Takeshi Kitano - interviuri, Dolls (IX)

     Kitano incearcă cu "Dolls" o distanţare de formele şi maniera de exprimare pe care le-a cultivat în filmele precedente. Distanţarea reuşeşte, filmul ...

     I wanted to leave the monochromatic world of my earlier films; this was my first motivation for Dolls, an urge to show very beautiful colors. I also wanted to take a certain distance vis-à-vis the gang
and action films shot earlier. (T. Kitano)

     "Dolls" m-a lăsat la final cu impresia unui act artistic puţin forţat, nu foarte sincer şi deci cumva căutat. Poate de vină sunt şi compromisurile pe care Kitano a trebuit să le facă de la felul iniţial în care gândise filmul. Iată două dintre ele aşa cum transpar din interviuri:

- de ce poartă doi oameni care trăiesc pe stradă costume sofisticate?
I gave him (Yamamoto Yohji, costume designer) the freedom for creating the costumes, almost as if he was making his own fashion show in the film. Strange as it may sound, I basically let Yohji decide without any indications or discussions. At the first fitting costume session, Yohji showed us the fall costumes for the bound beggars. Miho, the leading actress, was wearing a red dress, which looked as far as it could get from what beggars wear in real life! When I saw it, I almost fell down to the floor! [...] We faced a reversal from the normal process. Normally, costumes are made in such ways that they match the film. At certain points, we had to make adjustments to locations and continuity to match the costumes. (T. Kitano)


- de ce sunt 3 poveşti?
Initially there was only one story, the young man and young woman chained beggars, to be told in the four seasons. But through my script, I realized that the idea was too simple and does not cover the duration of the film. I thought of adding two additional stories without making a movie skit. So I thought about how these three stories would intertwine to advance synchronously. (T. Kitano)

     Mai mult decât ajustările pe care a trebuit să le facă în timpul filmărilor, iată ce spune Kitano despre felul în care întreaga concepţie asupra filmului s-a modificat de la ideea originală:

My original idea was to make it much more complex. It was supposed to be more like a game of go, where you have to watch very closely to see the real balance of power between white and black. I wanted to make it quite puzzling, but when the crunch came I wasn't adventurous enough, or didn't have the stamina to do it. So what you see is much simpler than I intended. You know, I haven't yet reached the point where I feel I can express myself freely - I'm still very conscious of the potential audience. The idea that an entertainer has to "do his thing" for his public is very hard to shake off, even after all these years. (T. Kitano)

     Tot din interviuri extragem şi soluţia artistică aleasă de Kitano pentru a integra în film modificările de care vorbeam:
I brainstormed and found a solution together with my team who was also appalled
(la prezentarea costumelor). I decided to change history by making something unrealistic, a story about human beings, but devised by Bunraku puppets.

şi tot despre nepotrivirea costumelor cu povestea din film:
[...] after a while, I calmed down and decided: Okay, their costumes do not have to be realistic, because it’s a story.

sau legat de imagine:
[...] and during the shoot, my sudden openness to a broader color spectrum made some
of the veteran members of my crew panick. I kept telling them these were stories told by Dolls.

în concluzie:
[...] In theatre, it takes three people to manipulate a doll. My idea here was to reverse that: what if the doll manipulates the people? If the Dolls had told stories, they might well tell stories like these.
(T. Kitano)

Cât de mult au contat schimbările apărute în timpul realizării filmului asupra ideii originale? A reuşit Kitano să păstreze unitatea artistică şi să transmită un mesaj coerent?

     În final iată-ne ajunşi şi la chestiunea imaginii. Critici, review-eri, simpli spectatori comentând on-line vorbesc despre cadre fotografice frumoase, compoziţii de imagine deosebite, peisaje exuberante, culori clare, puternice, vii.
De gustibus! Eu cred că, în exuberanţa lor ostentativă şi în felul căutat artistic în care sunt construite, multe cadre din film sunt foarte aproape ... kitsch.


Interviurile citate in articol sunt de găsit aici: