2 items from 2014
The first time I recall Terry Gilliam‘s name being used to sell me on a movie it was City of Lost Children, but that was through a critic blurb making a comparison between the Brazil director and City‘s Jean-Pierre Jeunet and Marc Caro. Prior to that, though, he’d actually lent his name as a presenter for their Delicatessen. I might not have discovered those movies without the endorsement. Later, Gilliam also put his name in a similar manner on Bill Plympton’s Idiots and Angels. As a Gilliam fan, I fell in love with Jeunet’s work immediately, while I’d already been into Plympton and now had more reason to appreciate the animation legend. I don’t know that Gilliam attached his name to anything before, between or after those two — I’m not counting the BBC TV adaptation of the book The Last Machine: Early Cinema and the Birth of the »
- Christopher Campbell
Before we start here’s a confession. I’m a fan of Terry Gilliam’s work. Unashamed, bordering on (but never becoming) an apologist. From the bedtime anarchy of Time Bandits to the dark satanic future of Brazil, from the dizzying false heights of Munchausen to finding myself washed up on the Tideland – each and every one of his films has connected with me, some inextricably so.
The more of them I saw, the more I became hooked on his dreamatic musings; a new Gilliam film is a big deal in my world. He was also my first film teacher with the BBC’s long forgotten series called The Last Machine taking in a whirlwind tour of the first century of cinema from sideshow contraption to documentarian to a gateway to other worlds. Gilliam knew cinema, and came across as a man possessed with a love of ideas and visual poetry. »
- Jon Lyus
2 items from 2014
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