You're viewing all posts tagged with essay
maazinkamal: When making a film, Terrence Malick speaks to his collaborators in poetic images. To Martin Sheen in Badlands (1973), he said: ‘Think of the gun in your hand as a magic wand.’ To the post-production team (editors and sound mixers) on The Thin Red Line (1998), he advised: ‘It’s like moving down a river, and the picture should have the same kind of flow.’ And to Jörg Widmer, his Steadicam operator for The New World (2005), he whispered: ‘You have the quail at the wing when it’s about to fly.’ See: The Cinema Of Terrence Malick

maazinkamal:

When making a film, Terrence Malick speaks to his collaborators in poetic images. To Martin Sheen in Badlands (1973), he said: ‘Think of the gun in your hand as a magic wand.’ To the post-production team (editors and sound mixers) on The Thin Red Line (1998), he advised: ‘It’s like moving down a river, and the picture should have the same kind of flow.’ And to Jörg Widmer, his Steadicam operator for The New World (2005), he whispered: ‘You have the quail at the wing when it’s about to fly.’

See: The Cinema Of Terrence Malick

(this post was reblogged from maazinkamal)
The self-destructive romanticism, the artistic self-consciousness, the frenetically unhinged form, the blend of emotional extravagance and cool self-mocking, the vanished boundaries between irony and sincerity and between symbol and reality, the overt cinematic breakdown and breakup, were all of their moment. Pierrot le fou was the last of Godard’s first films, the herald of even more radical rejections and reconstructions to come—for Godard and for the world around him. Pierrot le fou: Self-Portrait in a Shattered Lens - From the Current - Buy it while you can. I did. Click for high-res photo
The self-destructive romanticism, the artistic self-consciousness, the frenetically unhinged form, the blend of emotional extravagance and cool self-mocking, the vanished boundaries between irony and sincerity and between symbol and reality, the overt cinematic breakdown and breakup, were all of their moment. Pierrot le fou was the last of Godard’s first films, the herald of even more radical rejections and reconstructions to come—for Godard and for the world around him.

Pierrot le fou: Self-Portrait in a Shattered Lens - From the Current - Buy it while you can. I did.

“
Cross of Iron is an anti-war film in that it focuses on the average foot soldier, the harshness of his daily existence, and the horrors inflicted on him by war. These men dream about survival, peace, sex and home. Yet Steiner, like many of Peckinpah’s male protagonists, is unwilling or incapable of being open to other ways of existing. He no longer knows where home is or where his children are; he hates the war but is fearful of what he will be without it. Dead to a world of other possibilities, what he chooses is to feel alive in the ecstatic moment of freedom achieved through the confrontation with violence and death.
Cross of Iron : The last paragraph from an essay on Cross of Iron by Gabrielle Murray, “a lecturer in the Cinema Studies program at La Trobe University.”