A distinctive trait of the films of Terrence Malick is the artful way they employ narration. Sometimes the voice-over is dreamy (Sissy Spacek’s in Badlands), sometimes it’s disarmingly concrete (Linda Manz’s in Days of Heaven), sometimes it comprises audacious, poetic philosophical musings (that of all the soldiers in The Thin Red Line)—but it’s always there, a character in its own right. In this clip from an interview included in our new editions of Badlands, editor Billy Weber describes how the voice-over in Malick’s first film came to be, how it was influenced by Truffaut, and how the collaborators’ process evolved when they worked together again on Days of Heaven.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.