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Talking Images

Episode 9 · 1 year ago

Contemporary Silent Cinema

ABOUT THIS EPISODE

In this episode we will talk through all of the major contemporary silent films, or rather, the few there are:

  • Silent Movie
  • Juha
  • The Call of Cthulhu
  • Brand Upon the Brain
  • Dr Plonk 
  • La Antena
  • The Artist
  • Blanchieves

And ask the following questions:  

1. Are silent films simply the result of [b]unfortunate technical limitations[/b], which the medium luckily overcame - or are they a [b]unique style with its own merits[/b].

2. Why did it take such a long time from the decline of silents to any kind of larger silent film project.

3. What do we wish to see from silent cinema in the future.

Timestamps:

Intro: 00.00

Is it valid to make silents today: 3.09

Why did it take 30-40 years for the first post-silent era silent: 4.45

Early Films With Silent Elements: 8.03

Experimental Cinema, Warhol and At Sea:10.01

Silent Movie: 13.32

Juha: 22.05

The Call of Cthulhu: 26.58

Brand Upon the Brain: 31.36

Dr Plonk: 39.38

La Antena: 50.51

The Artist: 57.07

Blanchieves: 1.03.57

Conclusion and the future of contemporary silent cinema: 1.09.55

You are listening to talking images, the official PODCAST THEM ICM Forumcom. Welcome back everybone. I'm Chris, and they will be talking about Contemporary Silent Cinema, or the little there is a fit and to ask the time old question. Our silent film simply the result of unfortunate technical limitations which the medium luckily overcame, or are they are unique style with their own merits? History certainly seems to think is the former. The first talkie, DASS singer, was released one thousand nine hundred and twenty seven, and the industry rushed to abandoned silent cinema as a concept. In many cases they went as far as to just burn the negatives. By nineteen thirty, three years later, silent cinema was essentially gone the US, with the exception of a few stragglers and, of course, Charlie Chaplin. Within three years, silent cinema was thrown in the bin. The most stilted, poorly recorded sound films were applauded. Won't even one best picture. Any sound was essentially better than no sound. The visually creative, dream like worlds of masters like rnau were traded in for someund stage fare with cameras that could barely move. Japan lasted longer than most thanks their popular light person narrator us, but they still made their last silent in one thousand nine, hundred and thirty nine, and with that silent cinema was gone for decades. To the casual observer, there has really there's been two major silent films since the obviously they in silent movie from Ninety Seventy Five, what to comedy in Standard Mel Brooks Fashion, a loving parody of silent esthetics, those shopping color and, quite ironically, having the plot revolve around the impossibility of getting funding for a silent film. And then, more than thirty years later, the Academy Award winning the artist from two thousand and eleven, which started off as a small scale French love letter to Classic Silent Hollywood and ended up taking the world with storm. I mean you could say that silent movie was too Classic Silent Hollywood comedies what the artist is to classic silent holy with dramas, and both in many ways served both as continuations, but as in bookends. They were not intended to be revivals, they were intended to share. Is what was and placed in the sealed off box. And yet there are more contemporary silent films in this episode. We'll go through the two previous mission film as well, of course, but there's also you, Huh, the call of Got Toulu, brand upon the brain, Dr Plunk Lantana and of course don't any of us, and we'll go through them in chronological order, but most of all will ask the right, probably also of the wrong, questions. As usual, I'm joined by two wonderful cohosts and I'll just start by asking them they before mentioned question. Is there any relevance of valid did making silent cinema today and it's so what? And we can start with Tom come here from England really looking forward to discussing Contemporary Silent Cinema today. I've spent most of this week we watching all of the silent films that Chris mentioned in the introduction and it's been great to revisit these with a fresh pair of eyes and I think there is a market for Contemporary Silent Cinema. It's a shame that they haven't been as many films as I would have liked to see, but it is good that we've had quite a few directors have been willing to take a punt on a area of cinema that has perhaps been abandoned for far too long by the soul from Australia. I have also, liked Tom, spent the past couple of weeks going through and looking at some of these contemporary silent films again and watching some of them for the first time, and it's an art form that I really like, I really actually love. Like Twenty silent films. It's really interesting to see more recent cinema that sort of takes on that mode of having title cards and a very image heavy focus, and I'll some of these more modern films take that mode and yet do completely different, interesting and challenging things with it, with more advanced editing and camera work there was around in the S. I'm very interested in discussing this even further with my cohost today. But agreeing that Rif well did to still making silent films today, why do you think it took so long, all the way until the mid sevenths, before it was a proper silent film again? I think that it's a big risk for any filmmaker to make a sound picture. There's the uncertainty of whether the market is still there whether modern...

...audiences, more tune to films to sound, will be put off by the prospective sound cinema, and perhaps this is why not many filmmakers of taking the leap to try and do something new with yeah classic method. I agree with Tom that getting a natural support and backing to make a silent film would have been really challenging, especially if you look at the s when silent movie came out. I mean it was only i'Deen Sixty seven or nine and sixty eight that you suddenly had more than fifty percent of films in color rather than black and white. People are going out there, they're wanting to see a color films, that wanting to see wide screen films, and I think having the market to see US silent film is really tricky and Evan look into the financials of silent movie. But I know at the time Mel Brooks was riding on the success of blazing saddles and young Frankenstein, and of course he did young Frankenstein in a can wide which I'd have helped get him a bit more success. Say like this black and white movie and it got Oscar nominations. Maybe you can finance me to do a silent film. I think yes, since then, even though we've had filmmaker since the S do silent films. Like the artist was never designed to win Oscars. Directors like Rolf to hear did. Dr Plonk are a very big time filmmaker. So I still don't think we're going to be seeing studio films doing it currently, guaranteeing there's the market out there for it. Obviously it was really interesting that Mel Brooks managed to get the financing to do it in the s. It is interesting that, even with said European art market and all of the question has going on in the part of the Archt deal, that nobody really tried to make silent films, because when you hear interviews with a lot of directors, they would all talk about how the nore lag inspired them. But still nobody really wants to do PRT. Most of the filmmakers looking to break ground with the films that they make can therefore they're looking to the future and new techniques rather than looking to the past to build on what came before them. It's very interesting, Chris, how you mention and Fritze Lang because of course you've got got odds contempt and in their fridge line has a cameo applying himself. Somebody comes up to me and says, or you know, I really like this west and I think was ranch notorious, and fridge lane is like or prefer M, even though they're taking him as an influence, still not making films that are in the style of the ones that influence them when they are getting into cinema themselves. Really good point actually, that the wholes that were always trying to do something new instead of playing around with all their techniques, which is almost a little strange. And it wasn't until Madden started to mix things together that we got there. But let's not get two ahead of ourselves. There there are, of course a few films, even if you relatively major films, that had some silent elements. I'm thinking, of course, about Tom Jones, the one thousand nine hundred and sixty three Oscar with or probably the Tiste of winner, which has the opening scene shot as a silent and then there's two years later, one of these more creative French artists are talking about, Pierre Tis, actually did a film that was half a silent Yo yo, which is just fantastic, especially the first half it's as stylish, clever beautiful as the artist. It's a beautiful homer style to all of the great from maclinder to show the Chaplin, etc. That I almost felt so sad at the halfway point when the little title card comes up and says and then came sound. I agree that Yoyo as a fantastic film. It's very beautiful, it's very lusciously filmed in black and white and even when the sound part comes up I was still very enamored with it the whole time. Another film I thought I'd mentioned it to much more recent, but of course Pedro Amad over to her as a silent film in there or silent film within the film, which isn't a real silent film, and of course nothing like that would ever pass the sense, as I don't think even the precode days do you have this man going into his lovers vagina and when he shrinks down to the size of an ant or a pin. But it's just interesting how silent cinema makes its way into other films today. That's such a great example as well, because I think that silent see. You know that that dream inside US talk to her was the first time I was exposed to a modern day silent and probably the first time, I also taught how they could really do this today and do something they could do before. Back to the history leading up to...

