In his one-of-a-kind fiction/documentary hybrid ‘Symbiopsychotaxiplasm: Take One’, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making.
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Part documentary, part film - interesting to see how the crew went through some trouble going over a scene for the director's upcoming project at the time. Though, it was also one of the first few films to introduce the split screen editing technique shortly before WOODSTOCK was shot.
Admire the heads behinds this work. Special credit to the charismatic William Greaves. The film itself was necessary for the study-oriented audience that want to experiencing the complete layer of the film's genre ; Cinema Verite.
Not too long ago I tried a similar experiment with a written composition more or less inspired by the works of Borges and Macedonio, and as I had guessed and made explicit in my piece, it was met with a factious response not unlike the one of Greaves's crew. I absolutely related to this movie, and I loved it.
I shot a short film for a directing class one time where the project entailed working with members from other classes such as acting and editing. Many of the frustrations I dealt with by having numerous people trying to stand out at once were very similar to the ones depicted through this film.
Watching it on video i liked how it felt like a featurette for some other yet to be seen movie. Surely, a must for filmmaking students and a fascinating time capsule movie but not as dramatically satisfying as I had hoped which I gather is part of the point.
Interesting quasi-documentary has some compelling things to say about the nature of reality and perspective as it relates to film. But even at its meager running time, it does go on to long, making its major points early on and the sort of just repeating itself. A number of engrossing moments and ideas, but not quite the experimental masterpiece some have made it out to be.
Fascinating meta study on the making of the making of a non-existent film. Is the crew truly rebelling or is it all manufactured as a commentary on auteur filmmaking? Loved the guy who plays the jilted husband.