So I have a minor pre-occupation at the moment with the concept of remaking a movie shot for shot. This process is not as common as one might think. Remakes of movies occur all the time in Hollywood, far too often by some people’s standards and usually with the sole intention of cashing in on a franchise that has proven itself successful in the past or with a foreign audience. But typically, the aim of the film is to re-imagine the original, infusing it with a modern day perspective or a sly ironic twist. “Staying true to the original” is a term that you will hear in certain instances but this intent is usually reserved for the spirit of the piece and not the actual content of the frames. Continue Reading…
In a recent interview with indieWire, director Todd Haynes states that the notion of a fixed personal identity is a lie; that “it is something that we are always working on and abridging and using outside influences to keep changing.” No where is this theory better exemplified than in his new movie, I’m Not There, in which his subject, Bob Dylan is played by six different actors including Cate Blanchett and 13-year-old African-American actor, Marcus Carl Franklin. Ultimately, the movie becomes as much a study of identity for the filmmaker himself — of all of us for that matter — as it is of one of America’s greatest songwriters. As Robert Sullivan writes in his cover article in yesterday’s New York Times’ Magazine:
“Todd Haynes’s Dylan film isn’t about Dylan. That’s what’s going to be so difficult for people to understand. That’s what’s going to make “I’m Not There” so trying for the really diehard Dylanists. That’s what might upset the non-Dylanists, who may find it hard to figure out why he bothered to make it at all. And that’s why it took Haynes so long to get it made. Haynes was trying to make a Dylan film that is, instead, what Dylan is all about, as he sees it, which is changing, transforming, killing off one Dylan and moving to the next, shedding his artistic skin to stay alive.”
In tribute to the deaths of two of cinema’s greatest artists, Ingmar Bergman and Michelangelo Antonioni this past week, Liam Lacey compiled an extensive* list for the Globe and Mail, organized by age group, of living filmmakers who could potentially fill their formidable shoes.
Sitting there on the screen as static ‘old guard’ media, the article begged to be given a little dynamic context. So, as the third installment of Auteurs on YouTube, I have reprinted the text in its entirety with links to related interviews, trailers and clips from YouTube whenever possible.
In the great democratization of media, a clip from Fellini’s 8 1/2 stands on even par with clips as monumental to the history of cinema as Brandon Davis and Paris Hilton’s crude comments about Lindsay Lohan’s nether regions. That any one of these great film pioneers foresaw this highly compressed small screen fate for their work is asking too much even for such visionaries.
In the end, it makes for an enjoyable evening surfing through these clips. Here are but a few. I invite you to add more via the comments.
The trailer for Godard’s Breathless (with Japanese subtitles no less).
The swing scene from Kurosawa’s Ikiru.
Film historian, Peter Cowie talking about Bergman’s “Winter Light”.
And finally, one that always gives me chills with the first strains of the violin, the French trailer for Wong Kar Wai’s In the Mood for Love.