...silent movie, there were, of course, films that were shot without sound, but I don't think we would be talking about these films because they were not in any way trying to continue silent in my esthetic, if you will, they weren't building on this at all. They were simply various for space per mental films that happened to not have sound. I'm thinking, of course, of say, a large chunk of and the Warhol Films, but I think I feel kiss, empire, etc. Like stand brackets, Fokes to our man. I don't think these are films with really think about. Is a contemporary silent films, then you're actually quite lucky if those wallow films don't have sounded and because the sound in some cowboys at least, is absolutely shocking. Shocking for a reason that it sort of makes me yearn for watching my next wallhole film to be a film without any sound in it at all. Well, of course, are some of these experimental films that do kind of Toyd Line between building on silent cinema and simply being a film without sound. We spart a little bit about this before the podcast all but at see from two thousand and seven by Peter Hutton, which is essentially just that collection of really beautiful visuals, but but no sound whatsoever. And that's also an interesting contrast to silent films themselves, as they traditionally were, because, of course silent fields for never intended to be silent. They were always music accompanying them, if not from a band, from a live pianist, etc. Actually not a big fan of at see myself. I didn't like the fact that there wasn't any sound in there. Thought it really lack something like a James Ending film, where you actually have a little bit of atmosphere going on, some sounds in the background or sort of doing you in and keeping a level with what's happening, and which might be another example of a film or experimental film that sort of goes to silent film dynamics. Be a film cord. The dead man from one thousand nine hundred and eighty seven me about twenty or thirty minutes long. It's sort of a bit of a softcore film and a way and it has got some sound in it, but it's also got title cards throughout the whole things in black and wide, and it's just really interesting having that sort of merge and there between title cards and some dialog that spoken out loud while at the same time trying to be a bit of an erotic a film also at the same time, and I'm sure we will get back to that, to be bring up guy mad in a little bit later, and there's to go very quickly back to see before we continue to sell the movie. I actually think that work, but I can really see you I didn't. It's a film with kind of had to be both in the right mind set us and maybe even have the right round it really enjoy. Since it's just is no sound. You just see these images. It's one of those things you can probably just relax covered itself down to and enjoy something beautiful, but it can also, I supposed, to be very dreary and all depending on so many different factors, and I know for a fact that many people are doing exactly what they're doing with a lot of sign and fields missing scores today, which is add their own soundtrack to it. was just pick something very instrumental piece of classic music, anything else and throw them on top. And that way, I suppose a'Ds the really relieved the silent cinema treatment. But with all of this out of the way, let's go back to the fields that actually on their silent cinema techniques and either be homers to them or bring them along. Let's discuss silent movie, and it's really interesting that, out of all of the films will be discussing today, this is the only one that's actually in color. Mel Brooks has silent movie is a great comedy. It's heavy on the slapstick and visual comedy, which often did the only way to go with sound cinema. And the thing about this is that visual comedy is timeless, so bullanswers of all ages generations are going to get some fun out of it now. I did like how the the title cards didn't always tie in with the dialog that was mouthed by the actors. This one part where you can see Mel Brooks swearing it one of his actors. What's the title card says something completely differently, and it's these subtle elements. If you pay attention, you pick up on the really bring a film to life. I also love how it ties in with the world of cinema. Films that, you know, tap into a storytelling method. The kind of resonates with film funds because it appeals to people who appreciate the medium. You know, you have films such as Sing in the rain, cinema pody, so the fall also the artist as well, and when the tie in with the world of cinema, I think it resonates in a way that film funds...

...can really appreciate. Today I sat down and I rewatch silent movie. It's film I've seen three times now over the years and it's got to the point where I think it actually might be a brooksis honest film. It's very interesting that's almost a film about its own inception with it, with the plot being about Mel Brooks or Mel Fun as this characters Chord and they're trying to finance his own silent film, trying to get approval for it, trying to recruit stars and I obviously a lot of the overtop things that happen in there wouldn't have happened when they're trying to sign that up James can or trying to sign up poor newman to do the film. It's still really like the fact that's about the making of it and trying to get a silent film into production. The title cards. That's very interesting. Tom I haven't picked up on the words not matching up to title cards, but there's a very interesting technique. There's lots of very small details in silent movie which I like. Also like the different stories on the newspapers that are thrown out, the our newspaper vendor to put the main strobe out who's been recruited, as well the side story about what's happened to the news vendor. At the same time, quite a few of the throwaway gags, like an out of control machine, actually end up coming in and forming a pivotal part of the plot. I thought it was just very interesting just the fact that you're making a silent film about making a silent film. So that's what about its own inception, which I really like and which I find really interesting. I completely forgot to mention all the excellent cameos that were built into the storyline. I had no idea from the start that, you know, Mal Brooks was going to use such wellknown actors and as more and more kept appearing with some brilliant send up to themselves. That I was very amused in particular beer an olds. I think he was one of the first ones that appeared, and it's just brilliant to see these great actors, you know, taking a lighthearted view of their own careers. You are you're right. Tom Burt Reynolds is the first one who there. ACCRUEDE. Is Very interesting, having those big name stars and then doing, you know, a few silly things and enjoying being there, obviously. And Bancroft is married to Mel Brooks, or was married, so her involvement isn't too surprising, but still, what she gets to do with her rolling her eyes different ways, she actually proves itself to be quite a funny actress, as when you think of Anne Bancroft, usually think of the miracle worker or the graduate. You don't really think of her for comedy. And even saying with Paul Newman, I don't really tend to think of him, number one as a comedy actor. Even the comedies that he's being like the stick th usually as a very serious type of role in there. So it was really good to see him and also involved in some sort of leg accident or his legs and a cast in silent movie and he's near this motor car of some sort, which I think is a reference to the film winning, which I haven't seen, but it's a film which Paul Human did the L S. So just what you're saying about the our character spoofing or playing up on their own images, I think yeahs really interesting idea and a really interesting angle for the film to take. So yes, I guess the key question here is how did sound movie actually worked as a silent comedy? I think I think it's a silent comedy. I think silent movie is absolutely hilarious and that's probably one at why it's one of my favorite Mel Brooks films. But it does by being self reflexive, is really clever and really intelligent, but it's also extremely funny and a lot of it comes down to the acting and the three main performers. And you've got ones like Dom deluze body film and they're not necessarily known for being very subtle actors, but it's actually all very strained performances because they're not talking. Everything has to be with their gestures and just a lot of things like the way the three of them will walk in synchrony together, basically almost walking on top of each other's feet. Found to be extremely funny and they are physical style of things, and mighty film is extremely acrobatic in these doing backflips, or it's from a distance, so maybe it's a star performer doing that. It's a very physical just like the best of slapstick is. Or there's a moment in there where these studio executive says, you know, you can't make a silent film these days, slapstick is dead, and then suddenly force and slides out from underneath his desk. Well, that's really funny, while also being about the silent film industry and how silent comedies have evolved. I think you've summed it up really nice of their so it does work excellently as a silent comedy and, as you said, the three main actors brilliant and always just the visual gags that are funny, but I just said, the expressions and the gestures of the actors involved sometimes be just as funny as the actual visual jokes themselves. When you see them react and you see the expressions on it just adds an extra layer to and the fact that it you know, sends up the creation of silent movies in the past as well. Things are evolved. I think it's a great film and it's...

Nice to see that the first silent film for after such a long gap was such a brilliant one, and it's just a shame that, again, it took a while for other filmmakers to kind of follow in email book steps. He did such a brilliant job. Perhaps people are intimidated or concern anything that they created could not live up to what he'd made with silent move. Yeah, I think you guys are pretty spot on. I'm not as fond of some movie has bought of you, but it really brings back the same kind of joy of last they can't they? And it really does work on that level over again, as I mentioned in my intro, it does work as a bit of a book and to silent films and silent comedies. It doesn't really create something that lives on its own. It is like later artist, essentially a whole art, a memory, a this happened now it doesn't happen anymore, and this is in a way, by just calling itself silent movie, It essentially does said, this is d silent movies is d comedy about silent movies, summing them all up, and that likely also explains why they just weren't any COPYCAPPS and why it took such a long time before we really started to see silent movies come back in any way. But now, I think, the first time, the techniques we've been starting to be used where at the beginning of Guy Madden's career. Now almost all of his films play around with sound in the titles at the same time, but at which I think started around or acially in one thousand nine hundred and ninety. Let me see the slow evolution within the titles as a gag, as a comedy, as part of a his dreamlike style, but of course, to a very long time before he made his very first actual silent films, other people had done so before, and the very first actual silent films in silent movie was by another really wellknown, really well established archives Darling, the Finnish director Archie Cars Marqui. With you ha read that cars Marquis decided to make you have silent when he realized that Andre Williams, who was his first choice for the villain of the piece, didn't actually speak any finish, and I think that's a great story, if true, because it's, you know, kind of establishes the fact that people went out to make silent films. In fact, this one may have just ended up silent unintentionally. Technically it's commendable. It does a great job at Imitating Silent Cinema, but the storyline and cinematography and nothing particularly remarkable, and it also lacks the usual black humor found in his pictures. But it is still worth while entry into the contemporary world of silent cinema and even if it is quite a bleak and tragic out in, there are a lots of notable shots in it that do stand out in my mind. Somewhat disagree on that it really plays proper tribute to classic silent films, because it really just looks like a gross walking film as without sound. There's no change in the way he uses his black and white in mythography, like if you look at this earlier black in my films like I'm not going into business, or even those the ones it was doing around the same time. He shoots things exactly the same way, he uses usual humor exactly the same way. The only real throwbacks are a few scenes of, say, hyper emotion, which like the ending where they dance to show how happy they are, just a few little things like that. That almost comes off as a little bit silly, but that's also the way that cars my films often work, in that they take these really somber elements and part them off with something it's like the other slightly sillier. I see where you're coming from there, Christ you made some good points there, and it is slightly ardent and surreal in place, and I think that the music that comes marquis uses is particularly jarring, and perhaps that doesn't chime with the sound cinema, because that kind of places it almost in contemporary times, because it's means that that you wouldn't have expected to hear when watching and film. From saying the S, it's also kind of set that time you don't really like. You don't really know what time you high set them. I think a lot of people are guessing s or s, because obviously you have more modern cars, you have more modern kitchens. They should even be modern day. Could be one thousand nine hundred and ninety eight. Technically, it's really hard to tell where this film is set. I was also questioning the setting in the film when I was...

...watching it again, like you, looking at the cars and the gun that was used and also noticing things like in the kitchen what looked like it could potentially be some kind of microwave or something. I don't know if it was, but was on the lookout for things to try and place it and establish that time and I suppose cose marks done it a good job of kind of making it feel like it. You know, it could be from a number of areas, depending on your perspective. To have my people, I think that if you love Chase Mary, you will love this film. It's not like it uses the same kind of humor, its uses the same kind of ristuals, and if you haven't really been that interested in silent the Vore, it should still probably work for you do it might not inspire you to seek out more. I would agree with that assessment, Chris. Taken in isolation, you know it, as I said, it is commendable piece of work, but for me it would just seem to be lacking in that edge to really make it stand out. WHO's when I'm viewing it in comparison to the other contemporary so films, and this is perhaps the one that enjoyed the least. It's not to say I didn't enjoy it, but it just for me lapped the kind of imagination or inventiveness that we going to discuss about the other film. Yeah, I agree, but then I can I have never actually been a major churse marking fan either. It is there's something about his humor that doesn't quite work for me. There's what final point about the film? The to showcase this type of humor, he uses just a flashback of you high and his wife's wedding and for the comedies at one of the guests are really disconnected. He shakes his hand, hand kind of falls down and there's a virtual guy in the back which is really visual guy, but it's just a pastor smoking. There's just all these little quirky things that, as opposed to an actual Chrismocki Pan will really love and really enjoy, but which has never really worked for me. But I do think, take this or to the next film, the call of Katulu, that there's a really, really big distinction between them. Called Toul came out in two thousand and five, six years later, and these two films are almost night and day. You Highs essentially just a Chrismoki film, but call of Kutulu is in every way attempting to be island, attempting to place itself within that traditional esthetic, even going as far as to try to make itself look older than it was, and in many ways it manages. There's also measures to be really charming because it shares many of the technical limitations, because one thing many people don't necessarily no one watching the film, is that it is an extremely low bush production. This is essentially a student film or an amateur film by people who love the work of age, beloved craft, coming together to praft this film on a US Congress grant, and the fact that they managed to build it into the silent field that it is and to manage to get to blow up the way it did, at least in the center our community, it's really terribly impressive. Film adaptations of lovecraft's work always seem to lagging developmental. I think it was Gola mode of Toro who was working on trying to bring one of the novels to life recently, and unfortunately that failed, and it's great to see the fact that on such a small budget, managed to make such a brilliantly creative adaptation of want of lovecraft's works. The manage to build up this great notion of dread and suspense and there's a strong use of shadows and lighting, which kind of blacks to minow's work and the German expressionism. For me, it does seem to cram in perhaps too many storylines, perhaps over ambitious in this regard, but you can overlook that and forgive it because it is a brilliant and brilliantly inventive piece of work and there's some impressive stop motion animation when you get towards the end of the film and you see the horrors that they've created, and I was really impressed with it and I love that. To bring up the German expressionism do because in the amount of the climax I got the spoil anything of the film, but the amount of practical effects they managed to bring into this film, the amount of poor inducing elements in in that climax, is just incredible. I just can't believe they managed to won't do that and to manage to make it look as good as it did that. This is probably where the silent film esthetics worth the best because by shooting a black and white but trying to make it look authentically old, these not as great graphics really managed to shine and work regardless. That's a great point...

...quest and I suppose in that regard the budget tree limitations kind of helps the film because they're trying to, you know, hide certain things seem darker so as not to reveal at the setbacks of the effects that they use, and it makes it more mysterious, more credent. You know, some of the set design as well is incredible and it really is impressive for a low budget film. I think the silent film esthetics also, it's so easy to adapt something that should have been so convoluted, I mean, and in so many points in the film there's a story within a story within a story within a story, and it just works so well, even though, again, certain elements are clearly little bird set. Clearly a little bit can't be but because of the love you see put into this film, it still works definitely and it just adds to the kind of charm and the feel of the picture. You can tell that there's a lot of heart that's been put into them and they've done a lot of work on here that is really quite impressive and quite innovative, where is still looking back to sound films that influenced it and boring heavily, but bringing their own flash things as well. And the main takeaway from this is that you should really see the call of Cotulu, and just because this is a feel as under fifty minutes long and it's still managed to feel massive and epic. So please do see it. And the next thing there now is one of my all kind favorite films, Guy Madden's brand, or palm the brain, and we mentioned earlier that mad in front his entire career in some way worked in all of these Thailand cinema techniques, essentially creating a dream like alternative world with the strength but also the shortcomings, in especially the shortcomings, of s nineteen turtyes cinema, and mending them into his own unique expression and style, often with dialog and narration and Intertitles, into Mangling, into comedic absurd, I would be tempt to say poetry, but it's really funny, really bizarre, really watches, sometimes form of introspective comedy, and this is taken to its most heightened extremes in brand upon the brain, and there's a reason why I we called this Guy Madden's very first silent despite the fact that narration is such a big part of it and despite the fact that it's so similar to some of his earlier films, including the film it did just, I believe, three years earlier, cover spend the knee, which was also essentially a silent film, but with narration intertwined. What's the difference? Well, the way it was shot, completed and performed. You see, there's not just one narrator. The film toward not only with a full orchestra, but various narrators, including is a bell or, Selene, Crispin Glober and the legendary Eli Waller made himself also coming to narrate. And when I re watch this film this week, I had nine narrators, including live sessions, and it was so fun to be able to choose between them and get unique experiences every single time and each of them bringing something different to the story. So I just wanted this one of my favorite films that would really love to talk more about it, but I need to bring it all to my goals. I love how madden uses the limitations of the esthetics of sound cinema to his advantage. In band upon the brain he creates this hauntingly beautiful, surreal nightmare with an imaginative storyline that's very dark in places, almost lynch and you know you can easily make some comparisons to to raise ahead, he uses these frenetic editing techniques that are very adventurous and it's moves along at a brisk pace and almost feels like you're being pretty mushed by the barrage of experimental techniques used to tell the story. I listened to it with the Russellini narrative and I was kind of curious to it would make sense without the narrative. I was, you know, taking the cues from the title cards and I'd love to Rewatch it from that perspective as well to see if it would work as a sunce film with just a score and the narration. But I really enjoyed it. Of Not seen many of madden's films, but I'm very excited to see more after my first experience with brand upon the brain. I haven't seen brand upon the brain. I do love the title, though, and actually love the title of most of Madden's films are, whether it be the saddest music in the world. Coward Benson. He's always got very creative...

