A couple of years ago, I interviewed some of Malick’s collaborators on the long-abandoned Q project, which would effectively become The Tree of Life. At the time, cinematographer Paul Ryan, who had shot much of Days of Heaven and had been a member of Malick’s small, close-knit team on Q, told me that Malick had become obsessed with the symphonic form. In other words, he wanted his films to break free of typical narrative methods and to adopt a more musical style of discourse. Malick seemed to achieve that with the movement-based structure of The Tree of Life. There, what we were seeing and hearing on screen seemed more often to correlate to the meter of a symphonic movement than to the typical narrative “acts” of a film.
Monday, January 28, 2013
Dancing around Malick
these thoughts from Bilge Ebiri.