By Derek Jarman
Publish yr note: First released in 1984
From his sexual awakening in postwar England to lifestyles within the sixties and past, Derek Jarman tells his lifestyles tale with the in-your-face immediacy that grew to become his trademark kind in either his movies and writing.
Accompanied by way of approximately 100 pictures of Jarman, his pals, enthusiasts, and inspirations, the candid debts in Dancing Ledge offer intimate and particularly vibrant glimpses into this iconoclastic filmmaker's existence and instances.
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Extra info for Dancing Ledge
But he carried on talking half to himself, half to me. I slept fitfully and dreamed that I was sold four fake tickets at an Underground station. Eventually travelling into London from the South along an arterial dirt-track on the top of a bus. Red brick houses and Victorian town halls; at one stop I saw the Swedish tenor Gosta Winberg. We woke early and he said he must be going. ' He'd asked the night before. Opera arrests time, a minute becomes an hour. Rossini must have been very confident to allow himself so many repeats.
Once he takes us north, to Stanley Spencer's Burghclere Chapel. The paintings image the sacrifice of an entire generation. At sixteen I am convinced that together they form the greatest masterpiece in the history of painting. My art master, Robin Noscoe, ran his art school with a delightful absent-minded shrewdness. It was from Robin that I learned that an artist was practical, whatever his outward eccentricity. Robin was mentor rather than teacher, he ignored the gulf that separated master and pupil and embraced you as a collaborator and equal.
This was particularly disastrous in a film which made a great point about the introduction of a turkey from Brazil. 3. Extras pose their own problems. This film was littered with undirected people going about their daily business absent-mindedly. They would stand still for minutes at a time and then suddenly spring into life. 4. Costumes are also a great problem. Because they never look as if they are worn. The costumes of the poor always look phoney. In this film they were designed like a uniform of rags which was in a style that bore no resemblance to the late sixteenth century.