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Ray Pride

By Ray Pride Pride@moviecitynews.com

Noting Gondry: Sleep's traces

A feverish chat with Michel Gondry at Zoom-In with Reid Rosefelt: “I don’t want to mix my current work with my blog, but in this case I’ll make an exception. I recently wrote the production notes for Michel Gondry’s The Science of Sleep… I met with Gondry for an hour. Since then, I haven’t been able to stop thinking about our conversation… Gondry has often said that he gets his ideas from his dreams. awww.jpg But I was fascinated to learn more about Gondry’s idiosyncratic approach to interpreting dreams. When you wake up from a dream, you can write it down and look it up in a dream interpretation book… If you are a Freudian you can use his symbolic language; if you’re a religious person, you can make connections to the Bible or the Koran, etc. … Gondry doesn’t see why everyone can’t have their own mythology. He believes you can find the secrets of your dream life by exploring your memory… [I]f you have a dream about a snake, why is the only interpretation the obvious Freudian interpretation? In this case, he suggests you search for the answer in all your memories of snakes, not in communal symbols. More to the point, by probing your mental landscape, he believes you can find out who you are… One dream that regularly turns up in Gondry’s work is some kind of “misplacement”: the bed on the beach in Eternal Sunshine…, the bathtub in the office in The Science of Sleep… Gondry thinks our brains are normally in a passive state, where everything makes sense. But when we see something that’s incongruous, we have to work to reconstruct it. As it isn’t something normally see, you question your reality. And he call this “a very creative moment.” [Further ado at the link.]

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon