Man on Borrowed Piano Wire

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Man on Borrowed Piano Wire
Mostly Movies found this 7/23/2008 on www.thehousenextdooronline.com [flag]
By Godfrey Cheshire A couple of weeks ago I went to a press screening of James Marsh’s Man on Wire . I’d heard a lot of good things about the British doc, and indeed it has a fascinating subject in recounting the early career of French aerialist/conceptual artist Philippe Petit, especially his daring walk between the twin towers of the World Trade Center in 1974. But watching the film was ... [link]

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Docu drama
Published 7/23/2008 by noreply@blogger.com (Simon Crowe) at Mostly Movies
Are reenactments (and in one case, appropriated music) ruining the integrity of documentaries? (HND) A couple of weeks ago I went to a press screening of James Marsh’s Man on Wire. I’d heard a lot of good things about the British doc, and indeed it has a fascinating subject in recounting the early career of French aerialist/conceptual artist Philippe Petit, especially his daring walk between the twin towers of the World Trade Center in 1974. But watching the film was not a happy experience. Try as I might to concentrate on its narrative, I ...

WIRE FRAMED
Published 7/25/2008 by Scott Macaulay (noreply@blogger.com) at Filmmaker Magazine
Over at The House Next Door, Godfrey Cheshire explains his decision to walk out on a press screening of James Marsh's documentary Man on Wire : The reason for my discomfort was simple: The movie’s soundtrack contains frequent borrowings from the Michael Nyman scores of well-known Peter Greenaway films (as well as couple of other Nyman tracks, including one from Jane Campion’s The Piano ). This, for me, totally destroyed the experience of watching Marsh’s film. I would be trying to follow the story when, every three or four minutes, that familiar music would blare out and my ...