There is one reference in an essay he wrote about Kings of the Road by Wim Wenders. He opens the essay with an interesting recollection of watching the film. He’s that generation; he’s absolutely of Wenders’ generation. Once you know that, you can feel the similarities between Wenders and Sebald, but Sebald willfully took himself away from that culture. I think of Sebald more as a photographer. There’s a quote I read somewhere where says he wasn’t very interested in school and he spent most of his time in the darkroom of the school’s photography lab. And there is something—I’m not sure if I’ve made this up or imagined it—about the way images work in his book: it feels to me like a black-and-white print developed under a red light, like it comes up out of whiteness, and if you leave it there it will black out in the tray.
Baggage — David Cronenberg talks to FilmComment about A Dangerous Method, his film on Freud, Jung and Sabina Spielrein:
I don’t care what baggage people think I will bring to the movie. I don’t have that baggage. Once I decide on a project, I am honorable about how I treat it. I am not trying to put some false Cronenbergian imprint on it. Let’s just do the movie. Part of the project was the resurrection of the people and the era. That means it has to be as accurate as possible. I want the people to be as alive as they can be. I want to be able to smell them and hear them in a way that we can’t. It’s a matter of affection. I would like to have known them. That’s the only agenda I have—to honor the accuracy of these people and what they said.
And on the subject of Freud… Comic book creators discuss how mainstream comics portray women and how things can be improved at Comics Alliance. An interesting read.