Béla Tarr

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Béla Tarr
Béla Tarr
Worked like:
Born:
July 21, 1955
Country:
Awards:
19 wins & 6 nominations.
Position in rating:
Some Facts
Jonathan Rosenbaum, the American film critic, has dubbed Tarr a 'despiritualised Tarkovsky'.
Gus Van Sant cites him as a huge influence on his later work, beginning with Gerry (2002), when Gus Van Sant began using very long uninterrupted takes.
Tribute at the Thessaloniki Film Festival
President of the Association of Hungarian Film Artists (Magyar Filmmüvész Szövetség) since 2012.
He originally wanted to be a philosopher and considered film making to be a hobby.
Personal Quotes
I don't care about stories. I never did. Every story is the same. We have no new stories. We're just repeating the same ones. I really don't think, when you do a movie that you have to think about the story. The film isn't the story. It's mostly picture, sound, a lot of emotions. The stories are just covering something.
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I have nothing to do with the filming community in Budapest. They don't like me, because I don't make conventional films. I can't talk with them about films, because I live and think differently than them. They are film makers and I am not. I don't know what I am.
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If you are a real filmmaker you have to have your own style, your own language. Which is depending on your cultural background, your history, and your budget of course, and a lot of things what you already have. Because as I see, what I think, filmmaking is a kind of reaction to the world-you're just telling people how you see the world, from your point of view of course. But, you know, that's the reason why I do not listen for the other circumstances, what the other people are doing-because it's impossible to follow someone, impossible to say OK this is a trend, or what we would like to keep it or-it's definitely fake, wrong way. You have to be yourself, you have to tell everything from your side and you do have to have your own language; and if you have your own language you don't care about the world and anything really and that's what I feel, what I learned during these 34 years.
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[on The Turin Horse] You are doing always the same thing every day, but every day is a little bit different, and the life is just getting weaker and weaker, and, by the end, disappears. This is what this movie shows you.
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[on why he likes long takes]: You know I like the continuity, because you have a special tension. Everybody is much more concentrated than when you have these short takes. And I like very much to build things, to conceive the scenes, how we can turn around somebody, you know, all the movements implied in these shots. It's like a play, and how we can tell something, tell something about life...Because it's very important to make the film a real psychological process.
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