The Inner Film
Director(s): Jan Schmidt-Garre
DOP: Ralph Netzer
Featuring: Francesco Piemontesi
Music: Chopin (Barcarolle op. 60)
What’s going on in a musician’s head while he or she is performing? We combine a performance with the inner thoughts, feelings and sensations the musician is revealing to us listening to his or her recording with headphones and eyes closed. We obtain a short film that opens a window to the Inner Film that is being projected during the performance.
The series of musical short films will be continued with artists as Asmik Grigorian, soprano, Igor Levit, pianist, Patricia Kopatchinskaja, violinist, Ermonela Jaho, soprano, Marc-André Hamelin, pianist, Maxim Vengerov, violinist, Raphaël Pichon, conductor, Teodor Currentzis, conductor, Menahem Pressler, pianist and many more...
It was my 9-year-old son who made me curious about what’s going on in musicians’ heads when they play. I am myself rather a formalist. I think in terms of harmonic progression: going up or down the circle of fifths – the Hanslick approach... But when my son played the piano he said things like “there comes the forest track, and here we go down the hill“ or “it becomes calm and cozy here, I am in my cardigan“...
I started enquiring professional musicians. Maxim Vengerov imagines the musical piece like a story: “Not everything is on page one, you have to thrill the audience.“ ... “In this phrase I’m in a boxing ring. There I avoid getting beaten, here I pack a punch myself.“ Or Igor Levit: He sees people in the music he plays, faces of friends.
I thought of Scriabin’s performing instructions: “Luminously, enchanted, dizzily, velvet“. “With profound, veiled ardour“, “with increasingly caressing and sickening sweetness“. Or this: “mysterious call“. Erik Satie is even more extreme: “Don’t turn around, scratch yourself, smile, from the corner, precious!“ This is not just dada – there is a profound correspondence to the music. How could I bring this out in a film? Musicians cannot talk and play at the same time...
A state of trance
We film a musician – a pianist, a singer, a violonist, a conductor – performing a piece of about 8 or 9 minutes. We repeat it several times in order to get a flawless result. We meet a second time. The musician sits in an arm chair, with headphones – eyes closed – and listens to his or her recording. In his imagination he re-perform what he did, in almost a state of trance – if he or she was playing the piece here and now again. And the musician tells us in his mother tongue what he or she sees and feels in this moment. No analysis: an unfiltered stream of consciousness. We get as close as possible to the actual thoughts and sensations of the artist while making music.
We record this two or three times. Then the two layers – the concert and the monologue– are being cut together. We obtain a 10 minute short that opens a window to the Inner Film that is being projected during the performance.
(Alternatively one could broadcast the combination of music and words first and then the pure performance again without words – which the spectator will then perceive with the knowledge of the inner world which has been presented to him before. Thus each program would last 18-20 minutes.)