The Dust of Time a film by Theo Angelopoulos

The Dust of Time a film by Theo Angelopoulos
More than every
other time an
elegy on human
destiny
The Dust of Time
a film by
Theo Angelopoulos
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THEO ANGELOPOULOS
The Dust of Time
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The story of a love that began in 1953
in the former Soviet Union and journeys in the
world and in the great realm of history to the present
day.
A poetic reckoning of the century that has just ended and a visionary relationship with the century
we are now traversing through a love that challenges time.
Exile, separation, wandering, the collapse of ideologies and the constant test of history.
The central figure is that of a woman. The Eleni of
myth, the Eleni of all myths who is claimed and
claims the absolute of love.
More than every other time an elegy on human
destiny.
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THEO ANGELOPOULOS
The Dust of Time
Theo Angelopoulos
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M
Theo Angelopoulos about his Cinema
A., an American film director, of Greek descent, returns to the
studios in Rome in order to continue shooting a film he had
interrupted for some unknown reason.
The film is the story of the love of a woman, his mother, for the
two men she loved to the very end and who loved her to the very
end. The characters in the film lose each other and find each
other again, seeking each other in a journey in space, time and
the great events of the last half of the 20th century in Siberia,
North Kazakhstan, Italy, Germany, America. From the death of
Stalin, the Watergate scandal and Vietnam to the fall of the Berlin wall, the new era and the traumatic refutation of the dream
of a better world at the turn of the century.
As though in a dream, A. recalls people and events in the past
and painfully relives them in the present. In a deserted Berlin
at the dawn of the 21st century, the snow falls silently on time
past and time passing, on the universe.
y relationship with Cinema began
almost as a nightmare. It was in ’46 or
’47, I don’t quite recall. The post-war
years, a time when a lot of people
were going to the movies and we – the
kids – sneaked in among the jostling
adults standing in line at the box
office, in order to disappear in the
magic darkness of the balcony. I saw
many movies then, but the first one
was a Michael Curtiz film “Angels
With Dirty Faces”.
There’s a scene in the film where the
hero is led to the electric chair by two
guards. As they walk, their shadows
grow larger and larger against the
wall.
Suddenly, a cry… I don’t want to die.
I don’t want to die. For a long time
afterwards this cry haunted my nights.
Cinema entered my life with a shadow
that grew larger on a wall and a cry.
I
began to write at a very early age, at
that same time, overwhelmed by the
tumult and the emotion that the
turbulence of previous History had
created in me.
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The Dust of Time
The sirens of war in 1940.
The German army of occupation
entering a deserted Athens. First
sounds, first images.
Then the Civil War of ’44. The
slaughter.
My father condemned to death.
My mother’s hand trembling in mine
as we searched for his body among
dozens of others, in a field.
A long time later a message from him,
from afar.
His return on a rainy day.
The first stories. The first contact with
words, words in search of an image. I
didn’t know then. I understood quite
some time later when I wrote the words
in my first script.
The words were “it’s raining”.
I
n my days, Homer and the ancient
tragic poets constituted part of the
school curriculum. The ancient myths
inhabit us and we inhabit them.
We live in a land full of memories,
ancient stones and broken statues.
All contemporary Greek art bears the
mark of this coexistence.
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It would be impossible for the path I
have followed, the course I have
taken, for my thinking not to have
been infused by all this.
As the poet says, “they emerged from
the dream, as I entered the dream. So
our lives were joined together and it
will be very difficult to part them
again.”
From very early on my relationship
with literature and poetry brought me
close to all the investigations, whether
of language or aesthetics, of
modernism.
Later, in the beginnings of the ’60’s, in
Paris, in the days of political activism,
Brecht’s epic theater which refuted, up
to a point, Aristotle’s definition of
dramatic art, was becoming a point of
reference.
It was years before I went back to
Aristotle and his definition of tragedy:
“Tragedy is an imitation of a worthy or
illustrious and perfect action…”
It was years before I discovered that
Molly’s monologue in the last chapter
of James Joyce’s “Ulysses” is nothing
but the distant echo of the astonishing
description of Achilles’ arms from
Homer’s “Iliad”.
“R
econstruction”, my first film,
was born in the period of the
dictatorship of the colonels as an
attempt to piece together the truth out
of its fragments. Reconstruction not as
a goal, but as a journey. The little
stories as they are reflected but also
determined by the greater History.
The father as symbol, presence and
absence, as a metaphorical concept as
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The Dust of Time
well as a point of reference.
The journey, borders, exile.
Human fate.
The eternal return.
Themes that pursued me and still
pursue me.
All my obsessions enter and exit my
films, as the instruments of an
orchestra enter and exit, as they fall
silent only to reemerge later.
We are condemned to function with
our obsessions. We make but one film,
we write but one book.
Variations and fugues on the same
theme.
M
any of those who have done me
the honour of concerning
themselves with my work think that
my manner of writing is the result of
political choice.
That’s not quite how it is. Of course,
while I was shooting “Days of ’36”, a
film about dictatorship during a time
of dictatorship, so it was impossible to
use direct references I sought a secret
language. The allusions of History.
The “dead time” of a conspiracy.
Suppression. Elliptical speech as
aesthetic principle. A film in which
all the important things appear to take
place off camera.
But my choice of long takes does not
stem from this fact.
Working with long takes was not a
logical decision. I have always thought
it was a natural choice. A need to
incorporate natural time in space, as
unity of space and time.
A need for the so-called “dead time”
between action and expectation of
action, which is usually eliminated by
the editor’s scissors, to function
musically, like pauses.
A concept of the shot as a living cell
which inhales, delivers the main word
and exhales. A fascinating and
dangerous choice which continues to
the present day.
I
have been working with the same
team of collaborators since the time
I began.
They know me, I know them. With the
years they have become my family.
They often make me angry when we
work; I miss them when I don’t see
them.
I feel uncertain when a new
technician joins the team, as though
everything depends on him.
I talk to them about my plans and my
uncertainties. So many years have
gone by and still the same agitation,
the same uncertainty, the same need
for us to be close, holding our breath,
waiting for the end of the shot.
V
oyages, partings, wanderings.
A car, a photographer friend
driving in silence and the road.
Very often I think that my only home,
the only place where I feel a sense of
equilibrium, a peace of mind, is
sitting next to my friend who’s driving.
The open window, the landscape
flitting past.
Images are born during these
journeys. I don’t have to keep notes.
They are born with their silhouettes,
with their colours, with their style,
very often with their camera
movements as well, with their
aesthetic balances, with their light.
