Flirt hal hartley youtube

Hal Hartley & The Henry Fool Trilogy Center Stage

flirt hal hartley youtube

Hal Hartley came Center Stage with Mark Gordon to talk about The Henry International Film Festival Young Filmmakers Award), Flirt (). Filmmaker Hal Hartley, maker of Ned Rifle, A/Muse, Accomplice, Adventure, SIMPLE MEN and FLIRT made Hartley a Sundance and Cannes favorite and. Hal Hartley (born November 3, ) is an American film director, screenwriter, producer and Hartley developed Flirt () as an extension of his short film of the same name made in The film is a triptych of three separate characters.

I Trust Hal Hartley

This detail is not simply a matter of characterization. The play features dynamic characters, lacking entirely the flat villains typical of the genre. Each character contains within them good and bad qualities, and the potential energy for a change, a surprising action or redemptive turn. For Hartley, the stage is a site of inspiration for the screen, for re-purposing familiar techniques to the cinema, to make them fresh and part of a fabric of unreality.

Speaking with Hal Hartley | ACMI

By borrowing these stage techniques, Hartley distills the thoughts and emotions of his characters and realizes them plainly. Pain becomes an impossible outburst, guilt a spontaneous confession, and love a trust fall. InHartley would turn his experience in the cinema back onto his inspiration in the stage, writing and producing his own play Soon, about the tragic standoff in Waco, Texas between the devout Branch Davidians and the U.

Rather than discreetly miking his players, Hartley has each of them hold onto microphones a technique also used in his short digital feature The Book of Life.

Hal Hartley & The Henry Fool Trilogy Center Stage

Attached to deploy-able stands, the microphones are used as props throughout the performance and not just for voice amplification. Hartley substitutes a close-up with his performers moving to the near front of the stage; distributing his performers across the stage stands in for a wide-angle.

It's easier after all this time to cast these performers as "character actors"; as types At least, we have much more fun that way. I knew I wanted Martin to play Reverend Gardner because I was interested in him playing those scenes opposite Liam, who has grown up to be a young actor who has some of the qualities I associate with Martin—a quiet kind of fierceness.

Martin was happy to be involved, but he was concerned that he, being popularly perceived as 'The Hal Hartley Actor', might acquire too much meaningless significance. I saw his point and assured him I was going to try and rope in the others. He liked that idea. But, honestly, I didn't have the idea until I was on the phone with him.

At what point did Plaza join the project? She seems to have tapped right into the tone set by your earlier films.

flirt hal hartley youtube

What new element did Plaza bring to the on-set dynamic? What Aubrey brought to the on-set dynamic were nerves. She is one of the most nervous people I have ever met.

flirt hal hartley youtube

And the nervousness percolates into wit, flirtatiousness, intensity If I were younger and less experienced I might have hesitated the way I did with Parker in I would have needed more time to get to know her.

But the bottom line is she's a hard-working and well-prepared actress. She was suggested by her agent whom I was working with in regards to Parker—they're represented by the same agency.

flirt hal hartley youtube

I'm not sure she knew who I was but she did a quick study and was on the phone with me two days later. That would have been early February Why did you omit to credit yourself as screenwriter on Henry Fool ironically, for the very script for which you received the Best Screenplay award at Cannes in ? It never seems to be sprawling when I'm writing. I've said this in different ways over the years and for the most part, it remains true: I try not to reach too far for subject matter.

I try to make stories out of the stuff of the world I move through. And that includes the concerns of the day—what gets written about in newspapers, discussed on television, worried over by parents. What I do with these commonalities might be a little unusual, but I'm not interested in the exotic. I've wanted my films to provide evidence of my time and place—where ever that might be. For what it's worth when I finally decided to make Fay Grim it wasn't so much to continue the story from the previous film but to use Fay and her family as a prism through which to consider the world at that moment—like you say: