Download Danish Directors: Dialogues on a Contemporary National by Hjort Mette, Ib Bondebjerg PDF

By Hjort Mette, Ib Bondebjerg

According to the resurgence of Danish movie, this ebook provides a set of in-depth interviews with 19 of Denmark's best film-makers. that includes interviews with Lars Von Trier, Soren Kragh-Jacobsen, Thomas Vinterberg and Gabriel Axel between many others.

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Sample text

We make films for our own 45 The Danish Directors little linguistic regions, and the result is that the region that in a way can lay claim to having a global language, namely English, ends up playing a dominant role. The American producers are immensely powerful and have an extremely well organised distribution apparatus at their disposal. The result is that they’re clearly dominant to an extent that is simply unreasonable. It’s really not reasonable that the Americans should be able to get anything into the European cinemas, good and bad films alike, while it’s impossible for even the best European films to get released outside their country of origin.

Gradually we settled on the idea that there should be virtually no scenes in the film (there are only a few exceptions to this) that didn’t focus either on Per Oscarsson or on what Per 48 Henning Carlsen Oscarsson sees. His ongoing experiences, the one piled on top of the other, became a substitute for the novel’s first person narrator. The other thing that replaced the narrator was, of course, the possibility of identifying with Per Oscarsson. So in that respect it actually became a very subjective film.

And one of the things we did in order, for example, to recreate the boy’s perspective was to place the camera on the same level as his tricycle. We tried to recreate the authentic atmosphere of the Nørrebro area of Copenhagen. We shot the film in an apartment that was one metre from the train tracks, because we really wanted people to be able to feel the atmosphere. The atmosphere in a film stems from the hundreds of things that you can’t see, but which you’d miss if they weren’t there. Dreyer’s films are saturated with atmosphere, not because there seem to be a lot of things in the image, but because nothing distracts from what’s essential.

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