yourbuddyoz wrote:It seems to me these recent film movements are always pretty much the same punk rock reactionary posturing: fuck scripts, fuck rules, etc. What's wrong with channeling one's passion into the planning and coordinating of a piece? If you want to achieve the liberation of improvisation in jazz, you have to earn your chops first. You have to understand the discipline and know the logic of the medium. I for one thank god that Tarkovsky didn't just go out with his friends and shoot Andrei Rublev in the woods over the course of a weekend.
There's something to be said for that approach, but such an approach can often miss the chance to really capture something poetic and transcendent. Purity and transcendence doesn't always mean we went and shot on the street with no permit. I think there was transcendence in Cassavetes sitting in a room and acting out the scenes for Husbands with Falk and Gazzara, writing them down, and later filming them. Often, the magic of seeing a film that feels so spontaneous is the fact that the method of intense planning in order to achieve that effect totally vanished and what made the piece feel immediate and effortless was, in fact, carefully plotted.
I like writing scripts and thinking of motifs and images before I set out to make something. I have an idea in my head how I want it to be shot and pieced together. Some may call that faggy film school bullshit - but I see it as following through on a commitment. These two aforementioned dudes may be compared to Korine, but let's not forget Harmony is a writer and conjurer - he lives with an idea and builds upon it, leaving space for the unplanned mistakism to seep in during the shoot. But the atmosphere he creates in order to capture the mistakes is very astutely coordinated. I think someone like Giusseppe Andrews might do this as well, but his work looks like he spends way too little time developing ideas, feelings, and a battle plan for how he's going to capture the ideas. Which is why his work is sloppy in an uninteresting way (to me). I think what we see in Korine's films is premeditated poetry. He has an idea what he's going to capture and how it's going to look because his passion is put to use in a pre-production phase. I've seen a trend of underground dudes going and filming a bunch of random stuff and wacky real life characters then piecing it together into a feature. I've yet to see a film like this that has yet to stand out. The magic of Gummo is that it seems like it was random stuff pieced together. But no - it was carefully developed beforehand.
All that longwinded blather up there when all I really wanted to say was - what these guys are doing is cool, but I just hate it when some filmmaker comes along and damns a whole method of working. Fuck the rules, but learn em first.
Users browsing this forum: yourbuddyoz and 1 guest