Writers films:
I enthusiastically second the mentions of Hartley's HENRY FOOL and Wilder's
THE LOST WEEKEND as films about writer characters.
Also, the ads for Arliss Howard's BIG BAD LOVE reminds me of its existence,
and somehow triggers memories of the existence of THE LAST TIME I COMMITTED
SUICIDE about Kerouac and THE WHOLE WIDE WORLD about the fella that wrote
Conan the Barbarian.
Amelie and no spontaneity:
I highly doubt that the opening titles sequence of Amelie -- as just an
example -- with its faux-documentary style, was shot in any fashion but
spontaneously.
Also, Hitchcock storyboarded every single shot in advance and shot them that
way without deviation, which made the actual shooting quite boring for him,
but I don't believe many audience members feel that boredom watching the
finished film.
I don't feel that DESIGNING a film, perfecting that design, and then simply
realizing that design makes for a bad film. It is one way.
As far as Moulin Rouge goes, I feel it is an uneven film, with some quite
remarkable moments, but it is a largely unremarkable film (hint hint).
arthur
"Fa fa fa fa fa fa fa fa fa. Your turn..."
-Otis Redding
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