Entrevista en el blog de Life Without Buildings a Charlie Kaufman, guionista de Cómo Ser John Malkovich y Adaptación:El Ladrón de Orquideas respecto a su nueva películaSynecdoche, New York .
Aun no se ha estrenado, aunque podemos ver ya el trailer, la pelicula parece ser que habla de un autor de teatro que decide crear una obra de arte total, en la que hace de Nueva York su gigantesta escenografia, lo cual nos habla de nuevo de él mismo, a la vez que se critica, en su nueva faceta de autor que controla toda el proceso de creación:como guionista, productor y ahora estrenandose como director.
A parte de estas cuestiones parece que la película promete y mucho, si no observad el reparto, nadie a querido quedarse fuera.
Synecdoche,New Yor is a masterpiece of filmmaking. In his ambitious debut as director, Charlie Kaufman—who made his name writing such groundbreaking films as Being John Malkovich and Eternal Sunshine of the Spotless Mind—has crafted a film that can only be described as sublime - a piece of work so beautiful, yet so incredibly terrifying that it becomes even more beautiful; the ocean seen from the edge of a cliff. It follows the life of Caden Cotard (played by Philip Seymour Hoffman), a distraught theatre director who is willing to sacrifice everything to create a Great Work of Art that is, beyond all else, true. As his world falls apart and his body begins to shut down, he writes a play that slowly expands throughout the interior of a New York City warehouse whose scale and grandeur rival any work by Boullée or Piranesi. Life Without Buildings recently had the chance to sit down and speak with Charlie Kaufman, who generously answered this excited-yet-slightly-nervous interviewer’s questions about film-making, the search for truth, and the role of architecture in his movies. Discussed: Synecdoche, the practicalities of first-time directing, Paul Auster, the lost art of wood carving, and the infinite potential of Las Vegas. Some minor spoilers follow.
Charlie Kaufman: I’m kind of curious why an architecture writer wanted to talk with me.
Life Without Buildings: Well I think part of the reason I enjoy your films is that they often raise these abstract spatial questions — from the consequences of what happens when someone climbs through a tunnel into their own subconscious to the dream-logic of Synecdoche’s theatre. But before we dive into that, I wanted to ask you about making the film. This is the first movie you’ve directed and in a 2004 interview with Charlie Rose you said “I’m curious to see what something I write will look like if I direct it.” So…what did you think? Were you at all surprised by the final result?
Entrevista completa aquí
Aun no se ha estrenado, aunque podemos ver ya el trailer, la pelicula parece ser que habla de un autor de teatro que decide crear una obra de arte total, en la que hace de Nueva York su gigantesta escenografia, lo cual nos habla de nuevo de él mismo, a la vez que se critica, en su nueva faceta de autor que controla toda el proceso de creación:como guionista, productor y ahora estrenandose como director.
A parte de estas cuestiones parece que la película promete y mucho, si no observad el reparto, nadie a querido quedarse fuera.
Synecdoche,New Yor is a masterpiece of filmmaking. In his ambitious debut as director, Charlie Kaufman—who made his name writing such groundbreaking films as Being John Malkovich and Eternal Sunshine of the Spotless Mind—has crafted a film that can only be described as sublime - a piece of work so beautiful, yet so incredibly terrifying that it becomes even more beautiful; the ocean seen from the edge of a cliff. It follows the life of Caden Cotard (played by Philip Seymour Hoffman), a distraught theatre director who is willing to sacrifice everything to create a Great Work of Art that is, beyond all else, true. As his world falls apart and his body begins to shut down, he writes a play that slowly expands throughout the interior of a New York City warehouse whose scale and grandeur rival any work by Boullée or Piranesi. Life Without Buildings recently had the chance to sit down and speak with Charlie Kaufman, who generously answered this excited-yet-slightly-nervous interviewer’s questions about film-making, the search for truth, and the role of architecture in his movies. Discussed: Synecdoche, the practicalities of first-time directing, Paul Auster, the lost art of wood carving, and the infinite potential of Las Vegas. Some minor spoilers follow.
Charlie Kaufman: I’m kind of curious why an architecture writer wanted to talk with me.
Life Without Buildings: Well I think part of the reason I enjoy your films is that they often raise these abstract spatial questions — from the consequences of what happens when someone climbs through a tunnel into their own subconscious to the dream-logic of Synecdoche’s theatre. But before we dive into that, I wanted to ask you about making the film. This is the first movie you’ve directed and in a 2004 interview with Charlie Rose you said “I’m curious to see what something I write will look like if I direct it.” So…what did you think? Were you at all surprised by the final result?
Entrevista completa aquí
Web Synecdoche, New York
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