It was really creepy. It was redder than normal blood. He said yes. A visionary. Just Nic and I, and a focus puller, and the rest were Italian.”, “To do a sequence like [the sex scene] that takes it so close to the edge that people insist they actually see Laura (Christie) and John (Sutherland) making love—which they don’t because they didn’t—is all to do with trust. That all these disparate qualities are woven together so seamlessly is partly a miracle of cutting, so one must give proper credit to the film’s editor, Graeme Clifford. "The Pros and Cons of Hitch Hiking" features snippets of the live action material from the screen films interspersed with footage of … Look at Omar Sharif on a camel, coming from the other end of the desert towards the camera. It’s also an incredibly frightening story that stands out as a clear example of a highly intelligently conceived horror film, but the dread doesn’t come from cheap shocks: it is built gradually, steadily, with a lot of patience and with the always welcome quality of being able to sparkle with relentless anticipation. Don’t Look Now is also the first film Pino Donaggio, Brian De Palma’s long-time collaborator, wrote and composed the score for. He was second unit director and I was a clapper boy on the first unit. Roeg began as a cameraman, working for such masters as François Truffaut and David Lean. Dear every screenwriter/filmmaker, read Allan Scott & Chris Bryant’s screenplay for Don’t Look Now [PDF].
When he made his directorial debut in 1970, Nicolas Roeg was already a 23-year veteran of the British film industry, starting out in 1947 as an editing apprentice and working his way up to cinematographer twelve years later.
When he made his directorial debut in 1970, Nicolas Roeg was already a 23-year veteran of the British film industry, starting out in 1947 as an editing apprentice and working his way up to cinematographer twelve years later. We decided it would be wisest not to shoot John’s death scene until we’d done everything else, in case the unreliable prop knife failed and my throat would be cut, spilling red. Then we sent it to Harry’s Bar and they cooked it for us” (laughs). The brilliance of that scene was in the cutting room. “The opening sequence of Nicolas Roeg’s Don’t Look Now is a masterclass in film editing. The torrid Vienna-set drama was Roeg's first film with Theresa Russell, who struck up a productive partnership with the director and appeared in most of his films in the decade after their 1982 marriage.
“The opening sequence of Nicolas Roeg’s Don’t Look Now is a masterclass in film editing. It’s a really good movie. Peter Bart, who was an executive at Paramount at the time, says he came to Venice and watched it in the room [Bart’s new book reiterates his claims that he witnessed Sutherland and Christie having sex for real]. Don't Look Now ostensibly is an occult-themed thriller but the genre conventions of the Gothicghost story primarily serve to explore the minds of a grief-stricken couple. “Nic [Roeg] and I met on a movie in Israel called Judith with Peter Finch, Sophia Loren and Jack Hawkins in 1965. Nicolas Roeg. Donald (Sutherland) emailed me about it the other day.
In an in-depth new interview on Criterion’s release of the film, writer and historian Bobbie O’Steen sits down with Clifford (who would go on to have his own career as a director, his films including the Jessica Lange drama Frances) to talk to him about the textures and ideas in Don’t Look Now, and the work that went into making it such a rich experience. He keeps things close to his chest—I don’t blame him, things happen on movies—but it turned out to be Don’t Look Now. The great thing about Venice is that the light goes very quickly because it doesn’t get into those little alleys, so it can always be dark no matter what the weather’s like. About Our Ads The body of work being detailed over the track's numerous verses was that of Nicolas Roeg, who died Friday and who fully merited the term "visionary director" when Peter Jackson, M. Night Shyamalan, Guillermo del Toro and Zack Snyder were still wearing short pants. We told them what we wanted them to do and they did it—we didn’t know enough Italian to discuss it (laughs). We rehearsed it using a prosthetic piece but—and I don’t know if I should upset vegetarians—we got a baby pig from a butcher and put Donald’s wig and scarf around it because pig’s skin is like human skin obviously. There were five of us: Donald, Julie, Nic, me and the focus puller. FACEBOOK