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Tranceformer - A Portrait of Lars von Trier (1997)
I'll gladly assert
that everything said or written of me is a lie. Four...five...six... But a provocation's purpose is to get people to think. Seven...eight... If you subject people to a provocation you allow them the possibility of their own interpretation. Ten... He is a, what can one say... ...a playful rascal. Absolute opponent to all kinds of intellectual authority. Unfortunately, I have a "troll shard" in my eye. I don't know if you know The Snow Queen by Han Andersen. I remember there's a boy who at some stage gets a troll shard in his eye and sees things as ugly. I see you as fairly cross-eyed. His name alone is a pure provocation... Von Trier! It's incredible how many doors have opened through it. That's because my own life is a fabrication, not so? Shall we skip the niceties and get on with the interview? He's very bourgeois. Wears slippers at home, runs around the lawn, cuts the hedge. Nothing could be more dull. There's nothing exotic about him. About being "self-directed". That means you direct yourself differently in a certain way. I don't do that. You normally associate extremism with grand gestures and so on. But Lars is very controlled, very amiable in his way. That means that sometimes you don't even notice the missiles he fires. And the whole thing blows up without you really knowing what happened. Danish bastards! Danish bastards! But life is a circus, for God's sake... My mother gave me a small-gauge camera. Actually she had really bought it for herself but she thought I should play with it. I think this is my second film. The first was more experimental. The camera was more capable of single frames and dissolves and everything...It was fun and everything had to be tested. And this really arty film... Later there are also examples of... Well, double exposures at any rate... And even hand-held camera and... subjective images. It is actually largely a textbook in different film styles. I was about 10 or 12 years old. I made him swim there. I remember he got scolded for being soaked. He had his nice clothes on. What's interesting and what I later... It's interesting to see I realized how to use interior film for exteriors. It was one of the most important color manipulations for 8 mm. It means...There's interior film used on a daylight scene. There's a sequence shortly that's shot outside on interior film. It's in a second if I remember... It makes him more acidic, you could say... Here's a tracking shot. Taken from a bicycle. My biggest dream at that time was to build a camera crane. I never did. It was too difficult. It had to be built of wood... 15 years later he has the resources and in The Element of Crime he creates an unusually expressive thriller. He wins a prize in Cannes. It's the first part of a trilogy about a Europe in disintegration. In these films, Lars von Trier transforms reality and evokes closed, hypnotic worlds of rare suggestiveness. The resources for Epidemic are more limited but the film imagination is unbound. Within the tightly composed images of Europa, chaos reigns which inexorably condemns people, both good and evil, to ruination. In 1968, Trier plays the leading role in a SwedishlDanish TV series, Clandestine Summer. He is 12 years old. I'm no millionaire. My mother will go mad if I steal the marmalade. -Buy some. -I'm saving for a tape recorder. -Whilst I starve to death? -0kay, I'll fetch something, then. His parents, Ulf and Inger Trier, radical middle class academics believe in an upbringing free of rules and restraint where Lars himself can decide over his life. That's to say, Lars' reference milieu was sort of culturally radical, progressive, communist, Scandinavian with a little Jewish, Copenhagen, international character. It was that which he primarily, as I saw it anyway, revolted against in his own timid but radical, in another sense of radical, totally extreme manner. No, I had a very, very free upbringing. And according to me, it was too free as it is such a cause of anxieties. What happens when you give someone complete freedom, is... The child has to be its own authority. When there's no one to say: Do this or that, go to the dentist, go to bed, they have to be their own authority. And the difficulties that arise simply going to bed were incredibly traumatic for me. It's still a common problem for some. It's a lot for a little kid to decide for himself, I missed the love an authority that defines parameters can bring. Because that is a form of love. Yes, but school was pure hell for me. It was a very strict school. It coincided in that I'd always been allowed to do what I wanted and then I came to a school where you primarily had to sit still. Which I still think is completely crazy. I can't reconcile myself to it. It's idiotic. Why should you sit still at your desk for eight years? It's an entirely idiotic principle, isn't it? And I was badly treated, I was bullied by the pupils and I was scared to go out at breaktime as I was so badly treated. I hated every hour because I was forced to be inside. It was awful. So eventually I came to the conclusion which was what I'd learnt as a child, namely, avoid what ails you. That meant I left and you couldn't really as I was in junior school. It's a lot for little kid to decide for himself, if he feels like going to school or not. So that's why he left when he was still at school and sat drinking white wine on a wooden raft instead of studying. Lars continues to make films. He writes, directs films, acts... I don't believe in the school system. I believe in the workshop system. and above all in experience, which I gained from the 8 mm films I made and later the 16 mm films I made when I studied film. I borrowed equipment there and sponged in various ways. Yes, mostly I believe in trying it