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Abel Ferrara.
Article Type:
Interview
Subject:
Filmmakers
Author:
Gentry, Ric
Pub Date:
01/01/2010
Publication:
Name: Post Script Publisher: Post Script, Inc. Audience: General; Trade Format: Magazine/Journal Subject: Business; Business, international Copyright: COPYRIGHT 2010 Post Script, Inc. ISSN: 0277-9897
Issue:
Date: Wntr-Spring, 2010 Source Volume: 29 Source Issue: 2
Topic:
NamedWork: Il conformista (Motion picture)
Persons:
Named Person: Ferrara, Abel
Geographic:
Geographic Scope: United States Geographic Code: 1USA United States

Accession Number:
247223167
Full Text:
[ILLUSTRATION OMITTED]

Writer-director Abel Ferrara's thirty-one films include China Girl (1987), Bad Lieutenant (1992), Body Snatchers (1993), The Addiction (1995), and The Funeral (1996). Ferrara also directed early episodes of the Michael Mann created television series Miami Vice. Variety noted Ferrara's "high art and philosophical ambitions" (1) and the New York Times wrote that he "seem(s) ... like Martin Scorsese's younger brother." (2) Ferrara's most recent films are Mulberry Street (2009) and Napoli, Napoli, and Napoli (2009).

This interview was conducted April 28, 1997.

Do you recall your first impressions of The Conformist?

I have to tell you that on that day I went to see two movies by directors I had no prior knowledge of--Mean Streets and The Conformist. How about that? They both were released in 1971. I was 19 years old.

The Conformist, I never saw a film that looked like that and yet it was the way I always a imagined a film could look. It told me that there was an art form beyond Hollywood and Vine.

It made rethink the potential for color in movies. I was working in black and white then. It put me in a new direction. I began to think of the image differently.

Were there particular scenes that resonated for you?

The scene with the chauffer, when they're driving to the school, that flashback, the childhood memory, tormented by the other kids.

Yes, very potent. How about the lighting in the radio studio, with the singers in the background? That's a scene that always stood out for me.

I remember every frame of that film. Which scene do you want to talk about?

How about the train ride? I mean, check that out. Not only the time changing but the use of light to show that, the emotion of him with this woman, his marriage night. C'mon, it's like fucking unbelievable. Just Dominque Sanda herself is just mind blowing.

Yes, a great character, one of the great characters in movies. You can't quite fathom her.

No. At first you're not sure who she is. She's part of his memory. He remembers things that didn't happen with her but he remembers them that way. Then he meets her. There seems to be some kind of recognition but you're not sure. It's all put through the prism of his own view of what happens. It's brilliant. Who is she?

What about the cinematography?

It's cinematography of the highest order, the beginning of cinematography as we know it now. It goes from extreme light and shadow in Italy to a brighter, more colorful look in France. It's all about his own freedom and political freedom. The subjective and the political are inseparable and you feel that in the imagery before you understand it. The blue of Paris, the way it's shot. The blue through the windows.

The gold light. I mean, where did that come from? Every frame, something extraordinary.

But every time you see The Conformist, it's like you're seeing it for the first time.

There's so much in it that you always see more.

Any other observations about Vittorio Storaro's cinematography?

Black. His use of black. He's the master of black.

And yet the color.

But that color looks like that next to his black.

Yes, the black really sets off the color.

That's what I'm saying.

Storaro has had such incomparable influence on cinematography.

Influence? I can't imagine cinema without him.

Films Cited

The Addiction. Dir. Abel Ferrara. Fast Films, et al., 1995.

Bad Lietuenant, Dir. Abel Ferrara. Bad Lt. Productions, 1992.

Body Snatchers. Dir. Abel Ferrara. Warner Bros. Pictures, et al., 1993.

China Girl. Dir. Abel Ferrara. Street Lite, et al., 1987.

The Conformist. Din Bemardo Bertolucci. Mars Film Produzione, 1970

The Funeral. Din Abel Ferrara. October Films, et al. 1996.

Mean Streets. Dir. Martin Scorsese. Warner Bros. Pictures, et al., 1973.

Notes

(1) Emanuel Levy, Variety, May 25, 1997, online.

(2) Dave Kehr, New York Times, August 3, 2001, online.
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