The fact that you couldn't see Alfred Hitchcock's first film The Mountain Eagle, or that you couldn't see so many of F.W. Murnau's masterpieces, or that you couldn't see so many of Oscar Micheaux's really intriguing race melodramas, made with fierce independent spirit against all odds in '20s and '30s America. That stuff haunted me. They really did bring to life a sense of 20th Century history: cultural history, pop history, gender politics and race politics, socio economic history, all that stuff. It was bracing and instructive.
Guy MaddinWell, I had a wolverine. It was supposed to be a cat, but Jason (Patric) is allergic to cats. I can't remember where I got it. Some back alley taxidermy, maybe? But I think I got it at The Bay taxidermy department. Downtown Winnipeg. Next to the tumbleweeds.
Guy MaddinI'm a nervous wreck. If it's a 20-day shoot, at lunchtime on the first day, I'm thinking "Only 19 and a half days to go... I can make it!"
Guy MaddinI started making movies in my late 20s, that time in an artist's career that often sees artists just imitating things that he or she loves. I just wanted to be great like L'Age d'Or vintage Buรฑuel. I wanted to be Busby Berkeley, for crying out loud! I wanted to have chorus girls stomping their heels in my casting office. I wanted to be Erich Von Stroheim monogramming underwear for extras. So I started off my career doing that, and that was fun, but I realised I wasn't very good at it.
Guy MaddinI feel the need to chastise myself. A movie that's a partial musical, full-on melodrama, should require a tremendous amount of planning.
Guy MaddinSome Jungian or Freudian would tell me I'm just trying to go back to the womb... at gunpoint, if necessary.
Guy MaddinSeances is an internet project where I intended to adapt at least a hundred and maybe three hundred lost films into ten and twenty minute long fragmentary versions. We then uploaded them to an internet archive that fragmented them even more. We treated them like shreds of lost movie spirits and allowed these spirits to interrupt each other in non-consecutive collisions that formed new movies.
Guy Maddin