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Shooting and editing in a style that highlights the fleeting nature of memory and avoids most narrative conventions, Malick now appears to have realized the lyric poem of creation he envisioned … “He’s been moving toward this his whole career,” says Billy Weber, who worked as an editor on Days of Heaven, The Thin Red Line, and The Tree of Life. “I think he really decided to go for something radical this time. This is his most experimental film.”

the title of bilge ebiri’s biographical Malick/TOL NYMag piece is chilling: “Thirty Three Years of Principal Filming”

Shooting and editing in a style that highlights the fleeting nature of memory and avoids most narrative conventions, Malick now appears to have realized the lyric poem of creation he envisioned … “He’s been moving toward this his whole career,” says Billy Weber, who worked as an editor on Days of Heaven, The Thin Red Line, and The Tree of Life. “I think he really decided to go for something radical this time. This is his most experimental film.”

the title of bilge ebiri’s biographical Malick/TOL NYMag piece is chilling: “Thirty Three Years of Principal Filming

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