You’ve certainly decided by now whether you find Terrence Malick’s filmmaking methods daring and exploratory or alarmingly shambolic. Bilge Ebiri’s account of the production of To the Wonder won’t change anybody’s mind on the subject, but it offers more evidence of a director who employs actors, cameramen, and editors in his own unique fashion. Ebiri links to a revealing interview with Emmanuel Lubezki by the ASC’s Jim Hemphill. (“Terry didn’t say this, but I felt that he was trying to separate To the Wonder from all the moviemaking that’s still connected to theater—from movies that feel acted, prepared and rehearsed.”) And inseparable from the sights of Malick are the sounds: composer Hanan Townshend writes briefly about his experience scoring the film.
Daniel Kasman’s ingenious reading of Melville’s Un Flic as “a picture that envisions the ruins laying beyond cinema’s construction of society, of masculinity, of modernity, of genre” depends upon three key shot/reverse-shots and a fourth close-up left hanging without its matching opposite.
“Watching, watching the street and the gate from the dark study window, Hightower hears the distant music when it first begins.” Jonathan Rosenbaum’s attempts to discern a link between Sátántangó and Faulkner’s Light in August get dismissed by Béla Tarr, but he finds some support in a quote from screenwriter and source novelist László Krasznahorkai.