Some Of My Favourite Director's At The Moment

On the 3rd of May, I will get up, grab a bite to eat, and catch a train down from Leicestershire to London so that I can visit the BFI Southbank centre, and watch the magnificent 8 1/2 -  a film by the legendary Federico Fellini, about a director who lapses into his own memories and dreams as a result of existential and professional boredom.

As far as cinema goes, it is one of the most artistically accomplished and interesting films ever made. It is among one of my favourite movies ever, and considered by many to be one of the greatest films of all-time (see BFI's Sight & Sound poll for 2012*) - so when I heard that there was a re-release of it on the big screen, I booked the tickets online almost as soon as they became available. 

*I know I mention the BFI (British Film Institute) a lot, but they are an organisation I love and thus I will likely never stop mentioning them.

It was the re-release of this film that made me ask myself the question "who are my favourite directors?" - I was thinking how Fellini's work on this movie is often regarded as one of the greatest examples of film direction in cinema, so I believe the question flowed from that. It is a question I have asked myself before, several times in fact, but one which I hadn't really paid much attention too. Mostly, I ended up with answers like "oh, well, Kubrick, probably, but I also like Scorsese blah blah blah". Ultimately, I came to the conclusion that, like so many things, the answer will likely change, so a better question to ask myself would be "what are my favourite directors as of RIGHT NOW - at this moment in time?"

So, here they are.

YASUJIRO OZU

Yasujiro Ozu was a Japanese filmmaker, born 1903, who began his career in the late 20s, carrying on into the early 60s, until his death in 1963 - on his 60th birthday. While often held in high regard as one of the greatest Japanese directors of all-time, up there with the likes of Akira Kurosawa and Kenji Mizoguchi; the man's style of film-making is remarkably different. 

Often disregarding traditional storytelling rules of cinema like the 180-degree rule; his films have become known for their individualistic and precise framing; they are often shot at low angles and with actors facing the camera directly during conversations, as opposed to the traditional over-the-shoulder shots. He is also known for barely moving his camera - while camera movement is evident in earlier work, it is less so in older work, especially in his last film An Autumn Afternoon which is completely static. 

Families and generational gaps are the central themes of his work - though his later and more renowned films such as Late Spring and Tokyo Story take a more serious approach to the themes, even his early comedy films like I Was Born, But touch upon them. 

Late Spring

What I have just told you about Ozu is really why I love him as a director - why he is a director that I always find a joy to watch. His unique way of shooting is something I find endlessly fascinating, and the core theme of family that runs throughout his movies never seems to get old, staying universally relevant precisely because each story is different, with interesting characters who are both flawed and fascinating. My favourite movie of his is Late Spring, but his final work, An Autumn Afternoon, is the one that I most connected with - in my opinion, the second best of his colour films, just behind Floating Weeds; it may have been his final work, but it is one that shows the director's boundless passion for cinema.

ANDREI TARKOVSKY

Andrei Tarkovsky was a Soviet-born Russian filmmaker, born 1932, whose career spans from the 1950s to the 1980s - essentially making him the figurehead for late Soviet cinema. Though highly-regarded in critical communities, he is perhaps not as highly regarded as earlier Soviet filmmakers like Eistenstein with the quite literally revolutionary Battleship Potemkin, and Vertov with the frantic Man with a Movie Camera. Regardless, Tarkovsky is still a giant of Russian cinema, and is responsible for some of the most emotionally-satisfying and fully-realised pieces of cinema ever made.  

Stalker

His films are often filled with long takes, showcasing some of the most beautiful and elaborate shots ever put to film, yet none are superficial. His themes are often mystical and metaphysical in nature, leaving the meaning open to interpretation, while still maintaining a level of artistic intent. Common motifs in his films include water and floating, only adding to the mysterious nature of his movies. His later films, such as The Sacrifice, may not be his best films, but are some of the best to watch if you wish to examine this director's specific style. However, Tarkovsky is working at his cinematic peak with films like Andrei Rublev and Stalker.

You could say that I am drawn to the director's surreal approach, and I am, but there is something more than that. Call me crazy, but his films always possess a transcendental level of intrigue - one which can't be easily defined, but one that I believe may be down to the fact that his films never seem to run out of ideas. They are, for me, the cinematic equivalent of meditation. Even at his grimmest, his films feel like a breath of fresh air.

My favourite movie of his is Andrei Rublev - I do believe it is also his best film, and one of the greatest films ever made. An incredibly powerful movie that may run at its own pace, but is filled to the brim with rich imagery and events that remain fascinating and awe-inspiring. I do also feel that Solaris and The Mirror are both worth mentioning, as they are both themselves cinematic feats. 

RICHARD LINKLATER

Richard Linklater is an American film-maker, born in Texas in 1960, who started off his film career as a key figure in the 90s independent cinema scene with 1991's Slacker. He has been constantly making movies since then, with his latest release Boyhood being released in 2014, after a now famous 12-year production schedule. Though he isn't held in as high regard as the aforementioned Ozu and Tarkovsky, I do believe that Linklater is one of the greatest film-makers of our generation - largely down to his ability to cinematically manipulate that most precious of things: time (which I will explore later).

His film-making approach is often grounded in his approach to realism and human emotion. More often than not, his films do not follow a standard linear plot - this is in aid to the realism, as it would appear that a linear story would give the film a sense of contrivance, and would distract from the true aims of the film - to create a realistic and compelling portrait of the characters. Referring back to his ability to manipulate time, his characters remain victims of time almost. This is remarkably evident in films like Boyhood and the Before trilogy, as we focus on how time has changed and shaped the characters and their story - however, it is also noticeable in some of his more contemporary films, like School of Rock. Jack Black's Dewey Finn IS a victim of time, in that he is stuck in a time when rock music ruled. I wish to further elaborate on this point, but that's for another blog post that I am currently writing.

He has been a favourite director of mine ever since I first saw Before Sunrise - simple and elegant in its approach, I was enamoured by the two characters and their journey through the streets of Vienna in this Rohmer-esque walkabout. The first film I saw of his was School of Rock, but this was WAY before I even knew Linklater directed it. This eventually lead me to the classic Dazed and Confused, and also lead me to some of his failures like The Newton Boys and Bad News Bears, which I do not consider his best films at all, but I do see them as stepping stones to something greater, and they all without a doubt show him as a director who loves his trade.

My favourite of his movies has to be Boyhood. Full stop. It resonated in me on an emotional level unlike any film I have ever watched - this is a film that not only encapsulates Linklater's style and quality as a director, but the dynamics of modern family life. Its soaring ambition is not only grounded in its time scale, which is impressive anyway, but its ability to cover topics of motherhood, sibling rivalry, love, friendship, modern life, politics, and even pop culture in such exquisite detail without ever seeming contrived or forced. On a personal level, it struck a chord because this film came out just as I was heading to university, and considering how this film ends, how could it not?
However, his Before trilogy will always have a great place in my heart, as some of the most thoughtful and enchanting romantic drama films ever created. I eagerly anticipate his next project That's What I'm Talking About.