Nigel Galt
Teodor
surfaced with Nigel Galt, who surely could explain most if not
all of the questions that have been burdening us for the past
year? I would love to find out, eg the Galt-Kubrick discussions
over showing the mask shot on the pillow outside of Bill's
perspective, the crew reflection, the music, the possibility of
a cut kiss between Bill and the corpse at the morgue, etc etc.
Has anyone of us tried to contact this guy? I wrote to
Editorsnet asking why they had never interviewed him about EWS
and resorted to the ACO editor for a commentary instead, and got
a reply that "WB had blocked it".
Could there be a conspiratorial reason? I hope not.
* Sent from RemarQ http://www.remarq.com The Internet's Discussion Network *
The fastest and easiest way to search and participate in Usenet - Free!
Faisal A. Qureshi
Teodor wrote in message <3583daff...@usw-ex0105-036.remarq.com>...
>Does anyone have a theory as to why no interview has ever
>surfaced with Nigel Galt, who surely could explain most if not
>all of the questions that have been burdening us for the past
>year? I would love to find out, eg the Galt-Kubrick discussions
>over showing the mask shot on the pillow outside of Bill's
>perspective, the crew reflection, the music, the possibility of
>a cut kiss between Bill and the corpse at the morgue, etc etc.
>
>Has anyone of us tried to contact this guy? I wrote to
>Editorsnet asking why they had never interviewed him about EWS
>and resorted to the ACO editor for a commentary instead, and got
>a reply that "WB had blocked it".
>
>Could there be a conspiratorial reason? I hope not.
Hmmm. I think Stefano and Co.'s 'Stanley & Us' documentary on RAISAT cinema
did a interview with him when the film premiered at Venice. Check out their
website
for more details.
FAQ
dutch...@my-deja.com
I have the same question, and I also wrote to EditorsNet.
Here's their reply on my question:
"At the time of the release of "Eyes Wide Shut" I was writing for the
editing site and did requested an interview with Nigel Galt but
was not able to talk to him. We were told by Warner Bros. that Kubrick
had left guidelines for how the film should be marketed
and no one from the production would be available to talk beyond those
specifications. But we did do a story on the editing of the film. I
tracked down William Butler, the editor of Kubrick's "A Clockwork
Orange" who now lives in Los Angeles and invited him to an early
screening of "Eyes Wide Shut" and then discussed his reaction to the
film and his experiences of working with Kubrick on "Clockwork." F.X.
Feeney also wrote a commentary for us on the film's directing
style. You will find both those stories if you do a search for "Eyes
Wide Shut" in Editors Net. In the meantime, my colleagues at Editors Net
will look into Galt's availability in the future."
The documentary makers from "Stanley & US" did interview Nigel Galt
though; how I would love to see and hear that!!!
The choice, for instance, to show Bill's mask on the pillow, is a very
interesting one. And I like it a lot. I certainly don't think that it is
really shown "outside Bill's pov". Remember that it is a "mind's film"
and that the mask at this particular moment is not really a physical
object, but a mental one; a mental image, imho.
The whole film is like 'unmasking'; the end is connected to Bill's
confrontation with Red Cloak, where he is asked to "remove his mask",
where he is humiliated. After that Alice tells him her dream and at the
end there is the scene with Ziegler. Bill is haunted by the urgent need
to really remove his 'mask'; "show his real face to his wife".
Furthermore, showing the mask, before Bill sees it, "loads" his
homecoming with suspense. This cut is a very specific choice. Throughout
the film, Kubrick often cuts to, what I would call, a "post-established
point of view"; like the scene where Nick Nightingale is introduced.
Bill and Alice dance (at Ziegler's), Kubrick cuts to Nightingale behind
the piano, then he cuts to Bill (and Alice) who sees him. At the orgy,
when Mysterious Woman receives the kiss in the circle of women around
Red Cloak ('passing of kisses'), Kubrick cuts to the zoom-in at the duo
on the balcony, then he cuts to Bill, who feels that he is being
observed, and looks up. Etc.
Most of EWS is a subjective experience, take for instance the opening
shot; very voyeuristic, somehow it is like someone's point of view.
The moment the mask on the pillow is first shown, I cannot really
conclude that this is an objective shot; it 'feels' very subjective
somehow. It would have been too conventional if Kubrick had shown the
mask the moment Bill would see it.
Difficult, perhaps impossible to explain, but that is what I think.
I really hope I can find an interview with Galt...
(though the subject should never be "explaining EWS"!!!)
dutch angle
Sent via Deja.com http://www.deja.com/
Before you buy.