![]() Did she or didn’t she run over the boy? When I saw the film a second time, I began looking for clues in the very first scenes. With just one central character, it was a lot more challenging.įor me, the film is a kind of thriller, in the sense that in every scene you’re looking for clues in order to figure out what really happened in the accident. This way of working, which is my form, was a lot easier to pull off when I had a large number of characters. So I’m not spelling out the accident thing, but I have elements that evoke that. For example, the accident is present in every scene in different forms: maybe there is somebody who is digging, or something that is thrown on the floor. I work with a number of elements that are tied together, and each one of them is present in each scene in different positions, different perspectives, foreground or background. What I mean by layers is a form of accumulation, which makes plot no longer necessary in its classical sense. When I think of layers, I think of layers of plot and of characters. I felt I was really taking a chance with that because I had never worked following just one character before.īut then, I don’t quite understand what you mean by layers. I regret not having used it before.įor me, the obvious difference is that The Headless Woman is focused on one character’s subjectivity. And also, the format I used was perfect for what I set out to do. I always have a layered structure, and in this film I found the cleanest way of working with it. ![]() What I did achieve in this film was to polish up my technique of working with layers. So I can’t really say how this one is different from the other two because it’s not as if the other two had a common structure. ![]() I think that the first two films are also very different from each other. In terms of its structure, it seems very different from your two previous films. The Headless Woman is a very strong film and a difficult one. ![]()
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