These days, I don’t think of awards at all. And even less so since I’ve been part of that world, and I’ve seen what it really is. It doesn’t have the same sort of allure it once did. It’s just watching a marketing machine, and there’s something very ugly about that. I hate it, I think it’s crap. It’s marketing, and marketing is marketing. People get too attached to it. It’s slightly mean-spirited. I can’t speak to larger trends. If people say a movie is better because it has an award it’s sort of affecting the future of marketing.
I’m not interested in watching films right now that feel like a product. I want to feel like I’m watching something that’s really really a mess. Does this make any sense? I don’t know what it is, I want to watch a film in which it feels like there’s something at risk, that’s not a package. But everything seems to be a package. I’m on edge, I don’t want to feel like someone’s sort of presenting me with something and I’m supposed to appreciate it.
I don’t really have anything against stories, but I just want to feel something happening. I read something that Emily Dickinson said that I’m going to paraphrase: you know something’s poetry if a shiver goes up your spine. And that’s the thing to try to put out there, and you put it out there by being honest. If you have a story, it has to conform to that, rather than the other way around. I’m not necessarily into plotless cinema; sometimes people make those movies and they’re not very good, or interesting. Everything is intention, and sometimes people’s intentions, even when they’re avant-garde or on-the-edge, or muddied, become apparent, and it doesn’t really have any power.
vendredi 8 avril 2005
Extraits d'une interview de Charlie Kaufman (scénariste de films qui prennent le temps de s'installer dans les méandres du cerveau humain comme Being John Malkovich, Adaptation. et Eternal Sunshine of the Spotless Mind) :