yourself. The Orchid Garden was his entry ticket into film school in Copenhagen. But what has the film school to offer other than that Lars Trier becomes Lars von Trier? Primarily it meant that I became like an enfant terrible. Naturally. That everything those idiots taught me, I wasn't going to do. It is their fault that things have turned out the way they have. VIENNA 1934 We learnt not to do many things. They were seen as improper. We couldn't use flashbacks. And we couldn't use voice-overs. That was the most improper thing imaginable. There was a third thing... If something took place in Vienna, 1934, our teacher wanted us... Under no circumstances begin with a caption which read "Vienna, 1934", he wanted to take a close-up of a fly walking over some ink, making smudges on a cheque and on the top of it was "Vienna, 1934". Why waste people's time with a fly wandering over a cheque when you can do it very simply? Also, I think all these narrative technical tools, such as voice-over and the others, have an atmospheric value. We met at film school. For the first years, I saw him as this long-haired character who always hid behind his hair and scolded the staff. There was always a combative relationship between him and the staff. I had no dealings with him until one day...I was cutting... I had a cutting room off the corridor and he'd done something on video. He sat across the corridor and he had this...little video film. I remember it was...He asked me if I'd come over and watch it. I wanted to. It was the first time we'd spoken. I went and saw it and it was the worst rubbish I'd ever seen. I've never seen anything like it, before or since. It was a story... There were two doors. Behind each door was a woman. I was completely gob smacked. I had to... I lay on the floor and laughed until the tears ran. And Lars sat there: "What is he up to?" And I think he really respected me for this... It wasn't a film you could hate, you could only laugh at it. I want to say that both collaborators I had in film school, that is, Tmas Gislason and Tom Elling, I was at the school with them and they are cameraman and editor they are the collaborators that have meant most to me. There's no doubt. Lars had made his own films before film school. So he was fascinated with technology and the like. I had a very naive attitude to... I was so young, I didn't understand a damn. I came from the art world and had references from representational art. Lars had...he knew all the film classics, knew them by heart. And Tmas, he was the young one with a really sharp sense of humor. He was totally in harmony with his time. We were three separate elements who were bound to be combined. I think that Tom is one of those that has given a lot to Lars. Tom Elling. The whole look of The Element of Crime, the way it was. There's a lot of Tom in that. I think it's...the portrayal of images in the subconscious that we've, in one way or another, come close to. I don't think it's something we were particularly aware of. But it's clear that evil is interesting. And as Dante said when he wrote The Divine Comedy, it was enjoyable writing Purgatory. But when he came to Paradise it was pure agony. He had no idea what to write. But Purgatory was fun. It's like that. It's fascinating. How can you... How can... How could they imagine exterminating the Jews as they did? How could it be accepted by a people who basically knew about it? How could it happen? What sort of mechanisms can get a people to behave as they did? It's all so fascinating. It's the closest we have had or the closest we have to true, you could say evil, isn't it? Genuine evil... Answer my question. Do you know this man? Max Hartmann is my friend. He fed me and gave me a shelter. Lars von Trier often appears in his own films. Here in Europa he's the Jew who, through his statement, frees a business magnate and nazi collaborator from all suspicion of dealing with the Nazis. The difference between what you should be and what you are is something that means quite a lot to me. That's why idealism, or idealists, interests me as much as they do. Epidemic is Lars von Trier's second feature. Von Trier and his co-writer Niels Varsel work on a script about a doctor in a world ravaged by a deadly epidemic - The plague. But it's the idealist who spreads the disease on his curative odyssey. The altruistic doctor is portrayed by Lars von Trier. My mother...her... She's basically made one foreign trip in her life. That was to Yugoslavia. During my childhood we heard of its splendor. Motley pigs ran around the streets and people lived in harmony. She was a communist and had realized the eastern bloc was problematic. But Yugoslavia was borderline. She was shown around on an official visit. It was the ideal society on this earth. Totally idealistic... And now she's dead, God be praised. Just look at the disintegration there, in relation to her impression... What l, at least at the beginning of my career, played a lot with were these people who're very sure of what's right and what action to take. You can be sure that when they've done the right thing, it's gone wrong and they also did it badly. In reality, if you talk of a theme, then perhaps it is... ...self-irony. At the moment I have loads of different phobias of various types. The instant I don't turn my energies to the creative side I turn it to thousands of anxiety inducing things. I find it difficult that, just in order to exist, I'm forced to... It puts a lot of artistic practice into a certain perspective if the whole thing doesn't express an inner need which... To communicate something. Conversely, it's an expression of survival. He's afraid of one thing, then another. But the instant he sits even at a mixing desk, he becomes totally relaxed, is calm. And, I know when we... I called him just recently, this speaks of a side of him we don't often