follow us in feedly
Stanley Kubrick wanted Terry Gilliam to direct a sequel to ‘Dr. Strangelove’

strangelove
 
According to Todd Brown at Twitchfilm, an uncompleted outline for Son of Strangelove, a sequel to Stanley Kubrick’s immortal 1964 Cold War satire Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, was found among the effects of the legendary screenwriter Terry Southern (Easy Rider, Barbarella) after his death in 1995. The story was set in the underground bunkers discussed in the infamous war room scene of the original film. As tantalizing as it is to wonder how such a film would have turned out had it indeed come to pass, it turns out that Kubrick had Monty Python refugee and great visionary of the dismal Terry Gilliam in mind to direct. Straight from Gilliam himself:

I was told after Kubrick died - by someone who had been dealing with him - that he had been interested in trying to do another Strangelove with me directing. I never knew about that until after he died but I would have loved to.

 
strangelove sellers
This is my face, just thinking about ‘Son of Strangelove.’

Just imagine the psycho-in-toyland wonders of an underground bunker for post-apocalypse elites as conceived by the deliriously inventive mind behind The Adventures of Baron Munchausen and The Imaginarium of Doctor Parnassus! It’s sad that we’ll likely never know, but Gilliam fans still have something to look forward to. This winter will see the release of his new film The Zero Theorem, which, per the director in a recent Guardian interview, constitutes the third piece of a dystopian trilogy begun with his 1985 masterpiece Brazil and 1995’s mind bending time-travel drama 12 Monkeys.

The Zero Theorem has already screened to acclaim at the Venice Film Festival. Euronews featured a preview of the film prominently in this clip:
 

 
Bonus: Enjoy this lengthy interview with Gilliam from CBC Radio’s Q.
 

Posted by Ron Kretsch | Leave a comment
‘All of my films have really been statements about America’: The wonderful world of Terry Gilliam

phpcWGOG2AM.jpg
 
‘All of my films have really been statements about America, strangely enough,’ said director Terry Gilliam in this documentary about his work and career, made for The South Bank Show in 1991.

If you look closely at them, or I sit and try to describe them in some way, they’re all me reacting to that country I left. They’re seen through the eyes of somebody who lives in Britain, who’s been affected by this world, but they’ve all been messages in film cans back to America.

They’ve been disguised with the Middle Ages and the Eighteenth Century and everything, but it’s about that. This one [The Fisher King] has no disguise—that’s what’s interesting about it. It’s there, it’s naked, this is the world.

Gilliam concludes the interview by dismissing any possibility of complacency in light of the success of The Fisher King .

Let’s say this film is successful and America is going to offer me money, there will be that tendency to say, “Oh, I’ll make more like this.” It’s easier to make films like this because I don’t have the same battles and I hope the perverse side of my nature is still there to rescue me from this, because I think that’s what’s kept me going is the sheer perverseness and because the easy path is that way…(Makes hand gesture) [and] I don’t do it

I think I’ll know when I’m really middle-aged when I go that way. If the next film is an easy film—you know it’s over. You’ll know he’s middle-aged, he’s fat, he’s a slob, he’s given up the battle.

As if that is ever going to happen, Mr. Gilliam!
 

 
Watch Terry Gilliam’s latest film ‘The Wholly Family’ after the jump…
 

Posted by Paul Gallagher | Leave a comment
Legendary poet Christopher Logue reads: ‘I shall vote Labour’

eugolrehpotsirhcteop.jpg
 
In 1964, The British Labour Party was elected into government with a slim majority of 4 seats. Such a small majority made governing the country difficult for canny Prime Minister, Harold Wilson. Therefore, after 17 months in power, Wilson called a second election. In support of winning re-election, the Labour Party’s magazine, Tribune asked a selection of writers and artists who they would vote for in the 1966 General Election. In response, sensing Labour might not hold to their socialist ideals, poet Christopher Logue wrote the poem “I shall vote Labour.”

I shall vote Labour

I shall vote Labour because
God votes Labour.
I shall vote Labour to protect
the sacred institution of The Family.
I shall vote Labour because
I am a dog.
I shall vote Labour because
upper-class hoorays annoy me in expensive restaurants.
I shall vote Labour because
I am on a diet.
I shall vote Labour because if I don’t
somebody else will:
AND
I shall vote Labour because if one person
does it
everybody will be wanting to do it.
I shall vote Labour because if I do not vote Labour
my balls will drop off.
I shall vote Labour because
there are too few cars on the road.
I shall vote Labour because I am
a hopeless drug addict.
I shall vote Labour because
I failed to be a dollar millionaire aged three.
I shall vote Labour because Labour will build
more maximum security prisons.
I shall vote Labour because I want to shop
in an all-weather precinct stretching from Yeovil to Glasgow.
I shall vote Labour because
the Queen’s stamp collection is the best
in the world.
I shall vote Labour because
deep in my heart
I am a Conservative.