The hundreds of photographs serve as
memory. But nothing ends before the
film is shot.
During the shooting of the film
everything is recreated on the basis of
the new reality.
Actors, unforeseen events, fortunate or
unfortunate, sudden ideas.
And yet the beginning has preceded
it. Long before. From the time when
out of nothing, the idea for the film is
born.
A
lmost thirty years have gone by
since my first film.
I could paraphrase Elliot and say:
So here I am, in the middle way.
My years largely wasted amid the
rages of History,
still trying to learn to use images.
And my every attempt is a wholly new
start and a kind of failure
because we only learn when we no
longer have to express ourselves.
And so each new venture is a new
beginning in the general mess of
imprecision of feeling.
Undisciplined squads of emotion.
A raid on the inarticulate.
To recover what has been lost, and
found, and lost again.
To recover…
In my end is my beginning.
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BIOS
Theo Angelopoulos
Born in Athens on April 27, 1935
EDUCATION: University of Athens: Faculty of Law
Sorbonne, Paris France: Literature, Filmology,
Anthropology Institut des Hautes Etudes
Cinematographiques (IDHEC), Paris France: Cinema
Worked as a film critic at Athens newspaper
“Dimokratiki Allaghi” from 1964-1967
FILMS: 35mm
1965 FORMINX STORY, feature, unfinished
1968 THE BROADCAST,(EKPOMPI) short
Critics’ Prize, Thessaloniki Film Festival
1970 RECONSTRUCTION,(ANAPARASTASI) feature Best Director, Thessaloniki Film
Festival (1971) Best Cinematography,
Thessaloniki Film Festival (1971)
Best Film, Thessaloniki Film Festival (1971)
Best Actress, Thessaloniki Film Festival
(1971) Critics’ Prize, Thessaloniki Film
Festival (1971) Best Foreign Film, Hyeres
Film Festival (1971) Georges Sadoul Award
(1971) Special Mention, FIPRESCI (Federation Internationale de la Presse
Cinematographique), Berlin (1971)
1972 DAYS OF ‘36, (MERES TOU ’36) feature
Directors’ Fortnight, Cannes Film Festival
(1973) FIPRESCI Award, Berlin Film
Festival (1973) Best Director, Thessaloniki
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1975
1977
1980
1981
1982
1984
1986
1988
Film Festival (1973) Best Cinematography,
Thessaloniki Film Festival (1973)
THE TRAVELLING PLAYERS,
(O THIASSOS) feature Directors’ Fortnight,
Cannes Film Festival (1975) FIPRESCI
Grand Prix, Cannes (1975) Interfilm Award
Berlin «Forum» (1975) Best Film of the
year, Golden Age Award, Brussels (1976)
Best Film of the Year, British Film Institute
(1976) Best Film, Thessaloniki Film Festival
Grand Prix of the Arts, Japan Best Film of
the Year, Japan Best Film in the World
1970-1980, Italian Critics’ Association
FIPRESCI 40th Best Film in the History
of Cinema
THE HUNTERS, (I KYNIGI) feature
Official Selection, Cannes Film Festival
(1977) Golden Hugo Award, Chicago Film
Festival (1978)
MEGALEXANDROS, feature
Gold Lion, Venice Film Festival (1980)
FIPRESCI Award, Venice Film Festival
(1980) New Cinema Award, Venice Film
Festival (1980)
ONE VILLAGE, ONE INHABITANT,
(HORIO ENA, KATIKOS ENAS)
documentary
ATHENS, RETURN TO ACROPOLIS
(ATHINA, EPISTROFI STIN AKROPOLI)
television documentary
VOYAGE TO CYTHERA, (TAKSIDI STA KYTHIRA) feature Best Screenplay, Cannes
Film Festival (1984) FIPRESCI Award,
Cannes Film Festival (1984) Critics Award,
Rio Film Festival
THE BEEKEEPER, (O MELISSOKOMOS) feature Official Selection, Venice Film
Festival
LANDSCAPE IN THE MIST,
(TOPIO STIN OMICHLI) feature
Silver Lion, Best Director, Venice Film
Festival (1988) FIPRESCI, Venice Film Festival (1988) CICAE Art House Prize
(1988) Pasinetti Award (1988) Golden Hugo
Award, Chicago Film Festival (1988) Silver Plaque for Best Cinematography, Chicago
Film Festival (1988) Felix Award, Best
European Film of the Year (1989)
1991 THE SUSPENDED STEP OF THE STORK,
(TO METEORO VIMA TOU PELARGOU) feature Official Selection, Cannes Film
Festival (1991)
1995 ULYSSES’ GAZE, (TO VLEMMA TOU
ODYSSEA) feature Grand Prix, Cannes Film
Festival (1995) FIPRESCI Award, Cannes
Film Festival (1995) Felix Award, Best
European Film of the Year (1995)
1998 ETERNITY AND A DAY, (MIA EONIOTITA KAI MIA MERA) feature
Gold Palm Award, Cannes Film Festival
(1998) Ecumenical Prize, Cannes Film
Festival (1998)
2004 TRILOGY: THE WEEPING MEADOW,
(TRILOGIA: TO LIVADI POU DAKRIZI)
feature Official Selection, Berlinale 2004
2008 THE DUST OF TIME,
(I SKONI TOU CHRONOU) feature
HONORS AND DISTINCTIONS:
1985 Chevalier de l’Ordre des Arts et des Lettres,
by the Cultural Ministry of France
1992 Chevalier de la Legion d’honneur, by the
President of the French Republic
1995 Docteur Honoris Causa, from «l’Universite
Libre de Bruxelles», Belgium
1997 Officier de l’Ordre des Arts et des Lettres,
Centre National de la Cinematographie, Department of Arts and Letters, France
1999 Officier de la Legion d’honneur, by the
President of the French Republic
1999 Docteur Honoris Causa, from « l’Universite
Paris X Nanterre », France
2001 Docteur Honoris Causa, from the University
of Essex, England
2004 Docteur Honoris Causa, from «l’ Université
Stendhal-Grenoble3», France
2005 Grande Officiale del Ordine al Merito della
Reppublica Italiana, Italy
2007 Docteur Honoris Causa, from the University
of Sheffield, England
2008 Docteur Honoris Causa, from “Universita di
Roma”, Italy
2008 Docteur Honoris Causa, from “The
University of West Macedonia”, Greece
Willem Dafoe
Actor
In 1979, Willem Dafoe was given a small role in
Michael Cimino's Heaven's Gate from which he was
fired. His first feature role came shortly after in
Kathryn Bigelow's The Loveless. From there, he went
on to perform in over 60 films - in Hollywood
(Spiderman, The English Patient, Finding Nemo,
Once Upon a Time in Mexico, Clear and Present
Danger, White Sands, Mississippi Burning, Streets of
Fire) and in independent cinema in the U.S. (The
Clearing, Animal Factory, Basquiat, The Boondock
Saints, American Psycho) and abroad (von Trier's
Manderlay, Yim Ho's Pavillion of Women, Yurek
Bogayevicz's Edges of the Lord, Wenders' Far Away so
Close, and Brian Gilbert's Tom & Viv).
