History Creator / TerrenceMalick

18th Sep '17 10:02:27 PM MackWylde
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Added DiffLines:

* SlidingScaleOfIdealismVsCynicism: Usually quite in the middle, but it actually can lead a tad more to the idealistic side.
18th Aug '17 6:01:37 PM dlchen145
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Terrence Malick (born November 30, 1943) is an American filmmaker known for his privacy, the lengthy hiatus between his projects, his idiosyncratic approach to film-making and film production.

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Terrence Frederick Malick (born November 30, 1943) is an American filmmaker known for his privacy, the lengthy hiatus between his projects, his idiosyncratic approach to film-making and film production.
18th Aug '17 5:59:59 PM dlchen145
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Terrence Malick is an American filmmaker known for his privacy, the lengthy hiatus between his projects, his idiosyncratic approach to film-making and film production.

to:

Terrence Malick (born November 30, 1943) is an American filmmaker known for his privacy, the lengthy hiatus between his projects, his idiosyncratic approach to film-making and film production.
26th May '17 2:18:05 PM AwSamWeston
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* ''Film/TheNewWorld'' (2005)

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* ''Film/TheNewWorld'' ''The New World'' (2005)
30th Mar '17 1:36:45 PM JulianLapostat
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* DoingItForTheArt: [[invoked]] His whole career. Malick is independently wealthy (on account of family involvement in the oil business), and doesn't have to make movies to make his living, and when he does he prefers working as an uncredited script-doctor instead of directing projects he's not interested in. This also explains the lengthy production (and post-production) periods of his films, and the lengthy gaps between them. * FauxlosophicNarration: For lack of a better term. Many of Malick's films involve voiceover narration only vaguely related to what's going on onscreen, usually reflecting on the overall themes of the film, the mood and the tone. Many note that his narration is closer to literary stream of consciousness than the usual voiceovers in conventional narrative.

to:

* DoingItForTheArt: [[invoked]] His whole career. Malick is independently wealthy (on account of family involvement in the oil business), and doesn't have to make movies to make his living, and when he does he prefers working as an uncredited script-doctor instead of directing projects he's not interested in. This also explains the lengthy production (and post-production) periods of his films, and the lengthy gaps between them.
* FauxlosophicNarration: For lack of a better term. Many of Malick's films involve voiceover narration only vaguely related to what's going on onscreen, usually reflecting on the overall themes of the film, the mood and the tone. Many note that his narration is closer to literary stream of consciousness than the usual voiceovers in conventional narrative.
29th Mar '17 10:02:31 AM JulianLapostat
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Unlike many members of the UsefulNotes/NewHollywood generation, Malick did not choose cinema as his vocations. In Harvard, [[TheSmartGuy he studied philosophy]], writing on Martin Heidegger, Wittgenstein, Kierkegaard and other [[UsefulNotes/{{Existentialism}} existentialist]] thinkers. He later worked as a journalist for Life and New Yorker magazine, and had contributed obituaries to Robert Kennedy and Martin Luther King, Jr. He eventually did become interested in cinema, inspired by arthouse film-makers but also by silent film-masters such as Creator/FWMurnau. He studied film at AFI in the late-sixties (Creator/DavidLynch and Creator/PaulSchrader were in the same class) and he found work as a screenwriter, before making his debut in 1973 with ''Film/{{Badlands}}''. This was his BreakthroughHit, riffing on the (then) popular OutlawCouple theme, by making a film about teenagers on a cross-country killing spree. Malick however differed with his incredibly distinct visual style, his poetic approach to narrative, use of landscape and groundbreaking cinematography and production design. In Malick's films, the style matters far more than the stories. Malick followed that up in 1978 with ''Film/DaysOfHeaven'', an evocative, dream-like portrait of a wheat farm in the early 20th century America. The film became iconic for its use of "magic hour" cinematography and natural lighting, i.e. using the actual sunlight and dim natural settings rather than studio lights[[note]]Extremely difficult to achieve at the time on film cameras owing to (then) film stock's limited capacities at recording light, with Malick and cinematographer Nestor Almendros more or less showing people that the stock could do stuff they didn't know was possible[[/note]].

to:

Unlike many members of the UsefulNotes/NewHollywood generation, Malick did not choose cinema as his vocations.vocation. In Harvard, [[TheSmartGuy he studied philosophy]], writing on Martin Heidegger, Wittgenstein, Kierkegaard and other [[UsefulNotes/{{Existentialism}} existentialist]] thinkers. He later worked as a journalist for Life and New Yorker magazine, and had contributed obituaries to Robert Kennedy and Martin Luther King, Jr. He eventually did become interested in cinema, inspired by arthouse film-makers but also by silent film-masters such as Creator/FWMurnau. He studied film at AFI in the late-sixties (Creator/DavidLynch and Creator/PaulSchrader were in the same class) and he found work as a screenwriter, before making his debut in 1973 with ''Film/{{Badlands}}''. This was his BreakthroughHit, riffing on the (then) popular OutlawCouple theme, by making a film about teenagers on a cross-country killing spree. Malick however differed with his incredibly distinct visual style, his poetic approach to narrative, use of landscape and groundbreaking cinematography and production design. In Malick's films, the style matters far more than the stories. Malick followed that up in 1978 with ''Film/DaysOfHeaven'', an evocative, dream-like portrait of a wheat farm in the early 20th century America. The film became iconic for its use of "magic hour" cinematography and natural lighting, i.e. using the actual sunlight and dim natural settings rather than studio lights[[note]]Extremely difficult to achieve at the time on film cameras owing to (then) film stock's limited capacities at recording light, with Malick and cinematographer Nestor Almendros more or less showing people that the stock could do stuff they didn't know was possible[[/note]].
27th Mar '17 1:24:14 PM JulianLapostat
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-> ''Creator/TerrenceMalick is not a recluse. A recluse is Creator/HowardHughes holed up in [[EccentricMillionaire a hotel pissing into a milk bottle]]. If you live in certain neighborhoods of Austin you’ll see Malick shambling about with his binoculars and bird-watching gear. And if you walk up to him and say, “I love your movies,” he’ll say, “Thank you so much, and isn’t it such a wonderful day?” He has his reasons, we don’t know what they are, and I like that...This is a guy who knows a hell of a lot about a hell [[TheSmartGuy of a lot of things]]: [[RenaissanceMan religion, astronomy, birds, philosophy]]. He doesn’t strike me as someone for whom the sun rises and sets on the next deal; maybe movie-making is not the be-all and end-all for him. It’s entirely possible that when he’s out bird-watching he gets so swept up in it that he doesn’t think about movies at all that day.''
-->-- '''[[https://lareviewofbooks.org/article/hollywood-bigfoot-terrence-malick-and-the-20-year-hiatus-that-wasnt/ Matt Zoller Seitz]]'''

to:

-> --> '''[[https://lareviewofbooks.org/article/hollywood-bigfoot-terrence-malick-and-the-20-year-hiatus-that-wasnt/ Matt Zoller Seitz]]''': ''Creator/TerrenceMalick is not a recluse. A recluse is Creator/HowardHughes holed up in [[EccentricMillionaire a hotel pissing into a milk bottle]]. If you live in certain neighborhoods of Austin you’ll see Malick shambling about with his binoculars and bird-watching gear. And if you walk up to him and say, “I love your movies,” he’ll say, “Thank you so much, and isn’t it such a wonderful day?” He has his reasons, we don’t know what they are, and I like that...This is a guy who knows a hell of a lot about a hell [[TheSmartGuy of a lot of things]]: [[RenaissanceMan religion, astronomy, birds, philosophy]]. He doesn’t strike me as someone for whom the sun rises and sets on the next deal; maybe movie-making is not the be-all and end-all for him. It’s entirely possible that when he’s out bird-watching he gets so swept up in it that he doesn’t think about movies at all that day.''
-->-- '''[[https://lareviewofbooks.org/article/hollywood-bigfoot-terrence-malick-and-the-20-year-hiatus-that-wasnt/ Matt Zoller Seitz]]'''
''
27th Mar '17 1:23:24 PM JulianLapostat
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* ReclusiveArtist: [[invoked]] He hasn't given an interview since 1974, his contracts have stipulated that no pictures of him be taken on the set, and he doesn't attend official premieres of his films. Possibly averted, because friends say that he isn't really reclusive, and that he's just protective of his private life and prefers to work without press intrusion. He did show up for the official Cannes screening of The Tree of Life (but did not participate in the panel), and seemed rather comfortable with onlookers taking photos and video of him during the shooting of his latest film.

to:

* ReclusiveArtist: [[invoked]] He hasn't given an interview since 1974, his contracts have stipulated that no pictures of him be taken on the set, and he doesn't attend official premieres of his films. Possibly averted, because friends say that he isn't really reclusive, and that he's just protective of his private life and prefers to work without press intrusion. He did show up for the official Cannes screening of The Tree of Life (but did not participate in the panel), and seemed rather comfortable with onlookers taking photos and video of him during the shooting of his latest film. One critic notes,
-> ''Creator/TerrenceMalick is not a recluse. A recluse is Creator/HowardHughes holed up in [[EccentricMillionaire a hotel pissing into a milk bottle]]. If you live in certain neighborhoods of Austin you’ll see Malick shambling about with his binoculars and bird-watching gear. And if you walk up to him and say, “I love your movies,” he’ll say, “Thank you so much, and isn’t it such a wonderful day?” He has his reasons, we don’t know what they are, and I like that...This is a guy who knows a hell of a lot about a hell [[TheSmartGuy of a lot of things]]: [[RenaissanceMan religion, astronomy, birds, philosophy]]. He doesn’t strike me as someone for whom the sun rises and sets on the next deal; maybe movie-making is not the be-all and end-all for him. It’s entirely possible that when he’s out bird-watching he gets so swept up in it that he doesn’t think about movies at all that day.''
-->-- '''[[https://lareviewofbooks.org/article/hollywood-bigfoot-terrence-malick-and-the-20-year-hiatus-that-wasnt/ Matt Zoller Seitz]]'''
27th Mar '17 11:55:19 AM JulianLapostat
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Unlike many members of the UsefulNotes/NewHollywood generation, Malick did not choose cinema as his vocations. In Harvard, [[TheSmartGuy he studied philosophy]], writing on Martin Heidegger, Wittgenstein, Kierkegaard and other [[UsefulNotes/{{Existentialism}} existentialist]] thinkers. He later worked as a journalist for Life and New Yorker magazine, and had contributed obituaries to Robert Kennedy and Martin Luther King, Jr. He eventually did become interested in cinema, inspired by arthouse film-makers but also by silent film-masters such as Creator/FWMurnau. He studied film at AFI in the late-sixties (Creator/DavidLynch and Creator/PaulSchrader were in the same class) and he found work as a screenwriter, before making his debut in 1973 with ''Film/{{Badlands}}''. This was his BreakthroughHit, riffing on the (then) popular OutlawCouple theme, by making a film about teenagers on a cross-country killing spree. Malick however differed with his incredibly distinct visual style, his poetic approach to narrative, use of landscape and groundbreaking cinematography and production design. In Malick's films, the style matters far more than the stories. Malick followed that up in 1978 with ''Film/DaysOfHeaven'', an evocative, dream-like portrait of a wheat farm in the early 20th century America. The film became iconic for its use of "magic hour" cinematography and natural lighting, i.e. using the actual sunlight and dim natural settings rather than studio lights[[note]]Extremely difficult to achieve at the time on film cameras owing to (then) film stock's limited capacities at recording light, with Malick and Almendros more or less showing people that the stock could do stuff they didn't know was possible[[/note]].

to:

Unlike many members of the UsefulNotes/NewHollywood generation, Malick did not choose cinema as his vocations. In Harvard, [[TheSmartGuy he studied philosophy]], writing on Martin Heidegger, Wittgenstein, Kierkegaard and other [[UsefulNotes/{{Existentialism}} existentialist]] thinkers. He later worked as a journalist for Life and New Yorker magazine, and had contributed obituaries to Robert Kennedy and Martin Luther King, Jr. He eventually did become interested in cinema, inspired by arthouse film-makers but also by silent film-masters such as Creator/FWMurnau. He studied film at AFI in the late-sixties (Creator/DavidLynch and Creator/PaulSchrader were in the same class) and he found work as a screenwriter, before making his debut in 1973 with ''Film/{{Badlands}}''. This was his BreakthroughHit, riffing on the (then) popular OutlawCouple theme, by making a film about teenagers on a cross-country killing spree. Malick however differed with his incredibly distinct visual style, his poetic approach to narrative, use of landscape and groundbreaking cinematography and production design. In Malick's films, the style matters far more than the stories. Malick followed that up in 1978 with ''Film/DaysOfHeaven'', an evocative, dream-like portrait of a wheat farm in the early 20th century America. The film became iconic for its use of "magic hour" cinematography and natural lighting, i.e. using the actual sunlight and dim natural settings rather than studio lights[[note]]Extremely difficult to achieve at the time on film cameras owing to (then) film stock's limited capacities at recording light, with Malick and cinematographer Nestor Almendros more or less showing people that the stock could do stuff they didn't know was possible[[/note]].
27th Mar '17 11:52:56 AM JulianLapostat
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Terrence Malick is an American filmmaker who has only made eight films over the course of a forty-year career. [[CrowningMomentOfAwesome And each one of those has been hailed as a masterpiece.]]

