Bakom Spegeln
En essä om tvivlet eller det goda beslutet i en filmproduktion
The essay depicts the opposite views of the director and an actor during the filming of a specific scene in a feature film. The actor feels that he is not being listened to. This leads to unforeseen consequences for the director, as the actor no longer wishes to take part in the marketing of the film prior to its opening night. Everything is seen from the director?s point of view, she is working in a film world dominated by men.Questions are being asked if the director?s instructions are clear enough or if the actor, fearing getting lost, is mixing up his own feelings with those of the character he is portraying? What happens to the collaboration and how does it affect the rest of the team and the completion of the production? The director is also the producer. How does this influence thing? It is an exploration of what is going on behind the camera. How does it affect trust? How easily misgivings gain ground and a certain degree of ruthlessness takes root.Mediating upon this I find support in Hannah Arendt?s philosophical thought-themes. She writes that she is thinking without a banister to hold on to (Denken ohne Geländer) (Thinking without Banisters). In my way of working I am inspired by her thoughts about imaginary banister.Each film is unique and brings new unforeseen challenges, technical, economical or personnel. Film is people, technique and money. When unpredicted situations arise I have to deal with those and I create an imaginary banister, a tool ? a method which is useful in finding solutions.Film is about co-operation. A director?s role is to use the team?s abilities and to create an atmosphere of trust. In my essay about the production and the collective I use Ludwik Flecks ideas of thought collectives and thought-style.Which skills does a film director need? The skills and experience, which I have gained, having no formal training, I have learnt by making film after film. In the essay I deliberate about Aristotle?s concepts called Phronesis, Praxis and Techno and apply them to my experience of the built-in conflict between the actors and me as the director. Always trying to achieve what Aristotle called Phronesis, practical wisdom.