He has chosen projects for diversity of roles and
opportunities to work with strong directors. He has
worked in the films of Wes Anderson The Life Aquatic,
Martin Scorsese The Aviator, The Last Tempation of
Christ, Paul Schrader Auto Focus, Affliction, Light
Sleeper, The Walker, David Cronenberg Existenz, Abel
Ferrara New Rose Hotel, David Lynch Wild at Heart,
William Friedkin To Live and Die in LA, and Oliver
Stone Born on the Fourth of July, Platoon.
He was nominated twice for the Academy Award
Platoon and Shadow of the Vampire and once for the
Golden Globe. Among other nominations and awards,
he received an LA Film Critics Award and an
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Independent Spirit Award.
Recent projects include Anamorph, Mr. Bean's
Holiday, Spike Lee's Inside Man, Paul Weitz's
American Dreamz, the Nobuhiro Suwa segment of
Paris, Je t'aime and Giada Colagrande's Before It Had
a Name (which was co written by Mr. Dafoe).
Upcoming films include Lars Von Trier's Anti Christ,
Fireflies in the Garden starring opposite Julia Roberts,
Christian Carion's Farewell, Theo Angelopoulos' The
Dust of Time, Paul Schrader's Adam Resurrected, Abel
Ferrara's Go Go Tales, Paul Weitz's Cirque du Freak,
Wes Anderson's The Fantastic Mr. Fox and the
Lionsgate's Daybreakers co-starring with Ethan
Hawke. Dafoe is one of the founding members of The
Wooster Group, the New York based experimental
theatre collective. He has created and performed in
the group's work from 1977 thru 2005, both in the
U.S. and internationally.
Bruno Ganz
Actor
One of Europe’s most honored stage and screen
actors, Bruno Ganz has performed in both mediums
since 1961, when he sojourned from his native
Switzerland to Berlin. In 1970, he co-founded (with
Peter Stein) the theatre company, “Schaubuehne of
Berlin.” By the mid-70s he was evolving an
international cinema career, aided by fluency in the
five major European languages. The artist’s breakthrough film was Eric Rohmer’s The Marquise of O
(1976), in which he played a dashing count. He was
declared Best Actor of the year by the German Film
Awards and the film itself received the Cannes Film
Festival’s Special Jury Prize.) Ganz soon became a
leading figure of the New German Cinema in such
films as The Wild Duck (1976), Knife in the Head
(1978) and Nosferatu (1979). His first English
language film was the 1978 thriller, The Boys from
Brazil.
Ganz enjoys a close creative partnership with director
Wim Wenders, with whom he has made three notable
films, The American Friend (1977), opposite Dennis
Hopper; Wings of Desire (1987), in which he
memorably played the lovelorn angel; and Far Away,
So Close! (1993).
More recently, the actor’s career reached new heights
with two hugely successful but utterly different films,
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THEO ANGELOPOULOS
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Silvio Soldini’s Bread and Tulips (2000), and The
Downfall (2005), directed by Oliver Hirschbiegel.
The Italian film, a poignant fable about love and
fulfillment, brought Ganz the David di Donatello
Award and Swiss Film Award as Best Actor. He was
equally honored for The Downfall and made history as
the first German-speaking actor to portray Hitler. The
film, hugely successful, was an Oscar nominee and
Ganz himself was voted Best Actor at the European
Film Awards, among others.
In 1996, Ganz was honored with the distinguished
Iffland-Ring, given for two centuries to the most
important actor in German-speaking theatre. He
further proved this honor was well deserved in 2000
when he played the lead in a 13-hour stage
performance of Goethe’s Faust I & II. Ganz continues
to explore a variety of intriguing roles in international
productions, including the Japanese film, Baruto no
Gakuen and Vitus, the much-admired Swiss Oscar
entry for 2006. He was personally honored with a
retrospective tribute at the 2006 Montreal World Film
Festival. He will appear in one film in 2007, Der
Baader-Meinhof Komplex, directed by Uli Edel. In
2008 he will appear in the The Dust of Time, a new
film by legendary Greek auteur Theo Angelopoulos.
Michel Piccoli
Actor
Michel Piccoli (born December 27, 1925) is a French
actor who has worked with Jean Renoir, Jean-Pierre
Melville, Jean-Luc Godard (in le Mépris, where he
formed a legendary couple with Brigitte Bardot),
Claude Lelouch, Jacques Demy, Claude Sautet, Louis
Malle, Agnès Varda, Leos Carax, Luis Buñuel, CostaGavras, Alfred Hitchcock, Marco Ferreri, Jacques
Rivette, Otar Iosseliani and Jacques Doillon.
He is an extremely versatile actor who can take on all
kinds of different roles, from seducer to cop to
gangster, with a predilection in the 70s and 80s for
ambiguous roles in which he excels.
He has appeared in more than 170 movies.
He was born in Paris to a musical family; his mother
was a pianist and his father a violinist. He was
married three times, first to Éléonore Hirt, then for
eleven years to the singer Juliette Gréco and finally to
Ludivine Clerc. He has one daughter by his first
marriage, Anne-Cordélia.
