i ended the "if..." book by saying this: which was a rhetorical device obviously (it's about lots of things), but is a way of saying that anderson's own experience of loneliness -- his commitment to it, in fact -- had a shaping effect on his sense of form; in particular his sense of how to end his film (and of course i was very consciously thinking about how to end my book)
i don't in fact believe this was front-and-centre conscious on anderson's part, at least in the sense that he had decided to "make a film about loneliness" (if he had decided to do that, it would have been quite another film, and maybe not about schools at all): he tended to be fairly (too?) open about what he considered his aims and intentions in any given film
but i think once you start to think about this element in his personality, you see very clearly the impasse his politics and film-making had run into -- why he never again made as strong a film, for example
i think with aspects like form,by which i mean the feeling about when something is well-made, or the "right shape", or completed, or "what you meant", the impulse(s) can sometimes be operating at a very deep, unconscious or intuitive level, which you are resisting when operating in conscious modes: not least because these decisions are being made towards to end of a project, when your will to engage with the things that took you into it may be exhausted (as indeed may you, functioning on instinct getting something done)
"in the end... it's about loneliness"
Date: 2007-03-12 06:45 pm (UTC)i don't in fact believe this was front-and-centre conscious on anderson's part, at least in the sense that he had decided to "make a film about loneliness" (if he had decided to do that, it would have been quite another film, and maybe not about schools at all): he tended to be fairly (too?) open about what he considered his aims and intentions in any given film
but i think once you start to think about this element in his personality, you see very clearly the impasse his politics and film-making had run into -- why he never again made as strong a film, for example
i think with aspects like form,by which i mean the feeling about when something is well-made, or the "right shape", or completed, or "what you meant", the impulse(s) can sometimes be operating at a very deep, unconscious or intuitive level, which you are resisting when operating in conscious modes: not least because these decisions are being made towards to end of a project, when your will to engage with the things that took you into it may be exhausted (as indeed may you, functioning on instinct getting something done)