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Avis de nos clients. Adapté aux enfants. Mobil Home. Voir plus Voir moins Vraiment dommage Bruno - 09 juin L'équipe a immédiatement réagi et tout For me, I guess I just like that form of show people.
That's an element of showmanship that you don't see too much today. I probably would have tried to be a choreographer [if I wasn't a filmmaker]. When I was a kid, I loved Nicholas brothers films. It was like skateboarding. Even Gene Kelly: I always preferred him to Fred Astaire, just because he was more athletic, like skateboarding.
His leaps were big. There was something really great about his moves. AVC: Does an interest in vaudeville inform your work prothese mammaire allaitement kiabi HK: Yeah! That's my favorite. That was how I started. I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way.
If you didn't like what was happening in one scene, you could just snooze through it until the next scene. That was the thing about vaudeville: You didn't have to worry about the beginning and ends of these things.
Why Chaplin instead of Keaton in the film? HK: I was going to go with Keaton, because I prefer him. I love them both, but Keaton is my favorite. But that's why I didn't choose him. I loved him so much, I didn't want to work with him.
It would have been too confusing for me. AVC: How do you regard the difference between the two of them? HK: Keaton does a comedy of sadness. In close-ups on Keaton's face, there was true poetry. I always felt sort of guilty laughing at him. I always felt sympathetic. Chaplin was an unabashed human—he was just funnynot thinking about "The Tramp" too much. But with Keaton, there was something deep, like "the truth" in his face.
AVC: How did you go about assembling a cast from your fantasies of entertainers past? HK: I was writing with my brother. We would eat chicken McNuggets and just sit there and talk about the criteria.
They had to be iconic. They had to have a certain kind of mythology that we could bleed into the narrative. And then there were people I just liked. I liked the way they looked. I didn't want to have a fat Elvis in my movie. HK: At first, it started with the nuns. I had these ideas for years, of images of nuns jumping out of airplanes without parachutes, and riding bicycles.
I was also thinking about impersonators, and though these two ideas seemed separate, they spoke to each other. There was an allegory of sorts. Sometimes I just sit on the couch, and if I look out the window and see a fat guy with bloody knuckles and curlers in his hair spitting, I start to think, "Wow, what does that guy do for a living?
What do his kids look like? HK: I felt like this movie had to be a little more conventional in the way it was told, and he is slightly more bookish than I am. He has a firm grasp of traditional elements of storytelling that I try to throw away. I felt like I needed someone who could rope me in a little bit. Also, I hadn't written in a really long time, so I didn't even know if I could write any more. I needed someone to bounce ideas off.
AVC: What feeling did you start to recognize when you realized you wanted to make a movie again? HK: I don't know. I had traveled for so long, living like a tramp, and it just felt right.
I started to think clearly again, and I couldn't really do much else. I tried working odd jobs that had nothing to do with creating, and it was difficult for me. In the end, I just always loved movies.
When I'm making a film I feel most alive, like I'm doing the right thing, and I'm in the place where I need to be. But it was a struggle, and I wasn't sure if people would let me make films again. HK: I worked at the Jewish community center in Nashville. I was a lifeguard's assistant. I worked as a shoe cobbler, did some yard work, worked with some Mexicans in the neighborhood, went to Panama where my parents were living and spent time with a group of fishermen…. AVC: What does a lifeguard's "assistant" do?
HK: Just watch the lifeguard. He can't be expected to save everyone! Before you decided you wanted to make another movie, were yinka cellulite diet horizon writing in any other capacity? HK: No. I would scribble shit and throw stuff down. I had houses that burnt down, so I lost a lot of things. After I had two houses burn down, it threw me for a whirl.
I didn't know what I was doing. I didn't feel like I had anything to say. People everywhere were making movies or taking photographs and littering the world, and I didn't want to contribute to the pollution.
I thought the most noble thing in the world would be to just disappear. That's something I never thought about. AVC: The new movie runs two very distinct stories on parallel tracks throughout. Did anything surprise you about the way they fit together in the end?
HK: I always knew they were going to work together. There will always be people who require taking a leap of faith. I knew that would be a challenge for a certain portion of people watching the film, but it didn't make that much of a difference to me.
I felt like they were the same story and spoke to the same ideas. Ideas of faith and hope and—I don't want to say "magic," but there is something… They're all dreamers. I've always been pulled toward people who can't seem to make anything fit.
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It's like a cinema of isolation, of loneliness. They go outside the system and create their own society to develop their obsession to an insane degree. AVC: The making of the movie involved immersive stays in a commune-like setting with the cast of characters you'd chosen. Once you've created a world like that to live and play in, is it difficult to leave to make sense of it and edit? HK: Yeah, it takes a little while. You have to step back.
But editing is fun for me. That's where you make things happen. Filming a movie, I just try to set things up and see where it goes. Editing is a puzzle.
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I often don't even know what I'm trying to say. I'm just trying to make myself laugh. That's it. It's musical, or something. HK: Great!