Christopher Logue was a poet, writer, journalist, dramatist, screenwriter, actor and performer. Born in Portsmouth, in 1926, Logue was an only child of middle-aged parents. After school, he served in the Black Watch regiment, from which he was given a court-martial for selling stolen pay books, and given a 16-months’ jail sentence.

On release, he moved to Paris and started his career as a writer and poet, ‘out of complete failure to be interested by what was happening in London at the time.’

‘It was so drab. There was nowhere to go. You couldn’t seem to meet any girls. If you went up to London in 1951, looking for the literary scene, what did you find? Dylan Thomas. I thought that if I came to the place where Pound flourished, I might too.’

In Paris, Logue met writer Alexander Trocchi (who saved Logue from an attempted suicide), and the pair set-up and edited the legendary literary magazine Merlin, which premiered work by Samuel Beckett, Eugene Ionesco, Chester Himes, as well as Logue and Trocchi. The pair also wrote pornographic novels for Maurice Girodias’ Olympia Press, and briefly met William S. Burroughs, Allen Ginsberg and Gregory Corso in the late 1950s.

George Whitman, propietor of Shakespeare and Co., described the pairing of Trocchi and Logue as:

‘True bohemians, Beats before Beats officially existed. Christopher was the scruffy poet, quite down and out most of the time. He definitely fancied himself as Baudelaire or somebody like that.’

In Paris, Logue toyed with Marxism, and was once famously put down by the author Richard Wright.

‘You’ve got nothing to fight for, boy—you’re looking for a fight. If you were a black, boy, you’re so cheeky you’d be dead.’

But Logue lost none of his mettle, or his socialist convictions and he continued to be a gadfly throughout his life. In the 1960s, he collaborated with Lindsay Anderson, giving poetry readings at the National Film Theater between features. He was a pacifist and a member of Campaign for Nuclear Disarmament, taking part with Bertrand Russell on the marches to Aldermarston.

He appeared at Peter Cook’s club The Establishment and wrote songs for jazz singer Annie Ross, and had one recorded by Joan Baez. He also appeared at the Isle of Wight Rock Festival, and contributed the wonderfully bizarre “True Stories” to Private Eye magazine. He acted for Ken Russell in The Devils, wrote the screenplay for Russell’s Savage Messiah, and acted in Terry Gilliam’s Jabberwocky. Logue’s poetry was incredibly popular, even appearing in posters throughout the London Underground. His most famous works were Red Bird, a jazz colaboration with Tony Kinsey, and War Music, a stunning and critically praised adaption of Homer’s Illiad. He was awarded the 2005 Whitbread Poetry Prize for his collection Cold Calls.

Logue died in 2011, and Wilson won the 1966 election with a majority of 96 seats.

This is Christopher Logue reading “I shall vote Labour” in 2002, as filmed by Colin Still.
 

 

Posted by Paul Gallagher | Leave a comment
Terry Gilliam’s darkly humorous animated Christmas cards


 
An inspired bit of Christmas fun from Terry Gilliam. This originally aired in 1968 on the British TV show for kids, Do Not Adjust Your Set.

Gilliam was asked to prepare something for a special show to be broadcast on Christmas day, 1968, called Do Not Adjust Your Stocking. Looking for inspiration, he decided to visit the Tate Gallery. In The Pythons: Autobiography by the Pythons, Gilliam remembered the project and how it figured into his emerging artistic style:

“I went down to the Tate and they’ve got a huge collection of Victorian Christmas cards so I went through the collection and photocopied things and started moving them around. So the style just developed out of that rather than any planning being involved. I never analysed the stuff, I just did it the quickest, easiest way. And I could use images I really loved.”

Ho, ho, ho.

 
Via Open Culture

Posted by Marc Campbell | Leave a comment
For your viewing pleasure: Three animated shorts by Terry Gilliam on his birthday
11.21.2012
08:37 pm

Topics:
Animation

Tags:
Terry Gilliam


 
In addition to being Thanksgiving, today is Terry Gilliam’s birthday, which is plenty in of itself to be thankful for.

