L. A. Confidential (BFI Modern Classics) by Manohla Dargis

By Manohla Dargis

From Amazon: "Manohla Dargis explores the careers of director Curtis Hanson and author James Ellroy, in response to interviews with either males, to dig deep into the film's obsession with the twinned, both bothered histories of the Hollywood studio procedure and town of Los Angeles." Manohla Dargis is the motion picture reviewer for the hot York occasions.

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By Manohla Dargis

From Amazon: "Manohla Dargis explores the careers of director Curtis Hanson and author James Ellroy, in response to interviews with either males, to dig deep into the film's obsession with the twinned, both bothered histories of the Hollywood studio procedure and town of Los Angeles." Manohla Dargis is the motion picture reviewer for the hot York occasions.

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Example text

ROHMER: Of course. But all the same, we’re talking about a study of significations that more or less makes an abstraction of our more direct approach in Bazin’s time: the cinema as an instrument of discovery. Now, what we contributed to critical discourse in the 1950s was a profound connection with Nature, the discovery of natural objects whose beauty was revealed by the cinema. This is no longer your point of view, I understand. CAHIERS: Your will to refer constantly to the ‘outside’ of the film - the ‘world’, existing before and after it - as a concrete reality, isn’t this, finally, something entirely different from a search for what’s ‘natural’?

So I shot it in 35mm. The same with Ma nuit chez Maud: I tried to see if we could do it with amateurs but I renounced the idea of finding people capable of filling the roles. With the next film, I’m going to shoot it ‘professionally’. But with the sixth ‘Moral Tale,’ it is very possible that, all of a sudden, I could find it more interesting to do it in 16mm with amateurs. I don’t feel constrained by success, and, after the ‘Moral Tales’, I have no idea what I’m going to do. I don’t even consider myself to be a filmmaker by trade.

They were guided by the real paths that they had to follow. CAHIERS: We come back to the idea of the pre-existing real as guarantor, not as object. We agree with you that this ‘filmic place’ could not have existed if there hadn’t been this place that was filmed. But this doesn’t rule out the fact that the filmic place created by the unfurling of the scene totally substitutes itself for the filmed place. ROHMER: I have difficulty following you there. On the contrary, I felt the presence of the filmed place (artificial in this case, natural in other cases) very strongly, to the extent that its topography was the only thing dictating where I placed my camera.

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