In my films I follow an opposite trajectory to that of the makers of political films. They have a skeleton, an idea and then they put on flesh: I have in the first place the flesh, the skeleton appears later.
In my films I follow an opposite trajectory to that of the makers of political films. They have a skeleton, an idea and then they put on flesh: I have in the first place the flesh, the skeleton appears later.
“When I write it’s almost as if I’m in a waking hallucination even though I’m aware that I’m consistently dealing with certain kinds of motifs, like the cosmic egg, or twins, or monkeys, or the problem of power. The only thing that’s different is that, having done it before and survived, I know I can do it again. Psychologically, then, it’s easier; from a technical standpoint, it’s not. If anything, there seem to be more challenges.”
Rikki Ducornet