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Алиса / Страна Приливов
MacacoBlaster: Алиса (Alice) Режиссер: Ян Шванкмайер Чехословакия, 1988 год, 91 минут Страна приливов (Tideland) Режиссер: Терри Гиллиам Год выпуска 2005 Продоложительность 122 мин. Великобритания / Канада
Ответов - 8
L'Absent: Вроде бы людям понравилось…Кстати как вам лекция «Кэрррол по Фрейду» :)…И, блин, я эту презентацию(слайд-шоу) так долго делал…и даже музыку забыл на фоне включить….
enigma: спасибо... в особенности за вступление перед Шванкмайером. Самое интресное...что похоже многим зрителям есть что сказать...думаю, на это стоит обратить вниание. Вообще, было бы интресно перед фильмом прослушивать нечто вроде сообщений.... о фильме: весьма занятно... Алиса в фильме....совершенно лишилсь своей человеческой природы...марионетка... "уроки фауста" мне ближе
Энка: мммммммммм я не была, но идея с сообщениями или просто обсуждением после фильма - по-моему интересна.........
Иван: пустите меня с моим Бергманом и я вам лекций-то поначитаю
Энка: я из деревни: кто такой Бергман?
STRaight: Презентация к Алисе была очень здоровская. Переводы док. фильмов по бергману тоже довоольно интересно, но сам ты рассказваешь невнятно, путаешься и сбиваешся, ну значит есть куда расти. А в общем, здорова.
L'Absent: Думаю на счет презентаций... Но пока в голову приходит Бегущий по лезвию... Если мне дадут возможность его показать, то сделаю хорошую презентацию, ибо инфы об этом мире у меня сейчас выше крыши...
L'Absent: 1 00:00:25,825 --> 00:00:28,794 [Piano: Classical] 2 00:01:13,773 --> 00:01:17,709 This is like Holy Grail of cinema. 3 00:01:17,811 --> 00:01:20,507 These are where Maya kept her films... 4 00:01:20,613 --> 00:01:23,013 and actually there are films inside... 5 00:01:23,116 --> 00:01:26,108 and we don't even know what they are. 6 00:01:30,990 --> 00:01:34,016 This is one of the archives where... 7 00:01:34,127 --> 00:01:38,086 one can still make discoveries, and one can get... 8 00:01:38,198 --> 00:01:41,964 excited and in ecstasy! 9 00:01:44,070 --> 00:01:45,970 [Chuckles] 10 00:01:47,040 --> 00:01:50,806 There may be some very interesting discoveries. 11 00:02:43,196 --> 00:02:46,222 This is the first picture I took of Maya. 12 00:02:47,267 --> 00:02:51,533 It must have been a few days after we met in Hollywood. 13 00:02:51,638 --> 00:02:54,038 It's already faded a little. 14 00:02:55,775 --> 00:02:58,300 I was fascinated by her face. 15 00:03:01,314 --> 00:03:03,214 kind of exotic. 16 00:03:11,324 --> 00:03:13,315 Maya wasn't always Maya. 17 00:03:13,426 --> 00:03:15,917 She used to be called Eleanora. 18 00:03:17,163 --> 00:03:21,395 Her mother used to call her Elinka in Russian. 19 00:03:21,501 --> 00:03:24,993 She confided in me that she was unhappy about her name... 20 00:03:25,104 --> 00:03:27,834 and she asked me once to find a name for her. 21 00:03:27,941 --> 00:03:32,071 So I just went to a library and looked through a lot ofbooks... 22 00:03:32,178 --> 00:03:35,579 mainly books on myhology. 23 00:03:35,682 --> 00:03:38,708 I came across the name Maya in different connections... 24 00:03:38,818 --> 00:03:41,252 for instance, with water. 25 00:03:41,354 --> 00:03:46,155 But Maya also was the name of mother of Buddha. 26 00:03:46,259 --> 00:03:49,057 In Hinduism, Maya was the name of a goddess... 27 00:03:49,162 --> 00:03:51,528 who holds a veil in front of our eyes... 28 00:03:53,032 --> 00:03:56,024 a veil of illusion, which prevents us from seeing... 29 00:03:56,135 --> 00:03:59,036 the spiritual reality behind it. 30 00:04:23,096 --> 00:04:25,223 [Maya Deren] I was a poet before I was a filmmaker... 31 00:04:25,331 --> 00:04:27,231 and I was a very poor poet... 32 00:04:27,333 --> 00:04:30,268 because I thought in terms of images. 33 00:04:30,370 --> 00:04:34,329 What existed as essentially a visual experience in my mind... 34 00:04:34,440 --> 00:04:37,273 poetry was an effort to put it into verbal terms. 