Song to Song / Terrence Malick

Fascinante cómo en los últimos años se ha cargado toda su leyenda.

Señal de que se toma bastante menos en serio de lo que cabría esperar.
 
Última edición:
Qué bueno lo de Fassbender, “había escenas en que me dejaba el culo actuando solo para darme cuenta de que Terrence estaba rodando un escarabajo”
 
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Hombre, yo aún pareciéndome fallida knight of cups, le sigo defendido y lo prefiero a Damien Chapelle y otras cosas que gustan mucho por el foro.
 
Pues me ha gustado Knight of cups... no diría que me ha vuelto loco pero vamos, que bastante bien. Efectivamente se mea en mucho cine supuestamente prestigioso y va a lo suyo, pura evocación sensorial de un hombre hastiado. A ratoss hace cansina y un poco larga, pero es muy cautivador el poder de sus imágenes. Me ha gustado más incluso que To the wonder, que el trozo de Bardem a veces daba grimilla, como de manual de autoayuda para matrimonios mornards.
 
Como ya confesó hace unos meses, Malick se arrepiente de rodar tanto sin guión:


Audience Question: When you’re making a film like Voyage of Time, without the use of a script, how do you create such a rich experience without following the traditional use of a script?

Malick: Well, in this case, there was a script, which was the evolutionally history of the universe [audience laughs]. And lately – I keep insisting, only very lately – have I been working without a script [To the Wonder, Knight of Cups, Song to Song], and I’ve lately repented the idea. The last picture we shot, and we’re now cutting, went back to a script that was very well ordered. There’s a lot of strain when working without a script because you can lose track of where you are. It’s very hard to coordinate with others who are working on the film. Production designers and location managers arrive in the morning and don’t know what we’re going to shoot or where we’re going to shoot. The reason we did it was to try and get moments that are spontaneous and free. As a movie director, you always feel with a script that you’re trying to fit a square peg into a round hole. And with no script, there’s no round hole, there’s just air. But I’m backing away from that style now.
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Pero lo más interesante es que igual abandona también la voz en off. Hablando sobre la versión larga de Voyage of Time:

Greene: Will that one have narration?

Malick: Well, we’re talking about that because I keep wishing for no narration, but every distributor wants narration. The original format of this film was financed by IMAX Corporation and they make all their money from school field trips. Teachers and the insinuations want facts. And I try to maintain to them that these facts are in one ear and out the other; better read than seen. We should get away from the infotainment or edutainment, as they call it. Just let people look at these things and have their own voiceover. There are certain things where you just don’t want to be bothered, like someone is nudging you when you hear voiceover. I like the idea of making it your own experience.
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O eso espero yo.
 
Avalon, que le ha dado por recuperar peliculas ineditas en España (vease Under The Skin), ahora le ha dado por recuperar Malicks ineditos en España, y anuncia que la estrenara en Otoño
 
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