"My next short was Silver City – it, too, had an English title and consisted of eight shots. Each shot was as long as a 30-metre roll, so it in fact lasted a little more than three minutes. And all of the shots were long shots, extreme long shots. And they were all done from the third, fourth, or fifth floor of the apartments where I lived at the time. (I used to change apartme...
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"My next short was Silver City – it, too, had an English title and consisted of eight shots. Each shot was as long as a 30-metre roll, so it in fact lasted a little more than three minutes. And all of the shots were long shots, extreme long shots. And they were all done from the third, fourth, or fifth floor of the apartments where I lived at the time. (I used to change apartments rather frequently.) And they all showed streets or crossings, first very early in morning, at three or half past three when they were completely empty, and the lights were turning from green to red to green again, when there were no cars or anything crossing the streets, and with that morning light where everything is blue. And I used to shoot them even without cutting the ends off the 30-metre rolls – at the end, the image would be turning yellow or red or quite simply white. I didn’t cut anything away."
"The second half consisted of shots in the evening, sometimes of the same places, the same streets, but with heavy evening traffic going out of the city. The film again used Mood Music, other pieces this time – each 20 seconds long and each repeated three times. The film was extremely contemplative. It was really like standing at a window and looking down on the streets, either completely empty or, on the contrary, completely stocked. Only in the very first shot was there anything like a hint of a story. The very first shot was of a railway line – just an empty landscape, very early in the morning, too, and after two minutes of a completely empty shot, someone crosses the rails from one side of the frame, and leave the frame on the other. Immediately after he has crossed the rails, the train appears: that is to say – the camera is very close to the rails and – bang – the train is in the shot, and he passes, and slowly disappears in the distance. You get the impression that maybe it’s the start of some kind of story, but nothing happens until the end. Just the empty streets, and the views out of the windows."
" I’m not sure why I called it Silver City. I still think it expresses the mood of the film very well – just the sound of the two words. Maybe it’s the alliteration that makes it. I don’t know."
重访银色城市的短评 · · · · · · ( 全部 127 条 )
11 有用 ChrisKirk 看过 2019-06-01 17:41:19
想起一个笑话：因为上课的时候不能带耳机，于是全程静音看完了一期《我是歌手》。
1 有用 qw0aszx 看过 2017-04-17 19:12:48
文德斯还拍过这么偏向结构电影的片子，虽然看简介时候觉得莫非班宁后来那种片子文德斯早拍过了吗，但结果一看其实完全不一样
6 有用 电子眼泪 看过 2019-05-04 10:17:12
深得《帝国大厦》真传 此片应该叫“慕尼黑主干街道治安及交通监控摄像头的日常” 要不是配乐的间歇性出现和转场镜头 险些忘了这是一部电影 一颗星给电视机里的滚石
2 有用 DryHairHeather 看过 2019-06-12 00:29:42
明白资料馆把《里斯本的故事》和这部一起放的用意 所以给的分会比平均分高 其实他探讨的就是影像和音乐的关系 电影是视听语言的艺术 声音作为很重要的部分 而剧情内容代表着导演对日常生活或者电影的思考
2 有用 洛 看过 2021-07-11 15:42:57
里斯本的故事里自我揶揄得好：“你这个九十年代的维尔托夫，坐在垃圾车里的傻瓜，快出来完成你的电影。”鹅鹅（又为豆瓣做慈善传了海报