35 00:04:37,377 --> 00:04:40,312 When I got a camera in my hand, it was like coming home. 36 00:04:40,413 --> 00:04:43,473 It was like doing what I always wanted to do without the need... 37 00:04:43,583 --> 00:04:46,416 to translate it into a verbal form. 38 00:06:25,017 --> 00:06:26,917 [Woman] She could have been a dancer... 39 00:06:27,019 --> 00:06:29,249 but that would have taken full-time work with us. 40 00:06:29,355 --> 00:06:33,951 And so, she stayed being a kind of a personal secretary. 41 00:06:34,060 --> 00:06:36,119 You know, that sort of thing. 42 00:06:38,998 --> 00:06:44,095 I had to keep my eye on Maya at times, you know... 43 00:06:44,203 --> 00:06:47,468 because I don't think I had a star complex at all... 44 00:06:47,573 --> 00:06:50,098 but I had to remind her now and then... 45 00:06:50,209 --> 00:06:53,838 we were in Hollywood to begin... 46 00:06:53,946 --> 00:06:56,437 kind of a new career for the company. 47 00:06:56,549 --> 00:07:01,816 Frequently I would ask some of the Hollywood people to come in. 48 00:07:01,921 --> 00:07:05,448 And Maya was wonderful at meeting them at the door... 49 00:07:05,558 --> 00:07:09,153 and introductions and seating them, and so forth and so on. 50 00:07:09,262 --> 00:07:12,663 But the gleam in her eye... 51 00:07:12,765 --> 00:07:16,462 when the drummers took their positions and began to play, you know... 52 00:07:16,569 --> 00:07:20,767 And we'd have our exercise. Always the drums we were. 53 00:07:20,873 --> 00:07:26,038 Well, Maya had a habit of... She was extremely well built as far... 54 00:07:26,145 --> 00:07:30,047 robust, you know... and she'd sit there. 55 00:07:30,149 --> 00:07:35,280 Usually her-her little simple frocks were quite low cut, in the front anyway. 56 00:07:35,388 --> 00:07:37,879 And after a while she couldn't stand it... 57 00:07:37,990 --> 00:07:40,720 and you could just feel it growing and growing in her. 58 00:07:40,827 --> 00:07:43,295 And she turned, I remember... Her favorite thing was to say... 59 00:07:43,396 --> 00:07:45,990 "How can you sit still?" 60 00:07:46,098 --> 00:07:49,465 You know? And then she'd start in on this sort. 61 00:07:49,569 --> 00:07:51,469 I was wild, because I had to find... 62 00:07:51,571 --> 00:07:53,596 Little by little, I had to stop it, of course. 63 00:07:53,706 --> 00:07:57,198 I couldn't have that at all with these impresarios. 64 00:07:57,310 --> 00:08:01,474 But who knows? Maybe she helped us get our Hollywood position. 65 00:08:15,094 --> 00:08:17,858 The drums really took her over. 66 00:08:17,964 --> 00:08:20,728 She was possessed by rhythm. 67 00:08:20,833 --> 00:08:23,734 And you could see it without drums, without sound or anything else... 68 00:08:23,836 --> 00:08:26,964 and in the way she handled her body. 69 00:08:30,409 --> 00:08:35,073 [Deren] If I did not live in a time when the film was accessible to me as a medium... 70 00:08:35,181 --> 00:08:37,706 I would have been a dancer, perhaps, or a singer. 71 00:08:37,817 --> 00:08:40,911 My reason for creating them is almost as if I would dance... 72 00:08:41,020 --> 00:08:43,580 except this is a much more marvelous dance. 73 00:08:43,689 --> 00:08:47,455 It's because in film, I can make the world dance. 74 00:08:56,536 --> 00:08:59,562 Actually, this picture was not planned for the film. 75 00:08:59,672 --> 00:09:01,640 I just made it in a spur of the moment. 76 00:09:01,741 --> 00:09:04,801 I liked the reflections of the trees... 77 00:09:04,911 --> 00:09:07,209 in the glass in front of her. 78 00:09:07,313 --> 00:09:10,373 Later on we used to call it my Botticelli picture... 79 00:09:10,483 --> 00:09:13,418 because it reminded us of Italian Renaissance. 80 00:09:38,544 --> 00:09:42,776 And this one was taken in New York... 81 00:09:42,882 --> 00:09:47,717 with our cat, Glamour Girl, that came with us from Hollywood. 