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Projecting The Buddha

On the Set with BertolucciHelen Tworkov

Wisdom Collection

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"I DON'T BELIEVE IN REINCARNATION," the husband says to his wife. "Not like this, anyway. 'Coming back' as a specific person. And neither do you," he concludes. Then, after a poignant cinematic beat, he adds, "Or do you?"

"Cut!"

The cameraman—dolly, camera, and all—rolls back across the spacious room. In a house-turned-movie-set in Seattle, Bernardo Bertolucci and three-time-Oscar winning cinematographer Vittorio Storaro converse in Italian. After a number of previous hits, they have joined forces once again to pull off what may become one of this century's most remarkable transmissions of Buddhism to the West. Any Bertolucci movie is a media event of massive proportions, and if Little Buddha—which deals with both ancient and contemporary aspects of Buddhism—is half as successful as The Last Emperor, this movie may trigger ramifications for the future of Buddhism into the next century as well.

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