'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
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They just appeared during shooting. They happened to be there. And it was just by<br />
being aware and using them that I found two <strong>of</strong> my nicest images. I could have just<br />
ignored them and they wouldn‟t be in the film. This is the way creative processes should<br />
happen, I feel. When you think about jazz or Indian music, the part <strong>of</strong> inventing<br />
[improvising] plays an enormous role. The rule is just that you invent in the moment<br />
itself. But it‟s only out <strong>of</strong> a completely quiet mind that you can invent in the moment.<br />
We think that everything has to be carefully prepared. It‟s true, it‟s good, but it‟s not<br />
enough. If something is to really touch you pr<strong>of</strong>oundly, then it is already there. You just<br />
have to find it.<br />
R.R.: So it‟s taking the time to look for those moments?<br />
H.S.-B.: Not taking the time, but just being open to those moments, not only speaking but<br />
also listening.<br />
R.R.: Okay. So, would you say that Lene is like the old woman because both women are<br />
prisoners in the houses <strong>of</strong> men and are expected to serve these men? On the other hand,<br />
both Lene and the old woman help other women. The old woman helps the miller‟s<br />
daughter escape with the sleeping potion and Lene helps Ana survive the war. What do<br />
you think about this idea?<br />
H.S.-B.: Yes. True. I like it.<br />
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