Terrence Malick

Terrence Malick

Lloyd Michaels
Copyright Date: 2009
Pages: 144
https://www.jstor.org/stable/10.5406/j.ctt5vk0dz
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  • Book Info
    Terrence Malick
    Book Description:

    For a director who has made only four feature films over three decades, Terrence Malick has sustained an extraordinary critical reputation as one of America's most original and independent filmmakers. In this book, Lloyd Michaels analyzes each of Malick's four features in depth, emphasizing both repetitive formal techniques such as voiceover and long lens cinematography as well as recurrent themes drawn from the director's academic training in modern philosophy and American literature. Michaels explores Malick's synthesis of the romance of mythic American experience and the aesthetics of European art film. He performs close cinematic analysis of paradigmatic moments in Malick's films: the billboard sequence in Badlands, the opening credits in Days of Heaven, the philosophical colloquies between Witt and Welsh in The Thin Red Line, and the epilogue in The New World. This richly detailed study also includes the only two published interviews with Malick, both in 1975 following the release of his first feature film.

    eISBN: 978-0-252-09610-5
    Subjects: History, Film Studies

Table of Contents

  1. Front Matter
    (pp. i-viii)
  2. Table of Contents
    (pp. ix-x)
  3. Preface and Acknowledgments
    (pp. xi-xiv)
  4. Terrence Malick: A Cinema in Front of Our Eyes
    (pp. 1-100)

    Is there another American artist—let alone an American filmmaker—who has so regularly been granted genius status after creating such a discontinuous and limited body of work? One who has managed to be revered without ever being popular, admired while remaining essentially unknown? Among writers, Thomas Pynchon comes to mind, but his literary output, while clearly not prolific, has remained relatively steady. Stanley Kubrick, the director most often cited in articles about Terrence Malick’s career and cinematic vision, seems positively prolific and transparent by comparison. Malick’s achievement in his four films to date seems without precedent, just as the...

  5. Interviews with Terrence Malick
    • INTERVIEW BY BEVERLY WALKER IN SIGHT AND SOUND (1975)
      (pp. 102-105)
      Beverly Walker and Terrence Malick

      Interviewing Terry Malick, producer-writer-director ofBadlands, turned out, like his film, to be full of idiosyncratic surprises. My prepared list of questions went by the wayside as Malick talked with passion, conviction, and sometimes anger about his film. Acknowledging that he “couldn’t have asked for more” in terms of critical acceptance, he also indicated that the actual filming was painful. Working in the dead heat of the 1972 summer, with a non-union crew and little money (three hundred thousand dollars, excluding some deferments to labs and actors), Malick encountered all sorts of problems, from difficulties over finance to the destruction...

    • INTERVIEW BY MICHEL CIMENT IN POSITIF (1975)
      (pp. 105-114)
      Michel Ciment and Terrence Malick

      I was born in Waco, Texas, and raised in Austin, Texas, and Oklahoma. I was named a Rhodes Scholar and received a fellowship to study at Magdalen College in Oxford, England. I didn’t complete my fellowship; I left my studies in my first year and began working for theNew Yorker.I went to Bolivia to write an article on Che Guevera’s cause and the trial of Régis Debray. I spent four months there, but I didn’t publish anything. Over a period of eight months, I did write other things for theNew Yorker,including obituaries for Martin Luther King...

  6. Filmography
    (pp. 115-116)
  7. Bibliography
    (pp. 117-120)
  8. Index
    (pp. 121-125)
  9. Back Matter
    (pp. 126-128)