Perhaps the second century will see the beginning of this sort of new cinema. In order to escape the assault of technique, the relationship between the autonomous, indefinable filmmaker and the spectator—which had remained severed for so long—shall regain existence in this simple, direct form.
Until recently, cinema possessed a definition and a history. Certain facilities existed; they could easily be categorized: equipment, sound, camera, lights, actors, scripts, etc. But these definitions have been transformed. There is astounding diversity in contemporary cinema. This diversity is a new occurrence in itself. Cinema is no longer molding image and sound to a preset form. Cinema is the very expression of the disorientation of today’s man. Cinema is on the verge of rediscovering itself.•
I used to think that cinema halls were kept dark so that the picture could be better seen. When I stared at the way every single person was coiled up in his seat, I realized that the darkness has a more important function. The darkness is meant to separate people, to isolate them so that each one can go deep into his seat and into himself, side by side, yet completely separate, and so that each one can build up his own world while watching the film.
Out of a city, out of those fields, these people or those objects that appear on the screen, he can build up his own special spaces and characters. Everyone making his own special film out of his own special world, resembling no other one.
Cinema does not recount one world, but a different world, neither does it one reality but a myriad realities, nor a unique story but a variety of stories.
For the cinematographer, just as for the spectator, truth isn’t anything outside the system of cinematographic conventions. But it is easy to see that this order is changeable. The reality of daily life and of its happenings isn’t something that is external and objective. It is something that we make up and bring to life. The world of each work of art, the world of each film, reveals a new truth to each one of us. It creates a special and unique vision, in the darkness and privacy of any cinema hall and on any seat, in a moment of aloneness, and it allows everyone to achieve one’s dreams and inward wishes, and to freely express and repeat them. If art is to bring about change and innovation, it can only do so through a creative process closely related to the viewer’s freedom. There is a solid, unbreakable and eternal relationship between the self-made and agreeable world of the artist and the world created by the viewer, which is a mental and liberal world. Art allows man to create truth in the way he desires and thinks is correct or the way he wishes it to be, without being subjugated by imposed-upon truths.
Cinema allows each filmmaker and each viewer to discover, to portray and to make one’s own the ultimate truth of human suffering from the pains which simple people endure in their daily life. If we believe that a filmmaker can be committed to change daily life, this commitment must be found in the freedom given to the viewer for creating meanings. When the film creates a world full of contrasts and contradictions, it also creates the possibility of changing the viewer. There is a world which we perceive to be real but do not find right. This world is not created by our mind. We don’t even accept it. Through the medium of cinema, we create a world that is many times more real, more just and more beautiful than the
world surrounding us. Not because it is a deceptive image of the world, but because it rather bespeaks contradictions; the contradictions between the ideal world and our real world. It is more laden with signs of wishes, sadnesses, jealousies, possessions, and deprivations, joys, sufferings, successes and defeats. It is an
infinitely beautiful world in which ugliness and disorder are more conspicuous. Personal experience plays an essential role in this process. When the world of a film is spread out in front of the viewers, it is through personal experience that each of them learns how to build a special world out of it. Not satisfied with what is, they will look for what it should be. There is a relation between the reality that we build up and the world as it is made, and which is not to our liking.
Here I would like to refer to Godard, who said “Reality is a badly made film”, and also quote Shakespeare, who wrote “We are made of the stuff of our dreams,” meaning that we are more similar to our dreams than to our real life.