the books of Jean-Claude Carrière, the genius of cinema; Western sophistication in an Eastern spirit
Cinema industry has presented geniuses and outstanding characters to the world since its beginning. Orson Welles, Charlie Chaplin, Luis Buuel, Francis Ford Coppola, Akira Kurosawa, George Lucas, Woody Allen, James Cameron and Steven Spielberg are among these. Barhesti novels by Milan Kundera, Tin Drum by Gnter Gross and his roles in the movies Diyarbakr Ek Kalfat, Ra Shiri and Shab and Zabezd's famous moment are special and common.
He was a great storyteller and essay writer. He wrote heartwarming novels and essays. The storytelling was top notch. He knew how to entertain and charm people with words. Everything he wrote was read. A prominent example is Luis Buuel's memoirs, which became a clinical book for cinema people.
Valley's career was a mania for Iranian culture and art. For this reason, he married Nahal Tadjd, a well-known Iranian writer, and with his help and guidance, he returned Rumi's poems to France. When he came to Iran, cinema and screenwriting enthusiasts flocked to his classes and workshops to learn the ways and customs of adaptation, screenwriting and acting.
The outstanding screenwriter who was busy writing until the last days of his life, to his students, enthusiasts and friends. He ordered them to read books. He knew that the best way to learn the secrets of screenwriting and writing was to review his writings and dialogues many times. p>
Biography of Jean-Claude Carriere
Jean-Claude Carriere grew up in a farming family in one of the villages in the south of France. His family had a large vineyard. Jean's childhood and adolescence passed in it. In the university, he studied literature and received a master's degree in history. But he devoted himself to writing. His first novel was published under the title "Lizard" in 1957.
Acquaintance with Jacques Tati and Pierre Etxes, two prominent French filmmakers, led him to become a screenwriter. He wrote the screenplays for Mr. Olu and My Uncle's Vacation for Jacques Tati and the screenplay for Jean-Berleb for Pierre Atteaux and established his position as a screenwriter. which was the beginning of a twenty-year collaboration, the fruit of which was the creation of films such as the memoirs of a servant, belle de jour, the hidden charm of the bourgeoisie and the vague desire of lust. Gharib Buuel added that the enchantment of dream and imagination and questioning reality that was seen in films like "Andalusian Dog" and "Golden Age" in the 1930s in Buuel's world, but later - often in his films of the 1950s - was forgotten. He returned to Buuel's world again and the result of this collaboration is a masterpiece such as "Bel du Jour", which surprisingly mixes dream and reality and reaches the satire of the bourgeoisie; The satire that later reached its peak in films such as The Hidden Charm of the Bourgeoisie and The Ghost of Freedom. Meanwhile, Carrier wrote scripts for other filmmakers or collaborated in writing scripts. A work that continued until the end of his life. Among the many screenplays he wrote, these can be mentioned: Long Live Maria, Orchid Flower, A Butterfly on the Shoulder, Drums, Danton, You Are Unbearably Light, Cyrano de Bergeau Rock, Ghosts of Goya and White Ribbon.
Jean. Claude Carrier started writing plays in 1967 for French director Andr Barsac. Writing the plays of Timon of Athens, The Gathering of the Hens, The Tragedy of Carmen, The Mahabharata and The Tempest for Peter Brook, a prominent theater director, made him famous in the theater world as well.
This work includes two fascinating plays, "Terrace/Routine" by Jean-Claude Carrier.
Trace's play narrates the life of a young couple in today's world who are struggling to separate from each other. In this work, the author has chosen a topic that has a universal and contemporary theme. Lack of real understanding in life is a problem that can be said to be faced by contemporary people in any part of the world. A situation where no one really knows what to look for and everyone is somehow escaping from a failed situation and reaching a new and desirable situation, without knowing what position they are in and what to do in this changed and new situation. p>
The plot of the drama is narrated in a dictatorial regime. In the office, a suspicious conversation begins between the informant and the commissioner. The informant was summoned to the commissioner's office and at first he thought that he should provide new news to the commissioner as usual, but another person exposed the informant to the government. In this work, the playwright has depicted an allegory of a dictatorial society and shows well that in these societies, the most terrible and unusual issues They become a natural and everyday thing.
