“Bringing Your Ghosts to Life” – Συνέντευξη με τον Olivier Assayas στο περιοδικό BELIEVER
“BLVR: Regarding the ways in which Something in the Air and A Post-May Adolescence overlap, I’ve been thinking a lot about the patterns of artistic self-realization conveyed in both. Did you ever feel like the decision to become an artist was an inherent compromise to your political convictions?
ASSAYAS: If you were involved in the politics of that time, the early 1970s, and if you were involved in the hopes and ideas of that time, it was very difficult to accept the notion of any kind of work that might alienate. Nothing was acceptable if it did not have a direct relationship with the coming revolution, which was not a question mark, it was not a dream; it was a fact. The revolution was going to happen—so what are you going to do for it? You were not making art for the revolution. Art was petit bourgeois. Art was about individualism, which was anathema to the politics of the time. People were very serious about this. When Jean Eustache made La Maman et la putain it was denounced as petit bourgeois.
BLVR: Which in retrospect is ridiculous.
ASSAYAS: Which in retrospect is demented! But anything that had to do with using the first-person was unacceptable. So when you had those aspirations as a very young man it was difficult to feel accepted or understood in the political context of the time. What does your petit bourgeois art mean to the working class? It was a very difficult question to answer.”
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