page. The jigsaw puzzle nature of that was hard to figure out. In two lines you can leap from here to 19th Century Spain and it’s all valid. But now I find it kind of freeing. Otherwise, it’s more or less the same thing. There’s nothing you can say in a film that you can’t say on stage or vice versa.
<...>
With Seven Psychopaths there was a little bit of improvisation into and out of scenes, because the boys are so good at that. With Colin [Farrell] and Sam [Rockwell] and Chris [Walken] you don’t want to box them in too much. That was probably what I learned most from this film, not to be so pedantic.
но — самое главное — он ищет то, что, разумеется, будет дальше — что же именно?
Zach: I’m gonna be over to kill you on Tuesday.
Marty: That’s good. I’m not doing anything Tuesday.
Zach: You sound different. You sound like you’ve been through a wringer.
Marty: A little.
Zach: I, well… Tuesday doesn’t really work for me. Can I get back to you’?
Marty: Sure. I’ll be right here.
Zach: I know.
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