Béla Tarr, Hungarian master filmmaker, was more than just an idol to me; he was my ideal mentor. Our meeting at the Nexus conference in Amsterdam a few years ago is etched vividly in my memory. Despite being weakened by his body, Béla's spirit still radiated an unyielding ferocity and rebelliousness that left me awestruck.
My journey into filmmaking began when I applied to assist on The Man from London, directed by none other than the maestro himself. It was 2004, and I had always been fascinated by film-making. Béla, being the perfectionist he was, took a chance on me, assigning me the task of finding a young actor for one of the lead roles – a role that eventually made it into the final cut.
Through my experiences with Béla, I gained an unparalleled understanding of filmmaking. It became clear to me that there's no substitute for learning from the masters. Working under Béla was like being initiated into the mysteries of film-making, something akin to how painters or artisans learned their craft over centuries.
Béla was all about pushing boundaries and breaking free from conventional norms. His quest for perfection led him to experiment with unconventional cinematography techniques – 10-minute take shots that unified space, characters, and time. It was a revelation to me, and one that continues to inspire filmmakers to this day.
One of the most significant lessons I learned from Béla was the importance of compromise in filmmaking. He walked this fine line between artistic integrity and practical considerations, often making sacrifices for the sake of his vision. Tragically, French producer Humbert Balsan took his own life during the tumultuous months of The Man from London's production – a heart-wrenching reminder that art is deeply intertwined with the world around us.
Even years later, I found myself drawn to Béla's work, particularly in the aftermath of his passing. His influence can be seen in my own film, Son of Saul, which tells the story of the Sonderkommandos of Auschwitz. The experience was both a great loss and a transformative one – it instilled in me a fierce determination to continue pushing boundaries and questioning conventions.
The final lesson I learned from Béla was about respecting tradition while forging my own path. He would often ask his collaborators, including me, if he should make a particular film – a question that belied the fact that he already knew the answer. It was as if he wanted to gauge our respect for his craft and ensure that we would carry on his legacy.
As I reflect on my time with Béla Tarr, I am reminded of the power of mentorship and the enduring impact one can have on another's life. Even in death, Béla continues to inspire me – a testament to the indomitable spirit of this Hungarian master filmmaker.
My journey into filmmaking began when I applied to assist on The Man from London, directed by none other than the maestro himself. It was 2004, and I had always been fascinated by film-making. Béla, being the perfectionist he was, took a chance on me, assigning me the task of finding a young actor for one of the lead roles – a role that eventually made it into the final cut.
Through my experiences with Béla, I gained an unparalleled understanding of filmmaking. It became clear to me that there's no substitute for learning from the masters. Working under Béla was like being initiated into the mysteries of film-making, something akin to how painters or artisans learned their craft over centuries.
Béla was all about pushing boundaries and breaking free from conventional norms. His quest for perfection led him to experiment with unconventional cinematography techniques – 10-minute take shots that unified space, characters, and time. It was a revelation to me, and one that continues to inspire filmmakers to this day.
One of the most significant lessons I learned from Béla was the importance of compromise in filmmaking. He walked this fine line between artistic integrity and practical considerations, often making sacrifices for the sake of his vision. Tragically, French producer Humbert Balsan took his own life during the tumultuous months of The Man from London's production – a heart-wrenching reminder that art is deeply intertwined with the world around us.
Even years later, I found myself drawn to Béla's work, particularly in the aftermath of his passing. His influence can be seen in my own film, Son of Saul, which tells the story of the Sonderkommandos of Auschwitz. The experience was both a great loss and a transformative one – it instilled in me a fierce determination to continue pushing boundaries and questioning conventions.
The final lesson I learned from Béla was about respecting tradition while forging my own path. He would often ask his collaborators, including me, if he should make a particular film – a question that belied the fact that he already knew the answer. It was as if he wanted to gauge our respect for his craft and ensure that we would carry on his legacy.
As I reflect on my time with Béla Tarr, I am reminded of the power of mentorship and the enduring impact one can have on another's life. Even in death, Béla continues to inspire me – a testament to the indomitable spirit of this Hungarian master filmmaker.
Béla Tarr was like the ultimate film school dropout who just kinda figured it out on his own lol. I mean, who needs formal education when you've got talent and a whole lot of ego? But seriously, his influence can still be felt in the filmmaking world, and for that, we should all thank him 
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. Seriously though, his influence is still felt in the industry and it's crazy to think that someone as iconic as him started out just like a young filmmaker looking for their big break. I mean who wouldn't want to learn from the master himself? The way he pushed boundaries with those 10-minute take shots was insane 
! And let's not forget the importance of compromise in filmmaking, it's all about finding that perfect balance between art and practicality. But what really sticks out is how he instilled this fire in his collaborators to keep pushing the envelope, even after he's gone 
it sounds like his influence is still gonna be felt in filmmaking for ages to come 
anyone seen son of saul? gotta watch it now 
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. His unapologetic approach to filmmaking is still inspiring artists today 
. We can all learn from his willingness to take risks and push boundaries in his work 
... like I really looked up to him as an artist and a mentor 
... how did he even get away with that? 
... his legacy lives on through filmmakers like me 
... do you think it's possible to create something truly original without drawing inspiration from others? 
just watched an old film by Béla Tarr that had me crying like a baby. I mean, 10-minute take shots are wild, but also kinda genius? 
just heard about Béla Tarr passing away... my heart is literally shattered into a million pieces 
I'm still trying to process how he managed to create such breathtakingly beautiful yet hauntingly disturbing films like Son of Saul and The Man from London 
. And don't even get me started on the whole compromise thing – if you're gonna make art, you gotta take risks and push boundaries, not play it safe all the time 
. I think filmmakers these days have lost sight of what's really important: being true to their vision, no matter what 
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. And let's not forget his commitment to preserving traditional techniques while still innovating and pushing the envelope 
And, fun fact: Béla's 1999 film "Sátántangó" is the only Hungarian film to win the Golden Lion award at the Venice Film Festival 
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. And, on average, his films have been watched over 10 million times on streaming platforms like Netflix and Amazon Prime 
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! The 2022 Cannes Film Festival, where Béla's "Men Who Shoot Shadows" was screened, attracted a record-breaking 3.5 million visitors 
. That's a testament to his enduring influence on the global film community 
In fact, according to a report by the Hungarian Film Foundation, the country's film industry saw a 25% growth in exports between 2020 and 2022 
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his 10-minute take shots were insane for their time and it's wild to think that they're now a staple in many modern films 
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. And yeah, his work on The Man from London is just incredible 
. You could see the respect he had for the craft, but at the same time, he was always looking to break free and try something new 
. It's a really inspiring way to look at art and creativity.