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Terrence Malick
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Reclusive filmmaker Terrence Malick may be starting to pick up the pace. Although 20 years passed between his 1978 film "Days of Heaven" and 1998's "The Thin Red Line," he's already contemplating another stint in the director's chair. The helmer is attached to direct Benicio Del Toro in "Che," an epic about the life and death of Cuban revolutionary Che Guevara that Laura Bickford is producing. Steven Soderbergh was originally considering helming the project but now is likely to be involved in a producing capacity. "Che" is not yet set up at a studio, but if Soderbergh continues his involvement, one likely possibility is that Warner Bros. Pictures might step in. The studio houses Section Eight, the production company headed by Soderbergh and partner George Clooney.
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Terrence Malick is an American director whose films can be characterized as radical reevaluations of the current understandings of cinematic concepts such as image (and sound), character, and narrative. His films are intensely visual, abound in beautiful nature imagery and they elude explanation, in the sense of the reduction of a given phenomenon (say, a character's behaviors) to various (psychological, sociological) causes, usually favoring expression of moods instead. To articulate the intentions behind such choices would be the task in hand in trying to make sense of his films. Malick studied philosophy and worked in journalism before he turned to film. He produced a translation of one of Heidegger's short texts (1) and the philosopher's writings appear to have influenced the films greatly. Malick ... worked for publications such as Life, New Yorker and Newsweek.
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One-of-a-kind filmmaker-philosopher Terrence Malick has created some of the most visually arresting movies of the twentieth century, and his glorious period tragedy Days of Heaven, featuring Oscar-winning cinematography by Nestor Almendros, stands out among them. In 1910, a Chicago steel worker (Richard Gere) accidentally kills his supervisor and flees to the Texas panhandle with his girlfriend (Brooke Adams) and little sister (Linda Manz) to work harvesting wheat in the fields of a stoic farmer (Sam Shepard). A love triangle, a swarm of locusts, a hellish fire—Malick captures it all with dreamlike authenticity, creating at once a timeless American idyll and a gritty evocation of turn-of-the-century labor.
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Since his debut with Badlands in 1973, Terrence Malick has directed just two films: Days of Heaven in 1978 and The Thin Red Line twenty years later. That makes his fourth movie, the rapturously romantic and haunting New World, a genuine event. As Pocahontas, newcomer Q'orianka Kilcher, 15, is the canvas on which Malick paints his portrait of the old world colliding with the new. Kilcher, of Peruvian ancestry (and a cousin of Jewel), has a unique beauty the camera loves, capable of quicksilver changes from winsome to precociously wise and grave. She powers this mythic love story between the noble daughter of Powhatan (August Schellenberg) and Captain John Smith (Colin Farrell), a soldier of fortune who arrived in Virginia in 1607, with 102 other Englishmen, ready to settle the colony of Jamestown. Malick uses the myth to draw battle lines between nature and invading civilization. A wondrous early image of an Indian watching the three English ships sail into the harbor stands in stark contrast to the carnage of the Indian attack when the settlers refuse to leave.
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One of Terrence Malick's early screenwriting efforts, this loosely-structured road movie finds a questionably sane long-distance trucker named Cooper (Alan Arkin) winding his way through the heart of America. An employee of a questionable hauling outfit who has been assigned to drive a newly hijacked rig to an as-of-yet undisclosed-location, Cooper quickly ditches his partner and points his eighteen-wheeler westward. Picking-up a hitchhiker (Paul Benedict) for some company in the cab, the unstable trucker's journey westward grows increasingly surreal as he runs into numerous eccentric characters, portrayed in cameo roles by such noted names as Ida Lupino, George Raft, Charles Durning, Loretta Swit, Richard Kiel and future director John Milius. ~ Jason Buchanan, All Movie Guide
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We've all heard that legendary director Terrence Malick does not like to be photographed. Hell, hedoesn't even like to be seen, which was why he raised a few eyebrows when he agreed to put in an appearance at the Rome Film Festival this year to speak about his fondness for Italian cinema. But after seeing these seventeen seconds of footage shot during his no-cameras-or-press-allowed talk at the festival, we're beginning to think that it's not Malick that's afraid of cameras, it's cameras that are afraid of him. Seriously, looking at how unspeakably awful this footage is, we're wondering if Malick's toxicity to cameras pointed at him might actually be a a superpower of some sort. Behold, as the image melts before your very eyes. . . — Bilge Ebiri
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Terrence Malick