...tiles which are really interesting and in terms of actually watching that and films, did watch our Gangel fairly early on to by film going journey, and at that point I guess I didn't seen many Ireland or black and white films and they don't really do much for me. It did a few years ago sit down and watch the forbidden room and that really did not drive with me at all. There's a bit of an up and down right for me. There are some creative parts and there a song about dairy is. A lot of it just felt really random and just like a random assortment of stuff without much reason or logic behind it. And I guess my experience with the Forbidden Room has probably of exploring more of Guy Man's films, obviously because I really like contemporary silent films and it's something like brand upon the brain. would be something good for me to try and reintroduce myself to madden, though, of the films that he's made that I haven't seen, probably Keyhole senates me the most because that was going to be the least like his other films. You really shouldn't be put off Madden's earlier films because of a written room, and I really like to forbidden room as well. But it is really different and it's also the first film he did with Johnson and he started working more with digital cameras and it gives them a different look. It doesn't look as great as it used to, and I also like that. That to the Forbidden Room. This was actually not the originally intended to be a film the way it is. Madden wanted to create a new, bizarre experimental experience, so we shot a large amount of separate clips and essentially created at and them number generator so that people could create their own films. This was a major project two years before forbidden room came out, and that's why, when it's then intermixed the media into a broader, bizarre film, it's not that way at all. Taking this back to brand upon the brain, there are some similarities. Brand upon the brain is all over the place in terms of its narrative structure and it's creates your elements, but it's still a consistent story, a bizarre, practical, comedical story of guide mad in himself growing up on an island with an overprotective mud the running some kind of weird, bizarre science experience on Orphan. There's kids and it's essentially just it's called bread upon the brain, I remembrance, in twelve chapters. It's set up in twelve chapters and each of them does get more and more and more bizarre. Actually sounds really cool, Chris. Maybe I should check out brand up on the brain. But do you really like the idea of experimenting on kids? Not that I would advocate that myself, it just really opens up the possibilities for what film is capable of doing. You definitely need to watch it when you come so. I had similar impressions of the Forbidden Room to you. I thought it was an interesting experimental way that perhaps didn't work as a cohesive narrative. And whereas the narrative in brand upon the brain, as Chris says, it's strange and bizarre and surreal and takes you to some with and wonderful places, it's more coherent and it is kind of like a magical dark fantasy where there's lots going on and some of the reactions that madding gets from his actors as well our excellent. It just portraying the emotion and even it's a strange ride, it is is quite an emotional journey as well. So hopefully you'll give it a go and enjoy it as much as I did. It's like to cut in on what Tom mentioned earlier. We tried to watch brand upon the brain without the narration. I think that would be really interesting. Girls like to say that live narration, the factor's narrator, along with a script, bring something really specially into the film, because the way the narrator interact with the Inter titles and vice versa is really interesting because in many ways it'll be echoing each other. Prinstance, narrator might say something like the past, the past, the past, and either some time before that or sometime later, the intertitle the past will have been shown as well, or they'll be even coming in around the same time, tending this bizarre it's Real Echo. So it is so many interesting ways that Madden works with narration and entitled to create its kind of bizarre formedic, mystical Gothic comedy. But to take this on to a film that does almost exact opposite, that's strips down more contemporary silence in the marking be to it's simplest components. Rolf the hair's Dr Plunk it filmed. It, unlike the previous things from talking about there essentially tastes inspirations not from the sound to cinema of the twent S, but from the silent cinema of...

...the nineteen hundreds and nineteen tens, creating a completely, completely different experience than any of the other films would be discussing in this podcast. Dr Plunk is a film that I first saw in two thousand and eight a few years ago and since then I re watched it two times over the years, including just this week, and it's a film that I've always found to be very dynamic and really interesting. It's from Ralph to hear, which, as an Australian, I would say is upraised film director. He is best known for films like the tracker or bad boy bobbies, but he's also done a lot of really great, experimental and out their films, like the quiet room at Alexander's project. Anyway, Dr Plunk was a film which actually almost saw in cinemas, but I was only playing at the art house cinemas, so I didn't end up seeing it. When I came out and a saw it on DVD. I was very impressed with it because it really does mimic the style of the older films, like Chris said, in the nineteen hundreds and tens. But what it also does is that it creates a time travel film, one that sort of genuinely works it. Plot of it, in a nutshell, is about the scientist in one thousand nine hundred and seven who other somehow that will be the end of the world in a hundred years time, so he just decides to time travel to the future. It builds a time machine which is made out of wood and reminds me a lot of the other time machine in Primote, just because it's so basic. It's got like this like giant, like jumping switchboard at the side of it which programs it. And then when he goes into the future, what he sees is the future of two thousand and seven. Way Of the film was made, I was watching go well, this could have been a film made in one thousand nine hundred and seven and you wouldn't really know the difference because it's actually shot on a handcrank camera. Here actually purposely got a camera built to shoot the film in. So when you're actually watching it. It's sort of like players with that sort of like flicker that you see with and crank cameras. Gives it a very genuine feel up. What's also really just think about the film is that it progresses along and they go into the future. The cinema techniques actually become more adventurous when Dr plogs big pursuit of the future. There's some tracking shots that are priced in front of it as he is driving towards the camera. There's some great low camera angle shots looking up as people are balancing on beams, and it's sort of like tracky that progress, whereas all the shots in the seven part or on the static way that you would see the very all the silent films as being photographed. It's also really interested about Dr Plug is a lot of it's about the progression of watching films. Whole ideas that he goes into two thousand and servant and he sees all these trailers for this film about the end of the world. He sees it on television. He has no idea what a television is. He has no idea why people are sitting in a living room and watching this box saying the end of the world is coming and not reacting and not doing anything, and it's a bit about their complacency that we've come with watching films where and when no longer wild or pressed or shocked by any of that, and I think the film has a lot to say about what we are like a spectators with watching films, and one of the point I'd like to make is what I think it's really dynamic about the film is that Dr Plugs are really smart and intelligent. Man The and the whole ideas that it could be as smart as anyone who could be as smart as Einstein, but still going into the future always be mind blowing. The next generations technology always be much more advanced and much more mind blowing than anything that you might be able to comprehend, or think he'd comprehend if you live in a generation earlier. Being that, you mentioned soul, where Dr Plant goes to the future and he sees how people have become entranced by their television set, is one of my favorites in the film. I love that, just how the people sat there watching completely oblivious to everything else around them, and I love the gags that revolve around the television set I can't when he tries to take television back to the past and it just fails miserably with that, and I think it is a great plot as well, the fact that it swings between year one thousand nine hundreds silent films would just in the heyday, and and Modern Day as well. Than there the difference in techniques that he uses. I had picked up on someone that, but not also. It is brilliant think that a director really paid close attention to the techniques we're making this film and I also love the inclusion of sidekick dog as well, who comes close to stealing the show in a number of scenes. And Yeah, I had a lot of fun with this running it. It's great to see that. Whenever I watch after hear film, they're always vastly different. He use different techniques, different styles, and it makes for a unique experience. You never know quite what you were about to sit down and watch. When she had to hear it's all. I totally agree with that. Tom Roth to hear I his best films are nothing at all like each other, and yet they're all very dynamic in different ways. He's always trying out different...

