I’m reading an old esoteric text called “In the Light of Truth,” by Abdruschin. I have an old chest at the foot of my bed and then my actual night stand, and on it I have poems called “Acquainted With the Night: Insomnia Poems,” edited by Lisa Russ Spaar, a gift from a friend. Ward, is a case in point where even after we’d locked the film - which is the semi-technical term in filmmaking for promising your sound editors you won’t touch it anymore - we unlocked it a million times to remove an adjective or to add a qualifying “perhaps” or “some believe,” or whatever it might be, just to be more faithful to the intensely rigorous scholarship we try to attend to with every film. and the Holocaust,” written by Geoffrey C. They are something that you never stop working on. Unlike many cinematic circumstances, the first drafts for these do not come down from Mount Sinai written in stone. Ward and Dayton Duncan over the years, and with my oldest daughter, Sarah Burns, and her husband, David McMahon, who have written the scripts for the films. They’ve been enormous collaborations that I’ve had with Geoffrey C. We don’t believe in that dialectic whatsoever. People think that film is in some ways the enemy of the word. Not as much as I want to be for leisure, because I am constantly reading during the day - my days are 12 and 15 hours long, and therefore by the time I can just sit down and read for pleasure, it’s sort of catch as catch can.
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