Vor ein paar Jah­ren hat­te ich in mei­nem LK einen visu­ell sehr begab­ten Schü­ler, der nach der Schu­le dann auch auf die Münch­ner Film­hoch­schu­le gegan­gen ist. Im Rah­men einer Ein­heit zu Fil­m­ana­ly­se hat­ten wir uns vor allem mit Film­mon­ta­ge beschäf­tigt, u.a. mit Aus­schnit­ten aus Ser­gej Eisen­steins Pan­zer­kreu­zer Potem­kin und Orson Wel­les‘ Citi­zen Kane. Das Haupt­au­gen­merk lag des­halb auf Schnitt- bzw. Über­blen­de­tech­nik. Frei­wil­lig schrieb die­ser Schü­ler ein klei­nes Dreh­buch zu Shake­speares Son­net 73.

Son­net 73

That time of year thou may’st in me behold
When yel­low lea­ves, or none, or few, do hang
Upon tho­se boughs which shake against the cold,
Bare rui­ned choirs, whe­re late the sweet birds sang.
In me thou see’st the twi­light of such day
As after sun­set fadeth in the west;
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glo­wing of such fire,
That on the ashes of his youth doth lie,
As the death-bed whe­re­on it must expi­re,
Con­su­med with that which it was nou­ris­hed by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must lea­ve ere long.

Hier sein Skript:

Medi­um shot of an old man sit­ting in a worn-out arm­chair sta­ring into a fire with tired, melan­cho­ly eyes. Cut to a detail shot of his eyes and the wrink­les round them. Cut to POV shot of the fire. Cut back to the face and dis­sol­ve from his wrink­les to a crum­pled leaf. Came­ra zooms back to show a tree with bare bran­ches and only a few lea­ves. Music from Anto­nio Vivaldi’s Autumn from The Four Sea­sons. The came­ra pans until it shows the sil­hou­et­te of a rui­ned church against the back­ground of a dim sun­set. Light snow starts fal­ling, music chan­ges to Win­ter. Cut to the sun­set and dis­sol­ve to a clo­se-up of the fli­cke­ring fire of the begin­ning. Cut to a detail shot of the old man’s eye which reflec­ts the dying fire. Cut back to the fire in clo­se-up. Cut back to the eye which reflec­ts how the fire expi­res, short­ly after the eye clo­ses and the music fades out.

Alle Film-Fach­be­grif­fe wer­den in mei­nem Skript Film Ana­ly­sis erklärt. Ana­ly­sen von Pan­zer­kreu­zer Potem­kin und Citi­zen Kane fin­den sich z.B. in dem phan­tas­ti­schen Buch film – An Intro­duc­tion.