Filmography
Destinées (1954) La mort en ce jardin (1956) Le
Doulos (1962) Contempt (Le Mépris, 1963) Diary of a
Chambermaid (1964) La Chance et l'Amour (1964)
The Sleeping Car Murders (1965) Dom Juan ou le
Festin de Pierre (1965, TV) Is Paris Burning? (1966)
La Curée (The Game is Over) (1966) La Guerre est
finie (1966) Belle de jour (A Bela da Tarde, 1967)
Les Demoiselles de Rochefort (1967) Benjamin
(1968) Danger: Diabolik (1968) La Chamade (1968)
Dillinger Is Dead (Dillinger è morto, 1969) La Voie
lactée (1969) Topaz (1969) Les Choses de la vie
(1970) Max et les ferrailleurs (1971) The Discreet
Charm of the Bourgeoisie (Le charme discret de la
bourgeoisie, 1972) La Grande Bouffe (The Grande
Bouffe or Blow-Out, 1973) Themroc (1973) Le
fantôme de la liberté (1974) Le Trio infernal (1974)
Vincent, Paul, François, et les Autres (1974) Sept
morts sur ordonnance (1975) La Dernière femme
(1976)
Mado (1976) Des enfants gatés (1977) That Obscure
Object of Desire (1977) Atlantic City (1980) Espion
Lève-toi (1981) La Fille prodigue (1981) Une étrange
affaire (1981) La Passante du Sans-Souci (1982)
Passion (1982) Une chambre en ville (1982) Le Prix
du Danger (1983) Viva la vie (1984) La Diagonale du
Fou (1984) Péril en la demeure (1985) Partir, revenir
(1985) Mon beau-frère a tué ma soeur (1986)
Le Paltoquet (1986) La Puritaine (1986) Mala Sangre
de Leos Carax(1986) Milou en Mai (1990) La Belle
Noiseuse (1991) Le Visionarium (The Timekeeper,
1992) Les Cent et une Nuits de Simon Cinéma (1995)
Passion in the Desert (1997) Gardens in Autumn
(2006) Belle Toujours (2007) De la guerre (2008) The
Dust of Time (2008)
Irene Jacob
Actress
After spending her childhood in Switzerland, Irène
Jacob returned to her native France in 1984 and
enrolled in the Rue Blache School in Paris. She made
her film debut in 1987 in Au revoir les enfants
(Goodbye, children) directed by Louis Malle in which,
despite her short role, she was noticed by Krzysztof
Kieslowsky who gave her the lead in his 1991 film La
double vie de Véronique (The double of life of
Veronique) for which she son the Best Actress Award
at the Cannes Film Festival. In 1993 her second
Kieslowsky film Trois couleurs: rouge (Three colors:
Red) won her a European Film Award Best Actress
nomination, huge international recoginition and a host
of offers.
Irène Jacob has worked with celebrated directors on
both sides of the Atlantic, including Michelangelo
Antonioni, Oliver Parker, Slavomir Idziak, Eldar
Riazanov, Mark Peploe, Hugh Hudson, Stuart Baird,
George Hickenlooper, Hilka Jarvilaturu, Serge Le
Perron and Rémi Waterhouse.
Since her stage debut in Michelle Venard’s “Un reve
excellent” she has also pursued a distinguished
career in the theater and in 1999 was acclaimed by
both audiences and critics for her performance in
“Resonances”, directed by Irina Brook. In 2000 she
appeared in the title role in “Madame Melville” ,
directed by Richard Nelson where she co-starred with
Macaulay Culkin.
Filmography
2008 The dust of time (directed by Theo
Angelopoulos) - Eleni, 2007 Nessuna qualità agli eroi
(Fallen Heroes) – Anne, 2007 The Inner Life of
Martin Frost – Claire Martin, 2006 La Educación de
las hadas (The Education of Fairies) – Ingrid, 2004
Nouvelle-France (Battle of the Brave) – Angélique de
Roquebrune, 2004 Automne (Autumn) – Michelle,
2004 The Pornographer: A Love Story (2004) 2003
Nés de la mère du monde [TV] – Clara Sidowski,
2003 La Légende de Parva – voice of La mère de
Parva, 2002 Mille millièmes (The Landlords) – Julie,
2001 Londinium (Fourplay) – Fiona Delgrazia, 2001
Lettre d'une inconnue (Letter from an Unknown
Woman) [TV] – unknown woman, 2001 Léaud
l'unique [TV] 2000 L'Affaire Marcorelle (The
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Marcorelle Affair) – Agneska, 1999 History Is Made
at Night (Spy Games) – Natasha Scriabina/Anna
Belinka,
1999 My Life So Far - Aunt Heloise, 1999 The Big
Brass Ring – Cela Brandin, 1999 Cuisine chinoise Patricia, 1998 Cuisine américaine (American Cuisine
(film)) – Gabrielle Boyer,
1998 U.S. Marshals – Marie Bineaux, 1998 Jack's
potes, 1997 Incognito – Prof. Marieke van den
Broeck, 1995 Othello – Desdemona, 1995 Faire un
film pour moi c'est vivre, 1995 All Men Are Mortal Regina, 1995 Beyond the Clouds (Al di là delle
nuvole) – the girl, 1995 Fugueuses (Runaways) –
Prune, 1995 Victory – Alma, 1994 Three Colors:
Red (Trois couleurs: Rouge) – Valentine Dussaut,
1993 Predskazaniye (The Prediction) – Lyuda , 1993
The Secret Garden – Mrs. Lennox/Lilias Craven,
1993 Claude (Trusting Beatrice) – Beatrice,
1992 Enak – Lucille Spaak, 1992 Le Moulin de
Daudet (Daudet's Windmill) – Mme Daudet,
1991 The Double Life of Véronique (La Double vie
de Véronique) – Weronika/Véronique, 1991 Le
Secret de Sarah Tombelaine (The Secret of Sarah
Tombelaine) – Sarah, 990 La Veillée (The Van Gogh
Wake) – Johanna, 1989 Nick chasseur de têtes [TV]
1989 Les Mannequins d'osier – Marie, 1989 Erreur
de jeunesse – Anne, 1988 La Bande des quatre (The
Gang of Four) – Marine, 1987 Au revoir, les enfants
(Goodbye, Children) – Mlle Davenne.
Awards
2002 Krzysztof Kieslowski Award (Camerimage),
1995 BAFTA Film Award Best Actress Nomination
for Three Colors: Red. 1995 César Best Actress
Award Nomination for Three Colors: Red. 1994 Nika
Award Best Actress Nomination for Predskazaniye.
1993 Sant Jordi Best Foreign Actress Award for The
Double Life of Véronique. 1992 César Best Actress
Award Nomination for The Double Life of Véronique.
1991 Cannes Film Festival Award for Best Actress for
The Double Life of Véronique.
Christiane Paul
Andreas Sinanos
France] THE DUST OF TIME (2008) by Theo Angelopoulos
Actress
Cinematographer
[Greece, Italy, Germany, Russia]
Christiane Paul has appeared in more than 30 feature
films and telefilms. Her breakthrough came in the
telefilms Life is all you get and Workaholic as well as
with the feature films In July and Marlene. She has
won the Bayerischer Filmpreis, the Goldene Kamera
and the Max Ophpüls Prize. In 2008 she appeared in
Iwanow by Anton Tschechow at the Schauspielhaus
Düsseldorf. She made her stage debut in 2004 in Der
Auftrag by Heiner Müller. Christiane Paul is a doctor
of medicine and received her license to practise in
2002.
