或る６

　　

コリンはゴダールの言及してるし、カラックスはゴダールの作品に出てるしカイエに参加してたし、でもノエの場合はキューブリックの言及などはあるけどどうなのか、カラックスもただ出てるだけで、それほど関心ないのか、でも３人のソン&イマージュはゴダールとは違うけど、音&映像の構築の仕方、独特のやり方あるな、と気になり、影響を受けたのかチェックする。

コリンの場合

インタビュアーが「Like Godard’s cinema, yours makes room for chaos. 」と言うと、コリンは「Godard is one of my favourite film-makers. When I was young, I was obsessed by his films, and he’s still a favourite. I probably didn’t understand half of what he wanted to say, but what I did understand touched me, and when I see his films I see the whole, like what you hear when you’re listening to an orchestra. He edits, he glues stuff together, and he quotes [ … ] and that’s what I do, too. I feel a very strong attraction to artists who create their own language, like he has. I’ve always wanted to do that - invent my own language, my own narration, my own path. I don’t understand why they show so much uninteresting stuff in so many films before they manage to show one interesting thing. You waste the rest of the film trying to explain and prepare the ground for that moment. You can sense this unnecessary journey to get you to a given point increasingly strongly. But what kind of cinema is it that lines up all those mechanistic links? It’s a total waste of time. With Spring Breakers, I dreamed of a film that only consisted of climaxes. I injected as much as I could of that very physical component the film’s based on to make sure that the result was close to a psychotropic experience, a hallucination. 」と言っている。　　　　なるほど。

ノエの場合

インタビュアーが「What are your influences? Who are your favorite directors?」と尋ねると、ノエは「2001: A Space Odyssey. Kenneth Anger. Georges Franju. Have you seen Eyes Without a Face or Blood of the Beasts? There’s also an Austrian film called Angst that was a great influence. Pasolini’s Mamma Roma and Salò. Taxi Driver, of course. John Boorman’s Delivrance. Metropolis is fantastic but I could never make a movie like that. Same goes for 2001: A Space Odyssey. You’ve got to be a really hard worker and I like drinking and partying way too much.」と答え、インタビュアーが「You didn’t mention any Nouvelle Vague directors. I thought Carne and I Stand Alone both had quite a Nouvelle Vague æsthetic. The colors, the graphics…」と言うとノエは「That’s what I like most about Godard’s movies — the really elegant graphics and sound effects. But I’m not particularly moved by what he has to say. It’s a bit like Kenneth Anger — I’m fascinated by his æsthetic, but I’m more touched by movies like 2001 or Paths of Glory. You might like the screenplays of some directors — Pasolini’s for Salò, for example. It’s a very impressive topic but there are a few scenes that I might have done differently, that I think are a bit “rushed.” I mean, some movies are perfect, like An Andalusian Dog or Jikoku, Mishima’s only film. Kenneth Anger’s Scorpio Rising — now that’s a perfect movie.」と答える。　　　　　　　　　　　なるほど。

カラックスの場合

インタビュアーが「What was it like meeting and working with Godard? He was someone you admired when you were just starting out. 」と言うと、カラックスは「Yes, very much. I don’t call that meeting. I never really had a relationship with a filmmaker. We knew each other a little bit. We had a few exchanges. Films, I don’t like to talk about films. 」と言い、インタビュアーが「Not with other directors.」と言うと、カラックスは「Not with anyone.」と言い、インタビュアーが「Why not? 」と尋ねるとカラックスは「I don’t think I’m a cineaste. I don’t think I’m a filmmaker. I happen to make films sometimes, not many, and not often. I don’t think I have anything much to say about it. 」と答える。　　　　　　　　なるほど。
　　


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