...things. I've seen think pretty much obvious films except for one from the S and maybe run from two thousands, and they're all very different and he's always trying to do something different than they're like. The whole set of Alexander's project about this one guy sitting down and watch a video type ends up being a much more intense experience, and you can possibly imagine bad boy bobby is just the whole idea of the edible complex to completely different level. And then you get things like the tracker, which is more series of music videos and an actual plot, and you get films like ten canoes, which is filmed entirely aboriginal language. Are you to hear what? Those directors are always pushing the envelope, try and do something different, which is why I think he is our country's greatest director. That's an interesting point about the here too, because coming into this that was just really surprised that it was the hair that was doing this, but given his history of trying so many different styles, it makes complete sense to me. And with that I just want to go back to that hand cranked camera and the way he makes this film look, because that is what really stands out there. You have the two components and the first thing that is love is the way the nineteen or seven teens largely play with just that one soundstage, exactly like Millia used to use. If you have things been pushed together, magic being performed as by a truck and some smoke. It's all this very simple cinematic tools of magic that Elias was doing in nineteen hundreds, and the hair pulls it off so well. Then you have these outside scenes in and that no seven, which clearly place on a lot of early Charlie Chaplin and Buster Cheaton films. You have the little car chases etc. which are just taken straight out from later Buster Keaton films from the early twenties, like Dr Deck, and you have all these little gags about taking people behind, also the cute looks of their systems in the part of which are clearly taken directly from Chapolin. That there's just so much love for early silence in my hair that's really enjoyed watch. But then what I thought was most impressive is that by using this handgrand camera and shooting modern day life in two thousand and seven, he actually makes it work like this is not a two thousand and seven we have ever seen before are likely to ever see again again. Looks and feels like like nubers or nineteen ten film. Even the C police cars what coming in. It's still has that esthetic and it still works because of the techniques is using it. It's incredibly impressive. Dr Plunk is perhaps one of the film's Out of all the silent contemporary honestly watched that it is obviously to the techniques used in the heyday of sound cinema and, as Chris said, it's brilliant that he uses know the old techniques such as smoke and pay homage to such great directors and in artists from the silent area. Although it's perhaps not my favorite of those that I watch recently, it's an impressive piece of work that should definitely be sought out by anyone who enjoys contemporary sounds. What Dr Blank Duff which is really great is the technique and childlike wonder in the earlier scenes and just taking the esthetics of early Sund cinema in into the present. Of all these not as exciting is the basics of the story. They could have been a lot more development there, but it days inside of probably what was done in nine seven one thousand, nine hundred and ten like what type of character development, etc. You had there, and it does so much with it. Even taking this back to say, early Buster Keaton films, etcetera, before his great works, like this is essentially what you would be seeing and it's charming, it's lovely and it's again in the great film. Adding a slight disagreement to Tom Though, when they calls this the heyday of silent cinema, I would disagree there. I think that this is playing homer should the early days and silent cinema and what I personally consider the hey they is to watch the very end when the medium had developed more, the camera was more free. And what's makes Dr plungs interesting its courses at the camera. It's essentially always static. It's always playing within those earlier limitations that in many ways disappeared at the end of the period I'm thinking I'll just mentioned. Jumping in there is the ES. I agree that Dr Plunker isn't the great homage to the very best of silent film. I think it is a great homage to the very best of silent comedy. And Yeah, even beyond the nine ten stuff, a lot of the chase things, the key star and cops type routine. Very well done, the very well corter and the very well shot. I'm thinking else would which I find very interesting and very dynamic about Dr plungk is that actually is a...

...genuine silent film, or without spoiling it, because you actually do a bit of sound during the film. There is some sound and dialog in the artist, as one line of Dialog said out loud and silent movie. There is some singing and some voices in a Tina, but in doctor plot there actually isn't any sound at also is actually a genuine silent film. There's just really interesting that, in contrast all of the other silent films with this, Justus and we'll go on to long time. I'm will go on to the artist, will go on to don't any of us. All of them are bringing out late Twenti s even early Turties Esthetics, but Dr Plunk does not. Yeah, the next film up is Lantanna. It is a futuristic film that in many ways to perhaps be compared to say, metropolis, and it's different from the other films we've talked about it that it's not really a true silent there are actually characters that can beat or sing, but that's also what makes this a special exciting takes place in a future world where all voices have been stolen, if it taken away, but there is still this mystery woman who can sing, and there is still a child I can speak, and landemmer really takes on the most impressionistic, beautiful, in creative elements, offtiles, in them up and makes it into something else, something new. L Antenna is a beautiful love letter to the fantastical worlds depicted in the golden age of silent cinema. homages two artists, such as chaplain, langue and millias bring flavor to it. Gilly mask dystopia where everyone has lost their ability to speak, a part from a mysterious lady known only as the voice. In the story, the city's inhabitants are kept in order by a Shady Television Company and it's corrupt director, who was searching for ways to extend his control and regime. When a recently fired work or uncovers a plot to cannop the voice and US her ability to hypnotize the city's residents, he innovertently drags his daughter Ex wife into a dangerous struggle to save the population from a terrible fate. So the Argentinian director estebands appears cleverly updated as silent film with a modern twist. People speaking laranted. The words appear on screen next to them as they would in a speech bubble in a comic book. By using a ray of fonts and sizes. So appears concoction conveys more than just what the characters are saying and provides us with further insight into how each utterance is delivered. In the heyday, silent films included intertitles to narrate the story, and suppeers novel idea means that the flow of his scenes isn't interrupted. Also add into the overall charm of the picture. Underneath the enchanting presentation you have a timely allegory for humanity's idolization of the television set and also a start reminder of the evil dictatorship that pretty washed Jimmy when the Nazis Room power. Symbolism is used to deliver its appears message, and it's utilize in a subtle way to not to overwhelm the fantastical elements of the story and provides food for thought alongside the enthrall and adventure that's in shoes. This, for me, is easily my favorite of the contemporary sound films. It's such a creative piece of work that taps into the science fiction and fantastical elements that I love about cinema and updates it for modern audiences in a way that creates it all original piece that's really struck a chord of me. I watched learned Anna the first time this week that I was very impressed by, and I watched it based on the recommendation from Tom and recommendation from Adam, I'll producer. As Tom mentioned, what's really impressive about the film is the use of title cards. Only that it stops into eruption of the fly by having the title cards and top of the actors. What the title cards actually do is they provide it an extra bit of interaction. There's a part where the girl's father talks about responsibility or something like that, and the girl actually looks up at the word appearing above ahead and the characters pushed different our title cards off the screen. Sometimes the title cards appear behind there or appear in front of them. That was the number one thing that really impressed me by it. I really liked the whole idea of the young girl protagonist and she's sort of grown up in this well with our voices, so when she sees her neighbor who's got her voice, it's like something almost totally new to her as compared to the adults who seem to remember a time when people weren't always talking in subtitles or talking and title cards and just everything else that Tom said about a vision sets, about watching things about power...