Films (Selection)
2008 THE DUST OF TIME Theo Angelopoulos.
LIPPEL’S DREAM Lars Büchel.
LAURA - OB IHR WOLLT ODER NICHT Ben
Verbong. LARA Bernd Schadewald.
2007 VORNE IST VERDAMMT WEIT WEG Thomas
Heinemann. THE WAVE Dennis Gansel.
2006 EIN VERLOCKENDES ANGEBOT Tim
Trageser. COPACABANA Xaver Schwarzenberger.
WIXXER II Thomas Heinemann.
2005 THE NIGHT OF THE GREAT FLOOD
Raymond Lay.DIE TOTE VOM DEICH Matti
Geschonneck. REINE FORMSACHE Ralf Hüttner.
2004 NO SWEAT Eoin Moore.KÜSS MICH HEXE
Diethard Küster.
2003 AUSSER KONTROLLE Christian Görlitz.
2001 I’M THE FATHER Dani Levy.
1999 IN JULY Fatih Akin. FRIENDS/TRUST ME
Martin Eigler. MARLENE Josef Vilsmaier.
1998 HEADS YOU WIN, TAILS YOU LOSE HansGünther Bücking.
1996 KNOCKIN' ON HEAVEN'S DOOR Thomas
Jahn.
1995 WORKAHOLIC (BAYERISCHER FILMPREIS)
Sharon von Wietersheim.
LIFE IS ALL YOU GET Wolfgang Becker.
1994 EX (MAX OPHÜLS PREIS) Mark Schlichter.
1993 UNTER DER MILCHSTRASSE M.X. Oberg.
1992 ICH UND CHRISTINE Peter Stripp.
1991 DEUTSCHFIEBER Niklaus Schilling.
Born in Andravida, Greece.From 1975 to1983 he
worked as assistant cameraman.Since 1983, Andreas
Sinanos has worked as a free lance cinematographer
ona number of television series, telefilms,
documentaries and several shorts. He has done the
cinematography on the following features:
HAPPY HOMECOMING, COMRADE [1985] by Lefteris
Xanthopoulos. Locarno International Film Festival 1986.
OLGA ROBARDS [1987] by Christos Vakalopoulos.
Best Cinematography Award, Thessaloniki Film Festival
1987. DOUZE MOTS OU L' HERITAGE DE LA
CHOUETTE [1988-99] by Chris Marker.
THE CROSSING [1989] by Vassiliki Iliopoulou.
Best Cinematography, Ministry of Culture Award.
IMPOSSIBLE ENCOUNTER [1989] by Takis Antonopoulos.
MASTER OF THE SHADOWS [1990-91] by Lefteris
Xanthopoulos. Cannes 1991, Quinzaine Des Realizateurs.
Best Cinematography Award, Thessaloniki Film Festival.
EQUINOX [1991] by Nikos Cornelios.
Best Cinematography Award, Thessaloniki Film Festival
1991. THE SUSPENDED STEP OF THE STORK [1991]
by Theo Angelopoulos. Cinematography shared both with
Yorgos Arvanitis. Official Selection, Cannes
1991. AVETIS [1992] by Don Askarjan. UP DOWN AND
SIDEWAYS [1992] by Michael Cacoyannis. DEAD LIQUER
[1993] by Giorgos Karipides. BORDERLINE [1994] by
Panayotis Karkanevatos. ULYSSES' GAZE [1995] by Theo
Angelopoulos. Cinematography shared with Giorgos
Arvanitis. Official Selection, Cannes 1955. TOWARDS
FREEDOM [1996] by Charis Papadopoulos.
ETERNITY AND A DAY [1997-98] by Theo Angelopoulos.
Cinematography shared with Giorgos Arvanitis. Official
Selection, Cannes 1998. Palme d’Or.
PASSEURS DE REVES [1999] by Hiner Saleem [France].
ANNA’S SUMMER [2000] by Jeanine Meerapfel.[Germany,
Spain,Greece.]
ABSOLITUDE [2001] by Hiner Saleem [France]
THE WEEPING MEADOW 1 [2002-2003] by Theo
Angelopoulos [Greece, France, Italy] EFA nomination for
Best Cinematography 2004.
Eleni Karaindrou
Composer
Born in Greece, she began by studying piano and
music theory at the Hellenic Conservatory in Athens,
then went on to study history and archaeology at the
University of Athens and ethnomusicology and
orchestration in Paris (Sorbonne and Scuola
Cantorum).
In 1975, she started to compose music for films and
the theatre. Eighteen feature films, thirty-five plays
and eleven television series and telefilms feature
music by Eleni Karaindrou.
She has collaborated most often with Greek directors
but has also worked with Chris Marker (The
Inheritance of the Owl, TF1), Jules Dassin (Turgenev’s
One Month in the Country and Chekhov’s The Seagull
at the National Theatre and Arthur Miller’s Death of a
Saleman at the Athinaion Theatre) and Margarethe
Von Trotta (L’Africana, nominee at the 1990 Venice
Film Festival). She has composed original music for
the last six films of Theo Angelopoulos: Voyage to
Cythera, The Beekeeper, Landscape in the Mist, The
Suspended Step of the Stork, Ulysses’ Gaze and
Eternity and a Day. Since 1982, she has won four
awards in Greece for her music for the films Rosa by
Cristoforo Christofis, Happy Homecoming, Comrade
by Lefteris Xanthopoulos, The Price of Love by Tonia
Marketaki and The Beekeeper by Theo Angelopoulos.
In 1992 she was presented with the Fellini Award by
Europa Cinema (Italy) for her work as a whole. She
has given a series of enormously popular concerts in
the ancient theatres of Herod Atticus in Athens
(1988) and Epidaurus (1993) as well as in the great
auditorium of the Athens Concert Hall (19, 20, 21
February, 1998) Her record albums have been
released by EMI, MINOS and LYRA in Greece,
SARAVAH and MILAN in France and, since 1990, by
ECM (Munich).
FLEUR D’ OUBLIE [2004] by Selma Baccar [Tunisy]
TRUE BLUE [2005] by Yannis Diamantopoulos [Greece]
Best Cinematogrphy Award, Thessaloniki Film Festival
2005 DOL [2005] by Hiner Saleem [Kurdistan d’ Iraq,
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THEO ANGELOPOULOS
The Dust of Time
39
Dionyssis Fotopoulos
Art Director
Dionyssis Fotopoulos was born in Kalamata, in the
Peloponnese. He has been working in theater and
films since 1967 and has designed the sets and
scenery for over 40 films and over 300
plays in Greece and abroad. He has won many
international awards for his work in the theater
and in films.
