At the very beginning of his work, director and author Neil Hollander practically expressed Godard theorem on the interdependence of documentary and fiction in film form. Hollander was saying that his documentary films are made by the principles of a feature film, while his feature film have documentary invoice. For Hollander the film is an “art of the context”.
“I do not make a film about the actor, or even about the personality that is interpreted, but an idea or an emotion,” says Hollander. In some occasions a photo or an avenue serves better than 5,000 words from actors. Why should the psychology of a person be better expressed by person or word? We exaggerate the expression of the human face. In the end, the nose is just a piece of meat, and mouth a sheer hole. The author of “The Last Sailors” felt an aversion to the dialogue. “When I record dialogic scene and the actors speak the text, I have the impression that I’m not doing anything.”
For the directors, however, the movement is the most important. Following Bertolucci belief that every movement is a metaphor. Hollander on the other hand, in his works insisted on the face area, a mysterious, magical and ironic, as the face of the sea. On this matter he said that this area hides a piece of the human soul and the human heart. “I need to win it with a camera, it should be reborn in it, without parents – alone.”
Certain indoctrinated viewers of his movies were afraid. They were trying in various ways to stop them. The saying “The end of the World” was ominously paraphrased as: “The end of the Film”.
On the other hand, Hollander thought that artistic works are not infernal machines or barrels of poison:
“I have no prejudices. Just showing things as they are. “The end of the World” is in my work, the most outstanding example of the clash of good and evil, positive and negative interference existed earlier in my films. If the film has a duty, it consists in the fact that it has to be the conscience of his time. I’m just putting the record, not judging. I would have been a lawyer if I wanted to judge. Because I love people (otherwise I could not write poetry), it is quite natural for me that social inequality and economic misery are deeply touching and inspiring me. But I do not approach to them as a politician, but as an artist. Artistic truth is more important and deeper than political, and in any case it is lasts longer. The film as an art however, is just one of the particles that form human consciousness.” – says Neil Hollander in his latest interview that was recently published at Patch.