Ο Κώστας Γαβράς μιλάει για το «Ζ»

z

Μια ενδιαφέρουσα συνέντευξη του Κώστα Γαβρά στο περιοδικό Salon, με την ευκαιρία της επίσκεψής του στη Νέα Υόρκη για την προβολής της νέας του ταινίας «Παράδεισος στη Δύση» και την επανέκδοση του «Ζ» στις Ηνωμένες Πολιτείες.

Η συνέντευξη περιστρέφεται περισσότερο γύρω από το «Ζ». Μεταξύ άλλων μιλάει για πως και που γύρισε την ταινία, τη σημασία της και το τι έχει να πει 40 χρόνια μετά. Μερικά ενδιαφέροντα αποσπάσματα:

What are your emotions about the rerelease of «Z,» 40 years after it was made?

Well, it’s an amazing thing. To learn that 40 years later they are showing my movie again. I was very moved to learn that the Rialto people decided to release it again, and I’m very curious to see how the audience will react.

 This story is bound to seem different to the contemporary viewer. Europe is a very different place than it was in 1968. Greece is completely different.

Everyplace is different. There are not so many dictatorships around the world. There used to be a lot of them, in Latin America and many other places. What is permanent, I think, is how someone can use the police, the justice system and the army to have all the power. There’s still the possibility that a man, or a group of men, can control these three forces in a society and compel millions of people to obey you. That’s the whole system of a dictatorship.

 Maybe that describes you too. You’ve been described as a left-wing political filmmaker, but right after «Z» you made another movie with Montand, «The Confession,» which was very critical of Soviet communism.

And for that I was hated by all the European communists! And then other people said I must be a communist because I made movies that criticized American actions. But «Missing» and «State of Siege» were made with American money. One of them, «Missing,» was made by Universal Pictures, with American actors and an American writer. Sometimes the Americans make anti-American movies, which I like very much. It’s one of the very few countries in the world to be able to criticize itself through the cinema.

 There are elements in «Z,» from the hand-held camera to the quasi-documentary elements, that profoundly influenced thrillers for years to come. You made this movie before Francis Coppola made «The Conversation,» and before Friedkin made «French Connection.»

People say so. It’s difficult for me to say. You know, we were all influenced by American cinema — all the European filmmakers of my generation. We try to do very personal movies, but we can’t get rid of American cinema. Maybe this is less true in the era of special-effects movies, but really it’s the major cinema in the world. American cinema and French cinema, which was very influential for us.

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