82 00:09:50,356 --> 00:09:54,759 This was our apartment in Greenwich Village in Morton Street. 83 00:10:06,672 --> 00:10:09,334 We had kind of a studio apartment. 84 00:10:12,311 --> 00:10:14,643 We used it a lot... 85 00:10:16,515 --> 00:10:19,075 as a location for shooting. 86 00:10:22,521 --> 00:10:25,081 It had very nice light. 87 00:10:25,191 --> 00:10:27,386 Large windows to the south. 88 00:10:29,996 --> 00:10:32,487 And our cats were with us, of course. 89 00:10:34,100 --> 00:10:36,159 Maya loved cats. 90 00:10:42,775 --> 00:10:45,005 Maya liked mirrors very much... 91 00:10:45,111 --> 00:10:49,104 and used the idea of a mirror often in her writing. 92 00:10:49,215 --> 00:10:52,844 Also, the film ends with a broken mirror. 93 00:11:34,360 --> 00:11:37,693 Maya was born Eleanora Derenkowski... 94 00:11:37,797 --> 00:11:40,925 beautiful name... in 1917... 95 00:11:41,033 --> 00:11:44,298 the year of the Russian revolution, in Russia... 96 00:11:44,403 --> 00:11:46,963 in kiev, the great, great capital of the Ukraine. 97 00:11:51,610 --> 00:11:54,738 She came out of a very privileged situation. 98 00:11:54,847 --> 00:11:57,179 MostJews did not live in the cities... 99 00:11:57,283 --> 00:11:59,183 but there were a good number of them. 100 00:11:59,285 --> 00:12:02,584 What was special about the Derens, the Derenkowskies... 101 00:12:02,688 --> 00:12:05,714 is that both parents were so very highly educated... 102 00:12:05,825 --> 00:12:08,658 particularly her father, who was a psychiatrist. 103 00:12:08,761 --> 00:12:11,161 And they then emigrated several years later... 104 00:12:11,263 --> 00:12:13,288 as manyJews did, to New York. 105 00:12:15,101 --> 00:12:19,435 I do know how very deeply, profoundly... 106 00:12:19,538 --> 00:12:23,531 Maya loved her father and was influenced by him. 107 00:14:39,144 --> 00:14:41,908 [Deren] I am not greedy. 108 00:14:42,014 --> 00:14:46,747 I do not seek to possess the major portion of your days. 109 00:14:47,987 --> 00:14:52,219 I am content if, on those rare occasions... 110 00:14:52,324 --> 00:14:56,488 whose truth can be stated only by poetry... 111 00:14:56,595 --> 00:14:59,962 you will perhaps recall an image... 112 00:15:00,065 --> 00:15:03,796 even only the aura of my films. 113 00:15:19,985 --> 00:15:23,318 [Man] She came from the sea. If you've ever seen her film At Land... 114 00:15:23,422 --> 00:15:25,322 she comes out of the sea. 115 00:15:25,424 --> 00:15:28,120 In her mind, she was a sea creature. 116 00:15:30,429 --> 00:15:32,897 Maya's bedroom was an underwater world. 117 00:15:32,998 --> 00:15:36,263 It was like a grotto under the sea... 118 00:15:36,368 --> 00:15:39,929 and it was full of very beautiful objects... 119 00:15:40,039 --> 00:15:42,564 shells, coral... 120 00:15:42,675 --> 00:15:46,441 and on the ceiling, there was a very unusual large painting... 121 00:15:46,545 --> 00:15:48,638 of underwater creatures. 122 00:15:48,747 --> 00:15:51,409 And in the normal light, you would see that... 123 00:15:51,517 --> 00:15:53,417 but when the lights were turned off... 124 00:15:53,519 --> 00:15:56,818 it turned out it was painted with phosphorescent paint... 125 00:15:56,922 --> 00:16:00,915 and so suddenly it came to life with different colors... 126 00:16:01,026 --> 00:16:04,860 and you really felt as if you were under the sea at night... 127 00:16:04,964 --> 00:16:08,730 surrounded by the other creatures of the sea. 128 00:16:08,834 --> 00:16:13,464 It was an apartment oflove and ofbeauty. 129 00:16:13,572 --> 00:16:15,665 It was predominantly blue. 130 00:16:15,774 --> 00:16:17,935 That was her favorite color. 131 00:16:31,457 --> 00:16:33,857 [Deren] What I do in my films... 132 00:16:33,959 --> 00:16:37,759 is very... oh, I think very distinctively... 133 00:16:37,863 --> 00:16:39,797 I think they are the films of a woman... 