The Criterion Collection

[MifuneFan]

I've solved it. IT'S ALL HITCHCOCK!!



*drops mic*

[KyleW]

Lol nice


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[MJD64]

I've read so many actors over the years talk about how Malick's films start with a strong script, with an actual plot and narrative, that he then edits down into artsy,visual tone poems. Actors talk of having lots of dialogue and are subsequently shocked to see themselves in nearly wordless performances in the finished product. Those films have an undeniable fascination and beauty, but just once I'd like to see a Malick movie in a form closer to what was originally written and what those actors signed on for, regardless of length.

[thatguamguy]

Originally Posted by MJD64

just once I'd like to see a Malick movie in a form closer to what was originally written and what those actors signed on for, regardless of length.

Have you read Thomas Lennon's account of his day working on "Knight of Cups"? I've heard actors say the same thing you did, but by his account, that film might as well have had no script.

[SammyJankis]

Any love for The Naked Island? I was really taken by it. I like that it didn't feel like it was from the same cloth of Ozu by diverting the narrative away whenever it hinted at some form of an arc - school life for the children, martial conflict. It always fell back on its lull of a pattern, even when its broader thematic concerns come to the forefront towards the end. It's the kind of film I can see myself revisiting when I want a soothing pick me up.

Also, kudos for the lack of dialogue.

[Scottie]

Originally Posted by SammyJankis

Any love for The Naked Island? I was really taken by it. I like that it didn't feel like it was from the same cloth of Ozu by diverting the narrative away whenever it hinted at some form of an arc - school life for the children, martial conflict. It always fell back on its lull of a pattern, even when its broader thematic concerns come to the forefront towards the end. It's the kind of film I can see myself revisiting when I want a soothing pick me up.

Also, kudos for the lack of dialogue.

I really enjoyed it. It was an alternate yet intimate portrait of Japan.

[shadedpain4]

Originally Posted by thatguamguy

Have you read Thomas Lennon's account of his day working on "Knight of Cups"? I've heard actors say the same thing you did, but by his account, that film might as well have had no script.

'Lennon was never given a script, only a piece of paper with an enigmatic phrase printed on it: “There’s no such thing as a fireproof wall.” '

I guess Malick is really just Caden Cotard?

[MJD64]

Originally Posted by thatguamguy

Have you read Thomas Lennon's account of his day working on "Knight of Cups"? I've heard actors say the same thing you did, but by his account, that film might as well have had no script.

Malick may well be at the point where he doesn't even bother anymore, considering that he'll toss it all out in the editing room anyway. I still remember the film critic David Thomson writing about how the original script for The Thin Red Line was brilliant, and how shocked and dismayed he was seeing how Malick disregarded it in the end. What amazes me is that the central character was meant to be Adrien Brody, who just seems to hover in the background of the whole film. That Malick was still able to piece together a nearly 3 hour film that completely disregards it's original lead to the point where he's a non-entity is impressive in all the wrong ways.

[SammyJankis]

Originally Posted by shadedpain4

'Lennon was never given a script, only a piece of paper with an enigmatic phrase printed on it: “There’s no such thing as a fireproof wall.” '

I guess Malick is really just Caden Cotard?

You left out the best part:

And I ask, ‘Is this something I’m supposed to say in the scene?’ and he said, ‘I don’t know.’"

Lennon learned, after talking to the director, that there was no script, just a phrase that might inspire him when cameras started rolling.

"And then Malick goes, ‘Would you like some more? Because I have a whole stack of these.’ And I was like, ‘I think I’m good,” Lennon said."

[greekak229]

Originally Posted by SammyJankis

Any love for The Naked Island? I was really taken by it. I like that it didn't feel like it was from the same cloth of Ozu by diverting the narrative away whenever it hinted at some form of an arc - school life for the children, martial conflict. It always fell back on its lull of a pattern, even when its broader thematic concerns come to the forefront towards the end. It's the kind of film I can see myself revisiting when I want a soothing pick me up.

Also, kudos for the lack of dialogue.

The Naked Island is absolutely fantastic, brilliantly directed by Kaneto Shindo who I think deserves a lot more recognition.

[malakaheso]

Originally Posted by MJD64

I've read so many actors over the years talk about how Malick's films start with a strong script, with an actual plot and narrative, that he then edits down into artsy,visual tone poems. Actors talk of having lots of dialogue and are subsequently shocked to see themselves in nearly wordless performances in the finished product. Those films have an undeniable fascination and beauty, but just once I'd like to see a Malick movie in a form closer to what was originally written and what those actors signed on for, regardless of length.