think of, the poet von Trier. I called and said, "How are you?" "Not so good..." "What do you mean?" "No, it's my cancer." "But, you don't have cancer." "No, but I believe..." "But we all do. I do every morning." "Yes, but now I'm over it." "How?" "I bought a kayak." "A kayak, but it's cold, you can't" "But as soon as I'm in it, the anxiety goes. "I have to keep my balance." I said, "It's part of the secret for you and me." "0ur real kayak, that's your film work and my acting." "It's our kayak, it's how we keep balanced." A set always has a reverse side. There's always loads of tape and it's put together with old nails. But it looks like gold from the front. And in some way, it's the same with actors. They look great when they're walking around, but they all have.. ...these people behind the actors. They're put together with tape. It's a...Making film is really maintaining a mask. Consequently, film is suddenly a startlingly superficial product. And perhaps it's what it is in reality. A very superficial product. It's no worse off for that. You can perhaps use this to describe something which expresses sincerity. -Stellan. -Yes. What did you see it on. Breaking the waves was filmed in one of the largest studios in Copenhagen. But in this cavernous studio, Lars von Trier creates a set that is so cramped the crew can hardly move. The exterior frame stands for reality, the film and technique for illusion. It really began a few years ago when Lars called and asked if I wanted to help on a commercial for a French insurance company. There were lots of actors in it. At that time Lars didn't have a lot of experience with actors and there were a lot on the project. So I said I'd like to do it. I wanted to help him to... We had a good collaboration. Even if we're very different, we work quite well together. He's afraid of crowds, of space. He's afraid of not getting out. 0f being in a car with lots of people. So it's hard for him to be a director. He has to find someone to play with who understands the whole thing and still wants to do it. And Lars has the weakness, if you call it that, of strength, to write all his phobias into his scripts. So if there's a scene on a boat or an oil-rig or an airplane or something, it's in his script. But he'd never put a foot there. In a film like Breaking, shot hand-held, the monitor is an important piece of equipment. Because I can't be on location at the shoot as the camera basically pans all the way around and I have no impression of what ends up on celluloid otherwise. So we've used it for the latest films, I've had a lot of use for it. What is obviously difficult is from what you've seen, communicating what your collaborators should do the next time. So it's difficult, and sometimes I've worked from a great distance and been far away. And that's both good and bad. In the old days they said an editor wasn't allowed on a shoot because he should be shielded from problems that arise in production. Similarly, there's an advantage to a director not being on location. He can hear from Morten Arnfred's exhausted voice that it's hard there. It's blowing a lot, it's raining a lot, it's cold, and so on... When I get small, tired comments, I know very well it's windy and cold. But the advantage of not being there is you get an objective idea of what ends up on celluloid. The line was right on the door slam, wasn't it? No, you've gotten up to have breakfast. And then you've gone back to read. He's found out about it. You're not fully dressed... -This is before the clothes from... -Good. Great! Great. Yes... And the storm is howling outside. He's a man who... there's an old saying: "A man is a man, and a word is a word." And his Ioyalty is also of a Middle Ages order. He's a knight. A little knight. Well, I met Peter... It must be about ten years ago, on a commercial. I'd gone through everyone and asked myself if there was a producer for me. My last chance was going to someone newly from film school. He turned out to be very interested. He'd produced a few... ...very particular productions which resulted in an enormous overdraft. He'd gone bankrupt and Lord knows what... So it was like two "Lazarillo's" getting together. Peter knows if he asks me to do a thing one way, I'll do the opposite. He's learnt to control me. He doesn't lie either. He's never lied or anything... I lie 400 times a day. It's intense to meet a person who doesn't lie. But the betrayal that is the worst of all is if for some reason, you're forced to betray your ideals. That's the worst betrayal. It's bad enough betraying others. But betraying your ideals for some reason because the everyday... ...life collides with these ideals... Ideals are what you base your whole life on. It is ideals... It is a pure way to live your life. Everything is based on it, and if you abandon that for something, so that you can live up to your ideals, it's a betrayal... ...that is fatal. I understand that a person can have psychological problems. It...I don't understand it myself, but... 0n the other hand, we're so different in other areas that I presume in this area there are considerable differences. I don't suffer from any psychological problems myself... The anxiety I have, it... It expresses in a self-hate of extraordinary proportions. It's got something to do with my self-discipline as well... That... I mean, it must seem crazy that I can lead a film team. 0r the Russian army in Poland... But I experience no anxiety. As long as I climb up, I'm quite small, I'll climb up and shout. And I'm certain the world will fit in with me. But I can't control myself. That gives me anxiety, but primarily it gives me self-Ioathing to be dictated to by forces within me that I can't control. It's very...What I've come to now, is a... Perhaps it sounds totally banal, but it's so apparent. But l, relatively unused to film festivals and such