Author: Paul Greer

Lanthimos on Tarkovsky

| Paul Greer

Yorgos Lanthimos’ “The Favourite” was definitely my favourite from the recent awards season’s batch of films.

I truly had never seen a film like it, all the performances were incredible, the story was amazing, the cinematography, Olivia Coleman, everything.

I just listened to Lanthimos’ interview on Marc Marin’a podcast. He has this today about watching Tarkovsky:

“During the summer in Greece there’s a lot of open air cinemas, beautiful open air cinemas in a lot of neighbourhoods. You have a little table outside surrounded by apartment buildings, and you watch films.

So they would do retrospectives of his <Tarkovsky> films and John Cassevetes.

It was the first time seeing a different medium, seeing something new, like how an image can affect you in a different way, it doesn’t have to be a fast narrative, how poetic it can be, and how you can lose yourself in it, engage, but with your own personality. There’s an openness to it, you can bring your own stuff, and see things and understand things, maybe in a different way from how the person sitting next to you is experiencing the same thing at the same time.

…

It feels realistic but transcends that and you enter a different space. “

— Yorgos Lanthimos, WTF podcast.

It’s definitely worth listening to the whole thing.

Here’s a notebook page of some drawing I did over some lists whilst I listened to it.

Here is the much viewed video of the wonderful Olivia Coleman accepting the Oscar for her role as Queen Mary.

The Schrift-Landschaften drawings by Herbert Pföstl

| Paul Greer

“The Schrift-Landschaften drawings are composed of a single text-fragment, written in Herbert Pföstl’s distinctly small script, inscribed upon a page from a nautical traverse table. One is reminded of the particularities of calligraphic expression and the meditative processes required to create needlework samplers, chronological tables, weather diaries, or even telegraphic code. Pföstl’s landscapes of script, however, come from a deep reading of and reliance upon literature; these lines are fragments from books gathered over many years and transformed into a landscape of incantations for the artist. What at first appears a wilderness of words on paper soon resolves into a garland of vows concealed within the text. These works are a meditation on the artist’s abiding interest in the liminal space which often exists between drawing and writing.”

— Epidote Press

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Dostoevsky: the drawing as writing

Image | | Paul Greer


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 “Indeed, Dostoevsky was not content to “write” and “take notes” in the process of creative thinking, he moved in the space and time of the particular artistic universe of his notebook, where the meaning and significance of words interact reciprocally with other meanings expressed through visual images, a method of work specific to the writer.”

– from Dostoevsky: the drawing as writing by Konstantin Barsht


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represent that key moment when the accumulated proto-novel crystallized into a text. Like many of us, Dostoevsky doodled hardest when the words came slowest.” Some of Dostoevsky’s character descriptions, argues scholar Konstantin Barsht, “are actually the descriptions of doodled portraits he kept reworking until they were right.”

– Konstantin Barsht


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