The Reduction Of The Ego To The Level Of The Gaze We Have On The Real

What you see in your mind is based on everything you perceived as another step toward a deeper level of understanding of your self.

I went to the “Hit The Egg” running competition in Vatra Dornei on Saturday. I would go one more time, even though immediately after the competition I said I would never go again. The first 10 km was a total madness, because the madness sometimes has a price called “Altitude 1600 meters”,meaning a 10 km steep climb. And as most of the competitors climbed the steep hill single file, with small, close steps, and I, trying to keep up with the best, gave free rein to my imagination, daring for a moment to rewrite the rules of an adventurous climb.

The first gesture of the manifestation of imagination is to capture the intangible of a reality based on some indisputable facts, but still far too external in terms of the true meaning of things. What I mean is that, at that moment, my thoughts were inspiring me to rediscover my own self as a director able to control very well what is happening, to be able to lead the change in the direction of a total novelty, facing an unforgettable challenge.

In the film that was unfolding in my mind, I was trying to see if, where people cannot generate technical revolutions of knowledge, a certain tension is born that can install a state of moment that evaporates in a short time. Just as the painter offers the audience a perspective on reality determined not only by his own vision, but also by the artistic current, so the director can build a perspective that condemns or praises the hero depending on what “hurts” him more: the inability to reconcile with failure.

Does the way in which you conceive the image of interpreting a factual reality arise from the possibility of interpreting a situation in which the role play is the spontaneous expression of a true story?

My imagination got so far that I saw myself as the main actor in a film in which the action was flat between real and fabulous, all the competitors climbing without knowing what awaits them at the top and, at the same time, without knowing that they have everything handy for fun. And such a main actor, playing his special role, knows how to shine, he knows how to suggest the natural meaning of his character even when it comes to something as seemingly uncontrollable as the feeling of unreality.

In other words, the film that my imagination developed reached the essence of the existence of a competing version of truth that is meant to be literally a revelation of the nature of a being’s reality that becomes invisible due to the absolute and infinite character of space from the eternity of time. In fact, my presence in the symbolic space of the imagination seemed to be conceived more as a “full”, as a concretization of a stage image, than as a “void” attributed to a figurative depth.

And that’s how I became a director, not by finding the right angles of filming, but by rendering the spectacle of a steep climb through a different angle of receptivity, through the prism of an imagination that rewrites reality through the witness effect, in terms of certain fulminating experiences or sudden conditioning, to make it correspond to the emotions experienced by a story character.

Can you relate to the visual experience from an authorial height perspective that can help you discover the added value that can change the perception of your own person in terms of interaction with others?

The role I played in my own film, inspired by reality, was that of awakening all my senses, telling me that I should not take and consume a variety of moments just by looking, but trying to combine a captivating story with another, hidden sense, of memories, of living legends, of secret thoughts, of sensational-smelling images, of nostalgia for a lifetime.

Of course, the imaginary is the suffering of a separation from reality, but at the same time it indicates a change in perception about what a world that is guided by the principle “what you see in your mind (not directly with your eyes) is based on everything you perceived as another step towards a deeper level of understanding of your self ”.

And this fact is associated with the emergence of a point of view expressed by John Fowles in the well-known novel “Daniel Martin”:

“I had this experience before, but it was not repeated with the same intensity. It’s very strange, like an interruption of time. Time ceases to exist for a short time. You feel that you’re neither the one, the modern archaeologist, who painted the fresco. If you are something, you are the painting itself. Forgive me for having to express myself through metaphor, I can’t find other words. You exist, but not in time. You’ve always been there. Without its past and future. The data from history, chronology, are screens like the ones we were talking about just now.”

There are competing versions of the truth expressed by John Fowles, but the most important thing is that anything we experience, we experience through the very way we look at things in an attempt to become one with them, in a reality whose acceptance and understanding anchors us in an ambivalent space: of creation and alterity.

The part of the added value that can change the perception of your own person at the level of interaction with others is given by your ability to experience certain situations in terms of how you control the experience of reality, so that it acquires a special meaning in your mind, but also in the minds of those around you.

So the added value coincides with the director’s imagination. It refers to that ability that only you can show at a time when no one expects, that is, when reality mirrors the film that you made in your head.

The Reduction Of The Ego To The Level Of The Gaze We Have On The Real can be correlated with the experience of knowing reality through the prism of an intellect that intuits wholes and can see particularities in their necessity.

Just as an artist can achieve through a small and insignificant drawing something more important than another in a great painting, so too could I exist in a reality in which there is no boundary between figurative and symbolic, or rather in a life story in which I no longer know who the really important character is: the one in the movie or the real one?