Archive for January 2, 2008

Euphoria #6

Posted in FILM with tags , , , , , , , , , , , , on January 2, 2008 by dcairns

Craig Keller nominated this way back and it’s taken me and age to watch the film and then get the scene up on VousTube. Nice film, nice scene, Craig!

[Oh, the subtitles didn’t load, so you can (a) learn French before watching it, which will probably be useful in later life, or (b) watch it without understanding all the dialogue, which will, I promise, STILL be a sweet and blissful experience.]

Truffaut’s Antoine Doinel project is one of cinema’s most intriguing undertakings — a study of a fictional character from childhood on through life, like THE TRUMAN SHOW brought half a step closer to reality. One can’t help wonder what additional Doinel stories Truffaut would be telling now had he lived. Of course it’s inconceivable for anybody else to pick up the baton and continue the character’s adventures: that’s why France is not America and Antoine Doinel is not Inspector Clouseau.

As the series progresses, one can’t help but notice a certain loss of cohesion: Doinel began, in childhood, as a Truffaut-substitute, “the author in disguise” to use Alan Bennett’s charming phrase, but as fictional and real life went on, they diverged: once it became clear that Doinel was not going to become a celebrated film director, large areas of Truffaut’s life were excluded from the films. In a way, LA NUIT AMERICAIN / DAY FOR NIGHT is more of a direct sequel to the first Doinel film, LES 400 COUPS than any of the later Doinel films: here, the character has split in two, one half growing up to be the film director played by Truffaut himself (seen in flashback as a kid committing a very Doinellian petty crime), the other has become leading man Jean-Pierre Leaud, the actor who personifies Doinel in all the films.

Anyhow, one consequence of the divergence between auteur and creation is that the films immediately get lighter. The Doinel episode of LOVE AT TWENTY (and is there any chance of somebody releasing the rest of this fascinating-sounding compendium film?) lacks the tragic undertones of LES 400 COUPS, and BAISERS VOLES, the first feature length sequel, is basically an amiably disjointed comedy. As such, it’s delightful, and I could nominate a few other scenes for Cinema Euphoria status — the mini-documentary about the pneumatic tubes beneath Paris (Wow!) and Delphine Seyrig’s moving proposition to Doinel, for instance. Michel Lonsdale’s first scene doesn’t quite qualify, perhaps, but it’s uproariously funny in its cockeyed peculiarity. Lonsdale for president!

Thanks to Craig for recommending this one, I had fun re-seeing the movie, having forgotten many of its quirks and twists. It’s encouraged me to have another look at some of the later films in the A.D. cycle too.

“Her name is Clarimonde. I am sure of it.”

Posted in FILM, literature, Mythology with tags , , , , , , , , , , , , , , , , , , , , , , on January 2, 2008 by dcairns

This is CLARIMONDE, a short film I directed mumblety years ago.

I thought it might be fun to ‘fess up to the various things I stole in making it. Whether this is instructive or interesting to anybody else, I have no idea. It might serve as a useful insight into the creative process, or that part of it that’s not so much creative as felonious.

First stolen item: the story, THE SPIDER by Hanns Heinz Ewers, also author of THE ALRAUNE, filmed with Brigitte Helm. Ewers was a queer sort of fellow: an early member of the Nazi Party, he also believed that Jews made the best Germans. He fell out of favour, unsurprisingly, and died as an un-person. So I figured there was no copyright to worry about… apologies if I was wrong!

The title sequence. The text is kind of illegible, which I regret. But I liked the idea of using SPACE: 1999 type lettering seemingly for no reason. It broadens out the confusion about when the hell this story is set.

The way each title appears below the one before is lifted from a couple of Richard Lester films: he does it in PETULIA and JUGGERNAUT and I always thought it looked really nice. (I’m always telling my students, “That’s NOT a good enough reason!”)

The artwork which we slowly zoom into is sort of influenced by VERTIGO’s titles. I happened to know a really gifted cartoonist, Garry Marshall, now an award-winning animator, so I drafted him in. (Filmmakers’ rule #1: exploit your acquaintances!)

It's all in the eyes.

