Andy Warhol used to say that the theme and the main character of his movies is personality; not a story or fate of one individual but personality of a man with all its inexpressibleness. When we consider a person as a subject, it’s better to look at her than use words. The three fantasies about the three characters (Gurdżijew, Marilyn Monroe, and Simone Weil) is an attempt to follow this attitude. Not stories but situations, wherein personality becomes visible and can intersect with an actor’s personality; the relation between the personality and the actor is personal and intimate. It’s a fantastic and risky experiment of an exchange. Personality is not only a person’s character but also her extreme dream, her unrealized yet potential version. It’s also autosuggestion or autofraud, or a myth which appears among others. All these three different individuals have in common a desire to transgress the limits. Even though it’s difficult compare them, the vision of transgression is unique: eternally human.
A passage from Michel Schneider’s Marilyn’s Last Sessions:
Santa Monica, Franklin Street
During an afternoon session on her break from The Misfits, Greenson commented on how rarely she talked about her sex life.
‘You know, Doctor,’ she said, ‘I think of my sex life – my life, period, in fact – as a series of jump cuts. A man comes in, gets all excited, has me, loses me . . . And then in the next shot you see the same man – or maybe another one – come in again, but this time his smile’s different, he’s got a new set of mannerisms, the lighting’s changed. He was holding an empty glass a minute ago and now it’s half full. We look at each other through different eyes. Time’s passed but we’re still caught up in an image we have of ourselves, we still think we’re meeting for the first time.