In a part of the play "Terrace/Normal Routine", we read:
"(A man is sitting on a chair in front of a table. He waits for a few moments. We call him the informant. The commissioner enters and sits at the table. Without saying anything, he looks carefully at various papers. He is noticeably younger than the other man. Suddenly he raises his head and asks the sitting man):Commissioner: What do you want to tell me? .
Informant: Nothing special. When I have something to say, I do it according to the procedure.
Commissioner: Which procedure?
Informant: Normal procedure. Has there been a change?
Commissioner: I don't know.
Informant: I act like the others. I use my password and transfer my information according to the procedure. How many years have I been doing this? Almost fifteen years old. Commissioner: And this time? /p>
Informer: Because you summoned me.
(The commissioner is silent for a moment and then asks):
Commissioner: First time?
Informer: Who will summon me? Of course not."
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This is a book that Carrier wrote in the last months of his life and in which he narrated his fruitful career in cinema and theater. He talked about meeting, working and living with Peter Brook, Jean Tati, Pierre Atteaux, Luis Buuel, Patrice Sherou, Milos Furman and Jean-Luc Godard. About Antoine Chekhov and the play "Cherry Orchard", the novel "Tin Drum", the language of cinema, screenwriting, montage, new writing methods, Abbas Kiarostami, the days he left behind in the theater and his acting experience, he wrote and announced that of all three screenplays he wrote only One of them has been completed and built. Carrier once wrote a book for Buuel called "With My Last Breaths", this book is his "With My Last Breaths". Especially, it happens that I suddenly change the atmosphere and mood and take refuge in a book from the distant past or a baroque or mystic poet. I get away from myself as much as possible. Even here, those friends who consider me unbelieving sometimes suspect that I am repressing an unconfessed belief in myself; An absurd and meaningless doubt is the same thing that engages me with these poets; A doubt that is like a constant question, like a constant doubt, a doubt that calls me to itself, cries out, screams, a doubt that sometimes discourages me in the face of the stubborn silence of ambiguities and sometimes even blasphemies.
For many years, with my wife, Nahal Tadjad, and her mother, Mehin, who had an admirable knowledge of the old Persian language, we tried to translate about a hundred of Rumi's poems in the form of excerpts from Shams Tabrizi's book (Galimar, "Oriental Studies"). . I have to say that this work was an extremely difficult exercise for me.
Moulana is one of those poets who does not fit into any format and cannot be defined. He is one of those to whom we have unjustly attributed the ill-controlled attribute of Sufi.">We are not free from the book
This work is a description of the conversation between Umberto Eco and Jean-Claude Carrier, directed by Jean-Philippe Dutonac. Umberto Eco, a famous semiotician and philosopher, the owner of thirty-five non-fiction works, five novels and hundreds of articles, has more than 50,000 copies of books at home.
Jean-Claude Carriere, playwright, screenwriter, story writer, essay writer, actor and great cinema teacher who has collaborated with greats such as Luis Buuel and Peter Brook, has more than 30,000 titles on his library shelves.
Both of them are bookworms and have been searching for old books all their lives. The two talk about different topics. From very old and expensive books, from my experiences in finding books, from books that have been destroyed, from the place of books in today's chaotic world, from the destruction of old libraries, from stupidity, from cinema, from people and different cultures, from history and...
In a part of the book, we are not free from books, we read:
"The library does not necessarily consist of the books we have read or will even read one day. It is necessary to clarify this. A library consists of books that we can, or probably will be able to read, even if we never read them.
