"We both thought light and darkness existed in the world, even if our perception about them differed. Bela was already weakened in his body, but the spirit was still ferocious, rebellious, furious. We sat down to talk. It seemed fairly obvious this would be our ultimate, and most heartfelt, conversation. As the former apprentice, I was able to see the master one last time, with all his rage, sorrow, love and hate."
"I wanted to learn film-making and applied to become an assistant on the film. He gave me my first real job: as an assistant, I had to find a boy for one of the main parts. I spent months in the casting process, for a part that eventually was cut from the shooting script. But for Bela, every effort put into a given movie was never lost it was integrated into the energy field of the enterprise."
"The choreography was a revelation for me: 10-minute, uninterrupted takes, unifying space, characters and time. All in black and white. I gradually understood that this was the best way to learn about film-making, much better than any film school: find a master and be initiated to the mysteries of a given art form, the way painters or artisans learned their craft for centuries."
Bela Tarr attended the Nexus conference in Amsterdam a few years ago; he was physically weakened but spiritually ferocious, rebellious and furious. He believed light and darkness coexisted while perceptions differed. Early career involvement included preparation of The Man from London and rigorous casting work that sometimes yielded cut parts; all effort was treated as integrated energy toward the film. Tarr insisted on difficult processes: the harder the task, the better the expected quality. His filmmaking sought to film life’s constant dance through 10-minute uninterrupted black-and-white takes that unify space, characters and time. He favored apprenticeship, close collaborators, meticulous craft, and attention to marginalized humanity.
Read at www.theguardian.com
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