Thanks to Terence Davies’s distinctive filmmaking style, The Long Day Closes doesn’t quite feel like any other motion picture. This intensely moving, ethereal reverie on a brief happy period of the director’s often sad childhood in Liverpool during the fifties moves in and out of different moods and sensations, rather than laying out a straightforward narrative. His films may come across as stream-of-consciousness, but Davies actually meticulously sets up every shot and music cue in the first draft of his scripts. Often, his plans are ambitious, as is clear from the following magnificently realized scene. Set to Debbie Reynolds’s 1957 hit song ”Tammy,” it is a virtuosic cinematic symphony, composed of incredible high-angle shots of a movie theater, church, and schoolroom, graphically matched to express the importance of those three locations in Davies’s youth.
A Hidden Figure of the Czechoslovak New Wave Takes the Spotlight
In this excerpt from an interview on the edition of Diamonds of the Night, film programmer Irena Kovarova talks about the work of one of director Jan Němec’s key collaborators, Ester Krumbachová.
Robert Zemeckis Looks Back on His Debut-Film Jitters
In a new conversation with collaborators Bob Gale and Steven Spielberg, the director of I Wanna Hold Your Hand talks about the terror of being a first-time feature director.
How Carlos Reygadas Plans for the Unexpected
Storyboards have been an important part of the Mexican filmmaker’s process from the beginning of his career. In this interview, he talks about the freedom that meticulous pre-planning allows him on-set.