By Scott MacDonald
A serious Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main large, in-depth exploration of self sufficient cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in distinct discussions in their movies and of the non-public studies and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the awesome range of recent self sustaining cinema and the interactive group of filmmakers that has devoted itself to generating different types of cinema that critique traditional media.
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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 on hand in English. during this new set of interviews, MacDonald engages filmmakers in specified discussions in their motion pictures and of the private studies and political and theoretical currents that experience formed their paintings.
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Extra resources for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)
On the other hand, his lyrics are quite dark; the word “suicide” occurs frequently. He had his own destiny to work out, but I was really upset over his death and the waste of this life, and I did Elliott’s Suicide as a little tribute to him. I photographed the steak knife and it’s in the ﬁlm. And I use several of his songs, including, “Follow Me to the Rose Parade”; apparently he liked to get stoned on the last night of the year and in the morning go with friends to the Rose Parade in Pasadena.
It was a used Bell & Howell. It had seen some war service; those handheld Bell & Howells were used by cameramen during the war. MacDonald: Was your family supportive of your ﬁlmmaking? Anger: They didn’t know too much about it. ” Considering that she was a lady approaching her eighties, I think that was quite remarkable. But my family wasn’t particularly supportive of what I was doing. I had to make my own way. My father was an engineer at Douglas Aircraft. My older brother went into aviation, and I was expected to.
They became such a fad and were in the top ﬁve for so long that a lot of good American musicians and songwriters got pushed out. MacDonald: Was the idea of using the individual songs as modules part of the original conception of the ﬁlm? Anger: The music was an integral part of what I wanted. I am a pioneer in using music this way, along with Bruce Conner, who began using pop music in a similar way around the same time. MacDonald: The only ﬁlm I know of that may be earlier in its use of previously recorded pop music, though it doesn’t use rock and doesn’t use the music ironically the way you and Bruce do, is Weegee’s New York [ca.