Script: Anna, I will not go to the hospital. I am not going to the hospital. I’m not going. I would like to make plans for tomorrow. The unknown will always play the same music in response. And I will surely find someone to sell me words. Tomorrow … what is tomorrow, Anna? I have once asked you: tomorrow, how much time does it last? And you replied…Eternity and a day. I did not hear you… What did you say? Eternity and a day.
Théo Angelopoulos: any intervention or cut would have broken this time flow, the feeling of time passing. I think that plans have something, as if they were living beings, they breathe. Any intervention is cutting off this breathing, similar to rape, something I resent. I cannot do this in a different way, I am “condemned” to the plan-séquence. Some people say I am the last dinosaur. They may be right. But this way of doing cinema is the only one I know; I cannot and will not change at my age.
There is an advantage to the cinema: past, present and future can be shown simultaneously. There is this birth celebration coming to an end and this man’s voyage to death: birth – death, past – future – present. The people who are there belong to the past, but this is also a reflection of the future. The man is in the past, in the present, but he also projects himself in the future.
Script: "Anna…"
"Would you dance? I know, you don’t like it. But today is my day."
I entered the house in a certain way, then continued with a plan-séquence when the window opens. To do this, we built a scenery – the last part of the house and then the balustrade. As we were at height, we needed to build a complicated structure: all the scenery and balustrade on rails. The scenery opened (as drawers) in front of the camera. The rails were embedded on a reinforced concrete structure and covered by pieces of balustrade that some 20 people took off to open the way to the sea.
A: The initial idea was even more complex. We were supposed to travel, in only one “plan” of approximately 15 minutes, along the main street of the town, then go into the house, “cut” in the darkness, then go across the whole house, arrive in front of the window, “cut” the window and then continue outside with the plan the we now know. But we didn’t want to do this on “steadicam” because that was different from what I wanted in terms of movement, slowness.I chose a different approach.
I have tried to translate into English this interview, as a humble homage to Théo Angelopoulos. Please excuse the translation errors.
Awarded with Palme d’Or at Cannes 1998, “Eternity and a day” directed by Théo Angelopoulos, is by now famous for its final scene: a very long and beautiful plan-séquence (long take) where past, present and future coexist.
Q: How does he film so long? Why this use of plan-séquence – so typical of his style – with all the extreme technical difficulties involved?
καλό ταξίδι
jadaswarklar 3 weeks ago
Nothing ended; nothing ever ends. Καλό ταξίδι, Θεόδωρε Αγγελόπουλε_
MrsIlford 1 month ago 3
Bon voyage Maestro.....
rasomon81 1 month ago 3
Script: Anna, I will not go to the hospital. I am not going to the hospital. I’m not going. I would like to make plans for tomorrow. The unknown will always play the same music in response. And I will surely find someone to sell me words. Tomorrow … what is tomorrow, Anna? I have once asked you: tomorrow, how much time does it last? And you replied…Eternity and a day. I did not hear you… What did you say? Eternity and a day.
Sanziana12 1 month ago 2
@Sanziana12
Eternity and a day has some of the best lines in cinema history.. so true
jadaswarklar 3 weeks ago
Théo Angelopoulos: any intervention or cut would have broken this time flow, the feeling of time passing. I think that plans have something, as if they were living beings, they breathe. Any intervention is cutting off this breathing, similar to rape, something I resent. I cannot do this in a different way, I am “condemned” to the plan-séquence. Some people say I am the last dinosaur. They may be right. But this way of doing cinema is the only one I know; I cannot and will not change at my age.
Sanziana12 1 month ago
There is an advantage to the cinema: past, present and future can be shown simultaneously. There is this birth celebration coming to an end and this man’s voyage to death: birth – death, past – future – present. The people who are there belong to the past, but this is also a reflection of the future. The man is in the past, in the present, but he also projects himself in the future.
Script: "Anna…"
"Would you dance? I know, you don’t like it. But today is my day."
Sanziana12 1 month ago
I entered the house in a certain way, then continued with a plan-séquence when the window opens. To do this, we built a scenery – the last part of the house and then the balustrade. As we were at height, we needed to build a complicated structure: all the scenery and balustrade on rails. The scenery opened (as drawers) in front of the camera. The rails were embedded on a reinforced concrete structure and covered by pieces of balustrade that some 20 people took off to open the way to the sea.
Sanziana12 1 month ago
A: The initial idea was even more complex. We were supposed to travel, in only one “plan” of approximately 15 minutes, along the main street of the town, then go into the house, “cut” in the darkness, then go across the whole house, arrive in front of the window, “cut” the window and then continue outside with the plan the we now know. But we didn’t want to do this on “steadicam” because that was different from what I wanted in terms of movement, slowness.I chose a different approach.
Sanziana12 1 month ago
I have tried to translate into English this interview, as a humble homage to Théo Angelopoulos. Please excuse the translation errors.
Awarded with Palme d’Or at Cannes 1998, “Eternity and a day” directed by Théo Angelopoulos, is by now famous for its final scene: a very long and beautiful plan-séquence (long take) where past, present and future coexist.
Q: How does he film so long? Why this use of plan-séquence – so typical of his style – with all the extreme technical difficulties involved?
Sanziana12 1 month ago
@Sanziana12 Thank you so much, Sanziana. You prove it never does end... Love,
marolaola 1 month ago in playlist BABYJANE
someone should translate this video, so french to everyone ! RIP Theos :(
evrenselurum 1 month ago
L'eternite, pour toujours.. Merci, l'ami...
socratissolomos 1 month ago
DANKE
jaourtas 1 month ago
Rest In Peace...
kflynt2006 1 month ago 8
TRANSLATION ANYONE? PLEASE?
seanjohnam 1 year ago
詩中有畫，畫中有詩，還有對人類的無限同情。
LinTzuYoung 1 year ago
Merci pour cet extrait.
Je me rappelle de cette phrase entre l'enfant et le vieux se sachant condamné :
-L'enfant au poète:" je te vois triste, tu veux que je t'apporte des mots".
Oui, apportons-nous des mots aux uns et aux autres, c'est un remède avant l'éternité.
Merci Théo.
vivre019 2 years ago 2
υπέροχο!
IsraelPlasencia 2 years ago
le travail d'un genie!!
cineasta71 2 years ago 10
@cineasta71 On a le génie bien facile de nos jours... Mais c'est un merveilleux artiste.
RAREpicture 1 year ago
@RAREpicture Pour moi il y a tres peu génies au cinema, lui c'est un des ces génies.
cineasta71 1 year ago