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"(L'Aldilà) is a pure "Artaundian" film. I personally met Antonin Artaud. He stared at me with his insane eyes 30 years ago. My idea was to make a radical movie, with of all the horrors of our world. It's a movie without story: a house, death returning from hell,... There is no logic to find in it, it's only a succession of images""There are connections between Argento and me: He also studied Artaud and these two movies (L'Aldilà and Inferno) have no structure. It's deliberate. We attempted to make, in Italy, strictly thematic movies, without any intrigue. From all my movies L'Aldilà is the one with the most non-existent story, because, like Inferno, it's a movie that goes against conventions, against traditional film making methods."
I'm not saying it has to make sense just that there are some discussion-worthy points. Argento may have been going with his inspiration but there are probably some vague sources of inspiration (more so than the De Quincey essay which only Cozzi's BLACK CAT actually cites) even if as a whole it does not come together.
Think I’ll have a sit down now...
[Inferno and Phenomena are a narrative mess.
Inferno was almost entirely improvised.
did he shoot the film without storyboards?I've read that he used systematically storyboards for his films,at least up to "Jenifer".
Quote from: CardPlayer4 on 14 Aug 2010 - 13:20did he shoot the film without storyboards?I've read that he used systematically storyboards for his films,at least up to "Jenifer".I might be wrong, but I don't think Argento ever used storyboards in the 70ies, 80ies. I never saw one.They probably did little sketches for the complex crane sequences and the visual effects, but I doubt there was a complete storyboard.
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