Why did I always get the background of the demolition worker the portrait of the colonel engraved on the wall? In fact, there are too many disturbing emphasis on this wall portrait.
If I gave it from another angle, Ankara Metro would be at the back. From another point of view, there will be street traffic and people passing by. I can give a tree the background, use frames that increase or decrease the knowledge of space. Here, a choice, a preference is used. In the background of the demolition worker, the portrait of the Colonel is mounted in the frame. Changes in this frame cause changes in perception. I guess it goes without saying.
He was asking me, “Do you have a house?” I wanted it to be in the movie, but the image is not suitable, the silence was long in between… I wanted to add it as a soundtrack to the continuation of another speech a few minutes ago in the same place. The upper image is blurry, the lip movement is not selected, afterwards the blur opens and half asleep appears, but it seems to me necessarily bad. Has this become an obsession? Even if the audience does not understand it, the mouth does not utter that sentence at that moment.
Without going to 2005 New Year’s Eve, I went to 2007 and killed the Colonel. A sad death story from neighbors. While speaking, every word that comes out of our mouth looks for an image for itself, and applies to the listener. This is how the death story you listen to works, you imagine it while the neighbors tell. The scene just comes to life in your mind. Yes, this is a scene, and you are the audience. Even if you were watching his death there at that moment, it was a scene. Even if you were watching on the recorded screen… Now while listening and imagining, this is a scene. The only way out of the situation is to get on the stage while trying to save him by intervening, others watching you, turning into a watched one. During the recording, I always sat on my seat, I was a stage builder.
Alper: As I watched, the Colonel’s words stopped calling the images. Yes, I gave up. I will not do it with us while watching and listening to the Colonel. Despair collapses towards the end. If I continue, he reaches out to Kafka, would I find myself transforming into a colonel one morning… The Colonel still does not resonate with the connotations of me or the other audience. He just doesn’t want to leave his house. But we could also make the Colonel a victim of Mephisto, if we force it from here. We and those around the Colonel now call on the Colonel’s image metaphors with every word. The colonel also avoids both us and his own metaphor. The scene is set up over and over again throughout the movie. First, the nature of urban transformation, a house becomes abandoned for some reason. Then the Colonel stages himself with his drawings on the walls, where his demolition turns into the main spectacle, not his home. Then the destructors cough us up with their dust and smoke. To see the sledgehammer of labor while immersed in the colonel’s metaphor, it is as if the workers shout “the stage is ours, and the metaphor is us”. You have a psychological lanscape drawn on a wall that will be demolished. It’s like he’ll draw even if you don’t want to. If the drawing is not decorated in the frame, we will look for a miracle on this map. The last miracle is also happening in fiction. Each reduction is linked to a cause and effect. It seems as if the colonel’s language dissolves in fiction …
Oktay: In montage, the image looks for a word or a sentence in the process of subtracting the images.