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Lars von Trier



Von Trier suffers from multiple phobias, including an intense fear of flying. As the director once put it, "Basically, I'm afraid of everything in life, except filmmaking." His fear of air travel frequently places severely limiting constraints on him and his crew, necessitating that virtually all of his films be shot in either Denmark or Sweden, even those set in the United States or other foreign countries. Von Trier has had a number of his films featured at the Cannes Film Festival over the course of his career, and each time has insisted on driving from Denmark to France for the festival and back.

On numerous occasions von Trier has also stated that he suffers from occasional depression which renders him incapable of performing his work and unable to uphold social relations.

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Filming techniques

Lars von Trier has said that “a film should be like a rock in the shoe”. In order to create original art he feels that filmmakers must distinguish themselves stylistically from other films, often by placing restrictions on the filmmaking process. The most famous restriction is the cinematic "vow of chastity" of the Dogme95 movement with which he is associated, though only one of his films, The Idiots, is an actual Dogme 95 film. In Dancer in the Dark, dramatically-different color palettes and camera techniques were used for the "real world" and musical portions of the film, and in Dogville everything was filmed on a sound stage with no set where the walls of the buildings in the fictional town were marked as a line on the floor.

Von Trier often shoots his scenes for longer periods than most directors to encourage actors to stay in character. In Dogville he let actors stay in character for hours, in the style of method acting. These techniques often put great strain on actors, most famously with Björk during the filming of Dancer in the Dark. Like many auteurs, he uses the same regular group of actors in many of his films. Some of his frequently used actors are Jean-Marc Barr, Udo Kier and Stellan Skarsgård.

He is heavily influenced by the work of Carl Theodor Dreyer and the film The Night Porter. He was so inspired by the short film The Perfect Human directed by Jørgen Leth that he challenged Leth to redo the short five times in feature film The Five Obstructions.

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Trilogies

Von Trier has on occasion referred to his films as falling into thematic and stylistic trilogies. This pattern began with his first feature film, marking the beginning of The Europe Trilogy, though he claims a trilogy was not initially planned, instead being applied to the films in retrospect. The Europe trilogy illuminated the traumas of Europe in the past and future. This trilogy includes The Element of Crime (1984), Epidemic (1988) and Europa (1991).

The Golden Heart trilogy was about naive heroines who maintain their 'golden hearts' despite the tragedies they experience. This trilogy includes Breaking the Waves (1996), The Idiots (1998) and Dancer in the Dark (2000). While all three films are sometimes associated with the Dogme 95 movement, only The Idiots is a certified Dogme 95 film.

The USA - Land of Opportunities trilogy follows the character of Grace, and is set in a stylized American past. Von Trier has stated he was inspired to make a trilogy about the United States as a reaction to Americans at the Cannes film festival who said he had no right to make the Dancer in the Dark,[4] which was often viewed as being critical of a country he has never been to (and has no intention of ever visiting, due to his phobia of travel); however, von Trier himself has stated in interviews he did not intend it to be a criticism of America, saying the film takes place in a "fictional America." Lars von Trier proposed the films as ‘a series of sermons on America’s sins and hypocrisy’, inspired by the fact that American movie makers have made many movies about places across the world to which they have not travelled. All three movies will be shot in the same distinctive style, on a bare sound stage with no set and buildings marked by lines on the floor. This style is inspired by 1970s televised theatre. The trilogy consists of Dogville (2003), Manderlay (2005) and Wasington [sic] (in production).

The Kingdom (Riget) was planned as a trilogy of three seasons with 13 episodes in total, but the third season was not filmed due to death of star Ernst-Hugo Järegård shortly after completion of the second season.

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Feature filmography

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Television filmography

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Short filmography

  • Orchidégartneren / The Orchid Gardener (1977)
  • Menthe - La bienheureuse (1979)
  • Nocturne (1980)
  • Den sidste detalje / The Last Detail (1981)
  • Befrielsesbilleder / Images of a Relief (1982)
  • Chacun son cinéma / To Each His Own Cinema (segment: "Occupations") (2007)

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References

  1. ^ In "Trier on von Trier", by Stig Bjorkman, 2005
  2. ^ See here. An article by Karen Durbin in the Good Weekend, entitled "Every Dane has his Dogma," and dated June 17, 2000, states (p. 35): "Von Trier is a red-nappy baby. His mother was a Communist, his father a Social Democrat, and both worked in Denmark's social services ministry. They met during World War II in Sweden after fleeing the Nazi occupation of Denmark, 'my father because he was Jewish and my mother because she was in the Resistance.' They were also dedicated nudists (although less so than the relative von Trier describes who kept his apartment warm and 'was always completely naked, on principle'). His childhood included occasional holidays at nudist camps. 'It was very strange,' he says. 'Kind of charming'." In the book, Lars von Trier: Interviews (edited by Jan Lumholdt), von Trier makes numerous references to his "culturally radical" upbringing and its consequences, for instance the following (p. 109): "Religion was totally forbidden, and it has always interested me. At the same time I'm a neurotic person and my biggest problem in life is control or the lack of control. [...] As a child, you create all kinds of rituals to maintain control. I was very scared of the atom bomb, so every night when I went to bed I had to perform all these rituals to save the world. And from a psychological point of view, religion is a continuation of these childhood rituals, which are there to prevent everything from reverting back to chaos." And (on p. 116), von Trier explains the consequences of his unusual upbringing for his adult and professional life: "I think that these ideas about control and chaos stem from my upbringing, which was unbelievably lax. There were no rules whatsoever, which creates a lot of problems, like deciding when you should go to the dentist, because everything's up to you yourself. And in that case, you end up not getting things done and that creates a lot of anxiety. I also had to force myself to do my homework, because no one told me when I had to do it. When there's nobody to enforce discipline upon you, then you have to enforce it from within. That, in return, has made me incredibly disciplined at my work today—I work all the time. But at the same time it's a tremendous source of anxiety that everything is your decision. Of course this has given me great faith in my own creativity—almost like a christening gift."
  3. ^ a b Starpulse.com Biography
  4. ^ a b c The Tomb: Lars von Trier Interview
  5. ^ Lars von Trier fan site biography
  6. ^ Stranger than fiction Sydney Morning Herald, December 22, 2003

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External links

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Movies by Lars von Trier
v • d • e
Cinema of Denmark

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Persondata
NAME Trier, Lars von
ALTERNATIVE NAMES Trier, Lars
SHORT DESCRIPTION Film director
DATE OF BIRTH April 30, 1956 (1956-04-30) (age 52)
PLACE OF BIRTH Copenhagen, Denmark
DATE OF DEATH
PLACE OF DEATH



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