Andrea Crisanti
Production Designer
From 1959 till 1967 he worked both as art director
and costume designer on over 30 theatrical
productions. At the same time he has been assistant
of some of the greatest Italian production designers
such as: Mario Chiari, Mario Garbuglia, Gianni
Polidori, Enzo Del Prato. Since 1962 he has been
working mainly as production designer for the
cinema. During the last 10 years he has been
teaching “art direction” at the C.S.C. (Centro
Sperimentale di Cinematografia) in Rome. From 1996
till 2005 he served as President of the A.S.C. (Italian
Association of production designers, costume
designers, set decorators)
AWARDS:
Nomination for David di Donatello Award
–Nomination Bafta Award –Winner of Platea d’Oro
(vI) –Winner of Ciak Oro Award – Winner of 2 David
di Donatello –Winner of Valentino d’Oro 2000 –
Winner of Nastro d’Argento .
LIST OF THE MAIN PRODUCTIONS HE HAS
WORKED ON AS “PRODUCTION DESIGNER”
1962 Maciste all’inferno Riccardo Freda
1968 I sette fratelli Cervi Gianni Puccini
1970 Uomini contro Francesco Rosi
1971 Giù la testa Sergio Leone
1972 Il caso Mattei Francesco Rosi
1973 Gli eroi Duccio Tessari
1973 Lucky Luciano Francesco Rosi
1974 Codice d’amore orientale Piero Vivarelli
1974 Processo per direttissima L.De Caro
1976 Bluff Sergio Corrucci
1976 La linea del fiume A. Scavarla
40
THEO ANGELOPOULOS
The Dust of Time
1976 Cadaveri eccellenti Francesco Rosi
1976 Il Signor Robinson Sergio Corrucci
1977 Ecco noi, per esempio Sergio Corrucci
1977 Tre tigri contro tre tigri Steno / Corrucci
1979 Gramsci TV movie E. Macello
1979 Cristo si è fermato ad Eboli Francesco
Rosi
1980 Salto nel vuoto Marco Bellocchio
1980 L’avvertimento Damiano Damiani
1980 Il cappotto di astrakan Marco Vicario
1981 I miracolini F. Massaro
1981 Prima che sia troppo presto Enzo De Caro
1981 Tre fratelli (nC) Francesco Rosi
1982 Più bello di così si muore Pasquale Festa
Campanile
1982 Borotalco (nC) Carlo Verdone
1982 Identificazione di una donna
Michelangelo Antonioni
1982 No grazie il caffè mi rende nervoso
Ludovico Gasperini
1983 Nostalghia Andrei Tarkowsky
1984 Les anges Ridha Behi
1985 Il diavolo in corpo Marco Bellocchio
1985 La Piovra 2 Florestano Vancini
1986 La memoire tatouèe Ridha Behi
1987 Cronaca di una morte annunciata
Francesco Rosi
1987 Luci lontane A. Chiesa
1988 Il giovane Toscanini Franco Zeffirelli
1988 Nuovo Cinema Paradiso (nD)
Giuseppe Tornatore
1989 Dimenticare Palermo Francesco Rosi
1990 Stanno tutti bene Giuseppe Tornatore
1991 Il ladro di bambini (nC-vI) Gianni Amelio
1992 Les hirondelles ne meurent pas…
Ridha Behi
1993 Colpo di luna Alberto Simone
1994 Una pura formalità (vC-vE)
Giuseppe Tornatore
1996 La tregua Francesco Rosi
1997 Vado e torno Vittorio Sindoni
1998 Hurlyburly Theatre Francesca De Sapio
1998 Excellent Cadavers Ricky Tognazzi
1998 Non lasciamoci più Vittorio Sindoni
1999 Vipera Sergio Citti
2000 Detective per caso Wanna Paoli
2001 The emperor’s new clothes Allan Taylor
2001 Il fuoco del sole Giancarlo Zagni
2001 Il Consiglio d’Egitto (vN) Emidio Greco
2002 Fratella e sorello Sergio Citti
2002 L’Avvocato De Gregorio Pasquale Squitieri
2002 Come tu mi vuoi Pasquale Squitieri
2002 La finestra di fronte Ferzan Ozpetek
2003 Sotto falso nome Roberto Andò
2003 L’albero di Natale Stefano Reali
2004 La Contessa di Castiglione Josèe Dayan
2004 Cuore Sacro (vC) Ferzan Ozpetek
2005 Arrivederci amore,ciao (nC) Michele Soavi
2006 La Masseria delle allodole Paolo & Vittorio
Taviani
2006Ma l’amore ...si T. Zancardi
2007 L'uomo privato E.Greco
2007 K il bandito M.Donovan
2008 Il sangue dei vinti M.Soavi
200 Presenze A.Crisanti
2008 The Dust of Time Theo Angelopoulos
Petros Markaris
screenwriter
Petros Markaris was born in Istanbul, Turkey. He
started his career as a playwright and translator of
plays. Now he is working as a screenwriter and
novelist, while he still continues to translate
occasionally. He is also a lecturer of drama theory at
the Theatre Department of the University of
Thessaloniki. His novels have been translated into 15
languages
Novels
The late-night news, Zone Defense, Che committed
suicide, The main shareholder, A long time ago.
Short Stories
Balkan Blues.
Screenplays
Co-screenwriter with the Greek filmmaker Theo
Angelopoulos in: Days of 36, Megalexandros, The
suspended step of the stork, Ulysses’ gaze, Eternity
and a day, The dust of time.
Plays
The story of Ali Redjo, The tale of king Ubu (after
Jarry), The guests, Like horses.
Diary
The diary of an eternity (the diary on the script of of
the film Eternity and a day by Theo Angelopoulos)
Translations
Faust, by Goethe (parts one and two), plays by
Bertolt Brecht (Mother Courage and her children,
Galileo, The Caucasian chalk circle and others) and
also plays by Frank Wedekind, Arthur Schnitzler,
Thomas Bernhard etc.
Tonino Guerra
screenwriter
Tonino (Antonio) Guerra is one of the most important
screenwriters in the history of film making. He has
worked with some of the greatest Italian film
directors, including Michelangelo Antonioni, Federico
Fellini and Vittorio De Sica. He has also worked with
preeminent European directors, including Russia's
Andrei Tarkovsky and Greece's Theo Angelopoulos.
What separates Guerra from other screenwriters is his
unique approach to the working relationship between
writer and director. According to one biography,
Guerra acts as more than just collaborator on his
projects, but as a guide/confessor to the director. In
the end, he becomes a co-creator, enabling the
director to reach further and deeper into his vision.
