IMDb:https://www.imdb.com/name/nm0001885/
Date of Birth:30 April 1956, Copenhagen, Denmark
Height:5' 7" (1.7 m)
Trademarks:Hypnosis figures significantly in many of his films Frequently casts Udo Kier Fequently casts Jean-Marc Barr Often casts Stellan Skarsgård. Often casts Charlotte Gainsbourg. Shoots digitally, encorporating imperfect hand-held camera movements that go in and out of focus. The majority of his feature films have a female lead who experiences some form of transcendence after battling through harsh adversity. Chaptering of his films, including the use of stylistic prologues and epilogues. His films are often made as part of a trilogy (Golden Heart trilogy, USA trilogy, the Depression trilogy) Uses various editing tricks Philisophical and sometimes witty yet disturbing dialogue
USA in the 1970s. We follow the highly intelligent Jack over a span of 12 years and are introduced to the murders that define Jack's development as a serial killer. We experience the story from Jack's point of view, while he postulates each murder is an artwork in itself. As the inevitable police intervention is drawing nearer, he is taking greater and greater risks in his attempt to create the ultimate artwork. Along the way we experience Jack's descriptions of his personal condition, problems and thoughts through a recurring conversation with the unknown Verge - a grotesque mixture of sophistry mixed with an almost childlike self-pity and psychopathic explanations. The House That Jack Built is a dark and sinister story, yet presented through a philosophical and occasional humorous tale.
Journeying through 1957, the year Bergman released two of his most acclaimed features (The Seventh Seal and Wild Strawberries), made a TV film and directed four plays for theatre, Magnusson has amassed a wealth of archive and contemporary interviews, along with a fantastic selection of clips from his vast body of work.
Director of Photography Robby Müller is one of the few people in the world who knows how to play the sun. How to catch its rays like butterflies. How to strike its beams like chords. When Robby moves his camera, the camera turns into a musical instrument. And the whole world dances, radiates, is illuminated. For her extraordinary film essay Director and DoP Claire Pijman had access to Müller's personal archive: thousands of Hi8 video diaries, personal pictures and Polaroids that Müller photographed throughout his career; often with long term collaborators such as Wim Wenders, Jim Jarmusch and Lars von Trier. The film intertwines these images with excerpts of his oeuvre, thus creating a fluid and cinematic continuum. In his score for Living the Light Jim Jarmusch gives this wide raging scale of life and art an additional musical voice. With his ground-breaking camerawork, inventive lighting methods, his exceptional sense for the depth of colour, and the freedom of framing, plus his.