Word: pollacks
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...Says Pollack, "I'm as much a victim of the romantic myth of 'getting away' as anyone else. My head tells me it's myth but I don't want to believe it is..." Like Redford, who built his own resort and personal retreat in the same Wasatch range where Jeremiah Johnson was filmed. Pollack has a vacation "cabin" with running water, heat, and a dishwater...
...Pollack feels his film crew struggled with the wilderness much as Jeremiah Johnson did. Jeremiah Johnson's flight from civilization emerges in Pollack's telling, from a battle between cinematic technology and the Utah high country. "Meanings," he says, ought to emerge from the "mood and feel" of a film. The primary fascination which directing holds for him is with "the technical aspects of shooting, what certain lenses can do, how each shot...
This sort of technical challenge was evident in Pollack's earlier films, particularly They Shoot Horses, Don't They", but it was the strength of the screenplay and acting that made that film seem so much more significant. Pollack was faced in Horses with the restricted arena of a marathon dance floor and its dressing rooms, the problem of following moving dancers, and pacing tedium and crisis in the course of the marathon. Only top lighting could be used because the cameras needed to pan all 360 degrees of perimeter, and it was emential to give a sense...
...recent years the Western genre has been driven close to its limits, in the long run it has proved a reliable vehicle for action directors' imagination. Pollack's Sealphumnters, with Burt Lancaster and Ossie Davis, marked an innovation in the genre. As Pollack says, "It was a black and white film before black and white films were popular, a kind of funky morality play, a bit larger than life and full of a strange kind of banter." Like Jeremiah Johnson, however it did retain elements of the traditional Western...
...Pollack sees new Western, like The Wild Bunch or McCabe and Mrs. Miller as attempts to diversify Western audiences: "There are very few Westerns that have ever made really giant money," so film-makers try to pad out the normal Western audience with added appeals...