![]() ![]() Naturally, what’s implied very often is the Yin to the Baz Yang: a side that’s as often infuriating as it is inspiring, a dimension that can simply make you sit in a dark corner and weep as much as it can elevate you to places you didn’t know you could go. When you hear professionals talk about Baz, he’s described as a force of nature. And none of this is some kinda trade secret, it’s common knowledge and on the public record just how challenging it is to work with Baz. Most of Baz’s team has worked with the director before and know exactly what they’re signing up for. And I mean ‘ordeal’ in the medieval sense of the word: where key personnel are driven to the very edge of their capacities and endurance, then on… right off the scale to the point of physical and mental collapse. But working on a Baz film is not just a job, it’s an ordeal. ![]() Love it or hate it (and a Baz Luhrmann film does tend to polarise) The Great Gatsby is a sumptuous production where music and, indeed, audio commands a very prominent position. ![]() Especially not after you actually see the film. ![]()
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