Visual memory of an oral script with clues towards the filming

Visual memory of an oral script with clues towards the filming

Whereas Locations and wanders can be seen as a route through space (as well as a set of annotations for a possible script), this fascinating document of a later date is a route through a visual universe. Film frames, pictures, references, lightweight shoots and location photographs are used by Jonás Trueba to procure the images, body language, looks, atmosphere and feelings associated with each winter sequence. Two pages are included at the end devoted to summer so as to make present the past.

This is a crucial document for the director so as to allow him to “see” the film before shooting it, as well as for the team, particularly where photography, art and costumes are concerned. In fact it is made up in collaboration with Miguel Ángel Rebollo, art director and costume maker Laura Renau, colleagues and friends with whom Jonás shares his films (and searches) right from the onset so they share the hunt of locations, images, colours…

Herewith a selection of the 27-page document. 

                                                                                    

The meeting / the letter

Composition including the essential sequence elements: the steps of Cuesta de los Ciegos towards Las Vistillas, winter and trees, the letter, Francesco Carril (in Los ilusos, Jonás Trueba, 2013) and Itsaso Arana (in Las altas presiones, Ángel Santos, 2014), several frames of LHistoire dAdèle H. (François Truffaut, 1975) reminiscing that indelible love, and the reading of the letter, depicted by Tom Hunter (Woman reading a possession order, 1997).

Night outing / Berrio’s concert

Photographies and frames of night bars, bodies, drunkenness, hidden sorrows:(from left to right)two photographs of Amour sur la Rive Gauche by Ed van der Elksen (1954), the photo of a New York bar by Robert Frank (1949), Alberto Giacometti and Caroline Tamagno at bar Chez Adrien, frequently drawn by Giacometti (c.1950), Le bal des Quatre-Saisons. Rue de Lappe de Brassaï (1932); and two frames of Sunrise (Friedrich Wilhelm Murnau, 1927), LAtalante (Jean Vigo, 1934) and Les amants réguliers (Philippe Garrel, 2005). Also (first on second row) a frame from videoclip de Dom La Nena singing “Buenos Aires”, which Manuela (Itsaso Arana) will play and sing softly in the bar.

The following page refers to photos of Fidula in Huertas Street included in Locations and Wanders.

Back home / motorbike ride from Vistillas to Amaniel Street

The reference in this case is literally a shot. Jonás Trueba filmed with a light camera in order to explore Olmo’s route on his motorcycle, between Cuesta de los Ciegos steps and his home, after leaving Manuela. Then, he included wenty-four frames from this shot in the document. We recognise this previous search in the film: is one long, single and moving shoot accompanied by “Arcadia en flor” by Rafael Berrio, who composed the song specially for the film. As if dancing, the camera and Olmo’s motorbike alternate their distance (to the extent of melding movement and zoom), and they could only made one take, looking for the very early light of a winter morning.

Night outing / strolling, drinking

The night walks along the city in Les amants réguliers (Philippe Garrel, 2005) and in Los ilusos. Christmas at Puerta del Sol and a drawing by Laurence Sthephen Lowry (Piccadilly Circus, 1961) which remind of the city views from the first floor windows of the Chinese restaurant.

So many conversations: Frances Ha (Noah Baumbach, 2012), LAtalante (Jean Vigo, 1934), Louis Faurer’s photography (Sordo Mudo, New York, 1950), Romy Schneider and Alain Delon (1959).

Night outing / Swing night. Proposal for extras

The two pages devoted to Swing include images related to the actual dancing as well as to the extras.

Mia Hansen-Løve’s face, Vali Myers, portraits of Richard Learoy (Portraits, 2010), a portrait of “La ciudad de la gente”, Craigie Horsfield’s project in Barcelona (1996). And also Kiss, a photograph by Saul Leiter (1952), Frances Ha (Noah Baumbach, 2012), Last Tango in Paris (Bernardo Bertolucci, 1972).

Page two includes four frames of the memorable sequence of White Nights (Luchino Visconti, 1957) where Mario (Marcello Mastroianni) breaks into the dancing floor after being challenged before  Natalia (Maria Schell) by an expert dancer, just as Olmo (Francesco Carril) do the same. Also included dancing photographies of Robert Frank (The Americans, 1958) and Leonard Freed (Little Girl on Balcony, Hong Kong, 1963).

            

En la película reconocemos el valor de esta filmación previa. Será un plano único, largo y emocionante, acompañado por la canción “Arcadia en flor” de Rafael Berrio, especialmente compuesta para la película. La cámara va variando la distancia con respecto de la moto de Olmo, como una danza (incluso combinando el movimiento con un zoom) y prácticamente sólo era posible una toma: la de la primera luz de la mañana en invierno.

House / breakfast

Thirteen pages of the document are devoted to the house. In this instance it’s not only about feelings, atmosphere and gestures but about composing the space: with furniture, objects and colours.

The first page deals with the real space where the sequence is to be shot (Locations and wanders) with three subsequent groups of different images.

Recognising the objects (cardboard, wood, plastic, white, wattles, lamps, sofas) and the atmosphere of the film is a moving experience.

The house where Clara and Olmo have just moved to and the morning atmosphere are represented with images and objects. On the left page the picture Frances Ha (Noah Baumbach, 2012), a still life, keys, boxes, teapots, colours and Aura Garrido in Los ilusos (Jonás Trueba, 2013).

 

The house where Clara and Olmo have just moved to and the morning atmosphere are represented with images and objects. On the left page the picture Frances Ha (Noah Baumbach, 2012), a still life, keys, boxes, teapots, colours and Aura Garrido in Los ilusos (Jonás Trueba, 2013).

Palette house breakfast

It’s a colour palette, and also a decomposed atmosphere of the bright house in the morning. Francesco Carril and Aura Garrido photographed during the shooting of Los ilusos. Wattles. Plants and white. Soft clothes. To the film palette the grey and pink colours of the bed will be added.

Breakfast and dialogue in real space, in La Jalousie (Philippe Garrel, 2013) and in several frames of Eden (Mia Hansen-Løve, 2014).

 

References, settings and atrezzo

Miguel Ángel Rebollo gathers objects and images of objects for the house where Olmo and Clara have just moved to. The sofa where Olmo will fall asleep and a lamp feature.

 

“Past reveries”

When Jonás Trueba assembled this document he had already shot the summer sequences (young Olmo and Manuela). Obviously, it’s included here not so much for giving visibility to summer as such but so as to somehow trigger those past winter recollections, making them felt (and seen) through the actual search of a visual present.

The make up in this case includes frames of the film itself as well as other pictures of younger times and first love: kissing photos by Alexey Titarenko (1991-1994) and Jindřich Štreit (A coeur perdu / Touches of Heart, 1999), the Seine, notebooks…

Film frames corresponding to sequences

La reconquista: Entstehungsprozess