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.
Is Fassbinder’s Working-Class TV Drama Effective as Political Art?
A public-television commission intended to raise class consciousness, Eight Hours Don’t Make a Day inspired heated debates about its political orientation.
In the Words of Tarkovsky
In this contemplative moment from a documentary about Andrei Tarkovsky, the elusive master explains how he tried to conjure an immersive vision of painter Andrei Rublev’s world.