top of page

BISFF Correspondence 通信计划|Vol.4 Céleste Rogosin

BISFF Correspondence 通信计划

为了跨越种种障碍,开辟更多交流空间,我们设置了“BISFF Correspondence 通信计划”,对部分国际单元的参展作者进行系列访谈,这些访谈将在作品放映后发布在联展各个媒体平台。

Quartz|石英

Céleste Rogosin

France|French|0:18:37|2022

World Premiere

​Q&A

Director导演:Céleste Rogosin

Interviewer&translator采访、翻译:王秋彤Wang Qiutong

Q:People are always curious and fearful of the unknown, especially in adolescence. Is there a prototype for Quartz and what was the original motivation for its creation?

人们对未知的事物总有一种好奇与恐惧,这种心绪在少年阶段尤甚。那么这部作品是否有故事原型呢,最初的创作动机是什么?

A:The questions of the group and of youth are very present in my work, so Quartz is part of this continuity. The film was influenced by the story of the children who discovered the caves of Lascaux, France and readings around it; it is the characteristic of the child's gaze to have the capacity to see new things, to "discover" in the literal sense of the word, and this is a point that moves me. This question of the gaze influences the relationship to the unknown.

I am also interested in the question of technology in my work; it seems to me that this relationship to exploration and discovery no longer exists in the same way today with digital technology, it modifies the relationship to playing and also to space. So I wanted to film a group of teenagers who still have this childhood’s gaze, and who, in the course of this discovery, abandon this relationship with the telephone to go towards something more physical and animal.

群体与青年的议题在我的作品中经常出现,《石英》也是这衔接的一环。这部影片受到孩子们发现法国拉斯科洞穴及相关读物的影响;孩童的凝视在于他们能够感知新事物,并拥有字面意义上的"发现"能力,这一点令我动容。凝视的问题影响着其与未知的关系。

作品中的技术问题也令我乐在其中;在我看来,随着数字技术的发展,这种探索与发现的关系不再以同种形式存在,它变革了与玩乐、空间的关系。因此我想拍摄这群青少年,他们仍然拥有这种童年的凝视,在这场发现中,他们摒弃了手机,走向了野性与具象。

Q:There is often an inextricable link between names and themes. What is the special meaning of Quartz?

影片的命名与主题之间常常有千丝万缕的联系,《石英》在片中有何特殊寓意?

A:Quartz is a mineral that is used in the manufacture of modern clocks, it is for me like a kind of stabilizer and regulator of time. It is also linked to the musical composition of the film, where the idea was to work on Euclidean rhythms that allow a of polyrhythm; the rhythms of each character end up being in tune with each other, a bit like teenagers who end up forming a group, whereas there is something more "fragmented" in the rhythm at the beginning of the film. So it was through the sound that the title of the film came about, with the idea that it would say something more about the film than a summary. Finally, Quartz refers of course to the mineral, which is also the identity of the film.

石英是一种用于制造现代钟表的矿物,对我来说,它就像一种时间的稳定器和调节器。这也与影片的配乐有关,我的想法是在欧几里得节奏上下功夫,使之成为一种多节奏;最终每个角色的节奏都相得益彰,有点像一个渐渐组成的青少年团体,而影片开始时的节奏中有一些更加“碎片化”的元素。因此,片名来自声音,这个名字能够使影片实现更深入地呈现,而不仅仅是一个总结。最后,石英当然是指矿物,同时也是影片的特征。

Q:Did you encounter any bottlenecks during the creation of Quartz and how did you solve them?

在这部影片的创作中有遇到过瓶颈吗,是怎么解决的呢?

A:The shooting of Quartz was extremely fast and physically challenging. It lasted barely three days, so we had to be very efficient, but we could hardly have done more because this underground environment can be hostile, it is very humid, you always have to keep an eye on the clock because the notion of time is disturbed in the dark, the distances to walk with the equipment are very large and the communication difficult because there is no network. It was therefore necessary to find a great flexibility of adaptation, to reduce the places of shooting. There was no script as such, the idea was to work on improvisation in defined settings, with constraints of places, actions, types of energies and shots that we were going to find. As there is a close link between the spaces and the group, in the end, the conditions of weather, of time, the constraints that we had and the emotions that the places provoked on the young people were part of the scenario itself. But I did have to rethink almost every scene on the shooting days. I must also say that the young people were not actors at all, and we worked with them beforehand, just so that they would be able to listen to each other and adapt to the shooting conditions.

《石英》的拍摄速度极快,在体力上也极具挑战。拍摄仅持续三天,因此必须保证效率,但我们很难做得更多,因为地下环境可能相当恶劣、潮湿;黑暗也会扰乱时间概念,你必须时刻盯着时钟,还要带着设备远距离跋涉;而且由于没有网络,通讯也很困难。因此,必须找到一种折衷,以减少拍摄场景。当时没有剧本,我的构思是在既定环境中即兴创作,限制地点、行动、能量类型以及镜头。由于空间和团体之间联系密切,最终,天气、时间、我们所受的限制以及拍摄地激发的少年情绪都构成了场景本身。不过在拍摄的日子里,几乎所有场景都不得不重新构思。我还必须强调,这些青少年根本不是职业演员,我们之所以事先同他们一起工作,只是为了让他们能够倾听彼此,以及适应拍摄条件。

Q:The Internet is pervasive in the era of big data. How do you balance the sense of depersonalization caused by the onslaught of information?

在大数据时代,互联网无孔不入。您认为如何平衡信息冲击造成的解离感?

A:For me, this film deals with these questions in a subtle way. The teenagers I chose have a strong connection to the telephone and internet, and I was interested in taking them into a completely different environment. What struck me is how much the fact of plunging them into a different environment and a powerful nature took precedence quite naturally over the telephone.

对我来说,这部影片微妙地应对了这些问题。我选择的青少年们与手机及互联网关系密切,我很乐意把他们带入一个迥异的环境。令我震惊的是,将他们置于截然不同的环境与强大的自然界,这一事实是多么自然地优于手机。





​​​​

コメント


bottom of page