Here’s a short compilation of three groundbreakingly weird cartoons by Gilliam that were broadcast on British TV shows The Marty Feldman Comedy Machine and Do Not Adjust Your Set between 1968 and 1971.

“Don the Cockroach,” “The Albert Einstein Story” and “The Christmas Card.”
 

Posted by Marc Campbell | Leave a comment
Chris Marker: Director of ‘La Jetée’ has died

chris_marker_rip
 
Chris Marker the influential French artist and film-maker has died aged 91. Marker died on his birthday, July 29th, which oddly reminded me of the time traveler in his 1962 film La Jetée who returns back in time only to see his own death at Orly Airport.

La Jetée is Marker’s best known work, which questioned the form of cinema, and the role within it of image, sound, editing and script. The film consisted of a series of still images, and one film sequence, which told the story of a post-apocalyptic world where a time traveler returns to the past to change the future. The film was the basis for Terry Gilliam’s Twelve Monkeys, and original conceit for James Cameron’s Terminator. Today, French President Francois Hollande led tributes to Marker, saying La Jetée “will be remembered by history.”

Born Christian François Bouche-Villeneuve on July 29th, 1921, Marker was vague about his biography, preferring to mislead and fictionalize elements of his story. He variously claimed he was born in Paris, Neuilly-sur-Seine, and Outer Mongolia. Marker never gave interviews, and refused to be photographed, though in later years pictures were secretly taken.

Marker was studying philosophy when the Second World War broke out, he served with the French Resistance, after the war he wrote a novel, Le Coeur Net (1949), joined the left-leaning magazine Esprit, contributing to poems, stories, and co-wrote the film column with André Bazin. He then wrote for Cahiers du Cinéma, before starting the globe trotting that would continue for the rest of his life, photographing and documenting his many excursions.

Marker’s first experimental film was a documentary on the 1952 Helsinki Olympics. He then worked with Alain Resnais on Les Statues Meurent Aussi, a hugely controversial film dealing with colonialism and art, which was banned in France on the grounds it attacked French foreign policy. Marker was a Marxist and his politics informed much of his work. However, Marker could be critical of Soviet Russia as he was of the west. In Letter from Siberia (1958), he famously critiqued Soviet and Western propaganda by showing the same piece of film three times, reporting it twice through East/West propaganda, and finally, ‘telling it like it is.’

Durng the 1950s, he also started a series of photographic books, one in particular on Korean women, developed Marker’s idiosyncratic style of mixing image and text, which possibly inspired the form of La Jetée.

Marker followed La Jetée with the less successful Le Joli Mai (1962), a 150 minute film made up from almost 60 hours of interview material on the lives, loves and politics of Parisians. He was then involved in establishing Société pour le Lancement des Oeuvres Nouvelles (SLON), which made collectively directed films and documentaries. Their first film was on Vietnam, and continued with the style of documentary Marker had devised with Le Joli Mai.

During the 1970s, Marker seemed to lose his way, making films about the politics of previous generations rather than the issues of feminism, sex, and personal liberty, that were central to the decade. It wasn’t until the 1980s that Marker returned to form with the cinematic essay, Sans Soleil (1983) and AK (1985), a documentary on Akira Kurosawa, making his epic movie Ran.

Marker continued working through his seventies and eighties and began developing a more personal and intimate style of film-making, focussing on his pets and zoo animals,  creating his own bestiary.

Chris Marker wrote with the camera - his best works told cinematic essays that mixed the personal with the social and political.

Chris Marker (Christian François Bouche-Villeneuve), July 29 1921 - July 29 2012
 

 
Previously on Dangerous Minds

Chris Marker: ‘Bestiare’ from 1990


 

Posted by Paul Gallagher | Leave a comment
Discovering Dad: Terry Gilliam’s daughter uncovers her father’s artworks

terry_gilliam_clone_family_copyright_1983
 
I probably owe Terry Gilliam money. I nicked his book Animations of Mortality when I was a kid as I wanted to improve my skills at drawing cartoons. Gilliam’s work was a big influence, (along with Ronald Searle and Ralph Steadman), and I spent hours perusing the pages of my pilfered goods, learning how to create art from a Master

What joy, therefore, to find Mr Gilliam’s daughter Holly has started a blog uncovering her father’s brilliant work, uploading discoveries on an almost daily basis.

