By Scott MacDonald
A severe Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main wide, in-depth exploration of self sustaining cinema to be had in English. during this new set of interviews, MacDonald engages filmmakers in targeted discussions in their movies and of the private studies and political and theoretical currents that experience formed their paintings. The interviews are prepared to precise the outstanding range of contemporary self sufficient cinema and the interactive neighborhood of filmmakers that has devoted itself to generating varieties of cinema that critique traditional media.
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Extra resources for A Critical Cinema 5: Interviews with Independent Filmmakers
The best representation of Pierrot in commercial ﬁlm is in The Children of Paradise, where he’s played by Jean-Louis Barrault. MacDonald: I see Rabbit’s Moon as a ﬁlm about you as a ﬁlmmaker. You’re a combination of both Pierrot and Harlequin: you’re always reaching for the moon, longing for the light; and at the same time you’re playing tricks on the audience who are also longing for something they hope you can give them. Anger: The magic lantern I used in the ﬁlm was a real one, from the eighteenth century.
James. MacDonald: The music on some of your ﬁlms changes over time, and I’m wondering whether that’s because you have a love-hate relationship with pop music; pop music can come to seem out-of-date more quickly than some other forms of music. Is that why the sound tracks change? Anger: Absolutely not. I consider myself an experimental artist, and even once a ﬁlm is “done,” if I want to try something else, and make a new version of a ﬁlm, I will. This may annoy critics who are trying to keep track of everything, but this tendency of mine dates back to my earliest ﬁlms, which were like three-minute or ﬁve-minute shorts that had to be run at silent speed because the only camera I had at that time ran at sixteen frames a second.
McFarland, 2002)], there have been quite a few suicides among people I’ve known. It is odd that I’ve known so many. I’ve recently ﬁnished a ﬁlm tribute—Elliott’s Suicide—to another friend of mine who committed suicide not long ago. He was a songwriter and singer named Elliott Smith. He’s on the Dreamworks label. He killed himself last October. He was thirty-four and had had a ﬁght with his girlfriend and stabbed himself in the chest with a steak knife in his girlfriend’s kitchen, which was so stupid—but people do stupid things.