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Music in all these sleepless nights11/28/2023 ![]() Michal Marczak: It was an organic process. No Film School: Since this is a nebulous concept, how did you pitch it to people? ![]() No Film School caught up with Marczak just prior to the film's theatrical release to discuss his ingenious DIY methods, complex ADR process, the importance of spending time with actors prior to a shoot, why exposition is the enemy of good filmmaking, how cinema helps us cheat life, and more.Īll These Sleepless Nights is now streaming on Netflix in the US and other territories. Marczak and his crew also forewent traditional film lighting to build practical lights into their sets, which disguised the presence of a film crew, allowing them to embed seamlessly into live environments.Īll These Sleepless Nights originally screened at the 2016 Sundance Film Festival-programmed in the World Documentary Competition, despite its hybrid nature. The director/cinematographer built a custom rig so he could "shoot documentary in a cinematic way," modifying a gimbal so that it fit into his backpack and allowed him to shoot in close quarters. Marczak's sweeping camera is a character unto itself. We pushed that camera to its fucking maximum, and with the combination of software, color grading, and effects, we were able to push it even a step further." "It's about pushing the technology you have. Like Joachim Trier's magnificent Oslo, August 31st, All These Sleepless Nights has the mesmerizing, hypnotic feeling of teenage abandon. Marczak films them in unpredictable and intimate situations that feel too meticulously shot to be unscripted, but too visceral and spontaneous to be fiction. The docu-fiction hybrid, which Marczak filmed in Warsaw using non-actors, follows the misadventures of a pair of teenage boys over the course of many sleepless nights during which they party, meet girls, dance, wander aimlessly, and pontificate, usually while drunk or high (or both). Polish filmmaker Michal Marczak's All These Sleepless Nights is adolescence in experiential cinema form. A time when the simplest of life's pleasures-a good song, a first kiss, the first light of dawn-felt immeasurable in their beauty. A time when emotions were unnavigable, like a hedge maze of thorns designed specifically to trap you and only you. A time when time itself seemed endless, provoking both impulsivity and utter boredom. (How Parsons blew “Wild Horses,” which Keith Richard had handed him well in advance of the Stones’ version, is something I’ll never understand.What does adolescence feel like? I think of a time when the world was at once too small and too big-constrictive in its physical size, but nearly paralyzing in its existential questions. Burrito Deluxe was a very uneven followup, sometimes brilliant (“Cody, Cody,” “Older Guys”), other times glaringly amateurish. Its commercial failure was something that Parsons never seems to have gotten over. ![]() ![]() ![]() In a spotty career, the Burritos’ first album, The Gilded Palace of Sin, was the only time everything clicked for Parsons. He and fellow Burrito-to-be Chris Hillman had left the Byrds after Sweetheart of the Rodeo, not because the group didn’t want to go 100% country but because a new vehicle for Parsons’s vision of a synthesis of country, rock and R&B was felt necessary. The reasons are found in the historical backdrop: Parsons was about to leave the Burritos, a broken and disappointed man. The tracks with Harris, with their superb accompaniment and splendid singing, are the strongest, but the Burritos’ tracks form the main body of the work, and with few exceptions the renditions are sluggish and dispirited. ![]()
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