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.