Posts Tagged ‘Terrence Malick’

On Terrence Malick and an Artist’s Right to Privacy

Monday, May 23rd, 2011

“Terrence Malick is extremely shy and you must not attempt to make direct contact with him. You must pretend you are eavesdropping on a private conversation.”

My friend Matt Zoller Seitz posted a link this morning on Facebook to this rare transcript of a public Q&A with Terrence Malick from 2007 at the Rome Film Festival, at which he showed clips from a few Italian films and discussed what he liked about them. Although the audience had been warned that Malick would not talk about his own work, he did in fact show clips from Badlands and The New World and briefly discuss them — perhaps one of the only times he’s ever done so.
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The DVD Wrap: Get Him to the Greek, Coco Chanel and Igor Stravinsky, The Thin Red Line, The Law, Ellery Queen … and more

Wednesday, September 29th, 2010

Get Him to the Greek: Blu-ray

In Richard Benjamin’s delightful 1982 comedy, My Favorite Year, all junior writer Benjy Stone was required to do was get the famously debauched British actor, Alan Swann, from his New York hotel to a nearby studio, where a popular comedy-variety show (think, “Your Show of Shows”) is being broadcast live to a national audience.
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MW on DVDs: The Killer Inside Me, The Law (La Loi), Palermo or Wolfsburg, Get Him to the Greek … and more

Tuesday, September 28th, 2010

PICK OF THE WEEK: NEW

The Killer Inside Me (Three Stars)
U.S.; Michael Winterbottom, 2010

All these years, ever since it first appeared as a paperback original novel in 1952, a possible movie of Jim Thompson’s The Killer Inside Me — the first-person deep-noir tale of a smooth-talking small-town Southern deputy sheriff and murdering bastard named Lou Ford — has been a movie masterpiece waiting to happen.
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Quiet Cool

Friday, September 3rd, 2010

My favorite songs are ones that slowly build to a crescendo – David Bowie’s “Rock N’ Roll Suicide” for example – and I’ve often felt that way about movies.  I have always enjoyed the slow build, tightening the screws ever so delicately until the tension is unbearable.  Sure, there are great movies that come out firing on all cylinders right from the start, but my preference is to let things slowly sink in.  The movies of Antonioni, Rohmer, Malick, Truffaut, and Kubrick have always appealed to me because they were confident enough in their abilities to let things quietly unfold rather than explode.  The modern day filmmaker that I think employs this technique most effectively is probably Gus Van Sant; films like Paranoid Park and Elephant unfurl their narratives in an almost maddeningly oblique way.  But I find those films to be rewarding because of the work I put into trying to understand them.

This is all to say that it makes me downright giddy that there seem to be a couple films on the horizon that employ this technique.  Anton Cobijn’s The American is, according to everyone who has seen it, an Antonioni-esque exercise in languidness.  And today, I read a bunch of reviews of Sofia Coppola’s Somewhere that apparently takes place in the same dreamy state as Lost in Translation.  And to me, this is the equivalent of most audiences seeing that giant wave in the trailer for The Perfect Storm.  When I hear that a movie has a deliberate pace and is compared to a director like Antonioni or Malick, that’s when I get excited.

What are some of the other great “slow-build” movies I’m missing?

Adrian Martin On Terrence Malick

Thursday, August 26th, 2010

While We’re Waiting For Mighty Tree: Adrian Martin’s Lyrical 2006 Contemplation Of The Poetic Urges Of Terrence Malick
But – There’s A Casting Call This Weekend In Malick’s Hometown Of Bartlesville, Oklahoma, For Some “High-Quality Production”