...and control and dictatorships and yes, the rise of Naziism, which we do see with something image in there. Is really powerful and I found it a very engrossing tolle overall and just very cleverly done and very beautifully shot. It's also mentioning the Dargantina was also a passionist dictatorship for a fairly long time. I also really loved long timer, but especially because of the impressionistic visuals to create the visuals. This really building arm the best of what science about could do. Visually. It is fantastic, but at the same time there was in this digital field to some of the effects. Something didn't quite guy which brought it down a little bit in my estimation. I'm just thinking back to when I first saw the film. Now I and it's quite a nice little story. I remember I was at college when I first saw the trailer for this film and at the time I was kind of enamored by the films of Michelle Gondry, Eternal Sunshine, of spotless mind and the science of sleep and the kind of surreal fantastical approach that the director had taken to visualize and dreams on screen. And I remember seeing the trailer for La Antenna and just being mesmerized by this world that has been created by estebunds appear and for a while the trailer was all that I could see. You know, this was a quite an obscure independence Argentinian film, unlikely to get a release in mainstream cinemas in the UK, and I think that it was the first film that actually traveled to see. I remember to get a train ride to a city to go and watch it because I've watched the trailer over and over and have become fascinated with it and I couldn't wait to see it at the cinema and there's only a handful of people in the screen. It was just a one off screen in an art house cinema and I absolutely loved it and it just brings back fun memories for me and I'm glad that everyone who seems to watch it, you know, falls in love it as much as I have. And this brings us up to our film with shoppingly brought an incredible amount of people to see them outh to see a violent film. Talking of course, off the artist from two thousand and eleven, which by almost pure hands, managed to enter the award circuit, become an international sensation and win best picture. I love the artist. I think it did two incredible things at the same time. The first was bring a large scale silent to life with just incredible risrules, incredible elegance, capturing so many things I loved about Classic Silent Drama, comedies of Twenti S, of staking with or. It is just it's just beautifully made. At the same time, it also works on the Matal level of wrapping up the entirety of the silent era in the broader story, a love letter to sound cinema and a love letter to the period itself. It's such an interesting and great work and I would love to hear your opinion of it. I share a very similar opinion. If the artist to you, Chris, to concern, you see why it's such an esteemed work and like you, I think it's brilliant that it encompasses man Aer in Hollywood, where silent films for falling out of favor, and the relationship between to leads. The on screen chemistry, I think, is just fantastic. You've got Shaun dyard in who his facial expressions of really news such a Suave Debonair leading man, and then you've got the the innocence, while the initial innocence, of Verny sphere out as peppy Miller, and she brings a lot of light and life to the film. It did an excellent job it showcasing silent films could accomplish when you consider it techniques that can be used to day to update them. I thought it was notable that some of the most impactful scenes in the film and those that are completely silent, without any music, and it was really interesting to see that those, for me, kind of stood out on an emotional level and for really being quite powerful. That just as a film that I sat down and rewatched last week for the first time since it came out in cinemas. I was very impressed with it at the time. It's interesting going back and looking at it because there's bits and pieces of the film that me as being more prominent than they actually were. So I know Tom mentioned the chemistry between the leads and I agree that they are very good chemistry together. The scenes together a very electric but it's actually very little time dedicated to the bodying romantic feelings between them. It's actually very much focused on gardens we are down for and his refusal true transitions to sound. So I...

...thought it was interesting it was less of romance film. I remembered something else which is a bit different. Since two thousand and twelve is that since then I've actually watched singing in the rain. I'm back a few episodes again. We talked about films that we had avoided in one of the podcasts and singing in the rain was a film that I'd been avoiding for a long time because a clockwork orange is one of my favorite films. He watching the artist was singing the rained in mind. I'm not to compare and contrast them a little bit, and I don't know if the artists like digs deeply into the whole idea of the transition arm silent to sound cinema. So that part they're powered a little bit in my mind. I still thought it was an incredibly well done film. I really like this how the director plays around with sound in there. Like Tom said, there's some great silence shots and there without any music at all, like in the are down four sections where d your dad and is standing there bent over and can sort of see a gigantic poster of him from his heyday friend behind him. was really good. And there's an excellent dream sequence in the hours which comes in the middle of the picture, around at your thirty five minutes in, where he suddenly can hear sound everywhere, and that was just really cleverly done with always accentuated sounds. Really puts a class down. And the camera also starts to rock and we start to get some tilted shots and they're it's it's a very dynamic film and I really enjoyed watching it a second time. It's very funny at the best of times and of course it's got a very well trained dog in there before and some excellent start work. I think everybody fell in love it that buck when I first saw it and saw that I did have a very well trained dog in there befalling all these tricks and as getting all this claim. I wasn't like, well, why isn't anybody seen Dr Plunk, because that's also got a film whether very well trained dog in there, and it wasn't getting anywhere near so much acclaim. But you know, I'll do. Really like both films and they're both all time favorites for me and I really like the fact that, at least through my interactions on the I check movies forum, we've got some more people checking out films like Dr Plank now. But I just love that bad campaign for Dr Plock to do this past a fold of each dog next to each other and say did you laugh the dark in the artist? Then they're going to love the dark ductor plank and they tell us that there's going back to what the artist does so well, is the visual storytelling, like Tom talked about with our lead next to posting from his glory days. It's just it just does the visual impression of the sound there are so well, and that's also what is so often missing today. And what wasn't we so spectacular? Wait kind of silent film reviable very once again, consider these visual first films giving US incredible experiences. Another visual part of the artist, which I think I'll mention because it was really good. It's a part where your dad and is sitting there drunk or drinking and slams down his glass on a table and we suddenly realize that what we've been seeing is actually a reflection. Isn't the actual shot, it's reflection within the are shining table top of the bar or the counter. Also going to mention that. So, believe it or not, just another example, if they're slip, kind of visual production involved in the film and how enchanting it is. One of the other aspects that I thought was brilliant was where they used miniatures, and I think it might have been in the same scene where there's shrunken people who have come into attack the lead, and it's things like that that really bring it to life and and add a lot of chant to the I agree completely, and this one said. When I thought the artist for the first time, I had this feeling in this all that wow, silent films are really blowing up again. We're going to be able to get more copycats. More people have been inspired to make this type of film, but it didn't really happen, not not at first. When I saw that that any of us was coming up, I really thought, okay, this is the first film that's coming in on the silent wave after the artist, another large budget silent film. But that's not actually true. That could probably Burger, the director of glave. Any of US was again then infuriated when you heard that the artist was coming out. He had been planning to make the first large scale, proper silent film in the years. And it's also so interesting to look at the differences between these two films. The artist, like silent movie, is a love letter to the specific period and more so it tells that you need story using silent cinema language to capture the period and the character's mind and the plays where he is while blank and the others. Is again the win Thailand film, again within story, using silent film esthetic that in no way wrought attention...

