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By Robert Koehler
how we see our own bodies move through physical space. The
tension between this frequently contemplative flow, a kind of antimontage, and the harsh absurdities of the life laid out on screen is
what energizes The Turin Horse, much like the intensity of the
burnished colours in Van Goghs The Potato Eatersa painting
which Tarr and Kelemen considered during their preparations, which
makes sense as potato-eating is this familys only dining
experienceand pushes against the images depiction of sheer,
unmitigated desperation.
Cinema Scope: How did you and Bla Tarr meet and how did your
working relationship develop?
Fred Kelemen: We met in January 1990 when Bla was presenting a
retrospective of his films in Berlin. We saw each other at a caf sitting
at different tables without knowing each other. The following Monday
we accidentally met at the office of the film school where he gave a
small workshop of three or four days. He remembered me from the
caf and asked me to join his workshop. I agreed, and as it was for
higher-level students I could not shoot an entire own work, but I did
the camerawork for the other students who realized some small
exercises. Bla and I immediately understood that we are connected,
that we have similar approaches to the art of film and similar ideas
about how to move the camera. From that moment, our relationship
started. When we said goodbye after the workshop we knew that we
would meet again. We did later in Budapest, where I regularly travel
to see my family. And whenever he came to Berlin, he called me. So,
slowly, we came together and our artistic ways were leading us in a
similar direction. The first meeting was the beginning of a long way
together that eventually led us up to the shooting of The Turin Horse.
Scope: In Tarrs films one is always aware of the camera and its
relationship to physical space. His cinema and your cinema make the
viewer quite aware of the physical space and the relationshipeither
close or farof where the camera is to bodies and space. Was that
something you were immediately aware of in the workshops?
Kelemen: In those three or four days, it was somehow quite clear
that we shared a kind of vision. Before studying in the film school, I
was painting. What interested me extremely is that in cinema the
picture is moving. So when I began my own filmmaking, I was moving
the camera. In my application for studying at the film school, the
movement was the essential element. Its still the most interesting
and adventurous thinghow the camera moves through space, how
Kelemen: Always.
Scope: So it was almost like you were lighting for the theatre.
Kelemen: Yes, but we also had this elasticity in the lighting like we
had for the camera. Sometimes we would change the lighting inside a
shot, so we put it up or put it down. We had notes on all these moves
for the technicians on the crew. It was a precise work to move the
power of the lights or even lamps according to the movement of the
camera and the image we wanted to create. It is painting with lights.
We had around 30 practical lights of various sizes set in and outside
the house and around 15 practical lights in the stable.
Scope: Can you describe the shooting schedule?
Kelemen: We couldnt shoot in summer since it would give us too
much sunshine, we didnt want to have rain, we didnt want to have
snow, and we didnt want to have vegetation. So we could only shoot
between winter and spring or between autumn and winter, and we
had to stop in spring when the vegetation was too strong, and we had
to wait for autumn to end for early winter. This was in 2009, and then
we resumed last year. The necessities made us shoot in very limited
parts of the year to get this dry, almost desert landscape. Nature
forced our hand, so we had to constantly wait for the weather to be
right whenever we were viewing the outside. It was extremely foggy
one day, and it seemed as if it would be impossible to shoot. You
couldnt even make out the distant hill. But the more we looked at it,
the more it seemed that it would be beautiful to shoot and it ended
that an image from that shooting day is the one thats used in the
films poster art.
These specific conditions of nature presented some interesting
challenges. For example, I was very concerned about making sure
that the horse was going to be visible onscreen during the shots
looking into the stable. The stable is fairly underlit, and if we were
shooting later in the year, the horse would have shed her summer
coat and become much darker as we moved into fall. I wasnt sure at
first that she would be viewable in the stables heavy shadows.
Scope: Where did the idea for the constant, driving wind come from?
Kelemen: It was in the script.
Scope: And how did you create the wind?
Kelemen: We had a huge crew and they were all blowing. (Laughs.)
We had some old wind machines and sometimes we used a
helicopter. The machines would have to move with the camera, so
this was yet another choreographed element. We didnt have wind
machines big enough to blow the whole area, so, for example, when
the camera is moving out of the house following an actor, we had to
keep the wind machines following along so there would be no visible
gap of calm in the shot as the actor is moving. Everything is moving,
everything is part of a big choreography: the wind, the lights, the
camera, the actors.
Scope: You must have questioned as to why the father and the
daughter, once theyve packed up and left, return to the house after
they go over the horizon.
Kelemen: Its very easy. They see somethingyou can only imagine
what it isthat makes it not worth staying.
Scope: It seems like the most Beckett-like moment, because as bad
as where they were, wherever they were heading was even worse.
Kelemen: No matter if its better or worse, but its something that
stops them from keeping going. In this world there is no other world
than this one. There is no escape. It does not matter where you are,
but who you are and how you deal with yourself and others, and the
conditions of life of which death is surely an integral part.
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