late nineteenth century, when the world was torn (as always) between civilization and barbarism, African pygmy tribes first entered into contact with those nice little explorers who came from Europe to study almost as curious as they felt themselves against these people high and discolored. But they found it less surprising that skin milky meat almost left them exposed, some of the things that these men brought in his tools. Among they had one that caused a particular reaction among pygmies. It was an awkward tackle, just a box with ostrich legs and a single eye in the middle of the chest, staring that he could copy everything in such detail as it had only been to the water when you're asleep. A terrified pygmies of photography. I believe that this mill was stealing the soul with each new picture. Interestingly, the first thing I learned when I wrote Edgardo Cozarinsky to request an interview, you should accept the condition to do it without photographers present. Then I thought of Africa. Cozarinsky just published a new novel, the third morning , in which the protagonist seems to make a personal assessment from three nights to remember, like all end up in three mornings that are significant in the history of his own life. Adolescence, youth and maturity views from those nights going into the day as successive steps of a larva from a cocoon to another and perhaps never will be insect.
"You took longer to publish his first book of fiction, bearing in mind that Urban Voodoo appeared until the mid-'80s, and the next, Bride of Odessa, circa 2000.
- Urban Voodoo is a book that was formed only by aggregation of notes, short texts that had been writing. Never before had the courage to finish what he wrote, for fear of publishing, because that means dealing with the public, saying: "Well, I did this, I face, I put the body and if you want to throw, throw at me . 'Then there was that in '99 I was very sick, I thought that was the end, and being in the hospital I started writing the first stories Bride of Odessa. The illness gave me a great push to get ahead, and then say "I have to organize my life, I have to do what I have really wanted and let to waste time on nonsense. " Things speeded up and the books were coming out: is not that I had prepared. Somehow things were stored.
"In that time they did not publish, had more experience as a filmmaker. -Experience
not know if it's the word. Yes there are three or four films that rescue, but was rather a job ... Now write every day to keep me alive, I follow while writing stay alive, which does not mean it will stop making films. But I have no desire to do so within a traditional or conventional scheme, right? Last year I made notes for a biography imaginary and now I'm preparing another called Night , which continues a bit in that vein. Integrate both part one and two of something that probably will have three parts and is a treat because it is the typical film-making is done outside the structures of heavy industry.
-Bernard Shaw wrote that "the best autobiographies are confessions. But if a man is a profound writer, then all his works are confessions. "Is there something like that behind your books?
"There's a part of that, but I like mixing things play on my experience with others completely fabricated. But I do not like a action to conceal or disguise the truth from fiction, but just think what one imagines is part of the experience, because I imagine that once belonged to me and imagine someone else. So even what I imagine is part of my experience, my experience. The imaginary, invented what is perhaps as it lived.
"From there comes the title of your movie.
"Well, yes. What I'll tell you: many of these things correspond to what I would have liked to see happen. And what I would have liked to happen is mine if it did not happen as lived experience, occurred as desire, and that desire is mine. After everything is mixed. I'm not interested a confession by confession, at all: I am trying to invent, but I do from things that have happened or that I know, and then the fabric is sometimes so strong that I do not get to make the distinction between each other. Discuss the latest
Cozarinsky book inevitably leads to any of his previous work, because all of them, as in his films, usually pluck the strings of time and memory, which become cross for fiction in memoirs and multiple times, always different. As some gods Cozarinsky books are unique and all at once.
-time references are also a mark in their books.
'I very interested in the past, because it's like the ecological reserve where things are still gone. For me this is very difficult novel, I think it's something that slips through your fingers. In contrast, the last one is taking things that are left to handle and I find with some surprise, because they no longer exist. They are like pieces of a meteorite that have been on earth.
