![]() ![]() Tied to that, he’s fascinated by masculinity and a sense of characters existing out of time. His default mode of storytelling is the western, even if 3:10 to Yuma is the only literal example in his filmography Cop Land, Walk the Line, Logan, and even Identity are best understood within that framework. It is a low-budget character drama set in upstate New York, focusing on an overweight diner cook (Pruitt Taylor Vince) who develops a crush on a waitress (Liv Tyler). Mangold’s first film, Heavy, feels like it belongs to this movement. ![]() As a result, there was a fresh and exciting quality to these filmmakers and their work. This was a generation of filmmakers raised on home media, much like the “Movie Brats” of the 1970s had been the first generation to go to film school and to be raised by talkies. Directors like Steven Soderbergh, Richard Linklater, Kevin Smith, Quentin Tarantino, Wes Anderson, and Christopher Nolan all emerged during the late 1980s and 1990s, producing low-budget calling card films that could be released by smaller distributors like Miramax and reach larger audiences than ever before. During the 1990s, the American independent cinema scene was booming. Mangold emerged at an exciting time for filmmaking. To put it simply, James Mangold is the kind of director that doesn’t really exist anymore.
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