Ao longo do filme, vemos o tempo usado de várias maneiras: algumas cenas são aceleradas, enquanto outras são gravadas em câmera lenta. Há também cortes de salto loucos para cenas diferentes em todo o lugar.
Sei que esse é provavelmente um dispositivo simbólico, mas não sei exatamente o que poderia ser.
O diretor Richard Kelly, juntamente com o diretor de fotografia Steven Poster, sugeriu várias razões para a notável cinematografia de Donnie Darko. Dividi as citações encontradas sobre o assunto em seus denominadores mais comuns e destaquei passagens relevantes.
One of the classic features of Donnie Darko‘s visual style is the liberal use of slow-motion and fast-motion, otherwise known as ramping. This element is essential to the visual poetry of the story as it relates to the manipulation of time. [..] We didn’t want to do it in post. We wanted to do it live. It was a technique for introducing each character. Every ramp except for one was done in real-time.” *
To make matters even more complicated, Kelly was determined to shoot every scene exactly according to its corresponding music, which he had written into the script. "A lot of the songs were built into the script," he said, "and we choreographed Steadicam sequences to songs. They're part of the blueprint for the movie. I like to create moments of lyricism — moments that feel like music videos, I guess, within the film, because it adds a magical element to the narrative. Those are the moments I look forward to. It's tough, because it adds length to the running time, and it takes half a day to shoot some of these sequences, and there's no dialogue being delivered. It's usually just characters moving through a space and a Steadicam moving through a location."
Some of the most memorable moments in Donnie Darko are indeed these euphoric sequences in which the music elevates the narrative. Who can forget that Dutch angle that kicks off Tears for Fears' "Head Over Heels," as we're introduced to Donnie's high school world? Or Gary Jules' "Mad World," as everything comes to an end?
"The people distributing the film are like, 'Your film is too long, and this song is really expensive. Let's cut this out,'" said Kelly. "But I'm just so passionate about leaving [these scenes] in. Sometimes you have to fight for moments of lyricism." °
“All units should be back on base frequency.” Symbolically, this signifies that every person and thing touched by Donnie in the alternate time loop is back in its original place, in line with the vibrational harmonies of the universe from a dimensional standpoint. +
Uma observação bonita e alinhada com a cinematografia: podemos ver as cenas da experiência de Donnie no Universo Tangente como oscilações na linha de base - como os desvios dos ciclos de tempo alternativos em um 'função de onda universal'.
Essas oscilações são visualizadas pelo trampolim, e Roberta Sparrow está andando de um lado para o outro em sua caixa de correio.
o que esta postagem me conscientizou, é que a velocidade e o abrandamento da câmera nos apresentam os personagens recorrentes durante a cena do ensino médio tem a ver com a relação de Donnie com essas pessoas. Não concordo com a base dessa relação que o artigo postula - que Donnie "está dando vida ao mundo à medida que ele se aproxima dos personagens e, à medida que se afasta deles, eles diminuem a velocidade novamente"- porque isso já está refutado na cena que mencionei. No entanto, parece que essas variações no andamento são simbólicas do efeito que Donnie terá em suas vidas (como o Manipulado). A desaceleração sugere intimidade, a aceleração da falta de importância temporal.
Kelly: "Well, the longer dialogue with Frank [in the original cut] I believe was just probably the product of novice, you know, bloated screenwriting. Probably to a certain degree. I can’t remember the full conversation. It was probably redundant to a certain degree, or repetitive, maybe. Just too much information. My shots were very stylish and long and drawn out, and those tracking shots -- they’re the kind of shots that, particularly, just add a lot of running time. It’s always been an issue for me. I stage all these fancy shots and then my movies end up being just ridiculously long. It’s hard to cut down. So, that’s the way I like to photograph my films. So, I just think it became more economical to just keep it brief -- keep the conversation brief. You know, he lures him out. There is the date, the time-stamp number. And it’s the end of the world. That’s it -- that’s all you need." #
O espiral é sem dúvida o motivo recorrente mais importante, pois tem a conexão mais direta com "significado" em Donnie Darko.
A escada do Darko's; "Canal de Deus"; o furtivo na sala de aula do professor Kenneth Monnitoff; o unicórnio, em suas diferentes manifestações; óbvio no centro do motor a jato (o Artefato) que cai no quarto de Donnie; menos evidente no caráter de Frank, como a espiral de Fibonacci tem suas origens na pesquisa do crescimento de populações de coelhos, rotação no tempo é usado cinematograficamente quando o colégio de Donnie e seus personagens correspondentes são apresentados, e durante a festa de Donnie e Elizabeth.
O vórtice encerra os eventos do filme, sendo o agente das duas seqüências de eventos.
The unique angles, pans, glides and dolly effects that Kelly uses throughout the film add a stylistic element that accentuates its nonconformist plot. Throughout the film, Kelly manipulates time and perception with his camerawork and editing. Often times he uses slow motion followed immediately by fast motion, underscoring not only the theme of suburban automation, but also god’s control – in the context of this film – over the dimension of time and the fate of the people of Middlesex. +
Fontes:
* https://www.indiewire.com/2014/11/lessons-from-legendary-donnie-darko-cinematographer-67544/
° https://nofilmschool.com/2017/04/richard-kelly-interview-donnie-darko-rerelease-restoration
# https://nofilmschool.com/2014/03/lessons-learned-aff-script-screen-donnie-darko-writerdirector-richard-kelly
+ https://www.filminquiry.com/donnie-darko-third-theatrical-time/
http://www.blogtalkradio.com/moviegeeksunited/2013/09/04/the-art-of-cinematography-steven-poster [áudio]