Guy Maddin Interviews Guy Maddin

GM: Your hair is starting to grey a bit at the temples, and I won’t even mention what it’s doing at the crown of your head, so you’ve probably been around the Film Group quite awhile. Does an old japser like you have an advice for a young filmmaker anxious to lens movies that’ll make you want to eat your own highly irregular bowel movements?

GM: Yes, I have one piece of advice which comes directly from painful experience. Always remember that the people helping you on your project are probably working for free, or very little money, and that they possess all dispoistions of all sorts — thick skinned hypersensitive, hard-working, shiftless; all these people deserve your heartfelt tanks and the proper credit afterwords. During a shoot, it is very easy to transport yourself to an imaginary Hollywood soundstage, but wakie-wakie, here you are! I’ve lost a few cherished friends because of film-shoot delusions of grandeur. I’ve seen it happen to others as well. Beware!

GM: I’ve notice you put on about thirty pounds in the last three years. What’s up there?

GM: I\m bulking up to push my mother around in her wheelchair in the old folks home.

GM: Where’s your career at now?

GM: I write a lot of hat mail to the baseball players association. I have distributed scripts and treatments to four winds. George Toles has written a feature script for me which I would love to make for a real American studio. I have the opportunity to make a short for the BBC, and a rock video for Grand Theft Canoe, I would love to work again with Mike Marshall; I was extremely lucky to have this daring, world-class talent as cinematographer of Careful. I received much credit that was owed to him. [Going back a picture, Steve Burnum, who shot THE SHADOW and RUMBLEFISH, passes on his compliments to Terry Reimer and Pierre Naday for their lighting work on Archangel].

GM: Is it true you want to be the Dean Martin of your generation?

GM: [Laughs] I like Dean Martin’s singing a lot, and the fact that he could make fun of himself. But no, that was an off-the cuff thing I said at the photo shoot, because Jeff Solylo gave me a martini. I am not afraid to say that I wouldn’t mind being a lounge singer or a Vegas singer — one of those Dean Martins or Wayne Newtons — as long as in my head I felt hip.

GM: you’ve been working so hard.

GM: Yes, every day.

GM: You must take good care of yourself, my dear. I’ve heard a lot of sordid talk about the way you treat people in relationships. is this because of the cold you’re now suffering from?

GM: Yes, mostly, but it’s because of my own specific ideas of how a relationship should be. I’ve always liked great affairs — like Cecil Beaton and Great Garbo. Anything that falls short of what they had sets me squirming. I would like this to be reflected in the films George and I write — I aspire to a movie temperature of 273 degrees below zero Celsius.

GM: How much time have you spent in room 515?

GM: About three years, if you add it all up. Only John Kozak, who I think figured he entered the editing cloister around the time Caelum Vaatnsdal was born, can lay claim to this monastic life. In addition to out-takes, I have spilt tears, food, and just about anything else you could image onto that room’s floor. Sorry, Earl.

GM: Any recent movie faves?

GM: Yes. Vampire’s Kiss, starring Nick Cage and Jennifer Beals, at Movie Village. This unique movie deserves to be known.

GM: Thank you.

GM: No, thank you.

– From The Moose, Spring 2007


~ by cineflyer on July 7, 2011.

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