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director’s note Originally, Light Gradient started as an “experimental, erotic essay”. An “essay”, because the film was initially intended to be released without dialogue, but, with plenty of voice over to make up for it. The thought behind this was simple: real, i.e. speaking actors, cost real money, whilst a voice over costs nothing but the paper it’s written on. And money we had precious little. So expectations had to be limited. After all, a feature film director has a reputation to lose, and it’s always only as good – or as bad – as the last film. So let’s call it "experimental" from the start. And finally, if you’re working for work’s sake, then it might at least be fun. Hence "erotic". That was the theory. By the end, only a tiny amount remained from the planned voice-over. And instead two (and later two more) really talking actors make their way through 75 minutes of what is a by and large classical story structure that resembles a road movie. The only thing that might still be termed "experimental" is its delicacy and, I hope, its poetry. As to whether anything remains of the intended eroticism I can no longer judge after all the weeks of post-production. What I do recognise, though, is the curiosity and the trust that I had for these actors, as they did for each other. And this is for mewhat gives the work its hallmark. Sometimes things turn out like that. From necessity, and with a minimal budget, a film was made that turned into an exciting trip which, one might say, drastically failed to reachits original goal. Under the watchful glance of an unexperienced editor (we had none) or a dogmatic producer (luckily ours wasn’t) such a trip can easily turn into a nightmare. For me, and I think most of the others who participated in the project, it was a bit of good luck. Jan Krüger, 14.1.09 |
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