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In addition, when they talk to Emil Jannings about the Penthesilea film, Riefenstahl says he wants to equip it with visual details, and certainly doesn't want it to look like a Hollywood movie. Even though she wants to be an actress, what she really wants to do is to bring the film to the climax as a director. He says he doesn't want a filmed theater, and in this part of his memoirs there's a little discussion with Janinngs. In particular, Riefenstahl has repeatedly stated that although he wants Fehling to direct him for the battle scenes, he does not want the film to look like a theater. (Memoirent-Penthesilea Section) As I mentioned in my previous e-mails, this was a style conflict for him. Another important thing he said at this point is that when he argued with Jannings, he didn't like his new film and he said that he saw it as a filmed theater. In addition, he makes the following important statement in his diary:
“I think the expectations of the audience in cinema are completely different from the theater. The audience is surprised when he sees a farm lord talking in strings in the cinema, in a film. I have a very different vision of Penteheselia. Kleist's language must be prepared in the film through music and the lamentation of the Amazon nuns, so that the strings can be understood as natural as the prose language for us. However, the nature of the frame should never look realistic, but the image detail like the sun and the moon must be stylized with light and great movements. Kleist's speech would be consistent with these visual visions. Only in this way can I imagine "Penthesilea" in the film. ”