I am periodically re-publishing the posts that I want to preserve from the previous incarnation of this blog, just in case I ever lose control of that site or it vanishes. What follows was originally published on 8 November 2010 on betweensympathyanddetachment.blogspot.co.uk.
I got to see The Social Network on Saturday night, a film I had wanted to see for some time. It begins with a character returning home (well, home on campus) after a night out and venting his frustration via the internet. After the movie, I wanted to do the same. A couple of days later, the impulse to get out what I want to say and the opposing one not to spend time and space simply being negative about something are still battling, and are in fact proving a distraction, so I am just going to make a few observations, which make no claim to completeness or balance, so that I can get them out of my system! My points are reactions partly to the movie, and partly to positive things that have been asserted or suggested concerning the movie in its reviews (see David Denby’s piece in The New Yorker for the piece where praise multiplied by prestige of outlet is highest).
Dear Ingrid, we had many amusing arguments together and I was the first one to defend, stupidly, the importance of “great subjects”. I wasted a large part of my life by becoming uselessly busy with “the significance” of my pictures. In Hollywood we also use the word “message”. Today, I regret not having busied myself with the endless, ant-like work of small, cheap pictures of a definite style, like “westerns” or “murder” stories.
In a structure that is always the same, you are free to improve what alone is worthwhile, the detail in human expression.
Renoir in a letter to Ingrid Bergman, 29 August 1949, reprinted in Jean Renoir: Letters. ed. David Thompson and Lorraine LoBianco. Faber and Faber, 1994.
No major US director has yet attempted a Dogme movie, though David Fincher, director of Seven and Fight Club, tells me that he has been having light-hearted discussions with Steven Soderbergh, Alexander Payne (Election) and Spike Jonze (Being John Malkovich) about the potential for a ‘purification process’. ‘You’re not supposed to use anything that you used in your last movie – none of the equipment, none of the elements. Steven said, “Look, David, you can’t have any rain, you can’t have any CGI…”‘ Vinterberg is visibly thrilled when I tell him this news: ‘It would be very interesting to see Fincher undressed, because he is always so well dressed.’
Ryan Gilbey. ‘Dogme is dead. Long live Dogme.’ The Guardian, Friday 19 April 2002.