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

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 to be had in English. during this new set of interviews, MacDonald engages filmmakers in specified 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 awesome range of contemporary autonomous cinema and the interactive group of filmmakers that has devoted itself to generating kinds of cinema that critique traditional media.

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They were showing oª a little bit, or maybe a lot, for the camera. This was a case where the camera changed things, but it changed them in a direction that I wanted. So Scorpio Rising is my take on their lifestyle, not their lifestyle untouched. In fact, some of the men that you see getting dressed for the party in the film weren’t even at the party. The blonde who puts on a leather jacket when you hear the song “Blue Velvet” wasn’t even in New York. When I got back to Los Angeles after filming most of what became Scorpio in Brooklyn and was cutting the film, I met this young man, who was a model with the Athletic Model Guild, which was run by a friend of mine named Bob Mizer.

Piranesi also did etchings of the ruins of Rome and other famous old buildings, and when he wanted to give the viewer a sense of scale, he would use very small people, to make the ruins or the fountains or the monuments seem bigger. I decided I would use that same technique. And it worked. When you see the figure in Eaux d’artifice come down the winding, curved balustrade, the balustrade is above her head—she has to reach up to it—whereas a normal-sized human would reach down or over to hold onto the balustrade.

Anger: I consider myself an individual artist, and I don’t like being put in a cubbyhole. There’s nothing I’ve ever hidden; I’ve always been very upfront about myself. I can respect what other filmmakers are doing, but I don’t think we need to be put into a category. I knew Jack Smith and in fact spent a day in Oakland with him, looking for a prop for one of his movies—I think it was called Normal Love [1963]. He wanted a little morning-glory gramophone, the kind with the big tin horn, and we finally found a bent-up one in a junk shop, but it was more than he could aªord.

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