- No work is a masterpiece at first, it becomes a masterpiece later. I should add that great masterpieces influence each other through our mediation. Perhaps we can say how much Cervantes influenced Kafka. But we can also say this - Gerard Genet clearly proved - that Cervantes was also influenced by Kafka. If we read Kafka's works before Cervantes' book, Kafka will change our reading of Don Quixote by us, without realizing it.
- Some say we have two kinds of books. The book that the author writes and the book that belongs to the reader. In my opinion, the owner of the book is also an interesting character. This is what is called the "origin". A certain book "belonged to a certain person". If you have a book that came from Mazarin's personal library, you are in possession of a privileged copy.
- Jos Mindelin, the great Brazilian collector, showed me a volume of Les Miserables, dated 1862 in Rio, Portugal. That is, it was printed and published in the same year as the publication of this book in France. Only two months after Paris! At the same time when Victor Hugo was writing "Les Miserables", his publisher Hetzel sent it chapter by chapter to foreign publishers.
- The idea of collecting books has a long history. Therefore, the adventures that happened in the movie did not happen in the book. Respect for writing, and later for books, is as old as handwriting. The ancient Romans were fond of collecting scrolls. If we have lost books, there were other reasons. A bunch of books were destroyed by religious censorship, and a bunch was destroyed in a fire, because libraries, like cathedrals, caught fire at the slightest incident, and the reason was that most of them were made of wood.
- You can be a bookworm even with little money.
- Every country must have experienced important historical events in order to have an intelligence that can create a global thought.
- Always an important book. It lives, it grows with us, it grows old with us, and it never dies. Time fertilizes and changes it, while insignificant books go to the margins of history and disappear.
- Flaubert says ignorance is to want to draw conclusions. An ignorant person wants to reach decisive and unquestionable solutions by himself. It wants to put an end to a problem forever.
- Writing has always been and remains a dangerous business.
- We are all deeply affected by books we have not read, which when we We haven't read it."
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A short film about others
A long interview with Jean-Claude Carrire, the outstanding screenwriter, forms the main part of this work. This French screenwriter, who had the experience of acting in several movies, was nominated for the Academy Award for Best Screenplay many times for his screenplays. Mohsen Azrem, a well-known journalist, writer and translator, in this interview, examines and evaluates the prolific career of Carrier.
About others" deals with important concepts in cinema and part of its history. Also, it talks about the tricks and techniques of writing, the limitations of the Sidfield style and the basics of the three-act drama, which is attractive to many screenwriters.
In a part of the book, we read a short film about others:
"What year did you meet Buuel?"
It was 1963. Buuel wanted to make a film in France and because he wanted to write a screenplay based on one of Ekta Mirbeau's novels, he said he preferred to work with a French screenwriter. "Buuel wants to make the memoir of a Mirbo maid," said Silberman. Would you like to write its script?" Well, I remember that it was May and the Cannes Film Festival was coming up. Apart from me, several other screenwriters had also been introduced to Buuel, but Buuel, in the end, preferred me to be his collaborator in writing the screenplay and, well, this was the beginning of a great friendship.
I mean Silberman only you He hadn't introduced him to Buuel?
No, every day Silberman sent one of those young, apparently bright screenwriters whose work he thought Buuel might like. Buuel would also see the ones that Silberman had sent and they would talk about the script and other things. Honestly, I was really anxious that day. I was worried about how I should appear in front of Buuel. But well, it didn't seem like anything complicated. I got there exactly at the time that Silberman said. Buuel was kinder than I had imagined. Everything happened very simply during the lunch we had together. We were eating and talking about Octave Mirbo's novel.
Have you written a screenplay before?
Yes, actually, I was a novice screenwriter who was more interested in writing and had new ideas in my mind. It was possible, but my work experience was not much at all. I was a newbie and I thought that because I was young, I could only work with younger people who had just entered the cinema. I didn't think I would write the first professional screenplays for Luis Buuel."
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