Since October last year, Holly has undertaken this mammoth task of organizing her father’s archive:

....all his work from pre-Python days, as a cartoonist, photojournalist & assistnat editor for Help! magazine, through all his original artwork and cut-outs for Python animation, posters, logos and generally everything Python, to his storyboards, designs and sketches for his feature films and other non-film related projects (including his opera of “Faust” and that infamous Nike commercial).  Why!? Because I have been lucky enough to be surrounded by my father’s amazing work all my life and I think it should be seen by everyone so I am organising the archive so it can eventually be put in a book and an exhibition.

Holly is to be commended for this fabulous undertaking and I’m more than delighted she is sharing her father’s spectacular art works, and am now certainly willing to cough up the five quid owing on the book.

See more of this on-going project at Discovering Dad aka delving into Terry Gilliam’s personal archive. Or, follow Holly on twitter for updates. All images copyright Terry Gilliam.
 
MOL_Terry_Gilliam_God_copyright
 
Previously on Dangerous Minds

Terry Gilliam: How he made stop-frame animations in his bedroom


 
Bonus Gilliam’s Monty Python illustration, after the jump…
 
Via Laughing Squid
 

Posted by Paul Gallagher | Leave a comment
Terry Gilliam: How he made stop-frame animation in his bedroom

terry_gilliam_1970
 
Now this is delightful. Terry Gilliam has always seen the world differently. One of his fellow Pythons (Michael Palin?) said Gilliam described the world through his own particular language. Once, while flying over the Atlantic Ocean, Gilliam looked out of the window and remarked, “Wow, a whole bunch of water.” It’s wrong, but it’s also wonderfully right.

Gilliam (along with Ronald Searle and Ralph Steadman) was a major influence on my mis-spent doodling career, not for the illustrative style but for his uniquely original approach to animation and story-telling, where stories didn’t have to be linear, or have endings, and ideas counted for more than punchlines.

Here is Gilliam, looking like a hot young film star, in the studio of his Putney home (actually his spare back bedroom), explaining how he put together his famous “Fig Leaf” animation, from 1970.
 

 
Previously on Dangerous Minds

British TV 1974: The secret teachings of Terry Gilliam

 
With thanks to Nellym
 

Posted by Paul Gallagher | Leave a comment
Chris Marker: ‘Bestiaire’ from 1990

chris_marker_owl
 
Chris Marker‘s Bestiaire, three short video haiku:

Bestiaire 1. Chat écoutant la musique
Bestiaire 2. An owl is An owl is an owl
Bestiaire 3. Zoo Piece

Simple meditations that reveal a more intimate side to the enigmatic director, best known for La jetée (1962) (which later inspired Terry Gilliam’s Twelve Monkeys) and Sans Soleil (1983). Marker has said of his work:

‘The process of making films in communion with oneself, the way a painter works or a writer, need not now be solely experimental. Contrary to what people say, using the first-person in films tends to be a sign of humility: All I have to offer is myself.’

Now in his nineties, Marker the “mercurial international man of semiotic mystery” continues to work, details of which can be found here.
 

 
More animal haiku, plus bonus documentary, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Ken Russell: A documentary tribute to his life and work

Ken_Russell
 
There was an interesting letter in that scurrilous rag, the Daily Mail yesterday, printed under the headline, “Let Ken’s movies inspire a new audience”. It was written by Paul Sutton, of Trumpington, Cambridgeshire, who gave a passionate plea for the BBC to stop using edited clips of Ken Russell’s early TV work to liven-up crap shows made by today’s lesser talented directors:

These Ken Russell films aren’t entertainment fit only for ‘found footage’. They’re films, works of very real cinema in which every frame,pictorial composition, cut and music cue has been thought through with a craftsman’s hand and an artist’s mind and eye. They constitute a body of work which stands with the best of any director working anywhere in the world between 1959 and 1970.

Mr. Sutton went on to explains how both Lindsay Anderson, in If…, and Stanley Kubrick, in A Clockwork Orange, lifted from Russell’s TV work, and concludes:

Every one of Ken Russell’s 35 BBC films displays the master’s art. We should be boasting about them and using them to inspire the next Lindsay Anderson, the next Stanley Kubrick and the next Ken Russell.

I for one, certainly do hope the BBC listen up and release all of Ken Russell’s TV films for all of us to enjoy, very soon.

