Those who have partaken of my critical rambling will note that there is far less attention paid to the physical production and visual quality of a film and more regarding the structure and balance of the narrative, the ingenuity of the thematic conception and the development of full-bodied interesting characters who will be nourished by a happy confluence with the first two elements. From the Art Form’s very beginnings the influence of writing was nothing less than that of Stanley Kubrick’s great, goofy monoliths on the mind’s of the primordial ape: for when a camera was focused on an arriving train, it signaled the arrival of a glorious new form of photography, but it was with the introduction of the idea- the written concept -that the cinema was born.
While I have plentiful admiration for the individual accomplishments of both director and actors, there is no rational reason to mount either on a pedestal nor to canonize either with that most offensive of grotesquely overused embellishments: genius (ugh!). I will, however, champion those who seem little remembered by critics, the general public, and even (curiously, considering the expressive nature of the beast) by the majority population of so-called cinephiles finding safe refuge on the Internet, and that is the writer.
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