Bruce Baillie. Courtesy of Lux. The first time he saw Bruce Baillie, a fiery Peter Kubelka recounted in front of an amused audience at the Austrian Film Museum, the American filmmaker was pulling off a headstand in a classroom before taking his students out on the campus to collect garbage. In the filmmaking of Baillie and his organization Canyon Cinema, which was showcased from January 30 to February 3 in five programs curated by Garbiñe Ortega, ideas of life and community are transformed into sounds, colors and film. Sometimes those ideas exceed the films. As Mr. Baillie has put it himself in an interview with Richard Corliss in 1971, “I always felt that I brought as much truth out of the environment as I could, but I’m tired of coming out of. . . . I want everybody really lost, and I want us all to be at home there. Something like that. Actually I am not interested in that,...
- 3/21/2017
- MUBI
Iconic underground filmmaker, and the founder of the underground filmmaking movement in San Francisco in the early 1960s, Bruce Baillie made an appearance at a two-night retrospective of his work at Los Angeles’s Redcat Theater on November 3 & 4. The Underground Film Journal attended the second night of screenings, from which the photograph above and the ones in the gallery below were taken.
The November 3 screening, which the Journal missed, included Baillie’s films Here I Am (1962), Tung (1966), All My Life (1966), Castro Street (1966), Valentin de las Sierras (1968), Little Girl (1966).
The November 4 screening was of Baillie’s feature-length epic, Quick Billy (1970), plus the short film Roslyn Romance (1977) and some unedited 16mm camera rolls taken around the time of the production of Quick Billy.
While Quick Billy is an astounding piece of film art, the real highlight of the Nov. 4 screening was the appearance of Baillie himself, who spoke for what seemed about an hour before the film.
The November 3 screening, which the Journal missed, included Baillie’s films Here I Am (1962), Tung (1966), All My Life (1966), Castro Street (1966), Valentin de las Sierras (1968), Little Girl (1966).
The November 4 screening was of Baillie’s feature-length epic, Quick Billy (1970), plus the short film Roslyn Romance (1977) and some unedited 16mm camera rolls taken around the time of the production of Quick Billy.
While Quick Billy is an astounding piece of film art, the real highlight of the Nov. 4 screening was the appearance of Baillie himself, who spoke for what seemed about an hour before the film.
- 11/5/2013
- by Mike Everleth
- Underground Film Journal
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