Most recently, the Beeb made this fine documentary Ken Russell: A Bit of a Devil , and while it doesn’t cover all of the great, genius director’s work (no Savage Messiah, no Crimes of Passion, no Salome’s Last Dance) it does manage to show why Ken Russell was England’s greatest film director of the last 50 years, and one of the world’s most important film directors of the twentieth century.

Presneted by Alan Yentob, this documentary tribute includes interviews with Glenda Jackson, Terry Gilliam, Twiggy, Melvyn Bragg, Amanda Donohoe, Robert Powell and Roger Daltrey.

Read Paul Sutton’s blog on Ken Russell, Lindsay Anderson and Stanley Kubrick here.
 

 
With thanks to Unkle Ken Russell
 
More on L’enfant terrible Msr. Russell, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Grant Morrison, Neil Gaiman, Terry Gilliam and others want to ‘Illuminate Parkinsons’


 
This Saturday night in Los Angles, there’s going to be a special art show hosted by Neil Gaiman and actress Fairuza Balk and produced by Dangerous Minds pal Lenora Claire:

“Illuminate Parkinsons” is a benefit for Becky Hurd’s Illuminate charity fighting young onset Parkinson’s disease

The aim of Illuminate is to raise awareness of Young Onset Parkinsons while raising funds to support Parkinsons charities. The Illuminate Parkinsons International Photography Exhibition has been created by Becky’s best friend and celebrity photographer, Allan Amato. This amazing photographic journey into the world of Parkinsons spans two years beginning in September 17th at Pop tART Gallery. Subjects in the exhibit include Terry Gilliam, Neil Gaiman, Kevin Smith and an assortment of other fascinating people all of whom lent their support to the project.

The initial aim of the Illuminate Parkinsons campaign was to raise £100,000 for Parkinsons charities. So far the campaign has generated over £51,000 since it began with the first Illuminate Ball in Birmingham in April 2010. Since the first ball Illuminate Parkinsons has gone from strength to strength with many new fundraising projects.

Illuminate Parkinsons by Allan Amato
Saturday, September 17th, 8-11pm Pop tART Gallery, 3023 W. 6th St., Los Angeles

Posted by Richard Metzger | Leave a comment
British TV 1974: The secret teachings of Terry Gilliam
08.08.2011
11:34 pm

Topics:
Animation

Tags:
Terry Gilliam
Bob Godfrey


 
Terry Gilliam shows us the tricks of his trade on British TV’s Bob Godfrey’s Do-It-Yourself Animation Show in 1974.

Godfrey’s show, which made animation accessible to the masses by taking the mystery out of the production process, was vastly influential and inspired an entire generation of kids in England, including Nick Park, who created Wallace & Gromit, Jan Pinkava, who directed the Pixar short Geri’s Game, and Richard Bazley, an animator on Pocahontas, Hercules, and The Iron Giant.

After viewing this wonderful Gilliam video, jump to the next page for a documentary on the marvelous Bob Godfrey.
 

 
BBC documentary on Bob Godfrey after the jump…

Posted by Marc Campbell | Leave a comment
1966 psychedelic Life Savers TV commercial by Terry Gilliam ?

image
 
There’s no absolute proof but brilliant Los Angeles pop culture historian Domenic Priore believes this 1966 commercial to be the work of a young pre-Monty Python Terry Gilliam. I say it’s true. (Oops, it’s not. See below…)  Gilliam did after all attend high school in my beloved San Fernando Valley and worked at Carson Roberts advertising agency (along with Pet Sounds lyricist Tony Asher) in Los Angeles before finding his ultimate destiny in the U.K. There is unfortunately no official record or listing of Gilliam’s early TV commercial work, though there are doubtless many more such examples out there.
 

 
Update: Terry Gilliam’s co-worker at Carson Roberts, one Mike Salisbury has claimed creator-ship of this clip. He says: ”...Ed Ruscha worked there also. One of the first TV spots I did was there, for Baskin Robbins ice cream . Terry Gilliam and I worked on some things together but this one I created, wrote and animated. They gave us a lot of freedom. (it was a fun place to work—the in-house producer was the model for Mr. Magoo.)...” Also this from DM facebook friend Susan Pile: This direct from my pal TG: “...I had nothing to do with the commercial. And no idea who might have been the clever bastard. I’m up to my neck in my first opera: Berlioz’s The Damnation of Faust. All foolishly backed by the English National Opera. Luckily I’m surrounded by real pros that are keeping me from drowning….”  So there ya go !

