A Critical Cinema 5: Interviews with Independent Filmmakers by Scott MacDonald

By Scott MacDonald

A severe Cinema five is the 5th quantity in Scott MacDonald's severe Cinema sequence, the main wide, in-depth exploration of self reliant cinema to be had in English. during this new set of interviews, MacDonald engages filmmakers in unique discussions in their motion pictures and of the private reports and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the outstanding range of contemporary autonomous cinema and the interactive neighborhood of filmmakers that has committed itself to generating sorts of cinema that critique traditional media.

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Extra resources for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)

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MacDonald: The diªerent sound tracks tend to create diªerent experiences of the film, with diªerent emphases. Juxtaposed with the ELO sound track, the elegance and extravagance of your imagery moved to the foreground; but with the Janácek, the humor of the visuals becomes the foreground—at least for me. Anger: All along, I was experimenting with various tracks, some of which I never recorded. I had always known about Leo Janácek’s Slavonic Mass, and I had that in mind even when I was filming the imagery.

Once I figured out where the light would be in a certain place, I had my actor get into position and my two cameramen, Charles and Thad Lovett, go to work. Charles and Thad were Americans living in Rome—as a matter of fact, I was living with them in Rome. They had a camera that I wished I could have owned: a 16mm Éclair with a mirrored viewfinder, so you could look through the lens and see what you were shooting. Charles and Thad were very enthusiastic about working with me, so as with La lune des lapins, I had skilled cameramen helping me.

I consider myself an experimental artist, and even once a film is “done,” if I want to try something else, and make a new version of a film, I will. This may annoy critics who are trying to keep track of everything, but this tendency of mine dates back to my earliest films, which were like three-minute or five-minute shorts that had to be run at silent speed because the only camera I had at that time ran at sixteen frames a second. I would just play a record along with a film and see if I liked it, and then I’d try another record.

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