134 00:16:39,898 --> 00:16:43,925 and I think that their characteristic time quality... 135 00:16:44,036 --> 00:16:46,766 is the time quality of a woman. 136 00:16:46,872 --> 00:16:49,340 I think that the strength of men... 137 00:16:49,441 --> 00:16:51,932 is their great sense of immediacy. 138 00:16:52,044 --> 00:16:55,639 They are a "now'"creature... 139 00:16:55,748 --> 00:16:59,548 and a woman has strength to wait, because she's had to wait. 140 00:16:59,651 --> 00:17:02,484 She has to wait nine months for the concept of a child. 141 00:17:02,588 --> 00:17:06,786 Time is built into her body in the sense ofbecomingness. 142 00:17:06,892 --> 00:17:11,056 And she sees everything in terms of it being... 143 00:17:11,163 --> 00:17:13,063 in the stage ofbecoming. 144 00:17:13,165 --> 00:17:16,896 She raises a child knowing not what it is at any moment... 145 00:17:17,002 --> 00:17:19,596 but seeing always the person that it will become. 146 00:17:19,705 --> 00:17:22,003 Her whole life from her very beginning... 147 00:17:22,107 --> 00:17:25,338 it's built into her... is the sense of becoming. 148 00:17:25,444 --> 00:17:29,710 Now, in any time form, this is a very important sense. 149 00:17:29,815 --> 00:17:34,946 I think that my films putting as much stress as they do... 150 00:17:35,054 --> 00:17:38,546 upon the constant metamorphosis... 151 00:17:38,657 --> 00:17:40,887 one image is always becoming another. 152 00:17:40,993 --> 00:17:43,985 That is, it is what is happening that is important in my films... 153 00:17:44,096 --> 00:17:45,996 not what is at any moment. 154 00:17:46,098 --> 00:17:48,430 This is a woman's time sense... 155 00:17:48,534 --> 00:17:53,233 and I think it happens more in my films than in almost anyone else's. 156 00:18:23,836 --> 00:18:26,304 Hella Heyman was a young still photographer... 157 00:18:26,405 --> 00:18:28,373 living in Los Angeles. 158 00:18:28,474 --> 00:18:31,534 She was very close friends with a woman named Galka Scheyer. 159 00:18:31,643 --> 00:18:34,407 And Galka was an art dealer. 160 00:18:34,513 --> 00:18:39,109 She worked with the paintings of four important... 161 00:18:39,218 --> 00:18:42,847 and rather unknown painters at that time in America... 162 00:18:42,955 --> 00:18:47,517 and that was klee, Feininger, kandinsky and Jawlenski. 163 00:18:47,626 --> 00:18:52,222 She was also... Galka... a friend of Maya and Sasha. 164 00:18:52,331 --> 00:18:55,858 And that's how the friendship between the three started. 165 00:18:55,968 --> 00:18:59,096 Galka was the focal point, in a certain sense. 166 00:18:59,204 --> 00:19:01,604 Hella came to New York at a certain period... 167 00:19:01,707 --> 00:19:04,471 and stayed with Maya and Sasha in Morton Street. 168 00:19:04,576 --> 00:19:09,206 And at that point, At Land was germinating. 169 00:19:09,314 --> 00:19:12,408 And as always in Maya's films... 170 00:19:12,518 --> 00:19:14,986 one person did not have one function. 171 00:19:15,087 --> 00:19:17,487 One person did as much as was needed. 172 00:19:17,589 --> 00:19:21,958 Hella was camerawoman, coached by Sasha, incidentally... 173 00:19:22,060 --> 00:19:25,325 grip, actress, whatever. 174 00:19:25,430 --> 00:19:28,092 In the scene in At Land at the beach... 175 00:19:28,200 --> 00:19:30,225 where there is a chess game going on... 176 00:19:30,335 --> 00:19:33,668 the human counterparts for those, the black and the white figure... 177 00:19:33,772 --> 00:19:37,936 Hella is the black-haired woman in that chess game. 178 00:19:38,977 --> 00:19:41,673 They remained friends for quite a long while... in fact... 179 00:19:41,780 --> 00:19:45,443 until the divorce between Sasha and Maya... 180 00:19:45,551 --> 00:19:49,282 and eventually the marriage of Sasha and Hella. 181 00:20:29,995 --> 00:20:32,691 [Deren] I intended it almost as a myhological statement... 