I also know that my situation is not their situation, that my situation is very different. There are many levels. Ma infatti il genere pornografico ha lo scopo di creare eccitazione. There is no hope, no way out. It is not the usual desire that we have, this girl is nice and you want to fuck her; you get to keep a relationship for three months with a girl who lives in the streets and no one wants because she has AIDS spots all over her body. In che rapporto stanno le immagini e le parole nei tuoi film? Because with photography you can take a picture that seems crazy on very normal occasions.
Making films, photography, yes of course, is a compromise, and of course my position changes depending on the moment, because now there is a perspective. I do not think any of my works excite the audience laughs. How important is it for you to be present, not only in your photos but also in the shots of your films? I think that these images are able to still get quite strongly in the reality of the situations, without the ease of photographs. The girl I interviewed had nothing that worked: I t seems to me that your work, with a paradox that is really powerful, fulfills an essentially ethical task. However, I think that violence is such because people perceive it from the outside.
Recording or documenting or inventing, I do not care, I want to live, be ….
Obviously everything always depends on perspective. What do you think about it? And that was 10 years before taking my first photo. Isort of moved away from life.
Interview with Antoine d’Agata / Intervista con Antoine d’Agata
For that reason you can make the films with these drugs. Appartengono a una logica che non sono la mia, quella della cultura, e io seak la cultura. The problem is that I do not want to know how to do things. There are powerful moments that are not bad.
Lo Specchio Scuro | Intervista con Antoine d’Agata / Interview with Antoine d’Agata
Qualche ragazza, ad esempio quella della Norvegia, ha voluto scrivere il proprio monologo e ha voluto che io non ci fossi al momento della registrazione. Two days ago I tried to understand what is the biggest difference between my work and that of most photographers I know.
Credo che questo, nel suo cinema, venga sottolineato dal fil, che entrambi i vostri film la vedano sempre protagonista, assieme alle ragazze che lei filma.
Il mondo mi interessa e per questo sono qui, voglio giocare con il mondo, voglio essere nel mondo, vivere nel mondo. After 15 years, however, I decided to become a photographer, because this nothing, living all this and dying like a junkie was not interesting enough for me, I wanted something more, I wanted to make something beautiful out of this nothing.
When you only see with one eye, there is a restriction of the field of vision, there is a loss of perspective, a sense of the size, depth of field, and the world becomes flat, more distant. This is why I moved away from Georges Bataille. I have had no home for ten years and am in perpetual motion, and this freedom comes from this economy. But this is not the real violence. I n both of your movies the words have a key role.
All this is very important to me. Aka Ana instead is a pretty romantic movie … I do not know, we could talk about this for hours…. I could not hide myself in my usual aesthetics, with blurred images and other things, I had to achieve the same intensity, the same sense of excess, the same madness.
Nelle tue fotografie, questo si traduce nella rottura di molte convenzioni. I am not in the comfort, in the lie, in the appearance, I try to provoke. Making films, photography, yes of course, is a compromise, and of course my position changes depending on the moment, because now there is a perspective.
I care about the world and for what we are, I want to play with the world, I want to be in the world, live in the world. Altre donne hanno prima scritto il loro monologo e poi hanno voluto leggere le parole.
Nel suo scritto Till the end of the world lei riporta questa frase di Fernando Pessoa: Forse il pubblico ed io vediamo queste immagini da una prospettiva differente, dove la gente vede pornografia, crudezza, provocazione, io vedo dolcezza, bellezza. First I do not like drugs that make me lose control.
No more nothing, there is something, there is an aesthetic will, a political will, but it is very fragile, very complex, so I say that my position is never like the position of the people I film, because they are innocent, pure, but I am every minute in a different position.
I have my own means of expression that is complicated: Vorrei parlare di Atlas. Laughs But this is just a game, because the film is fascinating, it takes days and nights to make these pictures.
Yes, the problem is that I do not know how to answer this question. Quando ho detto di voler vedere con le viscere e non con gli occhi, volevo dire vivere con le viscere, non vedere. When I did Atlasalthough it was filmed in different places, I again took the same novel, Madame Edwarda.
Mi sembra che il suo lavoro, con un paradosso davvero potente, sia essenzialmente etico. What do you think of this contradiction?
Coldplay – Wikiquote
I do not do these images to make situations nin. As you repeat, you do not care anymore about the aesthetic of your photographs, because the most important thing to you is the need that leads you to realize them. The problem is that I do not see pornography. First I want to say that these images are not so brutal as you think.
At the end of the month I have the money to keep moving continuously. This is so right.
Situations arise from so many things, frsai fiction, from reality, from the will of documenting, from intimate relationships, from contaminating and mixing all those perspectives.