Fun Threesomes, Foursomes and Moresomes

Some comments on these directors, as the post was longer than I thought.

Peter Weir - helped put Australian film on the map with his works. Really fun early stuff that is nutz. The Plumber and then The Cars That Ate Paris.

Giuseppe Tornatore - Not always mentioned in the lists of great films, but his stuff is really neat, loving and has a touch that is very ... unlike a lot of cinema. It seems like in his films the appreciation for the far out and the "dream" is more important than the reality!

Bernardo Bertolucci - Has some really neat stuff, and a lot of it might be due to Cinematographer Vittorio Storaro, who always made things look neat. And he was able to "color" things when BB wanted a color for this or that ... in which case you saw it for awhile. Interesting, and even personally touching style, allowing you to feel the character better than most films, and this might be a BB touch.

Luis Bunuel - one of the great surrealists with Salvador Dali, he was the only one to actually get into film, and continue the tradition of "surrealism" that seemed to have died out after the idea. In the hands of Luis Bunuel, it ended up bringing up so much cynicism about the times and places, that was ridiculous and insane. And then you get to see a film go through the inside of various folks' minds, and you wonder ... hmmm ... oh well, will just take a walk to nowhere to see where it leads us?

Federico Fellini - the "bad boy" in Italian Cinema, but he got his films making money in many other countries when the church would decide they didn't like a film by Federico. In the end, he is better remembered than the rest of Italian Cinema, when many folks might not even even name one, let alone 2 directors.

Francois Truffaut - A tough choice for me, as he is not a favorite but he had a touch for the improvised materials that he used that worked really well, even though it also looked rehearsed ... I think his earlier material was more interesting.

Jean-Luc Godard - One of the most polarizing of directors ever. He did not care about the "history" of cinema, and HOW things were defined and designed, and spent his life turning those conventions inside out and upside down to absolutely amazing results. Not only were actors just meandering and improvising, the director himself had a habit of improvising right over the visuals, and sometimes even say ... I didn't like that shot ... and it goes backwards and it is done in a different manner! You and I will often wonder ... hmmmm!!!

Pedro Almodovar - I think he tried to copy Luis Bunuel, but a different time and place made it difficult and then he discovered that he could have the women in his films have all the fun, and everyone would notice. Well, let's say that sometimes it is weird, sometimes it is crazy, sometimes bizarre and sometimes it takes us to places we didn't expect. His later material seems to be less interesting for my tastes and I think that he is thinking too much ... I thought the earlier material had more freedom, to help create the moments it did.

Terry Gilliam - While, never considered a great director, his imaginary ideas and films are a sight to behold. His world is way out there, and if anything, it becomes "seen" in "The Man Who Killed Don Quixote" ... and guess what ... he is Don Quixote ... the man with a thousand dreams that never end ... and he makes films of them!

Peter Greenaway - One of the tough one to watch, and appreciate in film, and when you see his choreography in a lot of his material, you wonder what's in his mind. Prospero's Books is a sort of writer in the 22nd or 23rd century, when the imagery will be alive for us all ... not just words or pictures! (... so to speak!) ... and then you see The Pillow Book and yo come out wondering what that PIP was all about ... and I think it is the characters inner side, although that is never really explained or clearly shown/seen. And his best film? ... well, it's best you see it for yourself.

Nicolas Roeg - Starting as a cinematographer, he ended up directing and spent time with Theresa Russell whom he married and made several films with. His style is visual to the max and sometimes seems exaggerated, but it makes a special point that is hard to discuss ... there is a side that is brutal, then there is a side that is fleeting, then there is a side that is ... what? and you can't define many things.

Werner Herzog - Sometimes I don't know what to say about him, but watching so much of his early films and almost the improvised style, makes one wonder how a film can ever come alive, but it does. Even when it is scripted (Nosferatu) you get the feeling that the words were an idea, not the reality and something else came out.

Zhang Yimou - Given some credit for helping the Chinese Film Industry come alive in the 1990's he has a listing of films that are really good, and special. Raise the Red Lantern appears to be the film that got him noticed quickly.

Ken Russell - Always thought as the master of the abuse and outrageousness or excesses in film, he was much more attuned to the various things around artists ... and a lot of his life was strictly about that. But he always made sure that each and every film had its own special touch, even if it did not "fit" the whole thing, and sometimes it is maddening, and frustrating, but always entertaining. At least, many times yo come out with a giggle, and I guess that's good! But you don't need to giggle for MAHLER, or SAVAGE MESSIAH ... and it shows his appreciation for the art itself!

Peter Brook - A director better known for helping actors do things even better, his films illustrated a lot of his improvisational style of working, and how some things were developed. A style that is very intricate and "careful" with the dialogue, well learned and taught in his days at the RSC helping actors get stronger on stage to get audiences even more amazed.

David Lean - Often thought of as the master of the visuals in film ... be it close, or a long shot ... make that VERY LONG shot, that today's audiences might have an issue with since that is almost 3 minutes ...WITH NO ACTION! NONE ... NADA ... but the beauty that it helps the film with will forever be in your imagination. And it's hard for you to not "replay" many of those moments. It's just like a song you hum along with.

Akira Kurosawa - The bad boy in Japanese cinema and he ended up not having the most money (the studios stole all that), but he is way more remembered and appreciated than all those producers and folks that denied him a film. And his material was special, although one could say also "personal" since he changed tunes every now and then. He is also a very "visual" director where the scenery is as important to the film, as it is to the actor and actresses.