Garbo asked me: "What do I play in this scene?" Remember she is standing there for 150 feet of film – 90 feet of them in close-up. I said: "Have you … - Rouben Mamoulian
" "Garbo asked me: "What do I play in this scene?" Remember she is standing there for 150 feet of film – 90 feet of them in close-up. I said: "Have you heard of tabula rasa? I want your face to be a blank sheet of paper. I want the writing to be done by every member of the audience. I'd like it if you could avoid even blinking your eyes, so that you're nothing but a beautiful mask." So in fact there is nothing on her face: but everyone who has seen the film will tell you what she is thinking and feeling. And always it's something different. Each one writes his own ending to the film; and it's interesting that this is the scene everyone remembers most clearly.
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About Rouben Mamoulian
Rouben Zachary Mamoulian (/ruːˈbɛn mɑːmuːlˈjɑːn/ roo-BEN mah-mool-YAHN; Armenian: Ռուբէն Մամուլեան; October 8, 1897 – December 4, 1987) was an Armenian-American film and theater director.
Also Known As
Native Name:
Ռուբեն Մամուլյան
Alternative Names:
Rouben Zachary Mamoulian
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Mamoulian, Rouben Zachary
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Additional quotes by Rouben Mamoulian
[In 1927] Porgy made me overnight. In it I tried all my ideas of a dramatic integration of many elements ... At this time I felt it should be possible, in a stage production, to take a snapshot of the stage picture at any moment, and record an artistic composition. So each movement and grouping was minutely rehearsed. The actors were often required to adopt poses which were neither comfortable nor natural, but which looked right on the stage. That's stage truth.
In this unhappy, fragmented world of ours, overflowing with mutual suspicions, hostilities, violence, and destruction, we need a constructive force. Politics, economics, religions seem to fail. I think our best hope is in the arts. Today, the most powerful and universal and powerful medium of art and communication is in the film. In the last few years I've done a great deal of traveling to many countries, and I've been amazed at the impact of films on both the individuals and the societies of different nations. The influence is enormous. So we must all strive to elevate the quality of motion pictures. We must affirm and insist that the ultimate goal of a film, no matter what subject matter it deals with, is to add to the beauty and goodness of life, to the dignity of human beings and to our faith in a better future.
I lifted the sound-proofed camera off its feet and set it in motion on pneumatic tires. Scenes moved out of one room and into others without halt. I tried to introduce what I call counterpoint of [a]ction and dialogue. The camera flew, jerked, floated and rolled, discarding its stubborn tripod-legs for a set odfwired wheels that raced over the studio floors.
"The camera here becomes descriuptive in a new sort of way. Where a break in the ordinary film to allow for a close-up has been the modus-operandi, I now guide my lens along a strraight and continuous line, without breaks in continuity, without needless exolanatory speeches and also sans the printed subtitle.
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