A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald

By Scott MacDonald

It truly is broadly understood that writing can speak about writing, yet we hardly ever think about that movie can be utilized as a method of studying conventions of the economic movie undefined, or of theorizing approximately cinema in most cases. over the last few a long time, in spite of the fact that, self sustaining cinema has produced a physique of attention-grabbing motion pictures that supply in depth evaluations of approximately each part of the cinematic gear. The event of those movies at the same time is determined by and redefines our dating to the films. serious Cinema presents a set of in-depth interviews with probably the most comprehensive "critical" filmmakers. those interviews reveal the sophistication in their brooding about movie (and quite a lot of different matters) and function an obtainable creation to this significant sector of autonomous cinema. each one interview is preceded by means of a common advent to the filmmaker's paintings; precise filmographies and bibliographies are integrated. severe Cinema can be a invaluable source for all these keen on the formal learn of movie, and should be crucial studying for movie fanatics attracted to preserving abreast of contemporary advancements in North American cinema. INTERVIEWEES: Hollis Frampton, Larry Gottheim, Robert Huot, Taka Iimura, Carolee Schneeman, Tom Chomont, J.J. Murphy, Beth B and Scott B, John Waters, Vivienne Dick, Bruce Conner, Robert Nelson, Babette Mangolte, George Kuchar, Diana Barrie, Manuel DeLanda, Morgan Fisher.

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Mostly they were from Brooklyn. I was living in Brooklyn myself at the time, with Marie Menken and Willard Maas in Brooklyn Heights. MacDonald: What was that like? —and if you know the play, you can imagine that the experience was unusual. Willard and Marie had a strange symbiotic relationship. Willard was gay, and Marie was not; and there was a son who would show up occasionally. I was with them for about three months in their penthouse in Brooklyn Heights. Marie invited me to live there; I was more Marie’s friend than Willard’s.

The Bone Garden was completely burned, covered with blisters—it was a photo-realist painting, an amazing structure of skeletons and bones, totally original. I just wanted to remember him a little bit; that’s why I mentioned his name in that dedication. MacDonald: Jim Powers? Anger: He was the one who was “killed” at the end of Scorpio Rising. ” It wasn’t long after the filming that he drove his car as fast as he could into a wall in San Francisco and killed himself. MacDonald: And Kurt Mann? Anger: Kurt Mann was the son of Thomas Mann.

No, no, no. Why would you think that? MacDonald: It’s spelled “Carmello” in the program note P. Adams Sitney reproduces in Visionary Film [New York: Oxford University Press, 1974, 2002], and in the filmography of Moonchild, edited by Jack Hunter [New York: Creation Books, 2002]. I saw the spelling and assumed it was a man. Anger: No, it’s Carmilla, as in J. ” MacDonald: I need to rethink my interpretation of the film! ] Anger: Carmilla was a wonderful little lady who was patiently willing to work with me through a whole summer.

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