By Scott MacDonald
A severe Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main vast, in-depth exploration of self sustaining cinema to be had in English. during this new set of interviews, MacDonald engages filmmakers in special discussions in their movies and of the private studies and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the outstanding variety of contemporary self sufficient cinema and the interactive group of filmmakers that has devoted itself to generating types of cinema that critique traditional media.
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Additional resources for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)
But at that time I went to Consolidated, and it turned out that the head of the lab was a navy veteran, and he looked at the negative and found it had some people in naval uniforms in it. He was considering calling the FBI, as if Fireworks were some subversive thing. ” MacDonald: I think what strikes those of us who see it as courageous is that it’s the ﬁrst ﬁlm, at least the ﬁrst I’m aware of, where a man openly, clearly expresses a desire for other men. I grew up in that postwar period— I’m a little younger than you are, but I remember the era—and there was so much repression .
Could you talk about the young men you worked with in Scorpio Rising? Anger: All my actors in Scorpio Rising were straight. They were workingclass guys, Italian Americans mostly, who would have been upset by the way I portray them. Scorpio Rising was me putting that inference on their soci- 38 A Critical Cinema 5 ety, seeing their society as an outsider, which can be a limitation but also an advantage. ” They were showing oª a little bit, or maybe a lot, for the camera. This was a case where the camera changed things, but it changed them in a direction that I wanted.
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.
A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5) by Scott MacDonald