verite reaches a new level of reality in this film-within-a-film as
director William Greaves dares to break the accepted rules of
cinema. It is 1968 and
Greaves and his crew are in New Yorkís Central Park ostensibly
filming a screen test. The
drama involves a bitter break up between a married couple.
But this is just the ìcover story.î
The real story is happening ìoffî camera as the enigmatic
director pursues his hidden agenda.
The growing conflict and chaos -- accompanied by
moments of uproarious humor -- explodes on screen producing
the energy, and the insights, that the director is searching for.
director uses multiple cameras, mixes cinema verite and conventional
shooting styles and experiments with a variety of other cinematic
techniques including the use of simultaneous split-screen images.
The result is a
film with multiple levels of reality that reveals, and comments
upon, the creative process.
Take One may well be the first self-reflexive feature film to have
been produced in cinema verite style.
Greaves compares the making of ìSymbioî to jumping off a cliff
without a parachute.
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