He made his debut in 1973 with ''Film/{{Badlands}}'', about teenagers on a cross-country killing spree. He followed that up in 1978 with ''Film/DaysOfHeaven'', an evocative, dream-like portrait of a wheat farm in the early 20th century America.

He then took a twenty-year break from the film industry, spending a great deal of time in Paris and traveling. During that time he was rumored to have projects in the works, but nothing materialized until the late 1990s when he went into production on ''Film/TheThinRedLine'', an adaptation of James Jones's novel about the battle of Guadalcanal. Critics and audiences didn't know quite what to make of it when it was released (it didn't help that it was released the same time as the more mainstream ''Film/SavingPrivateRyan''), but it was nominated for seven Academy Awards, including two for Malick, as Best Director and for his screenplay.

For a while it looked as if Malick might be going back into hibernation, but he returned in 2005 with ''Film/TheNewWorld'', a portrait of John Smith and UsefulNotes/{{Pocahontas}}. Like ''The Thin Red Line'' before it, ''The New World'' baffled audiences and critics when it was initially released, but has since been [[VindicatedByHistory acclaimed by critics as one of the best films of the 2000s]].

Six years later, Malick released his fifth film, ''Film/TheTreeOfLife'', a film about three boys growing up in 1950s Texas, which featured a much-discussed sequence involving the creation of the universe. It was met with critical acclaim on its release, and won the Palme D'Or at the Cannes Film Festival.

In 2012, Malick released ''Film/ToTheWonder'', a film about a couple who visit Oklahoma. The film was met with [[LoveItOrHateIt cheers and boos]] at the Venice Film Festival, although later reviews have been more positive.

to:

Terrence Malick is an American filmmaker who has only made eight films over known for his privacy, the course lengthy hiatus between his projects, his idiosyncratic approach to film-making and film production.

Unlike many members
of a forty-year career. [[CrowningMomentOfAwesome And each one of those has been hailed the UsefulNotes/NewHollywood generation, Malick did not choose cinema as his vocations. In Harvard, [[TheSmartGuy he studied philosophy]], writing on Martin Heidegger, Wittgenstein, Kierkegaard and other [[UsefulNotes/{{Existentialism}} existentialist]] thinkers. He later worked as a masterpiece.]]

journalist for Life and New Yorker magazine, and had contributed obituaries to Robert Kennedy and Martin Luther King, Jr. He made eventually did become interested in cinema, inspired by arthouse film-makers but also by silent film-masters such as Creator/FWMurnau. He studied film at AFI in the late-sixties (Creator/DavidLynch and Creator/PaulSchrader were in the same class) and he found work as a screenwriter, before making his debut in 1973 with ''Film/{{Badlands}}'', ''Film/{{Badlands}}''. This was his BreakthroughHit, riffing on the (then) popular OutlawCouple theme, by making a film about teenagers on a cross-country killing spree. He Malick however differed with his incredibly distinct visual style, his poetic approach to narrative, use of landscape and groundbreaking cinematography and production design. In Malick's films, the style matters far more than the stories. Malick followed that up in 1978 with ''Film/DaysOfHeaven'', an evocative, dream-like portrait of a wheat farm in the early 20th century America.

America. The film became iconic for its use of "magic hour" cinematography and natural lighting, i.e. using the actual sunlight and dim natural settings rather than studio lights[[note]]Extremely difficult to achieve at the time on film cameras owing to (then) film stock's limited capacities at recording light, with Malick and Almendros more or less showing people that the stock could do stuff they didn't know was possible[[/note]].

