[D-G] viaggio in cosmo ./ corrected ending of this first part
adline vanlindenbergh
bisouxnoursfast at fastmail.fm
Sat Nov 18 09:02:06 PST 2006
please read this one with proper ending so far
the problem is they talk so much, i think to do inserts during the time
so they are not seen transfixed.
On Sat, 18 Nov 200
Part 1: Viaggio in Cosmo, by Roberto Rosselini as the Owl
Title: An Ecclipse
DAY. In a blue key room in downtown Vancouver, the Owl and six actors:
Havah, Adama, Lilith, Filya Houtman, Bart Twains & Walt Disney
Rosselini as an Owl, flying around the six actors sitting on a sofa. His
eyes are recording what he is gazing at. We are getting to see through
his eyes. He recedes to one side of the blue room. Lilith stands up and
approaches the window bay, using her two hands as telescope.
LILITH
The Planet Gulliver is obscuring the star
of Slumberland. Contact with the Mirroring
Past is rapidly arising. The Ecclipse
ADAMA
Make sure everybody in this room
remembers how to stay awake.
Rosselini makes a complete turn and shouts “Music!” to the sound
engeneer. A radio is turned on, a faint radio noise eshews.
ADAMA
By all means resist the sound of the powerful
Cosmo radios! They can numb you out of activity.
ROSSELINI
Now everyone start digging the ground while
Filya comes here
Actors raise up and begin to move blue painted clothes from a big heave
next to the sofa and scatter them all around the room. Rosselini is
filming
with his two eyes. Then he gets impatient.
ROSSELINI
Filya, what are you waiting for?
Filya was distracted. She crosses the distance between her and Rosselini
on the other side of the room. She is filmed by Rosselini’s eyes in
close shot. She speaks in a microphone that she handles herself.
FILYA HOUTMAN
Roberto Rosselini reappeared among us
in the eternal present passing and becoming.
Shaped in feathers of an owl, his eyes films
6 actors he has casted to
play in his new movie: Viaggio in Cosmo.
- Mister Rosselini, can you tell the audience what
are you doing in the gait of an owl?
ROSSELINI
Let me answer you in the form of a riddle:
Today’s art
becomes each day more childish. Everybody has
the mad desire to be the most childish possible.
I don’t say ingenuous, I say childish. By childishness
we have fallen to the lowest end of the human
ladder.
We have passed to the antropomorphic ape. We soon
will be passed to the owl and to the eel. That’s what
makes me angry! This total lack of shame.
FILYA
But this is more or less what you said to Fereydoun
Hoveyda and Eric Rhomer in Cahiers du Cinéma of 1963.
What have you been doing since 1977, the year you
disappeared?
ROSSELINI
Death is only a concept. I as Roberto Rosselini
you see, am dead. Yet I am right now surviving death as an owl thru my
artworks, in the eternal return zone that I am about to show you. And I
want to revive this longing for life on earth by working with
contemporaneous actors and talk in such a new movie about the posthumous
activity of the artist.
Filya passes to the side. Rosselini watches the actors still carrying
clothes “digging the ground”. His focus calibrates and the blue of the
room and of the clothes leaves way to a different landscape.
Title: IN ETERNAL RETURN ZONE. Night. Some of the actors are appearing,
as holographic sculptures digging the ground in an archeological
settlement. As holographic characters gradually uncover the ground and
discover the sculpture of two lovers caught intertwined by the Vesuvio’s
lava, Rosselini on a branch of an olive tree meditates, his own voice
reciting:
ROSSELINI
What is touching, is the weakness of mankind.
It is not man’s force. In modern life, man has
lost all heroic feeling about life. It must be brought
back to him, since man is a hero. The daily life
struggle, is a heroic struggle. In order to paint
this, one must start from the bottom.
The stone of lava around the two lovers crackles and two orang-outangs
monkeys emerge the archeological remains of Pompeï.
INGRID BERGMAN
Nothing has changed since Roberto’s movie.
All is the same, exeption made of our
body. Antropomorphic Monkeys
GEORGE SANDERS
What should we do? To carry on Viaggio in Italia?
Where is Roberto?
