I tend to get very philosophical when I shoot. Not sure if it denial, where I am trying to ward of any pressures of schedules, budgets or day to day practical problems. All of which feel like bees swarming around my head…
… and I am cocooning myself into a world completely of my own imagining. Or is it truly a search for the truth of the film.
But here is a note to my production designer, the wonderful Guy Dias :
Every Space that you give me to shoot, provokes an emotional reaction in me. I look for it. And then I find a way to merge the space with not only the scene, but the subtext of the film. But I don’t ask what the emotion is. I just react.
There was something so emotional about the Paris interior. The two pillars were dancing with each other. So the two men started to dance with each other. But in coming to terms with the contradiction of these strange pillars, I am able to verbalize the visual subtexts of what I am looking for in the rest of the film.
Immortality is dancing with mortality. The Body is dancing with the Spirit. Phillip is dancing with Elizabeth. Elizabeth is dancing with Bess and Raleigh. But finally Elizabeth is dancing with Divinity.
The Sun dances with the Earth, the Earth with the Moon. Death dances with life. The male dances with the female.
A dance can exist only between contradictory forces. But the dance itself aches for harmony. Which in itself is a contradiction !
Lets look for these contradictory forces in the spaces you create,
And in the last shot of the film, are we looking for Harmony, or is there still contradiction ? Has Elizabeth become the dance, where there is no contradiction, and the opposing forces have become one ?