So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.
Opera was an enormous part of my childhood. My parents were both opera buffs, and they met in the box seat of an opera performance. And I also was a boy soprano, so before puberty hit, I was onstage playing a wide variety of orphans and urchins in all sorts of operas, and the sheer melodrama of their stories was just always appealing to me.
Nobody beats a bunch of journalists for inflating their rather mundane straightforward chores with a lot more melodrama and self-importance than the job should be asked to contain.
Somewhere in Time is in the top-five cheesiest movies ever made. Its super melodrama.
We see daily that our lives are terrible and little, without continuity, buyable and salable at any moment, mere blips on a screen, that this is the way we live now. Memory marketed as nostalgia; terror reduced to mere suspense, to melodrama.
What concerns me fundamentaly is a meteoric burlesk melodrama, born of the immemorial adage love will find a way.
I chose the American ones, more or less the last five years of the silent era, because those are the ones that aged the best in the way they tell the story. One, it's about human beings with context. It's a very classical story with feelings, with laughter, melodrama and it really works, the good ones - Murnau's American movies, John Ford's Four Sons, King Vidor's The Crowd, or the (Josef) von Sternberg movies. You can watch it now and it still works. I mean they are really, really good pieces so this is where I tried to work.
Penalties are not football. They are not even as television people keep telling us, great drama. They are cheap melodrama.
The fact that you couldn't see Alfred Hitchcock's first film The Mountain Eagle, or that you couldn't see so many of F.W. Murnau's masterpieces, or that you couldn't see so many of Oscar Micheaux's really intriguing race melodramas, made with fierce independent spirit against all odds in '20s and '30s America. That stuff haunted me. They really did bring to life a sense of 20th Century history: cultural history, pop history, gender politics and race politics, socio economic history, all that stuff. It was bracing and instructive.
THIS ACTION THAT I FORESEE has nothing to do with melodrama It is that life as lived by me now is a series of exceptions I was (am?) not unique but special. This is why I was an artist
Golf is 20 percent mechanics and technique. The other 80 pecent is philosophy, humor, tragedy, romance, melodrama, companionship, camaraderie, cussedness and conversation.
To be intuitive, we must cultivate our sense of humor and look for reasons to laugh everywhere. We become so self-absorbed and serious when it comes to our problems and melodramas that we disconnect from our deeper sense of who we are as beautiful souls-we withdraw from life instead of enjoying it. Laughter brings us back to ourselves and back to life.
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