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Page:154
154 is not a subjective phenomenon due only to my intimate relationship to the place, but rather a universal and objective one . If it was only for my world view on architecture, I would not make a film . That I already implemented in the buildings I designed or in the books that I have published . And if it was only for documenting my childhood memories I would not make a film . The basic idea was to connect the two : The insights that were generated from my experiences as a child in Tsefat : in the lanes, in the streets and by watching the way my grandmother was preparing the food for her guests at her Hotel or whitewashing the alley in light blue - the way that art and architecture should be practiced . So why film ? The medium of cinema I felt was the best tool to convey my emotional childhood experiences – both by the visuals and the sounds . The outcome of which the audience can almost smell the green apples that my grandmother was pealing, or feel the wall that the girl was tracing with her small hand… . As I never studied film, I learned the ‘profession’ by doing - along the process . Directing ; editing ; doing the production designer ; choosing the music ; designing the costumes, all of which I did are areas of practice that most film directors coming from the industry never do . It started in sitting in the film archives for months looking for films that have the kind of feeling that I wanted to have in my film . The ones that had the most impact on me were obviously of directors such as : Tarkovsky, Angelopoulos, Frammartino, some of the Iranian, the Georgian and the Japanese slow films . Being an architect and a film maker I can say that these two domains of my activity in the deeper sense, have more in common than what differentiates them . That I will describe in ‘ The creative process’ .
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פורטוגלי, נילי
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