-120 In the book film stories, Alexander Kluge wrote: "I have no right of ownership over this, but the last mine. [...] I'm afraid to paint the future better than it is. "
-" I afraid to paint the future is better than "is brutal but true. I always distrusted the Redeemer, "singing tomorrows." I do not know what the future holds or what lies ahead, but as the disease: when a drug he expires, there is another that takes place. There is a disease and I need all the disasters of history will supplant each other. Today there is no talk of wars, but everyone is at war. Are partial wars. Junger has a very interesting phrase: "In the future all wars are civil wars." Anyway, let's see what lies ahead Libya today, but if the U.S. intervenes, no good can happen.
"In one of his stories in the book Burundanga! wrote: "Ah, if 'the love that dare not speak its name', has dared to say today that would stop shouting for a moment ...!" What do you think the media coverage of homosexuality ?
"I think there is a positive and a negative side, again. On one side is splendid for an end to discrimination. On the other side becomes a politically correct thing and like all politically correct, it becomes a cliché. For much of American movies could not be present for a black negative character, because it was racist. Before long, he could be presented to black crime. Now it's the same with homosexual characters ridiculous previously was associated homosexuality with effeminacy, were caricatures. Now all homosexuals are noble, beautiful, suffered. And it's going to spend a lot until you receive the bad and evil as homosexual fictional character. At the movies I'm talking about.
- And in reality?
"In reality the universal law of marriage, for example, to me it seems utterly ridiculous, because it has so long fought for recognition of difference and now fight for the right to equality. Someone told me recently, not remember who, that's entirely true, but nobody forces homosexuals to marry, as no one forces women to abort or couples to divorce. That if there is divorce law, the decriminalization of abortion and universal marriage law, no more discrimination. What happens is that my marriage seems to me fatal to an institution worldwide.
"You just mentioned the title of his next film, Night . And the night is one of the worlds in which the characters inhabit his books and movies all the time. What is still searching at night?
"I think that is a legacy of German Romanticism. The night is a on intimate and social place. Light equals all the gloom off relief. Night going to be a film whose sound track will be built entirely with poetry: there will be Hölderlin, Novalis, Robert Frost. Off a lot of poetry, that, not recited. And there's a character that runs throughout the city at night, looking, intuiting, imagining different things. But one of the texts that are not quotations from poetry, but I wrote a text that says something like: "We of the night, we recognize. When others go to seek refuge in deceitful peace of home, we went out to confront with the truth that hides the light and dark reveals. "
, also wrote that the memories in the memory are linked with the same mounting mechanism in the movies. If a film can be mounted in a thousand ways, how these memories can be mounted different memories?
- Uh, totally! But not deliberately: the memory is choosing. Canceled and things you want to delete, will privileging others. The last years of life of my mother, who was sinking slowly into senility, I asked things of the past, some unverifiable, because they were prior to my memory-and what she remembered was different from what I remembered. I do not know if it was senility or, conversely, if he remembered very well and it was my adult memory that things had been canceled because they were uncomfortable. When performing an installation, you choose some things and leave others out. It is very difficult to know how memory operates in this way.
"Then when you write or make movies, and that memory works: you choose what to keep and what to discard.
"Writing is simply choose, make a montage. Ideally, what you choose seems to be the tip of an iceberg and that the reader suspects that there are nine tenths below. That gives you some power, a certain density to fiction. But it has to do with different perceptions of writing. For me is to write and then sort, cut, relocate. Mount, almost cinematically. And I think there are things that once you write them, I release it. Cozarinsky
kindly let me suggest the rest of my questions for another time. I appreciated the courtesy of having thought about it and dismissed me as I was introduced to another man who immediately took my seat and continue with a talk, which is probably also the continuation of a slope, as we have just left. Cozarinsky afternoon mailed me several photos, including a stunning, in which he looks very young as you type with the aid of light that lit Paris one morning nearly 40 years ago. I think maybe he did not want to give them more pieces of his soul to the photographers and may prefer to book what's left for his next book. But surely I'm wrong.
Originally published in the Culture supplement Argentine Time.
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