ROBERTO ROSSELINI
It’s him in this owl. You are in fact casted in
the eternal return zone: to play there your
own role: Ingrid Bergman and George Sanders
In a new movie called Viaggio in Cosmo
Ingrid is astonished. Other monkeys are excavated out of human
sculptures by the holographic characters. The ruins are covered with
antique paintings.
INGRID BERGMAN
Do you have a mirror?
Filya holograph gives her a small miror. Ingrid powders her nose.
INGRID BERGMAN (asking George)
Are we still husband and wife?
GEORGE SANDERS
Ask Roberto. But I would prefer to keep intact
our work in the original Viaggio in Italya.
Other monkeys gather around the couple.
OTHER MONKEY
Who’s gonna watch this movie?
Sure Roman slaves ought not to
be portrayed as less evoluted a specie
than the modern day spectators, right?
INGRID BERGMAN
Personnaly I do mind equally about this new outlook.
I feel I would need to talk in private with Roberto.
Roberto Rosselini flyes to an other place, Ingrid follows him there.
ROSSELINI
What do you have on the skull Ingrid. Tell it all.
INGRID BERGMAN
I fear we could destroy what we achieved in the past
ROBERTO ROSSELINI
But the trouble is our past work has been already partly
destroyed by the lack of courage in new generations
of
artists. We must restart with the perspective in
mind that
the Cosmos is not always evolutive in the good sense
for
mankind.
INGRID BERGMAN
Why have we become orang-outangs?
ROBERTO ROSSELINI
Because we have sacrificed our human development
on the altar of a vilifying subjectivation. Modern day
audiences are not capable to understand us otherwise.
INGRID BERGMAN
Is Cinema a zoo?
ROBERTO ROSSELINI
We must confront this possibility. But as I said earlier
we should look for the possibilities of liberation
immanent to this new condition on Earth. That is the
purpose of such a movie as “Viaggio In Cosmo”.
The six holographic actors approach Rosselini.
WALT DISNEY
Bobby. With Bart we have tried to come back to the
blue room, but it seems we are blocked in this
“dimension”.
BART TWAINS
So we have explored the area. It seems pretty much uncertain with the
Vesuvio frightening the monkeys, always on the brink of a new scandalous
eruption.
OTHER MONKEY 2
Bart Twains and Walt Disney are right about one thing,
we are not protected from the volcano. So we will go
mount an expedition to the archives database to cover Pompeï with
shields props from the Death Star movies.
BART TWAINS
No need to mount an expedition, I have the files, you just have to
upload the shields into the image properties of the antiquities.
Bart Twains gives materials to the monkeys, who start building a steel
city above the ruins of Pompeï.
INGRID BERGMAN
Roberto who are the monkeys, for you, in your storyworld?
ROBERTO ROSSELINI
Someone said monkeys are for humans a burst of
laughter or a hurting shame. But look at me:
I am an owl, and thus a creature of the
night
or of the Ecclipse. Thus my past life, my
past philosophy is not convenient for me
anymore. I do movies that are not for
humans.
INGRID BERGMAN
To be dead for such a long time, and to awaken in the
gait of animal is making me so instable. I am longing
to reestablish contact with the human actors
of
any set, I find it absurd the monkeys should
behave as slaves and build a city over the
ruins of
Pompeï.
ROBERTO ROSSELINI
Ingrid, were you to have any significant role in my new movie,
you would be a bridge between species, but probably
more between
something happening between an
owl
and a monkey could well seed, escaping to the
condition
of existing monkeys and possibly existing
owls
in a steel armoured city?
INGRID BERGMAN
I was trying to figure it all why were humans
shaped holographically in this movie, and I just
got it:
there are strong doubts casted here against
the
viability of staying wholly oneself in such
an
enslavering environment. They use the
holographs as
protective shields.
ROBERTO ROSSELINI
Yes, but doubts, mind you: no definitive
conclusion. What
would humans look like once gazed at by the
perception of
external wild animals, that we still need to become by
the
way, what could such humans look like: or reversedly
what are
we, as we are watched by such all encompassing human eye,
as much technologically powered would he have evolved
so
far.
INGRID BERGMAN
Enough talking. Now let’s bring our ideas to live!
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