Khrzhanovsky came up with the idea of the Institute not long after preproduction on Dau began in 2006. He wanted a space where he could elicit the needed emotions from his cast in controlled conditions, twenty-four hours a day. The set would be a panopticon. Microphones would hide in lighting fixtures (as they would in many a lamp in Stalin's USSR), allowing Khrzhanovsky to shoot with multiple film cameras from practically anywhere—through windows, skylights, and two-way mirrors.
Khrzhanovsky came up with the idea of the Institute not long after preproduction on Dau began in 2006. He wanted a space where he could elicit the needed emotions from his cast in controlled conditions, twenty-four hours a day. The set would be a panopticon. Microphones would hide in lighting fixtures (as they would in many a lamp in Stalin's USSR), allowing Khrzhanovsky to shoot with multiple film cameras from practically anywhere—through windows, skylights, and two-way mirrors.
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Marcel Wichmann Six years ago, Ilya Khrzhanovsky constructed a totalitarian society in which the cameras are always rolling. There are no actors, there are inhabitants. There is no "set", there is "The Institute". What a strange experiment.
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Markus Reuter If a baby would have been born in the "movie", it could have the name Truman.
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Marcel Wichmann Hm, there where some babies born?!
The film that will someday emerge from this footage can be anything—a great historical epic or a tedious tone poem—or nothing at all. Because Dau is not just a runaway shoot. It's a shoot running away from itself: the first film project in history whose director doesn't seem to want to make a movie.
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Matthias Schmidt Ilya Khrzhanovsky constructed a totalitarian society as a set for his newest movie. But actually, it is much more than just a movie set
xiaopohen good!