"I was very interested in synchronicity in my youth. That’s sort of what got me started reading
Jung. But the more time I spent reading
philosophy and especially philosophy of science related to time, I came to realize
that synchronicity as presented by Jung is not an explanation of anything. It’s the name of a phenomenon, but it is no
explanation. In fact, it tells you there is no explanation. The explanation is there is no explanation,
it’s simply synchronicity.
You have to be able to perceive almost
schizophrenically. What happened to Phillip K. Dick was that the
resonance became stronger than the reality, or, it became equal in strength to reality, so
that by squinting he could see 2nd Century Rome. Everybody changed into people wearing togas
and people speaking Demotic Greek and everything. That was the resonance of where he was at.
But when the resonance
comes forward with such strength that the foreground is displaced, they have a
name for that: buggo.
You know, you
gotta watch that.
On the other hand, if you can control it, it’s a source of
great richness and inner amusement."
Terence McKenna
In this particular scene I was playing the score for Joaquin in
the room because, we had Hildur Guðnadóttir who is our composer. I had her write music before we shot the
movie, which isn’t done very often. She
wrote it based on the screenplay, and I wanted that because I wanted the music
to really affect and infect this set in a way. I wanted the camera operators,
the set dressers, the wardrobe, everybody to feel this music.
If I remember correctly, we were playing her
score when we were shooting this, and all of a sudden as Joaquin is struggling
with Arthur’s smile, and his frown, and figuring out again if his life is a comedy or a tragedy, this
little tear appears. And we just had the scene and we moved on.
Todd Phillips
