criterionforum.org

swo17 wrote:What about when we want to talk about what hat he was most recently seen wearing?

Right foot. Left foot. Always you wrestle inside of me. Always you will.

flyonthewall2983 wrote:When did he start using digital?

flyonthewall2983 wrote:When did he start using digital?The scenes in To the Wonder where Kurylenko returns to Paris are shot on some version of the RED camera, reportedly to give contemporary Paris a cold, distant mood. And there are also the consumer video shots at the beginning.

Back cover of the 1976 album of Carly Simon, ANOTHER PASSENGER.
And yes, the smoking-pensive coin-throwing Riverboat gambler is... Terrence Malick

“TOGETHER” is a VR experience about the power of human connection. The piece fuses dance and technology, putting the viewer in the middle of an emotional narrative about breaking down barriers and bringing people closer.

The experience was created in collaboration with Palme d'Or winning director Terrence Malick, Academy Award nominated cinematographer Rodrigo Prieto and movement artists Jon Boogz and Lil Buck along with Facebook's creative studio, The Factory.

VR challenged Malick and Prieto to rethink the traditional narrative structure and deliver a piece that uses VR to tell a timeless story about human connection.

Stefan Andersson wrote: Fri Jan 04, 2019 1:21 pm Interesting two-part list of similarities between early Malick films:
http://www.eskimo.com/~toates/malick/simlist.html

"She's a typical Southern girl in her desire to help, to give hard fact; not to dwell upon herself, which to her would be unseemly, but always to keep in mind the needs of others. She wants to come off in the best possible light, but she's scrupulous enough to take responsibility where in any way she might have contributed."

I suggest to Malick that the film has been criticised for patronising Holly and her milieu. "That's foolishness. I grew up around people like Kit and Holly. I see no gulf between them and myself. One of the things the actors and I used to talk about was never stepping outside the characters and winking at the audience, never getting off the hook. If you keep your hands off the characters you open yourself to charges like that; at least you have no defence against them. What I find patronising is people not leaving the characters alone, stacking the deck for them, not respecting their integrity, their difference.

[...] You should always feel there are large parts of her experience she's not including because she has a strong, if misplaced, sense of propriety. You might well wonder how anyone going through what she does could be at all concerned with proprieties. But she is. And her kind of cliché didn't begin with pulp magazines, as some critics have suggested. It exists in Nancy Drew and Tom Sawyer. It's not the mark of a diminished, pulp-fed mind, I'm trying to say, but of the 'innocent abroad.' When people express what is most important to them, it often comes out in cliches. That doesn't make them laughable; it's something tender about them. As though in struggling to reach what's most personal about them they could only come up with what's most public.

[...]Kit, on the other hand, is a closed book, not a rare trait in people who have tasted more than their share of bitterness in life. The movies have kept up a myth that suffering makes you deep. It inclines you to say deep things. It builds character and is generally healthful. It teaches you lessons you never forget. People who've suffered go around in movies with long, thoughtful faces, as though everything had caved in just yesterday. It's not that way in real life, though, not always. Suffering can make you shallow and just the opposite of vulnerable, dense. It's had this kind of effect on Kit.

[...]He wants to be like them, like the rich man he locks in the closet, the only man he doesn't kill, the only man he sympathises with, and the one least in need of sympathy. It's not infrequently the people at the bottom who most vigorously defend the very rules that put and keep them there.

And there's something about growing up in the Midwest. There's no check on you. People imagine it's the kind of place where your behaviour is under constant observation, where you really have to toe the line. They got that idea from Sinclair Lewis. But people can really get ignored there and fall into bad soil. Kit did, and he grew up like a big poisonous weed.