Rouben Mamoulian crashed on to the Hollywood scene in 1929 with one question: Why?
“Why do these newfangled talkies have to be so stiff and unnatural? Why do I have to sacrifice my creative liberties in the name of coherent audio? Why has the industry seemingly resigned itself to these technical limitations?”
While making Applause, he found the following answers: “They don’t. I don’t. I don’t know why, but they sure as hell shouldn’t.”
That’s Orson Welles-levels of confidence from a debut director and it pays off here. What a treasure.
Rouben Mamoulian crashed on to the Hollywood scene in 1929 with one question: Why?
“Why do these newfangled talkies have to be so stiff and unnatural? Why do I have to sacrifice my creative liberties in the name of coherent audio? Why has the industry seemingly resigned itself to these technical limitations?”
While making Applause, he found the following answers: “They don’t. I don’t. I don’t know why, but they sure as hell shouldn’t.”
That’s Orson Welles-levels of confidence from a debut director and it pays off here. What a treasure.
