It's human habit to invest objects with significance. One thing that makes sapiens sapient is that we contemplate and relate to physical objects on a different level than the objects themselves. For example, you may take in the appearance of a forest or an exotic animal, carry that image with you across borders, come visit me in my place and describe for me the objects you have seen. You may take liberties with your descriptions, transform an object into a symbolic substance. Or even make the entire setting abstract. You could say to me something like this:
Tyger! Tyger! burning bright
in the forest of the night,
in the forest of the night,
And once I get past the initial shock brought on by the very strangeness of those lines, I can begin to appreciate the musicality in what you've just said. And the mystery of it.
The voice of William Blake (he, of course, is responsible for the lines above) always strikes me as a voice from another tribe. The intensity with which he transforms objects into symbolic substances invests his language with a beautiful and scary sense of authority. Goodness, but this tribe puts importance on robust imagination!
Imaginative films that also strike me as messages from other tribes include: "2001," "Fata Morgana," "Days of Heaven." And there are countless experimental projects that get my full attention. I make no claim to the chief feathers of tribal leaders like Kubrick, Herzog, Malik, but I do want to find an "otherness" of voice that will make my movies, like theirs, seem at once bizarre and familiar.
Imaginative films that also strike me as messages from other tribes include: "2001," "Fata Morgana," "Days of Heaven." And there are countless experimental projects that get my full attention. I make no claim to the chief feathers of tribal leaders like Kubrick, Herzog, Malik, but I do want to find an "otherness" of voice that will make my movies, like theirs, seem at once bizarre and familiar.
