By Scott MacDonald
A severe Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main broad, in-depth exploration of self sufficient cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in specific 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 precise the amazing range of recent self reliant cinema and the interactive neighborhood of filmmakers that has devoted itself to generating types of cinema that critique traditional media.
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Additional resources for A Critical Cinema 5: Interviews with Independent Filmmakers
At any rate, I had this unique opportunity to have a professional studio with professional lights. My set was an artiﬁcial forest scene. I repainted some cut-down tree branches in black and silver, and they were built in perspective, so they got smaller as they went away from the camera—I didn’t have much depth to work with in what was a fairly small room. Doing Rabbit’s Moon, I was inspired by Méliès, and by his ﬂat depth of ﬁeld. And I was fortunate to have actors from the Parisian mime school (later it became the Kenneth Anger 27 Marcel Marceau School), who were trained in pantomime and were happy to work with me.
But that’s about as far as I’ll go. My ﬁlms are enigmas to be ﬁgured out. My ﬁlms are based on my lifelong research, and they add something to that research. If you can pick up on the results, ﬁne; it’s all there if you want to explore it—but you may have to do some research of your own. MacDonald: Samson de Brier played a number of roles in Inauguration of the Pleasure Dome. Was there a particular reason for that? Anger: The whole ﬁlm evolved from a Halloween party at which various friends came dressed as gods and goddesses.
I found a recording of The Slavonic Mass by Raphael Kubelik that I liked, and I used that. MacDonald: In my book on Cinema 16 I reprinted a number of letters between you and Vogel, written at a time when it looked like the ﬁlm was going to have a Harry Partch sound track. Does a print with that sound track still exist? Anger: Well, Harry is not alive anymore, so you can’t talk to him, but I’ll give you my version. In the early ﬁfties I heard an LP of some of his music performed using his own instruments.