His flexibility and ego sacrificing technique have
helped give birth to some of the world's cinematic
masterpieces.
Guerra was born in Sant'Arcangelo di Romagna,
Emilia-Romagna, Italy, south of Ravenna on March
16, 1920. He started his career by writing short
stories and poetry and his first screenplay was written
with the collaboration of Elio Petri and Giuseppe De
Santis. Men With Wolves was directed by De Santis in
1957. In 1960, Guerra began working with
Michelangelo Antonioni with whom he created some
of the most important and landmark films. Their first
project, L'Avventura nearly caused a riot at the
Cannes Film Festival but was awarded the Grand
Prize despite the controversy.
Many critics and film historians will tell you that
L'Avventura changed filmmaking forever.
Guerra continued working with Antonioni throughout
the early 60's and was instrumental in the creation of
The Alienation Trilogy. This trilogy is probably the
most important contribution of Antonioni's to cinema
and it is difficult to distinguish between screenwriter
and director. Guerra continued to work with Antonioni
throughout his career, but also began a long series of
41
collaborations with other famous directors. Perhaps
his most commercially successful movie is Fellini's
Amarcord, for which he was awarded an Academy
Award for best screenplay (1975).
Nominated for another two Oscars (Blowup, 1966 and
Casanova ’70, 1965) Guerra has won numerous
awards over the years including one for best
screenplay at the Cannes Film Festival (Voyage to
Cythera, 1984) and the Silver St. George at the
Moscow Film Festival for his contribution to World
Cinema.
Filmography
The dust of time (2008) Um ano mais longo (2006)
Eros (2004) Trilogy: The weeping meadow (2004) The
Chimp (2001) Bibo per sempre (2000) Tierra del
fuego (1999) Eternity and a Day (1998) Marcello's
Secret (1997) Porto Santo (1997) The Truce (1998)
Ulysses' Gaze (1995) Beyond the Clouds (1996)
White Feast (1994) Golem, le jardin pétrifié (1993)
The Suspended Step of the Stork (1991) The Obscure
Illness (1990) Journey of Love (1990) Everybody's
Fine (1991) Night Sun (1990)
Burro (1989) La Femme de mes amours (1988)
The Sparrow's Fluttering (1988) Landscape in the
Mist (1988) Good Morning, Babylon (1987)
Chronicle of a Death Foretold (1987) The Beekeeper
(1986) Ginger and Fred (1986)
Henry IV (1984) Chaos (1984) Voyage to Cythera
(1984) Carmen (1984) Nostalghia (1983) Tempo di
viaggio (1983) And the Ship Sails On (1983)
The Night of San Lorenzo (1982) Identification of a
Woman (1982) Three Brothers (1981) The Mystery of
Oberwald (1980) Christ Stopped at Eboli (1979)
Tigers in Lipstick (1985) Butterfly on the Shoulder
(1978) Dear Michael (1976)
Sex with a Smile (1976) The Context (1976)
Illustrious Corpses (1976) Amarcord (1974)
Lucky Luciano (1974) Andy Warhol's Young
Frankenstein (1974) The Mattei Affair (1972)
Descubrimiento del mayor túnel submarino (1972)
The Sin (1971) White Sister (1971) Giochi particolari
(1970) Many Wars Ago (1970)
Sunflower (1970) Zabriskie Point (1970) In Search of
Gregory(1969) The Uninvited (1969)
Yes Sir (1969) A Quiet Place in the Country (1969)
Colpo di sole (1968) Ghosts - Italian Style (1968) A
Place for Lovers (1969) Cinderella: Italian Style
(1967) The Wild Eye (1967) The Unchained (1967)
42
THEO ANGELOPOULOS
The Dust of Time
Special Code: Assignment Lost Formula (1966) The
Queens (1966)
Gideon and Samson (1966) Blowup (1966)
The 10th Victim (1965) Casanova '70 (1965)
Countersex (1964) Woman Is a Wonderful Thing
(1964) The Naked Hours (1964) Saul and David
(1964) Marriage Italian-Style (1964) Red Desert
(1964) The Secret Seven (1964) Beautiful Eyes (1964)
Medusa Against the Son of Hercules (1963) The
Empty Canvas (1964) L'Eclisse (1962) The Assassin
(1965) La Notte (1960) L'Avventura (1960) Piece of
the Sky (1959) Il Terribile Teodoro (1958) Road a
Year Long (1957) The Wolves (1956)
Vittorio Sodano
Make-up artist.
He was nominated for an Academy Award for Makeup
for his work in Apocalypto (2006).
Filmography
Io, Don Giovanni (2009) (post-production) (makeup
designer)
Trilogia II: I skoni tou hronou (2008) (makeup effects
designer)
... aka The Dust of Time
Divo, Il (2008) (makeup designer) (prosthetic makeup
designer)
Nascondiglio, Il (2007) (special makeup designer)
... aka The Hideout
"Capo dei capi, Il" (2007) TV mini-series (makeup
designer) (prosthetic makeup designer)
Apocalypto (2006) (makeup designer)
... aka Mel Gibson's Apocalypto
The Black Dahlia (2006) (special effects makeup)
Tre donne morali (2006) (key makeup artist)
Liscio (2006) (makeup designer)
... aka The Ball
Fade to Black (2006/I) (makeup designer)
Casanova (2005) (makeup artist) (prosthetics applier:
Charlie Cox)
Empire des loups, L' (2005) (key makeup artist)
... aka The Empire of Wolves
Imperium: Nerone (2004) (TV) (makeup artist)
... aka Imperium: Nero
Siero della vanità, Il (2004) (makeup designer)
... aka The Vanity Serum
Amore ritorna, L' (2004) (makeup designer)
... aka Love Returns
Part Time (2004) (TV) (makeup designer)
Ricordati di me (2003) (key makeup artist)
... aka Remember Me
Papa buono, Il (2003) (TV) (makeup artist)
... aka The Good Pope: Pope John XXIII
Ma che colpa abbiamo noi (2003) (key makeup artist)
... aka What Fault Is It of Ours?
