Theo Angelopoulos began to study law in Athens but broke up his studies to go to the Sorbonne in Paris in order to study literature. When he had finished his studies, he wanted to attend the School of Cinema at Paris but decided instead to go back to Greece. There he worked as a journalist and critic for the newspaper "Demokratiki Allaghi" until it was banned by the military after a coup d'état. Now unemployed, he decided to make his first movie, Reconstruction (1970). Internationally successful was his trilogy about the history of Greece from 1930 to 1970 consisting of Days of 36 (1972), The Travelling Players (1975), and The Hunters (1977). After the end of the dictatorship in Greece, Angelopoulos went to Italy, where he worked with RAI (and more money). His movies then became less political.IMDb Mini Biography By: Volker Boehm
|Phoebe Economopoulou||(1980 - 24 January 2012) (his death) 3 children|
Extremely long, elaborately staged takes
Shots in his films often drift back and forth in time
Often shoots with rainy, wintry and moody weather in provincial Greece
Uses long, static takes combined with complex tracking shots and beautiful landscape photography.
Ancient student at L'IDHEC (La FEMIS)
Biography in John Wakeman, editor, "World Film Directors, Volume Two, 1945-1985," pp. 55-59. New York: The H.W. Wilson Company, 1988.
Member of the jury at the Cannes Film Festival in 1987
Member of the jury at the Berlin International Film Festival in 1978
Works frequently with composer Eleni Karaindrou.
Often works with cinematographer Giorgos Arvanitis and Andreas Sinanos, composer Eleni Karaindrou, sound mixer Thanassis Arvanitis, set designer Mikes Karapiperis, writers Tonino Guerra, Petros Markaris, Thanassis Valtinos and film editor Giorgos Triandafyllou.
Women more than men are tragic figures. My mother, for example, was Antigone at times or Hecuba other times. In her life she played different roles.
Prizes are prizes, but I still need to tell that story. And being simple is the hardest thing.
In "Voyage to Cythera" the voyage is really a reworking of the myth of the Return of Odysseus according to a myth which preceded Homer. Similar to Dante's version, there is a pre-Homeric version that Odysseus set sail again after reaching Ithaca. So the film becomes more a leaving than a homecoming. I have a soft spot for the ancient writings. There really is nothing new. We are all just revising and reconsidering ideas that the ancients first treated.
For all of the difficulties, all the frustrations and hardships, filmmaking is, finally, a human adventure...
About "O Megalexandros": "Megalexandros" involves the transformation of a person into a tyrant. It does not aim only at the phenomenon of fascism or of Stalinism, but also any type of power. The view expressed in "Megalexandros" is that of the danger of the transformation of any authority or power, regardless of how good its intentions were at the beginning, into despotism.
About "Oi kynigoi": "The Hunters" reflects how a man of my generation sees Greek history, a history whose continuation blends with the years of my own life. It is a study of the historical conscience of the Greek bourgeoisie. In Greece, the ruling class is afraid of history and, for this reason, hides it. "The Hunters" starts from this premise.
About "O Thiasos": Greek people have grown up caressing dead stones. I've tried to bring mythology down from the heights and directly to the people.
About "Meres tou '36": The dictatorship is embodied in the formal structure of the film. Imposed silence was one of the conditions under which we worked. The film is... made in such a way that the spectator realizes that censorship is involved.
What do I want to happen? I simply want our life here to become more human. We need to return to those places to find much of what is still important and authentic to our lives.
About "The Gaze of Odysseus": Every filmmaker remembers the first time he looked through the viewfinder of a camera. It is a moment which is not so much the discovery of cinema but the discovery of the world. But there comes a moment when the filmmaker begins to doubt his own capacity to see things, when he no longer knows if his gaze is right and innocent.
About "The Suspended Step of the Stork": In dealing with borders, boundaries, the mixing of languages and cultures today, I am trying to seek a new humanism, a new way.
Landscape in the Mist is not just about two children looking for their father. It is a journey which is the initiation into life. On the road they learn everything - love and death, lies and truth, beauty and destruction. The journey is simply a way to focus on what life gives us all.
About "O Melissokomos": It's a gesture of despair at the end, but a the moment when he tips over the beehives, he tries to communicate by tapping on the ground in the way that prisoners tap. Because he's a prisoner of a situation and he tries to communicate with past events.... Beekeepers are poetic beings. They have a rapport with nature, and the gathering of honey is like an artistic activity. He communicates with feelings, and at the end he cannot continue that communication. His final despairing gesture is directed also against the bees themselves, like a sculptor would die by toppling his statue onto himself.
[after winning a prize at Cannes for his work in Ulysses' Gaze (1995) and disappointed for not winning the Palm D'Or]: If this is what you have to give me, I have nothing to say.
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