Mediha musliovic biography of william hill

Table of contents :
Title Page
Copyright Page
Contents
Acknowledgments
Preamble:All in the Game
Of Scripts
Chapter 1: Yesterdays
Chapter 2: Tomorrow and Tomorrow and Tomorrow
Chapter 3: Narrative Transparency
Chapter 4: The Cheating Cut
Chapter 5: Narrative Opacity
Chapter 6: Our Faithful Friend
Cahpter 7: Bridge from Nowhere
Chapter 8: And Here Endeth My Tale
Chapter 9: Only Pretending
Chapter 10: Keeping Minutes
Of Performances
Chapter 11: Monster!
A Star, Not a Star
Chapter 13: Pain
Chapter 14: Measuring Up
Chapter 15: Privacy
Chapter 16: Dance
Chapter 17: Keyed Up
Chapter 18: Don’t Believe It
Chapter 19: “I Love You”
Chapter 20: Surrender
Of Cameras
Chapter 21: Corral
Chapter 22: Show Me
Chapter 23: On the Road
Chapter 24: “Good Cinematography!”
Chapter 25: “Picture This”
Chapter 26: The Angle Angle
Chapter 27: Moving On
Chapter 28: Behind the Camera Behind
Chapter 29: Peek-a-Boo
Of Scenes
Chapter 30: No There There
Chapter 31: Where Are We?
Chapter 32: Walk on the Wild Side
Chapter 33: Happy Trails
Chapter 34: The Thing
Chapter 35: Heist
Chapter 36: The Reality Effect
Chapter 37: Stand-ins
Chapter 38: The Superuniverse
Of Joins
Chapter 39: Believe in Me
Chapter 40: Over Thames
Chapter 41: Sequitur
Chapter 42: Veni creator spiritus
Chapter 43: “Bite the Dust”
Chapter 44: Reflect On That
Chapter 45: Presence and Presentation
Chapter 46: By Contrast
Chapter 47: The Blood Effect
Epilogue:Our Cheating Heart
Works Cited
Index

Citation preview

The Film Cheat

ii

The Film Cheat Screen Artifice and Viewing Pleasure

Murray Pomerance

BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in the United States of America 2020 Copyright © Murray Pomerance, 202

More Reviews of Films on DVD

© By John Arkelian

“La Ritournelle” [“Paris Follies’] (France, 2014) (B+):  “It’s great to live your dream,” says a mother about her son.  He’s at acrobatics school – not the most practical of pursuits, perhaps, but one that brings him fulfillment.  For her part, Brigitte (one of the leading ladies of French cinema, Isabelle Huppert) lives with her husband Xavier (Jean-Pierre Darrousin) in Normandy, where they run a cattle farm.  They seem to be content together; but are they really?  There are little signs of incipient discontent, subtle murmurs that something is wanting:  Brigitte playfully proposes crowning their prize steer with a tiara, but her too-serious husband doesn’t see the humor in the suggestion.  When she presents some novel cuisine, with the exhortation that “It’s good to try new things,” he turns up his nose.  And, Brigitte thinks he isn’t being forceful enough in the face of harassment by a disgruntled livestock customer.

It’s the age-old clash between what’s comfortable and familiar and what’s new and exciting.  How like life that is:  We may yearn for excitement, for novelty, for the risqué, for adventure, even as we go about the mundane business of leading our quotidian lives.  But, is the grass really greener on the other side of the tracks?  Brigitte is tempted to think so when she makes the acquaintance of a dashing visitor next door.  The handsome (and quite a bit younger) Stan (Pio Marmai) is attractive and attentive; while the middle-aged Xavier has become set in his ways and, well, a bit stodgy.  Brigitte is restless and attracted to the possibility of excitement – and the reminder of youth – that Stan represents.  So she goes off to Paris to find him, telling Xavier that she’s going there to see a specialist about the eczema rash on her chest.  When she finds Stan, she realizes, upon closer examination, that he’s not quite what she imagined him to be.  Then, fate puts her in the

Film composer Marco Beltrami (b. 1966) is a two-time Academy Award nominee in the category Best Achievement in Music Written for Motion Pictures, Original Score, for “3:10 to Yuma” (2007) and “The Hurt Locker” (2008). Trained by veteran composer Jerry Goldsmith (1929-2004) at the USC Thornton School of Music in Los Angeles in the early 1990s, Mr. Beltrami became one of his generation’s most productive film composers since he entered the film industry in 1994.

As his long list of credits indicates, he has worked frequently with film directors such as Guillermo del Toro, James Mangold, John Krasinski, and Wes Craven (1939-2015) for whom he scored seven films, including all four “Scream” movies. Throughout his career, the much sought-after and prolific composer-conductor scored numerous mainstream films in the horror and action genre, as well as independent films.

During the 2019 Film Fest Gent in Belgium, Mr. Beltrami was honored at the World Soundtrack Awards and was available for this roundtable interview.

Mr. Beltrami, you have scored a lot of films in many different genres and themes. Do you have a specific plan or philosophy regarding what your score should embody or contribute?

When I started out, I just wanted to work, and it turned out that I did many horror movies that I don’t like. I have never liked horror movies, and “Scream” [1996] was the first horror movie that I had ever seen. But I think, since then, I have mainly tried to be inspired in some way—either I watched the movie, and I have ideas for it, or I find the movie is inspiring in a way that I want to work on ideas because sometimes they don’t come right away. It can be like a puzzle. But I try to find something that will push myself a little bit, and not just do the same thing.

“Scream” (1996, trailer)

You studied with Jerry Goldsmith. What is the most valuable lesson that you learned from him?

I think Jerry was underrated as a composer. As composers, we