Posted by Brad Laner | Leave a comment
‘The Cameraman’s Revenge’ - Wladyslaw Starewicz Surreal Stop-Motion Animation from 1912

image
 
I wonder if Franz Kafka ever saw Wladyslaw Starewicz’s 1912 animation The Cameraman’s Revenge before writing Metamorphosis in 1915? It’s an interesting thought, but if Starewicz’s use of insects (especially beetles) to animate a tale of adultery and revenge didn’t influence Metamorphosis then it has certainly influenced succeeding generations of animators like Jiri Trnka and Terry Gilliam.

Starewicz started his career in 1911, making puppet films with dead animals (the mind boggles), and from this he developed an array of techniques, which he successfully employed in The Cameraman’s Revenge, a landmark film that offered a template for future animators. So real was the film to audiences that some reviewers thought Starewicz had trained insects to “perform” for the camera. Even watching it today, The Cameraman’s Revenge is a delightful and surreal treat.

Starewicz made dozens of films throughout his fifty-plus year career, sometomes mixing live action, stop-motion and animation. His best known stop motion films are,  The Night Before Christmas (1913), The Insects’ Christmas (1913), The Frogs Who Wanted a King (1923), The Voice of a Nightingale (1923), and The Tale of the Fox (1939).

During the Russian Revolution, Starewicz sided with the anti-Bolshevik White Army, and after Lenin’s successful rise to power, Starewicz moved to France, where he spent the rest of his life making his own distinct films.
 

 
Previously on Dangerous Minds

Jiri Trnka: The Walt Disney of the East


 
With thanks to Alessandro Cima
 

Posted by Paul Gallagher | Leave a comment
Jan Švankmajer - ‘Dimensions of Dialogue’
11.08.2010
04:12 pm

Topics:
Animation

Tags:
Terry Gilliam
Tim Burton
The Brothers Quay
Jan

image
 
Dimensions of Dialogue is a short animated film, made in 1982 by Czech Surrealist artist and film-maker, Jan Švankmajer. The film is split into three sections, ‘Exhaustive Discussion’, where Arcimboldo-like heads reduce each other into bland copies; ‘Passionate Discourse’ a clay couple merge and dissolve in love-making, only to eventually disown and destroy each other; and ‘Factual Conversation’ two heads fail to communicate with each, presenting various objects with their tongues, none of which match.

Švankmajer has been making animations for over forty years, and his work has been a major influence on Terry Gilliam, the Brothers Quay, Tim Burton, and others. Gilliam listed Dimensions of Dialogue as one of “10 best animations of all time”, stating:

Jan Svankmajer’s stop-motion work uses familiar, unremarkable objects in a way which is deeply disturbing. The first film of his that I saw was Alice, and I was extremely unsettled by the image of an animated rabbit which had real fur and real eyes. His films always leave me with mixed feelings, but they all have moments that really get to me; moments that evoke the nightmarish spectre of seeing commonplace things coming unexpectedly to life.

While Sense of Cinema described Dimensions of Dialogue as:

...instructional that it is everyday objects that are confronted, devoured, spat out and homogenised, through a series of metaphors of colonisation, to an endless repetition of cloning operations. This is our digital world laid out in 1982.

Perhaps. But it strikes me that Svankmajer is doing more than this and he is confronting the failings of human existence, in a darkly humorous and disturbing way, to fully connect with one other.

This month sees the release of Svankmajer’s latest and, what he has announced maybe his, last film, Surviving Life:

Eugene leads a double life - one real life, and another life in his dreams. In real life, he is married to Milada; in his dreams, he has a young lover called Eugenia. Sensing that these dreams have a deeper meaning, he goes to see a psychoanalyst, who interprets his dreams for him. Gradually we learn that Eugene lost his parents in early childhood and was brought up in an orphanage.

In the meantime, Eugenia is expecting Eugene’s child - to the dismay of a psychoanalyst, who believes Eugenia is in fact his anima. And getting your anima pregnant is worse than incest. Meanwhile Milada suspects Eugene is having an affair. She spies on Eugene’s ritual in his studio, and enter his dream-world. French Romantic poet, Gerard de Nerval, said: “Our dreams are a second life.” This films wants to prove his words.

 

 
Via Tara McGinley
 
Part 2 of ‘Dimensions of Dialogue’ plus bonus clips and trailer for ‘Surviving Life’ after the jump…
 

Posted by Paul Gallagher | Leave a comment
Page 1 of 2  1 2 >