The opening shot. Hitchcock again, I was wowed by the massive amount of information gathered by the camera exploring Jimmy Stewart’s apartment at the start of REAR WINDOW, so this is my poor man’s version. The iris-out was achieved in-camera, with a borrowed lighting iris gaffer-taped to the matte box (Gaffer Tape, and not The Force, is what binds the universe together, at least in film and TV). We had no tracks so the camera pulls back on a wheeled tripod as the guy on the floor making the curtains billow backwards-somersaults out the way and cinematographer/operator/grip has to step gingerly over one tripod leg while maintaining a steady movement and panning 180º so the track away from the window becomes a track in on the door handle.

I read an interview with George Cukor where he said something like “I’m not one of those directors who tracks in on door handles,” and I thought, “Well *I* *AM*!”)

The door handle in the film is now on my front door.

Just as the shot was ending the film ran out! I liked the way that looked, so I kept it in. Scorsese did the same at the end of LAST TEMPTATION, but I wasn’t consciously emulating him on this shot, I just got lucky.

I understand you have rooms to let?

When our protag, psychic detective Anthony Flear, enters, the way his face is revealed by his lowering hat is a direct steal from Alec Guinness’ first appearance in THE LADYKILLERS, a film I should write more about later. Flear is played by Colin McLaren, a genius writer who later won a BAFTA and now, like your friend and humble narrator, spends most of his time writing screenplays that don’t get made. It’s important work.

(Actually, it looks like one of Colin’s is finally happening, and it’s the follow-up to RED ROAD. But his version will be funnier.)

Colin had just made a short film with Sarah Gavron, for which he’d been paid in coal. I paid him in spurious money, since he owed me some but we couldn’t agree how much, so it seemed the best policy to make that his fee rather than let it get in the way of a beautiful friendship.

Colin wears my old National Health specs a la Harry Palmer.

The floorboards of this room are actually made of BROWN PAPER.

The use of diary entries: TAXI DRIVER, I guess.

The camera’s tracking and zip-panning about: GOODFELLAS, I think.

The three victims pictured: a film student, the composer’s sister (in drag as Ringo Starr) and a harmonica-playing cartoonist. The theme of gender-swapping is oddly Prophetic since the production designer is a man now, but at the time we made this, I could have sworn he was a woman.

Our makeup artist has since worked on all the HARRY POTTER films, and transformed Jude Law in the recent SLEUTH. His work here was mostly done with tissue paper and liquid latex. The corpses wore ping pong ball eyes with pinholes in. The transvestite corpse wore only one eye because the tunnel-vision made her claustrophobic.

All this tracking around — I just got into it! On my previous films it had been too much work to move the camera, and we’d been habitually behind schedule struggling to finish. here, because it’s a studio film, suddenly there was time to make things more interesting. In all the previous movies, the shots I achieved were compromised versions of the storyboard — on this one, they were enhanced versions.

Peter Greenaway once said, “I don’t move the camera much because that would tend to increase audience involvement,” and I thought, “Well *I* *WILL*!”

Some things were just spontaneous, wild choices, like the camera gradually tilting diagonally, or pulling out of focus on the phone (influenced by an ad for Cadbury’s Flake, I think). I would say to Kenneth Simpson, who was shooting it, “This shot seems a bit normal. What can we do to weird it up?” If you have Just Enough time, you can pause for a nanosecond when a shot is ready and think about whether there’s anything you can do to improve it. The falling leaves at the end of THE THIRD MAN came about that way: two men up ladders with sacks of dead leaves they’d gathered a minute before.

Valli girl.

The first clip ends with my fake time-lapse, which required the help of the entire crew. One person was turning the clock hands from behind while another dimmed the lights and another pair physically lowered a biggish light outside the window to simulate a setting sun.

BTW, the building seen across the street is a quarter-scale model in long shots. In Clarimonde’s closer shots it’s actually the same window Colin is at, dressed differently. So the actors are never actually looking at each other at all.

The second clip begins with some out-of-focus stuff that I should have retaken, but I couldn’t afford to. It would’ve been nice if it had gone into focus when he puts his specs on though. I’m not too keen on the dream sequence. The words which the corpses mouth, out-of-synch, are the same words divined by Flear earlier, and they sort of make a warning, but it’s not very clear or well-done. Should have just cut this scene.

