J'y avais même pas pensé , en même temps Mann dit qu'il cherchait pas le réalisme..:AtCloseRange wrote:Mon moment préféré reste celui Gabriel Byrne découvre que McKellen a bien "perdu" 30 ou 40 ans et qu'il s'en fiche comme de son premier saignement de nez... le résultat d'une crème de soin hydratante sans aucun doute.
http://www.americancinemapapers.com/fil ... E_KEEP.htm
I'd just done a street movie, Thief. A very stylized street movie but nevertheless stylized realism. You can make it wet, you can make it dry, but you're still on "street." And I had a need, a big desire, to do something almost similar to Gabriel Garcia Marquez's One Hundred Years of Solitude, where I could deal with something that was non-realistic and create the reality. There is an effect in the film whereby Molasar accrues to himself particles of matter from living organisms. Now what is the logic of that? What does it look like? How does it happen? What's the sound of it? I mean, that's a real turn-on, to fantasize what these things are going to be like. So you're way out there. And you have to be consistent. You're not rendering objective reality, you're making up reality.
What happens is that after the second time you've seen him, Molasar changes. And he seems to change after people are killed. After he kills things. It's almost as if he accrues to himself their matter. Not their souls; he doesn't suck their blood. It's a thing unexplained, his transformation is seen visually. He evolves through three different stages in the movie. He gets more and more complete. He starts as a cloud of imploding particles, then he evolves a nervous system, then he evolves a skeleton and musculature, and at the third state he's complete. And then it's a bit ironic when he's complete, because there's a great resemblance to Glaeken Trismegistus.AtCloseRange wrote:Et puis Molasar qui change de costume à chaque fois qu'on le voit, c'est pas possible...