Ralph ha spiegato perchè ha scelto la Serbia per girare ^^
Coriolanus’ Locations — Why Serbia?Ralph and his team went on numerous reconnaissances during the project’s development stages. They initially considered locations in Romania, Croatia and Bosnia among other countries. Yesterday Ralph told me why Serbia was the best choice:
“Serbia and Belgrade work for us creatively and financially. It’s been a challenging film to raise money for and there were obviously business interests to consider as we wanted to make a film of some scale. The shooting costs in Serbia are comparatively low and we’ve had considerable assistance and support from the Belgrade authorities. A key location, for example, is the Serbian parliament and its main Senate chamber.
But more importantly than that is Serbia’s grittiness – the bruised battered quality of some of the locations. There are great contrasts in Belgrade between weary Austro-Hungarian architecture, the old communist style and early 20th century neo-classicism.”
(Kalemegdan, the impressive and imposing fort in the middle of Belgrade is exemplary of the city’s architectural montage: its walls were fashioned and refashioned by Celts, Romans, Byzantines, Turks, Austro-Hungarians and Slavic peoples.)
Ralph continued:
“All these styles and layers gave me a world that was contemporary but also rich in historical texture. I want people to say: ‘where is that?’ People might think it’s Germany, Russia, Argentina… Belgrade has the weight of a capital. It’s a power city. But it also could be every city.”
And that’s exactly it. That is a large part of what makes Belgrade such a perfect location for a contemporary adaptation of this play. It is steeped in a very unique history and culture but also is representative of the world over. Belgrade functions like Shakespeare’s Rome or his Plantagenet England. It is rich in a real and difficult history but it operates simultaneously as a ‘U-topos’, a ‘no place’, a place in which the artist can speculate or suggest. The U-topos is the Sceptic artist’s favorite location. Shakespeare, as a great Sceptic philosopher, exploited this better than anyone (cf. The Tempest, but also nearly every one of Shakespeare’s plays).
That’s what makes it a great location. It encompasses these two contrasting possibilities.
And the old and the new architecture reflect the story’s action. Coriolanus stages a clash between the modernizing politics of the Tribunes and Coriolanus’ old order elitism. (The rupture between Coriolanus’ outdated code of honour and a rapidly evolving political climate in some way accounts for why the play has been so successfully performed in the Samurai context.) It is a clash that speaks to numerous contexts and that’s why it endures.
http://30ninjas.com/blog/ralph-fiennes-blo...ions-why-serbia