Somebody once said they thought the way Clarimonde slides her finger along the window sill was “erotic”, which pleased me. “I can do erotic!”

When she catches the fly I used both takes, so we get a nice flurry of action. I like that it’s not too obvious that she catches it TWICE. When Flear opens his hand to show her, we pull back through the window without breaking it (because, duh, there’s no glass in it), a swipe from CITIZEN KANE.

During the dance, we used a simple matte to block out the top of Clarimonde’s window, since I was worried the studio lighting rig might show up. Just a black piece of tape in front of the lens. So when C raises her hand to mime a toast, her hand kind of disappears…

I’m pleased with the theatrical lighting change on Flear’s face. Had I seen DETOUR at this point? Or A CANTERBURY TALE?


The curtains billowing open is played in reverse: we weighted the curtain ends and THREW them at poor Althea, who caught them.

The spider shadow puppet was designed by my flatmate, who later went schizo and started stalking the critic and documentarist Mark Cousins.

The vertical mouth is a straight Freudian vagina dentata. A lot of horror films play with this image and I thought it would be fun to do it fairly blatantly. Poor Althea had her mouth glued shut and couldn’t help but inhale the fumes through her nose. She communicated in Post-It notes, which were apparently quite obscene, and mostly detailing how she’d like to avenge herself upon me.

The policeman on the phone is voiced by awesome genius Ken Campbell, who recorded his role in the green room at the Traverse Theatre during a break in a six-hour performance he was giving of his legendary “bald” Trilogy. Diamond geezer.

I like the idea that when Flear tries to resist, we get the only handheld shot, but revert back to “tracking” when Clarimonde takes control again.

Believe it or not, the visual rhyme of the doorknob and Flear’s hand wasn’t planned at all. Fortune favours the prepared mind.

The next two shots don’t show Colin’s face because he was late that morning.

Colin sat in the corner hemmed in by alarm clocks was one of the first images I got reading the short story. Vaguely inspired by the guy in prison in CALIGARI.

My only crime is eating.

Clarimonde gets the old-style movie lighting, a patch of light that just hits her eyes. Selective Moonlight.

Schreck the First

Colin at the window with his hand raised is pure NOSFERATU. We decided right then to make it rain and rigged up some tubing… we’d seen the clip from IN COLD BLOOD which they excerpt in the documentary VISIONS OF LIGHT, where the light filters through the rainfall onto Robert Blake’s face… this may have come about through me asking the cameraman, “What have you always wanted to do?”


The fast Psychological Track-Ins on the victims and Flear: this comes from a combination of MILLER’S CROSSING and Sam Raimi. I was interested by the sense of violence the moving camera can have. Now I say that for violence in camera movement the real king is Andrei Zulawski.

The spinning wheel shot was done at the end of the shoot, after we’d taken the set apart but I didn’t want to stop filming, I was enjoying it too much… I figured I could use the shot somewhere…

Craning up (actually raising the camera on the tripod’s pneumatic riser) to reveal the noose: some of you may have spotted where I pinched this from. Thanks to Maestro Leone for a really terrific, funny shot.

Flash Bang Wallach


Colin rides towards his death on the tripod itself, a foot atop each wheel, discretely hanging onto its neck. Inspired by Cocteau, probably:


The POV track thru the noose was another idea that came to me as I read the story for the first time.

Clarimonde’s voice-over comes from a different short story altogether, another fictional CLARIMONDE from Theophile Gautier’s La Morte Amoreuse, translated by the great Lafcadio Hearn.

The kiss: REAR WINDOW again. The zoom into the eye doesn’t really work. But the repeat of the opening shot is something I’m fond of. My heads of department all did a great job on this movie, considering we had no money and the heads of department generally were the departments.

Even though it’s made of cardboard and string, I like this film best of all my stuff apart from CRY FOR BOBO. If I can defend the plundering at all, it would be by saying that while I lifted general style and atmospherics from German Expressionism and noir, the specific things were often swiped from more unexpected sources, like comedies and spaghetti westerns, so that they hopefully get transformed somewhat in the process — stealing becomes an imaginative act.

I hope.