Più bel giorno della mia vita, Il (2002) (makeup
designer)
... aka The Best Day of My Life
"Incompreso" (2002) TV mini-series (makeup
designer)
Tre mogli (2001) (makeup artist)
... aka Three Wives
Fate ignoranti, Le (2001) (key makeup artist)
... aka The Ignorant Fairies
Controvento (2000) (makeup designer)
... aka Against the Wind
Prima del tramonto (1999) (makeup designer)
Madri, Le (1999) (TV) (makeup designer)
Fratello minore, Il (1996) (makeup designer)
43
PRINCIPAL CHARACTERS
«A» An American filmmaker of Greek origin in the middle of a breakdown, « A » is about to
direct a film about his life and the life of his parents. In the course of his film, he progressively ceases to « live » in the « reality » and becomes a part of the fictional « reality » of his
film. It is in this universe that he will live his last days with his family. In this “elsewhere”
he will “lose” his daughter, Eleni, the offspring of a devastated family, who disappears. Her
figure is the link between the two « worlds » and she is the one who bears the burden of an
onerous past.
SPYROS «A»’s father, he has been in love with Eleni ever since they met one night during a
dance by the river outside Thessaloniki. He leaves for the United States and loses contact with
her because in the meantime Eleni has been arrested for political reasons. Since then, he has
been looking for her everywhere. He finds her on the day of Stalin’s death (1953) in a small
town in Kazakhstan but the Soviet police arrest Spyros and send Eleni to Siberia. It is thanks
to this meeting that “A” will be born nine months later. Again, they lose contact. When they
find each other again in the United States, twenty years later, Spyros is a married man but he
will leave his wife for Eleni. The classic figure of an exile, Spyros will almost never be able to
live with Eleni. After the death of his wife, he concludes the film with an action that is open to
various interpretations: he crosses the threshold of A’s apartment holding the hand of his granddaughter, Eleni.
ELENI Shortly after the dance by the river with Spyros and his departure for the America,
Eleni is arrested. She manages to escape from prison and seeks refuge in the Soviet Union. It
is there that Spyros finds her after searching for her for three years. After her arrest in
Kazakhstan and her separation from Spyros, from Siberia where she has been exiled, she sees
“A”, the young son who was born as a result of her meeting with Spyros that night in Kazakhstan,
leaving for Moscow. The heroine of a Greek tragedy, she is the emblematic figure of the film
and her death seems to be the last breath of a collective history full of painful episodes and
tribulations.
JACOB German Jew, Spyros’ friend, in love with Eleni until the end of his life, he is also condemned, not to live alone but worse than that, to live with the one he can’t have. Eleni’s companion for a long time, he accompanies her everywhere, only to see her reconcile with Spyros
at the end. The final dance marks his decision to kill himself. When he jumps into the water
of the river, he leaves behind only an umbrella: a dark sign, a sign of loneliness; Jacob disappears just like he lived: alone.
44
THEO ANGELOPOULOS
The Dust of Time
CAST
Willem Dafoe
A
Bruno Ganz
Jacob
Michel Piccoli
Spyros
Irène Jacob
Eleni
Christiane Paul
Helga
Reni Pittaki
Music Composer
Kostas Apostolidis
Party Secretary
Alexandros Milonas
Man on the Train
Norman Mozzato
Hotel Manager
Alessia Franchin
“A” 's Secretary
Valentina Carnelutti
Hotel Receptionist
Tiziana Pfiffner
Little Eleni
Chantel Brathwaite
Little Eleni’s Girlfriend
Herbert Meurer
Doctor
Sviatoslav Yshakov
Grandfather
Vladimir Bogenko
Conservatory Director
Ivan Nemtsev
German Organ Specialist
45
Scriptwriter - Director
Theo Angelopoulos
Production Coordinator
Anna Angelopoulos
Script consultants
Tonino Guerra
Petros Markaris
Executive Producers
Costas Lambropoulos
Giorgos Panagopoulos
Guido Simonetti
Till Derenbach
English translation
Elly Petrides
Co-producers
Amedeo Pagani
Claudia Poepsel
Vladimir Repnikov
Alexander Skvortsov
Mikhail Zilberman
Director of Photography
Andreas Sinanos a.f.c
Music
Eleni Karaindrou
Art Directors
Andrea Crisanti
Dionisis Fotopoulos
Producer
Phoebe Economopoulos
The Songs
“All that you want”
“The true face of beauty”
by 15 50
“Eifersucht “ by Barbara Ehwald
Set Designers
Alexander Scherer
Konstantin Zagorskij
Costumes
Regina Khomckaya
Francesca Sartori
Martina Schall
Hellenic Broadcasting Corporation
(ERT) orchestra conducted by
Alexandros Myrat
Make-up Artist
Vittorio Sodano
Piano Soloist
Natalia Michailidou
Hair Stylist
Giorgio Gregorini
Vocals by
Alexandros Michos
Marlain Angelidou
Christos Mastoras
Liana Papalexi
Alexandros Balakakis
Eva Lauka
Sound
Marinos Athanasopoulos
Jerome Aghion
Copyright 2008
Theo Angelopoulos Productions
Greek Film Centre
Hellenic Broadcasting Corporation
ERT S.A.Classic Srl
Lichtmeer Film
Studio 217 ARS
Sponsors
Greek National Tourism Organization
National Bank of Greece
Theodoros and Gianna Angelopoulos
Olympic Airlines
General Secretariat of Attica region
Hellenic Public Real Estate
Corporation
Filmstiftung Nordrhein-Westfalen
Producer
Theo Angelopoulos Film Productions
Co-Producers
GREEK FILM CENTRE
with the support of the Hellenic
Ministry of Culture
Hellenic Broadcasting Corporation
ERT SA
NOVA
STUDIO217ARS
with the support of the Ministry
of Culture of the Russian Federation
CLASSIC SRL
with the support of REGIONE LAZIO /
FI.LA.S S.p.a.
MiBAC – Ministero per i Beni
e le Attività Culturali
LICHTMEER FILM
Filmstiftung Nordrhein-Westalen
Deutscher Filmförderfonds (DFFF)
ARD Degeto
With the support
of the EURIMAGES Fund of
the Council of Europe
Sound Mix
Kostas Varibopiotis
Editing
Yannis Tsitsopoulos
Giorgos Chelidonides
46
THEO ANGELOPOULOS
The Dust of Time
47
A Publication of the Greek Film Centre
Publisher: Giorgos Papalios
President & Managing Director
Editorial Supervision: Evi Lazari,
Stavroula Geronimaki
Translations and Revisions: Elly Petrides
Art Director: Dimitris Arvanitis
Design: Espresso Studio / [email protected]
Printed in Greece by Vivliosynergatiki
© 2009
Greek Film Centre
7 Dionysiou Aeropagitou str;
GR 117 42 Athens
Tel + 30 210 36 48 007 Fax + 30 210 36 14 336
e-mail:[email protected] www.gfc.gr
48
THEO ANGELOPOULOS
The Dust of Time