...to the fact that is a silent making it an incredibly interesting world. That's also just so again in the fantastic, so modern update of Snow White and the seven dwarfs, and from the opening scenes this just kind of this elegance and almost kind of delicate feeling to it, as you see a number of static shots of the local where it's set, and it really draws you in from the very opening scenes to some incredibly impressive editing throughout the film, and I was blown away with there's a few scenes where the editing there's cuts in time with either the sound of castanets or the clicking of canvas. That really made me sit up and take notice. Of thought this was excellent and you know, you can tell that, as Chris said, that was a project that had been developed for some time. I read that it had been developed for every eight years and you can see that with every shot. It's so beautiful. I watched blank and the other days for the first time last week and I really enjoyed it. Like my cohost, I was very impressed with how well it was made. Not sure of it so much a modern update of snow white as a film that references it, like when she meets the draws later on, they said she could be snow white as in the story. The story does deflect quite a lot from it. It's actually only really the second half I think of the film as she's grown up that really becomes a lot like Snow White Story. A lot of the earlier part of it. I was actually reminded a lot of a film cord a Mare, which is a origin horror film in three sections, and a lot of it's like that first episode there about the our girl and this gigantic match and where with all this mysterious places where she's not allowed to go, and I thought the silent film format worked really well for that. So it wasn't so much direct wanted to make a contemporary silent film. It's felt more to me like an artistic choice, like the best way to possibly present this girl's nightmarish world is to be able to film in the style of a silent film. I Tom I was also very impressed with the editing, and not just the editing with sound but also some the rapid fire editing, which is editing which wouldn't have been possible in the S, like alive. It reminded me, I guess, of like Battleship, but tempt can beating. We see editing like that at least in you know, mainstream or American or UK film at that time. So that was very impress wrestle and also a lot of the camera work is again camera that wouldn't have been possible the nine in twenties. This is wonderful shot where the father is viewing his baby for the first time and the camera pools all the way up to a Chandelia and looks down from there. That sort of camera work early seen films to the nine in twenty. So I thought it was a very good updating, using that start to present a nightmare world but also building on the possibilities within silent cinema. It also makes such a great comparison to what we're talking about limit early, with Dr Plunk pluck of the Eves, really just takes the best late nine twenty s cinema can do. No I realize that when people think of silent cinemaut they often think static shots, they often take less techniques, but there was that fantastic period towards the end when the truly mastered silence very truly master the camera and the truly master how do that film's breathe. I'm thinking of, you know, fantastic films like Epstein's finished area or say, the brilliant Brazilian City Symphony Lisp Black, where you just have the camera flow through people's legs as water splashing around them, and you feel that urgency, or in Finnish, very feel the wind. You feel everything. You have this free camera, have the strength and black andy of US really just dust the exact same thing. It just opens up and bring all these incredible techniques, intertwined with visual first storytelling and in the titles, just make it such a fantastic magical experience. It's a film that genuinely showcases the possibilities of Contemporary Silent Cinema. You know, it tries to push the boundaries and do new things and it really makes me sad to think that, you know, this is the last notable sound film that we've had and you know there's so much to explore out there and I hope that, you know, we get to see more in the near future really, because I've had so much fun visiting all these contemporary songs and you see, it the last of technically, there was one more ground. It was an alternative cut which I haven't seen. I don't think any of...

...you have seen either. Mad Max fury road was in fact cut and re released as a silent film and I, well, I haven't seen it. That sounds really interesting because that was such a visual film as well. Eleven saying that, I can white version of Mad Max spure road. I did know that there was a black and white version. I didn't realize the black and white versions also. Silent version actually is available and Bluray and I could buy and watch if I really wanted to know if I would really love it myself the first time. But there's things know. I've got to say that that sounds brilliant, Chris, and for curiosity sake I really would like to see it because it is quite a visual film. So I'd love to see how it works and how it plays viewing it in that vasion. With all that said, them and we all of US White, sad hasn't been a proper major sound films with blank and e us well directly hoping to see from silent films in the common years. And what do you think will actually happen? I would love to see more original films such as learned tenor and bank anderves that, you know, just create these incredibly inventive fantastical world's where they set their stories, build on the visual styles of silent cinema to update it for new audiences love to see more filmmakers venture into sound home. The call of Cutulu was brilliant entry into this genre, silent horror cinema, so it'd be great to see more directors experiment him in that regard, because I think when a horror film is done in such a way, the focus more on the atmosphere and suspense and mystery, and those are elements that really appeal to me. Like Tom I would like to see more silent films. The ones that I've been catching up on, the contemporary ones over the past couple of weeks, have been very impressive and very immersive. I think it's a really great style that can be used to very good effect, especially it's on like blank and the Hervey. We're trying to do a bit of a horror film or horror mystery one, and there it perfect for that sort of mode. Then, going back to what we talked about before with what I took so long for Mel Brooks to make his silent movie. I think it's something which is going to be still hard to get funding for many artist was one years ago now and we haven't really say much in the way of silent cinema. So I don't think there's going to be in the financial argument to back it up. It's going to be those adventurous producers who are willing to sink a bit of their own money in. Maybe we need somebody like Tom Ford, who finances all of his own films out of his own pocket, to actually make another silent film for us. And were completely with both of you that it would be great to see more silent horror films, and that's also where it's possible to get really creative on really low budgets and play around and that way reach unease audience. So I hope people eventually start seeing the call of catool and gets inspired to do similar things. Also, I think, to about their own saying. I think what I would really love from Contemporary Silent Films is just what block and the evenest did, keep building on the fantastic visual techniques of the late twenties and keep taking it to new hides and keep giving us these kinds of stories. Unfortunately, though, I think it really just going to be one of these two things. Either we will see really low budget films by amateurs. Are People really excited to do this horible see a major director like an art house director try to do something like this, and there are some people who could do it, like the hair I think the first one I'm thinking about we'd probably be someone like Roy Anderson, who in many ways incorporates early silent esthetic in the sense that he has one shot scenes where everything's takes place in side that frame. I think you could do some really exciting things with it, and there's a lot of other visual directors. Even Pierre Almdovar give it what it was able to do with talk to her, could make UN spectacular silent film. The question is just if they would want to. I would definitely watch the sun film directed by Almdova and, what's more, really love to say that Sonic Film and talk to her actually expand into an actual film. That is something that I would go to watch. Oh yes, that would be happy with fantastic this, that scene drawn out into the full film with that type of esthetic, I think that would be one of the most interesting films on modover has ever done. Actually pull it off and if it would actually work. With that said, I think it's time to Pulose the curtains on our Contemporary Silent Cinema episode. Thank you for listening and join us against you. You have been listening to talking images, official PODCAST OF ICM FOR USCOM.

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