By Scott MacDonald
A serious Cinema five is the 5th quantity in Scott MacDonald's severe Cinema sequence, the main vast, in-depth exploration of autonomous cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in precise discussions in their motion pictures and of the non-public reports and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the striking range of recent autonomous cinema and the interactive neighborhood of filmmakers that has committed itself to generating types of cinema that critique traditional media.
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Additional info for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)
He brought out the original edition of Hollywood Babylon, which I wrote in French, before it came out in English. At that time Jean-Jacques was the publisher of a rather notorious novel, Histoire d’O, by Pauline Reage. It was an erotic novel; I guess you could call it a sadomasochistic fairytale because it’s absolutely a fantasy, nothing that could actually happen in real life. I met the author, whose real name is Dominique Aury, and she gave me permission to ﬁlm the book, and I began work on a black-and-white, silent ﬁlm.
Pierrot will make a gesture like reaching up to the moon, and then he’ll make the same gesture in another shot, but it isn’t like the usual tight cutting on movement you see in most commercial ﬁlms. I knew all those conventional techniques. I had been absorbing movie techniques since I was a little boy growing up in Hollywood around people who were working in the industry—so I knew when I could break the rules. I wasn’t just fooling around. From the beginning I had a ﬁlm language to work from. At any rate, I had this unique opportunity to have a professional studio with professional lights.
I had a work print of what I had shot, which I left at the Cinémathèque Française. Another unﬁnished project. MacDonald: When I think about Scorpio Rising, it reminds me a little of All That Jazz [1979, directed by Bob Fosse], in the sense that the beginning sequences are the most powerful, and the ﬁlm seems gradually to fall away from the energy we sense early on. For me, and I’m guessing to some extent for you, the process of getting ready for the big social moment is the most exciting part; and the moment itself can never quite live up .