182 00:20:32,798 --> 00:20:35,164 in the sense that folktales are myhological... 183 00:20:35,267 --> 00:20:37,963 archetypal statements. 184 00:20:38,070 --> 00:20:41,130 The girl in the film is not a personal person. 185 00:20:41,240 --> 00:20:43,640 She's a personage. 186 00:21:00,525 --> 00:21:05,155 [Arsham] Maya had several projects that were for some reasons abandoned. 187 00:21:05,264 --> 00:21:07,960 And the one that most interested me... 188 00:21:08,066 --> 00:21:11,524 was to be a film about children's games. 189 00:21:11,637 --> 00:21:14,606 For her, it was... 190 00:21:14,706 --> 00:21:16,765 the ritual involved in these games. 191 00:21:16,875 --> 00:21:18,775 And they are very ritualistic... 192 00:21:18,877 --> 00:21:21,846 and full of the kind of gesture that has specific meaning. 193 00:21:21,947 --> 00:21:26,407 And to learn from Maya... 194 00:21:26,518 --> 00:21:29,385 that this was universal was a revelation. 195 00:21:29,488 --> 00:21:32,218 I was a New York street kid. I knew nothing about what was happening... 196 00:21:32,324 --> 00:21:34,224 elsewhere in the world. 197 00:21:34,326 --> 00:21:38,456 But I played with great affection... 198 00:21:38,563 --> 00:21:42,124 hopscotch, jump rope, jacks... 199 00:21:42,234 --> 00:21:46,261 Jacks is a game... It certainly has different names elsewhere in the world... 200 00:21:46,371 --> 00:21:50,432 but it was played, for example, by my mother in Russia as a young girl. 201 00:22:03,522 --> 00:22:06,457 [Woman] She was unusually dressed for those days. 202 00:22:06,558 --> 00:22:09,459 I think she was just a woman ahead of her time... 203 00:22:09,561 --> 00:22:14,931 because many years later, I would often see somebody dressed just exactly like her... 204 00:22:15,033 --> 00:22:17,160 even think maybe it was she... 205 00:22:17,269 --> 00:22:22,730 until she turned around and then realized that this was... this was her style. 206 00:22:22,841 --> 00:22:26,038 The clothes were this-this... 207 00:22:26,144 --> 00:22:28,704 European style of embroidered blouse... 208 00:22:28,814 --> 00:22:31,078 that could be worn off the shoulder... 209 00:22:31,183 --> 00:22:34,482 and it was like folksy folk clothes... 210 00:22:34,586 --> 00:22:36,611 with always... with a long dirndl skirt. 211 00:22:36,722 --> 00:22:40,249 It may be that she had the-the body type... 212 00:22:40,359 --> 00:22:44,489 of sort of like heavy, heavy hips and heavy legs... 213 00:22:44,596 --> 00:22:47,963 and certainly that kind of skirt looked much better on her. 214 00:22:48,066 --> 00:22:51,934 And her hair, of course... She did have very curly hair... 215 00:22:52,037 --> 00:22:56,599 which, instead of cutting it off, as most of us would have done... 216 00:22:56,708 --> 00:22:58,608 shejust let it be. 217 00:22:58,710 --> 00:23:02,146 So а la the '60s, with flower children and stuff. 218 00:23:02,247 --> 00:23:05,216 In other words, she really looked like a flower child... 219 00:23:05,317 --> 00:23:08,115 but this was not the '60s, this was the '40s. 220 00:23:59,671 --> 00:24:02,435 [Hammid] Since Maya had her own experience with dancing... 221 00:24:02,541 --> 00:24:05,510 she wanted to use film to express... 222 00:24:05,610 --> 00:24:08,408 dance ideas in a new way... 223 00:24:08,513 --> 00:24:12,108 by using the film technique of editing... 224 00:24:12,217 --> 00:24:14,685 to free the dancer from gravity... 225 00:24:14,786 --> 00:24:17,346 so that the dancer would seem to be floating... 226 00:24:17,456 --> 00:24:19,515 by his own power. 227 00:24:19,624 --> 00:24:22,889 In New York, she found a young dancer, Talley Beatty... 228 00:24:22,994 --> 00:24:27,055 who was willing to cooperate for free. 229 00:24:27,165 --> 00:24:31,295 In it we used slow motion... 230 00:24:31,403 --> 00:24:35,897 and then we hired a cheap 16-millimeter slow-motion camera... 