“Crash” e “obrigado amie”

Mais uma contribuição relativa ao pedido de fotos. “Obrigado amie”, espero que gostes…

Já agora, um bocadinho de publicidade, já que foi a primeira contribuição fora do grupo de amigos, ou amigos de amigos. Aconselho o blog da amie (Máquina de Café), pelos textos, fotos e, pelo grupo de “comentadores” que a vão acompanhando. Passem por lá hoje ainda…

Do script de Crash:

James rides in Vaughan's car. Vaughan drives aggressively, rolling the heavy car along the access roads, holding the battered bumpers a few feet behind any smaller vehicle until it moves out of the way.
VAUGHAN I've always wanted to drive a crashed car.
JAMES You could get your wish at any moment.
VAUGHAN No, I mean a crash with a history. Camus' Facel Vega, or Nathaniel Nest's station wagon, Grace Kelly's Rover 3500. Fix it just enough to get it rolling. Don't clean it, don't touch anything else.
JAMES Is that why you drive this car? I take it that you see Kennedy's assassination as a special kind of car-crash?
VAUGHAN The case could be made.

They approach a major intersection. For almost the first time on this drive Vaughan applies the brakes.

The heavy car sways and goes into a long right-hand slide which carries it across the path of a taxi. Flooring the accelerator, Vaughan swerves in front of it, tires screaming over the blaring horn of the taxi.As they settle down, Vaughan reaches behind him and lifts a briefcase off the back seat.

VAUGHAN Take a look at this and tell me what you think.
James opens the briefcase and slides out a thick packet of glossy photographs, all of them marked up with colored ink pens.

They are photos culled from a variety of sources – newspapers, magazines, video stills, film frames – blown up to uniform 8x10 size. Each one depicts a famous crash victim in the prime of life, and each one has the wounds to come marked up in a very explicit way – lines circling their necks and pubic areas, breasts and cheekbones shaded in, section lines across their mouths and abdomens. Handwritten notes complement the circles and arrows.

A second packet of photos shows the cars in which these famous people died, and each of these photos is marked to show which parts of the cars destroyed or fused with which famous body part – for example, a closeup of the dashboard and windshield from the Camus car – Michel Gallimard's Facel Vega – is marked "nasal bridge", "soft palate", "left zygomatic arch".

JAMES It's very... satisfying. I'm not sure I understand why.
VAUGHAN It's the future, Ballard, and you're already part of it. For the first time, a benevolent psychopathology beckons towards us. For example, the car crash is a fertilizing rather than a destructive event – a liberation of sexual energy that mediates the sexuality of those who have died with an intensity impossible in any other form. To fully understand that, and to live that... that is my project.
JAMES What about the reshaping of the human body by modern technology? I thought that was your project.
VAUGHAN A crude sci-fi concept that floats on the surface and doesn't threaten anybody. I use it to test the resilience of my potential partners in psychopathology.

The traffic has jammed up to a walking pace. Using his horn, Vaughan forces the drivers in the slower lanes to back up and let him across onto the hard shoulder. Once free, he accelerates past the lines of traffic, occasionally scraping the right flank of the Lincoln against the cement divider.
In the distance looms the airport car-park.

Quando vi o filme, nunca pensei dizer bem dele… Achei na altura demasiado forte (esta coisa de acidentes faz-me alguma confusão). Não o voltei a ver… recordo-me sempre das cicatrizes…

Escolhi este filme para as fotos porque me lembraram das assombrosas cenas de perseguição.