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The work of the first-class operator B. Volchek, one of the greatest Soviet operators with whom I worked for many years, also bears the stamp of complexity in the lighting system he has chosen. Both in Lenin's films and in Thirteen, B. Volchek was much simpler. In "Dream" he wanted to achieve a special expressiveness of the image, which then gave excellent results in the film "Man No. 217" with its conventional drama. I also have to reproach myself for the excessive expressiveness of acting. This emphasized and somewhat conditional expression did not arise, of course, by accident. I, and B. Volchek, and V. Kaplunovsky deliberately carried this stylistic solution through all aspects of the director's and pictorial concept.

Six years later, I became acquainted with the first paintings by Rossellini and other Italian neorealists. If I could do Dream again, I would leave the script almost untouched, but I would shoot it easier in ordinary interiors, almost entirely on location. ‹…›

But I'm glad I did Dream.

This is a kind of film, and for me it was very interesting.

Romm M. Selected works: In 3 volumes. T. 2. M .: Art, 1981.

#мечта #米哈伊尔·罗姆 #鲍里斯·沃尔切克

Last updated 4 years ago