He then took a twenty-year break from the film industry, spending a great deal of time in Paris and traveling. During that time he was rumored to have projects in the works, but nothing materialized until the late 1990s when he went into production on ''Film/TheThinRedLine'', an adaptation of James Jones's novel about the battle of Guadalcanal. This twenty-year absence is the true source of Malick's reputation as a reclusive artist, although friends note that it's because the film-maker is genuinely shy and not comfortable being a celebrity. [[https://lareviewofbooks.org/article/hollywood-bigfoot-terrence-malick-and-the-20-year-hiatus-that-wasnt/ Malick always maintained good relations with studios and producers]], and being independently wealthy, he did not really need to direct for a living and his hiatus was self-imposed rather than any opposition to studios. Critics and audiences didn't know quite what to make of it when it was released (it didn't help that it was released the same time as the more mainstream ''Film/SavingPrivateRyan''), but it was nominated for seven Academy Awards, including two for Malick, as Best Director and for his screenplay.

For a while it looked as if Malick might be going back into hibernation, but he returned in 2005 with ''Film/TheNewWorld'', a portrait of John Smith and UsefulNotes/{{Pocahontas}}. Like ''The Thin Red Line'' before it, ''The New World'' baffled audiences and critics when it was initially released, but has since been [[VindicatedByHistory acclaimed by critics as one of the best films of the 2000s]]. \n\n Six years later, Malick released his fifth film, ''Film/TheTreeOfLife'', a film about three boys growing up in 1950s Texas, which featured a much-discussed sequence involving the creation of the universe. It was met with critical acclaim on its release, and won the Palme D'Or at the Cannes Film Festival.

In 2012, Malick released ''Film/ToTheWonder'',
Festival. ''The Tree of Life'' is the turning point in Malick's career in that it marked the start of his current and most prolific phase. Between 1970-2009, he had made four features. Between 2010-2017 he put out five films, outmatching his former output in less than a decade. Of course given the uncertain nature of independent film-making and Malick's history of dropping off the radar, no one can be sure how long this will last. He has also become a more public figure, appearing at film about a couple who visit Oklahoma. The film was met with [[LoveItOrHateIt cheers festivals and boos]] at the Venice Film Festival, although later reviews have been giving interviews, when before he had a reputation for being more positive. aloof than Creator/StanleyKubrick.



* CreatorBreakdown: [[invoked]] Some people claim this is the reason he didn't make a movie for 20 years.



* DoingItForTheArt: [[invoked]] His whole career. Malick is independently wealthy, and doesn't have to make movies to make his living. This also explains the lengthy production (and post-production) periods of his films, and the lengthy gaps between them.
* FauxlosophicNarration: For lack of a better term. Many of Malick's films involve voiceover narration only vaguely related to what's going on onscreen, usually reflecting on the overall themes of the film. YMMV on whether this works or not.

to:

* DoingItForTheArt: [[invoked]] His whole career. Malick is independently wealthy, wealthy (on account of family involvement in the oil business), and doesn't have to make movies to make his living. living, and when he does he prefers working as an uncredited script-doctor instead of directing projects he's not interested in. This also explains the lengthy production (and post-production) periods of his films, and the lengthy gaps between them.
them. * FauxlosophicNarration: For lack of a better term. Many of Malick's films involve voiceover narration only vaguely related to what's going on onscreen, usually reflecting on the overall themes of the film. YMMV on whether this works or not.film, the mood and the tone. Many note that his narration is closer to literary stream of consciousness than the usual voiceovers in conventional narrative.



* WhatCouldHaveBeen: [[invoked]] Was originally planning to direct ''Che'', a project Creator/StevenSoderbergh and Benicio del Toro were working on. That didn't happen due to difficulties finding financing at the time leading to Malick departing to direct ''The New World'' instead, and Soderbergh wound up directing it himself. The finished product wound up being highly acclaimed in its own right, but it's difficult not to wonder how it would've turned out if Malick had directed it.

to:

* WhatCouldHaveBeen: [[invoked]] Was originally planning to direct ''Che'', a project Creator/StevenSoderbergh and Benicio del Toro were working on. That didn't happen due to difficulties finding financing at the time leading to Malick departing to direct ''The New World'' instead, and Soderbergh wound up directing it himself. The finished product wound up being highly acclaimed in its own right, but it's difficult not to wonder how it would've turned out if Malick had directed it. Interestingly, in his years as a journalist, Malick actually wrote on Che and travelled to Bolivia to investigate his life.
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