“Immerse yourself: you should never exist outside a movie.”
Why Leave a Film?
Philosophers as far back as Thales of Miletus had notions of the conservation of universal building blocks. In 1638, Galileo advanced the physics of motion with his publication on the “interrupted pendulum” and other situations, described in modern usage as the conservation of energy (E = T + V, where E is energy, T is kinetic energy, V is potential energy). Science progressed to Noether’s theorem, Einstein’s famous E=mc2, and eventually similar concepts in quantum theory, all stating the basic principle of the conservation of energy — that energy cannot be created or destroyed.
Why not apply this concept to film? What is/was filmed is a “live” portion of energy (acting, dialogue, camera movement, even written ideas), imprinted on celluloid as a type of potential energy. Strung through a projector, a film turns kinetic, showcasing its power through the movement frame by frame. All films must obey the law of conserving energy and transferring it to the viewer — even (if not especially) bad films. Consider the case of Amir Shervan’s Samurai Cop, a treasure chest of B-movie gold. For all its flaws, it contains a divine energy. Why would one leave this movie then? Or sleep during it? To do either is to let energy pass from the movie without using it.
Boredom is not benign. We need to change our concept of it as innocent, a waste of time, a minor state, ignorable, small or insignificant. It is dire, heavy, severe; it is Nero burning Rome, James Dean without a cause, a wasteful delusion of nothingness; it is not a matter of small potatoes. Boredom is a time-bomb, an uncontrolled catalyst, a solar event that cannot be bottled; it cannot be sold, and it would not be bought. It is the fall of an economic system, a flux in an otherwise operable machine.
Re-signify it: understand boredom is not a state but a potential. It is the awareness of energy but not the use. Let the screen be a fuel, a rocket, a hypnotist. Access your mind through a different door (if you can find it). A film is topological, it maps a route to an unknown destination (even a cliché picture can be viewed differently each time it is seen). Carpe diem. The energy is there. You are there. We are the children of images, of dancing lights and shuffling frames.
Thus, I implore you, never leave a movie. Instead:
1. Internalize it!
Imagine the movie consists entirely of scenes from your life. Who are you? Are you the same? Is anyone static? Not with the flow of energy — from a point infinitely small, a unique singularity to an equally divine summation of the empirical, define the “I,” define your “I” to the screen. Why do you (re)act as you do? Has your knowledge of Japanese jaded you? Do you know jujitsu? What if you did — who would you be, a samurai cop yourself? Take your right angles until you move outside the Cartesian self, to a multiplex of being; bum a ride on a Technicolor carpet to the world inside.
Imagine a collapse — of time — of reality — of images. Ask what would happen if these characters were the historical, a tricky word of semantic glue. What if: A) Joe Marshall was the first president. B) Yamashita discovered the printing press. C) Peggy discovered Euler’s formula (which, I suppose, would make it Peggy’s formula). D) Okamura fought for civil rights. And E) Fujiyama was the first sashimi chef. Enter this possible-world as man and superman, and take your energy from its sun.
2. Be a psychic.
In a “bad film,” understand that the characters are beings, too. Get into their heads (know their energy); if you can’t, if it is unexpected — good. A bad film will always get the last laugh. We don’t “consume” art; art will consume you, change you, take an absence away. If you can’t predict the lines “keep it warm for me,” “bingo,” or “this gift . . . this black gift,” this film will be your sensei. Praise its randomness, sing a hymn to its chance, its characters’ meta-coup. A film like this is better at predicting your reaction than you predicting its lines. Thus, learn it. If a film is unexpected, let its powerful energy penetrate your mind. Absorb it or be lost.
3. Change your viewing experience.
4. Cheer: Be emotional.
In “The Lights Go Up,” Jacques Brunius provides the following story:
You should tiptoe into a giant spotlight. Be guilty during every scene, an accomplice to the travesty that is a “bad film.” Cheer for a character; start a fan club for a flubbed line, or holey script. For instance, write the line “I will bring you his head, and I will place it on your piano” in stone. Immortalize Frank’s eyebrow control. When a young Yakuza swings a baseball bat above his head, yell praise for his technique. Throw a small party for the small things — the objects in the background (doors, tombstones, books, peanut butter . . . whatever). Root for the lion’s head in Peggy’s living room. Play Defender in the Yakuza’s hideout. Look at the flags in the restaurant, and reestablish cultural definition. Don’t sleep; make your throat sore by meeting a bad film with sound waves.
5. Change your senses.
6. Don’t be idle.
7. Change your location.
If possible, change your location, watch on the outside of a train, watch in Central Park (and imagine the world your fellow audience). Watch your neighbors’ TVs through binoculars; instead of being a voyeur to your neighbors, be a voyeur to their TV set — it might be more intimate. Use this love.
Bernard Roger, for one, advocated building a cinema at the “bottom of Lake Pavin.” Build your cinema on the moon, in Lake Champlain (monster in tow), in Shangri-La. Project your cinema in Samurai Cop’s L.A. We exist in a minimum of two realms, always adding more as cinema’s energy is given to us, and you should position yourself to receive this energy.
8. Expand the concept of “yourself.”
Join a diaspora of filth, lose the “I,” become the Lacanian “Other,” the capital “O” instead. With Jung, dance in the jungle, but have no fear; become the collective that is you as me as we are he and we are all together: let the collective aesthetical un-conscience. Outside of yourself is yourself. Be Kraepelin: (un)cover the genetic malfunctions of the celluloid as a scientific discourse of energy. Why? To “understand” that you and the film are the same constituting a shared experience on different planes, on a string theory of energy. You are the Yakuza gang — the drug trafficker of the eyeing masses, an endless stream Yamashita summons with the wave of a hand. You will be shot, punched, kicked. If you leave a film, you are the one committing hara-kiri. In a film, you can produce all within it.
9. Justify your own insanity
Don’t leave a film, because a film will not leave you.
Don’t miss a film, because a film must be seen by you.
Works Cited
Brunius, Jacques. “The Lights Go Up.” The Shadow and Its Shadow: Surrealist Writings on the Cinema. Ed. Paul Hammond. San Francisco: City Lights Books, 2000. 82-83.
Kyrou, Ado. “The Film and I.” The Shadow and Its Shadow: Surrealist Writings on the Cinema. Ed. Paul Hammond. San Francisco: City Lights Books, 2000. 130-32.
Mitrani, Nora. “Intention and Surprise.” The Shadow and Its Shadow: Surrealist Writings on the Cinema. Ed. Paul Hammond. San Francisco: City Lights Books, 2000. 147-48.
Roger, Bernard. “Plan for a Cinema at the Bottom of a Lake.” The Shadow and Its Shadow: Surrealist Writings on the Cinema. Ed. Paul Hammond. San Francisco: City Lights Books, 2000. 80-81.