Malick is running a bit of a scam operation on producers/investors too by attracting name actors to his projects to secure funding and then barely using them. There has to be a limit on that, especially as his last few films have bombed.

[ShellOilJunior]

Originally Posted by SammyJankis

Any love for The Naked Island? I was really taken by it. I like that it didn't feel like it was from the same cloth of Ozu by diverting the narrative away whenever it hinted at some form of an arc - school life for the children, martial conflict. It always fell back on its lull of a pattern, even when its broader thematic concerns come to the forefront towards the end. It's the kind of film I can see myself revisiting when I want a soothing pick me up.

Also, kudos for the lack of dialogue.

It's terrific. I think the film gets better with repeat viewings because the film's language (or way of presenting the narrative) is known by the viewer.

[mja345]

I know "Knight of Cups" has its defenders, but it reminded me more of the god-awful 2011 self-pity fest "I Melt With You" starring Thomas Jane, Rob Lowe, and Jeremy Piven than anything resembling Malick's better work. "Knight of Cups" felt like a sequel to "I Melt With You", where Christian Bale was the dude who didn't come along on the trip that the four clowns in "I Melt With You" made.

[KyleW]

I wasn't a fan of Knight of Cups. Visually gorgeous but otherwise just meandering and bullshit.


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[MJD64]

Originally Posted by malakaheso

Malick is running a bit of a scam operation on producers/investors too by attracting name actors to his projects to secure funding and then barely using them. There has to be a limit on that, especially as his last few films have bombed.

True enough, but I also feel Malick has become one of those iconic and legendary directors, like Woody Allen and Kubrick when he was alive, that actors are willing to work with simply for the experience and the artistic cache. Even without a script there are so many high-profile actors willing to take that leap of faith.

[KyleW]

Originally Posted by MJD64

True enough, but I also feel Malick has become one of those iconic and legendary directors, like Woody Allen and Kubrick when he was alive, that actors are willing to work with simply for the experience and the cache. Even without a script there are so many high-profile actors willing to take that leap of faith.

I have faith with his newest one for sure


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[surfdude12]

Originally Posted by MJD64

I've read so many actors over the years talk about how Malick's films start with a strong script, with an actual plot and narrative, that he then edits down into artsy,visual tone poems. Actors talk of having lots of dialogue and are subsequently shocked to see themselves in nearly wordless performances in the finished product. Those films have an undeniable fascination and beauty, but just once I'd like to see a Malick movie in a form closer to what was originally written and what those actors signed on for, regardless of length.

A lot of people wish their employer would use their talents differently, including those earning less than $10 million per year and somehow find a way not to whine about it.

[SammyJankis]

For people that pine for Malick's more streamlined approach (I seem to be amongst the slim few that do not):

Malick’s more recent works have rather notoriously adopted a more improvisational, stream-of-consciousness style, with dialogue kept to a minimum in favor of voiceover, scenes edited together in montage-like fashion, and huge swaths of footage left on the cutting-room floor. While the director has enjoyed the freedom that comes from this mode of production, he claims to be gravitating back toward working with clear scripts and pre-planned productions. (He recently finished shooting his WWII drama, Radegund, in Europe.) Malick does not see this as an imposition on his creativity, but, in fact, a better enabling factor: it is easier and more productive to go off the rails, he says, when rails are in place to begin with.

Although this may not hold water by the time he gets his hands on what is filmed.

[MJD64]

Originally Posted by KyleW

I have faith with his newest one for sure


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I hope you're right, because the cast is terrific and the European actors he's lined up for his next project set during WW 2 is similarly impressive. It goes to my point about he can always attract top talent.

I couldn't even sit through Knight Of Cups (although in all honesty I may give it another try) and didn't even attempt to watch To The Wonder.

[MJD64]

Originally Posted by surfdude12

A lot of people wish their employer would use their talents differently, including those earning less than $10 million per year and somehow find a way not to whine about it.

Actors live in their own reality and put a lot of faith and trust in a director, if they feel they were artistically betrayed or ill-used I don't entirely blame them for getting upset. Christopher Plummer wrote an angry letter to Malick after seeing what became of his performance in The New World, and also spoke of him as being "mad as a hatter".