![]() ![]() Do you see an interconnected thread throughout his films that is indicative of his directing style, apart from his often 80s-sounding synthesizer music? When you picked out movies for us to watch in our Netflix and Facets queues, I was constantly surprised at the films that I was aware of, but never knew that he directed. I didn’t see a connecting thread or appreciate his abilities as a director until we began our Carpenter-kick, and that is where my interest snowballed. I knew that I liked Halloween, but didn’t like, or really didn’t understand, They Live or Big Trouble in Little China, for example. JM: I can honestly say that growing up, I didn’t know who Carpenter was and though there was an awareness of his cultural presence, didn’t link his films together. Do you remember your earliest impressions of Carpenter and what exactly hooked you during our recent retrospective? It made me want to see and re-see all of his films. I hadn’t seen it in years and probably never in its original aspect ratio and I was just blown away by how great it is: the suspenseful, brilliantly edited set pieces, the elegant camera movements and, of course, that incredible, minimalist synthesizer score. I think the motivation for our retrospective was when we bought Halloween on blu-ray. Then, I started watching serious art films as a teenager and kind of lost touch with what Carpenter was doing until a couple years ago. #CINESCOPE WHITE AFTER AFFECTS MOVIE#Then, when Prince of Darkness came out in the fall of 1987, I saw it in the theater as a budding 12-year old horror movie aficionado, fully aware that I was seeing the “new John Carpenter film.” I also saw They Live the next year and loved that too. ![]() Those movies ruled cable television at the time and I watched them over and over. When I was a kid in the early to mid-Eighties I remember that Halloween, Escape from New York and The Thing were all a big deal to me. ![]() MGS: So we just finished watching virtually all of John Carpenter’s movies together and I guess I’d like to start off this “director profile” by discussing how we got on this particular kick. This is our first time discussing the body of work of a filmmaker rather than a single film. This director profile of John Carpenter is yet another joint-venture of White City Cinema and my wife Jillian’s feminist blog Exploring Feminisms. ![]()
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