231 00:24:36,007 --> 00:24:38,066 and used that. 232 00:24:54,726 --> 00:24:58,594 [Deren] It isn't a problem of choreographing a dancer. 233 00:24:58,697 --> 00:25:01,029 It's a problem of choreographing whatever it is... 234 00:25:01,132 --> 00:25:03,100 that you have in that frame... 235 00:25:03,201 --> 00:25:05,761 including the space... 236 00:25:05,871 --> 00:25:09,102 the trees, the animate or even inanimate objects. 237 00:25:09,207 --> 00:25:14,008 And at that moment, this is where the film choreographer... 238 00:25:14,112 --> 00:25:17,343 departs a little bit from the dance choreographer... 239 00:25:17,449 --> 00:25:19,610 and that is what I attempted to do... 240 00:25:19,718 --> 00:25:22,710 in A Study in Choreography for Camera. 241 00:25:22,821 --> 00:25:26,814 I retitled it, actually, Pas de Deux... 242 00:25:26,925 --> 00:25:29,519 because what happens there is that although you see only one dancer... 243 00:25:29,628 --> 00:25:33,189 the camera is as partner to that dancer... 244 00:25:33,298 --> 00:25:37,758 and carries him or accelerates him... 245 00:25:37,869 --> 00:25:40,429 as a partner would do to the ballerina... 246 00:25:40,539 --> 00:25:43,406 making possible progressions and movements... 247 00:25:43,508 --> 00:25:46,773 that are impossible to the individual figure. 248 00:26:51,509 --> 00:26:56,037 Everything that Maya did in any ofher other films is there... 249 00:26:56,147 --> 00:26:59,981 the condensation, the intensity... 250 00:27:00,085 --> 00:27:04,317 and perfection as a... as a film like a poem... 251 00:27:04,422 --> 00:27:06,515 something that goes... 252 00:27:09,361 --> 00:27:12,489 Maya said the prose is narrative-horizontal... 253 00:27:12,597 --> 00:27:14,895 and poetry, song is vertical. 254 00:27:15,000 --> 00:27:18,834 It reaches detail after detail after detail. 255 00:27:18,937 --> 00:27:21,269 After two minutes and a half it reaches the point... 256 00:27:21,373 --> 00:27:25,139 that is that intensity from which it cannot go any further. 257 00:27:25,243 --> 00:27:29,270 Everything is set, exhausted, the point made, perfect. 258 00:27:29,381 --> 00:27:32,077 [Film Projector Whirring] 259 00:27:54,439 --> 00:27:57,636 [Man] As a kid, first I got a slide projector. 260 00:27:57,742 --> 00:28:00,267 Then I got a 9 1/2-millimeter projector. 261 00:28:00,378 --> 00:28:03,609 Then I attended the screenings of the cine-club... 262 00:28:03,715 --> 00:28:06,980 at the Urania in Vienna. 263 00:28:07,085 --> 00:28:10,179 So it was pretty clear that... 264 00:28:10,288 --> 00:28:13,485 you know, I was involved with film. 265 00:28:13,591 --> 00:28:16,082 And then what happened was... 266 00:28:16,194 --> 00:28:19,163 when I had to leave Austria... 267 00:28:19,264 --> 00:28:23,132 because Hitler didn't like... didn't like me... 268 00:28:23,234 --> 00:28:27,068 I came to the United States, and again... 269 00:28:27,172 --> 00:28:30,664 really, even though I had to work... 270 00:28:30,775 --> 00:28:34,905 I kept on thinking about what I could do about film... 271 00:28:35,013 --> 00:28:39,541 and whether it wouldn't be a nice idea perhaps to start a cine-club. 272 00:28:39,651 --> 00:28:45,487 But then there was this really, like, a revelation... 273 00:28:45,590 --> 00:28:48,354 namely, there was an announcement in the papers... 274 00:28:48,460 --> 00:28:52,328 that a woman who I never had heard of, Maya Deren... 275 00:28:52,430 --> 00:28:56,730 would present her films at the Provincetown Playhouse. 276 00:28:56,835 --> 00:28:59,099 They had never shown films before there. 277 00:28:59,204 --> 00:29:02,696 The whole idea of taking over regular theater... 278 00:29:02,807 --> 00:29:05,071 was very enticing to me. 279 00:29:05,176 --> 00:29:10,239 And I decided that, yes, I should do the same. 280 00:29:11,549 --> 00:29:14,382 You know, I felt that I was in the presence, really... 281
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