Changes before your eyes, things you can do and things you can’t. My attitude is always let it keep rolling.

Terrence Malick

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"i think the devil was on the farm"

(gifset courtesy…)

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DAYS OF HEAVEN (1978) Directed by Terrence Malick 

Cinematography by Nestor Almendros

 ”This farmer, he had a big spread, and a lot of money. Whoever was sitting in a chair when he’d come around, why they’d stand up and give it to him. Wasn’t no harm in him. You’d give him a flower, he’d keep it forever.” -Linda

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  • United States
  • 1978
  • 94 minutes
  • Color
  • 1.77:1
  • English

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I DP’d/edited this book adaptation that was written/directed by a friend for class this past semester. (see his other work here) We had zero budget and three 12-hour days for a 10 page script with 14 scenes. Literally the worst shooting schedule ever. Obviously there are tons of things I would have gone back to fix if we could but here it is for what it’s worth.

p.s. Working with new child actors you don’t know is more awkward than you’d think.

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Endless list of beautiful cinematography

Days of Heaven (1978)

Director of Photography: Nestor Almendros

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23 notes • 10:45 PM


Badlands (1973/Terrence Malick)

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Anonymous inquired Unpopular opinion: Terrence Malick is so much less impressive than he thinks he is. Badlands is his only halfway decent film, after that his head got stuck up his ass.


strongly agree | agree | neutral | disagree | strongly disagree | Dafuq

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Badlands (1973/Terrence Malick)

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Roger Ebert’s review of this film was the last review he submitted before his death. It was published posthumously. (x)

Malick, who is surely one of the most romantic and spiritual of filmmakers, appears almost naked here before his audience, a man not able to conceal the depth of his vision.

"Well," I asked myself, "why not?" Why must a film explain everything? Why must every motivation be spelled out? Aren’t many films fundamentally the same film, with only the specifics changed? Aren’t many of them telling the same story? Seeking perfection, we see what our dreams and hopes might look like. We realize they come as a gift through no power of our own, and if we lose them, isn’t that almost worse than never having had them in the first place?


Rare Terrence Malick photo after the screening of ‘Badlands’ in York, Nebraska at a nearby hotel. From left to right: Terrence Malick, Patsy McArthur, Caril Ann Fugate, Martin Sheen, James McArthur, and John McArthur. Thanks to Paul Maher Jr.’s All Things Shining…

Fugate was the adolescent girlfriend and accomplice of spree killer Charles Starkweather. She is the youngest female in United States history to have been tried for first-degree murder. Starkweather was sentenced to death and received execution by electric chair on June 25, 1959. Considered to be a model prisoner, Fugate was paroled in 1976 after serving 17 years. The Starkweather–Fugate case inspired the films ‘The Sadist’ (1963), ‘Badlands’ (1973), ‘Kalifornia’ (1993), ‘Natural Born Killers’ (1994) and ‘Starkweather’ (2004). Bruce Springsteen’s 1982 song ‘Nebraska’ is a first-person narrative based on the Starkweather-Fugate case; likewise ‘Badlands’ is full of themes regarding alienation and resentment by the protagonist.

‘Absence of Malick’ (2003) — an overview of the making of Terrence Malick’s ‘Badlands,’ coupled with a examination of the mysterious personality of Malick himself.

‘In Search of Terrence Malick’ explores the career of Terrence Malick from his first feature film, ‘Badlands,’ to his second made five years later, ‘Days of Heaven.’ In this 15 minute viewing, we learn a lot about what goes behind a Malick film. With the cinematographer gone, Malick himself shot the well known ‘Badlands’ scene of Martin Sheen with his arms hanging over his rifle across his back, the full moon bright against a darkening sky. It is capturing these moments, the transience nature of life, that makes Malick’s films astonishing, and even the process carries this weight. ‘In Search of Terrence Malick’ is a necessary watch for those interested in the mysterious filmmaker. Through actors Martin Sheen and Sissy Spacek, art director Jack Fisk, film editor Billy Weber, and Professor Dreyfus we discover more about Malick’s directing style and the command he holds on his films. As Martin Sheen says, “He’s a screen poet, there was no other way to describe it.” —Edwin Adrian Nieves, A-BitterSweet-Life

The beauty of screenwriting. Dear every screenwriter, read this: Terrence Malick’s screenplay for ‘Badlands’ [pdf]. (NOTE: For educational purposes only). The DVD/Blu-ray of the film is available at the Criterion Collection's site. Absolutely our highest recommendation.

Confessional mode is atypical around here, but I must admit that, upon reading this interview with Terrence Malick, from 1974, that appeared then in a small journal called Filmmakers Newsletter, tears came to my eyes. Literally. And I know exactly why. In this fascinatingly nuts-and-bolts interview about the making of ‘Badlands,’ Malick makes clear what the movie’s Hollywood connections obscure: that it was made as an independent film. (“It was financed like a Broadway play—that is, on a limited partnership arrangement with a lot of investors who didn’t know one another each coming in for a small piece, anywhere from $1000 to $50,000… There was no completion guarantee… Nor was there any guarantee of distribution.”) He goes into some extraordinarily revealing details about how he got it made, and what he describes is pretty much the image of independent filmmaking, seventies-style. In other words, what he describes is the material substrate (albeit at the high end—when asked about his budget, he answered, “Under a half a million dollars, I’ve been advised to say”) of the world of independent filmmaking that, as a newly minted college graduate in 1980, I put my toe ever-so-tentatively into and that lots of people I knew were hazarding, too. Independents’ Day by Richard Brody

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Badlands (1973)

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