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A little something about Visse Dage
When I started the pre-production of Visse Dage (Certain Days) I had just finished another movie full of fast dialog. To do something completely different I decided straight away that the new film should be totally dialogue-free! On the face of it, a very restrictive rule. However, it soon became clear that the limitations imposed by the rule encouraged new ideas. The absence of dialogue made the subjective style attractive and the flashback was an obvious next step. Slowly, the script started to take shape.
My intention in Visse Dage (Certain Days) became to make a film about a person who comes to terms with himself and his mortality. I decided partly because of the absence of dialogue to embody this theme in a story build on a number of flashbacks. These flashbacks were to give a poetic expression to the central problem How can you live your life knowing that death in the end will win the day? The main character will through his memories reach the insight which the spectator will hopefully share that through self-knowledge comes contentment. The character is supposed to reach this enlightenment through the experiences of his whole life. A 6-7 minutes film cannot encompass all of this. So the film focuses on only carefully selected moments from his life or Certain Days. I consciously decided to play down the character's circumstances where he works, if he was married, had children, etc. Instead, I focused on creating a lyrical atmosphere throughout the film a mood that is supposed to keep the central problem in the spectator's mind.
Working with no dialog also gave me a chance to use an alternative method of directing inspired by the Kulesjov-experiment .
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Instead of discussing the character's intentions, feelings and goals I didn't show the actors the script except the scenes they were in. So they didn't know what kind of expression I was looking for. Instead I told them… just to sit there! Told them to look neutral (and of course I gave then some basic blocking instructions get up, leave the room etc.). Then I just let time pass with the camera rolling (shooting on DV has that advantage). This way I tried to make the main character live to create the intensity not through the acting, but rather through the montage.
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