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« dnia: Grudnia 14, 2004, 07:05:33 pm »
DIRECTOR'S CONCEPT
The script would be constructed from three different threads, which, as a "braid", would form the basis of the film's structure. Almost every sentence of the original short story can be turned into a sequence, thus, my intentions are to adapt all such thoughts and association of ideas, which can be visually supported by any of the three threads detailed below.
The first and determining thread is a narration that serves alienation. In the film the narrator keeps up a permanent contact with the audience.
We never see the narrator in the film, we only hear his voice, nevertheless, he is a protagonist, since all actions, motivations and reactions are directly caused by his book, thus indirectly by him.
Rising above the fictive reality of the film, he is able to provide insight into events where he is not present, furthermore, he can influence these events, modifying the direction of the film and the characters' complete scale of emotions.
Thus he is not only a character and (together with us) a spectator of events. He is the director at the same time.
The narrator/author/director alternately presents the destiny and the ideas of the book - chapter by chapter, in an illustrative way. He often wanders off the subject, referring back or forward in the story, sometimes making further associations. By doing so, the locations, characters and their actions come into view several times but only for short periods of time, which creates the fast rhythm of the film.
The form is composed of shots of fictive scenes, thematically based on the short story text, or on the four characters. Although due to the narrator, watching a film will be relevant for the recipient, it is thanks to him, that the audience becomes pervaded by the story, and unavoidable for the audience to feel as an outsider. He has to almost become a part of what he is watching.
The second thread is based exclusively on original archive material; newsreels, real fragments of documentaries will be visually implanted into fiction. On the one hand, this converts the scenes into reality, on the other hand, it strengthens the reality of the abstract world.
The third structural thread can be best described as a fusion of the other two, where the reactions to the fictive book are evoked from the world of fiction, using the method of fake documentary films. In these scenes the border between reality and fiction are blurred, and one becomes the other, if you will, since we witness the events within the reality of the film, then beyond it.
The complicated fabric of the film would be expanded by "sixty seconds" of different situations of life, selected eclectically.
The scenes would report the experiences of either different characters in different locations or a 1-minute-situation experienced differently by people in the same place.
The analysis of the chapters is always ended by a summary. The film ends with the final supplement of summarized scenes.
The book within the film remains a review, but only as an allegory. It helps to point out that the final product of the human spirit is the perception that nothing can be analyzed on its own. No critical problem can be solved isolated. Every question is a question of mankind.
The power of the author's personality comes from him being alone. The only difference between him and everybody else is that he is fully aware of the fact that he is no different from anybody else. The world he has insulted requires an explanation. The author makes the world look into a mirror, and the world protests against what it sees. The audience, can experience the events on side of the author.
At the end of the film the audience either knows, understands and believes that the author is "everybody at the same time" or, by loosing him, may become indignant - with himself. Thus the author appears as collective remorse. His provocation does not come from a hidden passivity, but from the fact that the book he's written is true. He believes that every action serves the materialization of the truth.
The four "bookshop characters" and their changes are showns by major steps. Their view of the world, and their violently changing interests identify a given part with the whole. Using different routes, they ultimately arrive to a point, where they realize that the right way is to adept all points of view. Although these four characters require more detailed elaboration, their analogy fits the chapters of the short story as they are.
The most interesting among them is the READER, SWAN TAMEL (the hermit). A man of about 60, a lonely wanderer in the world, who feels he belongs to another, invisible world. He visits the bookshop because in his dreams he has already been already there. His way of thinking is axiomatic and theoretic, thus more powerful than that of the other characters. He does not believe that anything can be understood in an impersonal way. He is not surprised by the miracle, he can consciously fit it into his world. He investigates in his own way; waiting until things reveal themselves. Religion tries to present him as a prophet, but since he does not co-operate, they are forced to kidnap him and manipulate his statements.
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Russian writers are also good in sf."
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; I really wonder why most of the Lem non fiction have not been traslated to english yet