like, was with him in Cannes, and for me it was... I thought it was fun, I also thought it was silly, like everyone else. I had a new tuxedo and was standing with my wife waiting in this large hotel lobby for Lars to arrive. Limousines, crowds of beautifully dressed people and elegant women. The orchestra's playing and finally in a limousine, down the stairs, Lars' wife arrives. She's a little sweaty, a little bothered, she hasn't had time to make herself up. She's nervous. "He's coming soon." And so, when she's done, Lars arrives, so alone down the stairs, barely greets me and I'm to accompany him. I walk after him and ask his wife, "What's the matter with him?" "Can't you see?" He's walking some meters ahead of me. "No..." "He's wearing Dreyer's tuxedo from 1928!" So he's been at an auction some time, I don't know when and bought this tuxedo from 1928 and decided to wear it at Cannes. Then the whole thing becomes... so moving and poignant. She should be completely fed up here. Not so? -Should she shout at them? -No, no... No, we haven't got to that stage. She's just tired of it all here. Yes, just a little...despondent. He's become so good with the actors. It has occurred to me... I've asked: "What am I doing here?" because Lars is so good. Then I've concentrated more on orchestrating other things and taken care of this fairly large production. If you saw the film on screen, you'd think it was made by a small crew because it has a documentary feel. But this film's special aesthetic needs, as you can see, a large crew. Before I read the script and I knew it was him who'd do it, I was delighted. But in the hands of a normal director, it wouldn't have worked. Because...there's such a spiraling melodrama to this film, you need to create your own world and lift it to a sufficiently... ...juicy level where the script becomes believable. I think it's hard to understand women. I have difficulty...Yesterday, I was in the canoe with my children. And one of these swans came that wanted to attack all the time. It was totally impossible to predict when or why it was going to do it and when it became furious and you went towards it, it sometimes just went off to one side... Swans and women. They are difficult, I think. Can't I just act for my sake and you can cut it out later? No. No acting. We talked about this very early on. You promised me. Not to act, yes... But can't l, can't I act before you roll the camera? Yes, but I think we have enough of that already... I realize that it was cold, rainy and it was a boring place. They often are. Let's go for a take. Can we tilt up the pipe? We've seen the water cascades down there. Can't we tilt up and see the way it's swinging back and forth? What do you mean can't we look higher up? We'd have to dig a whole camera crew out of the mud. I've more or less spent my life in the theater. And as a sixty year old, I meet a young... boy from Copenhagen who gets interested in my malevolent look and wants to work with me. And, attracted by the exoticism in what he conveyed of my malevolence, I go down, we met. And I think that human contact arose. Get away, damn it! The water has undermined everything. Destructiveness is very, very important. Very important. It depends what you want to destroy. But... ...there should also be something you create. You can compare it to an ant's nest. When you poke a stick in it. It's vital sometimes... Because then thousands of ants come and rebuild it exactly alike. When we're safe, we live in security. -Let me go, damnit, let me go! -As soon as I have a reason as to how I'm in the archive again with another Danish idiot. Pappi! It's good you've found one another. We've written a part of The Kingdom here, and then we've... We've made little outlines here on the wall, as you see. I don't know why it doesn't go over the door here. I think the door's been changed as large bits of part six are missing. So if people have problems following part six, it's because of that. Sure, but here, about two thirds into the film. About here. -Yes. -We should have some drama here. If you'd like to write "drama" there... Because at that point, people will start getting bored. They'll be tired of it before, but at that point they'll want to leave. The liberty of being a director is that you have power over the little universe you create, and it's fairly peaceful. It's not...you have some power over your collaborators but that's also bullshit because they want to be there. You have no real power over others but you do over the bit that's the creation you're engaged in, that you're doing. And that is a... It'd be good if a person's power was never greater. It's a peaceful power. But I often think that... that many of my films come about by giving myself a task which could be... "Let's do something funny, let's do something sad "or let's do something in another way." I'm forced to ask myself what I'd think was funny or what I'd think was sad or caused anxiety. The things I do that seem gruesome are things that would scare me. He's decided on an interpretation of the world as hell. But there are so many gray areas, where you can see hell... If I said something negative and it pains me to say this... ...a little categorical and inexperienced in life. It's spooky. Yes, it is. It is spooky. I had a supernatural encounter as a child when I saw a UF0. That was... We were on the motorway, I must have been very small and I lay under the rear window. We had an old Saab at that time. So I lay under the rear window and looked at the lamps as they passed. We left the motorway and I saw a big skate through one side of the window. Do you know what a skate is? It's a fish that looks a bit like a carpet with a kind of tail. It was flying through the sky. It was nice. Did anyone in the car see it? So it could be a complete lie! |
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