{"id":9776,"date":"2009-12-29T06:44:17","date_gmt":"2009-12-29T11:44:17","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=9776"},"modified":"2010-07-02T22:53:40","modified_gmt":"2010-07-03T02:53:40","slug":"fosse-time","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=9776","title":{"rendered":"“Fosse Time”"},"content":{"rendered":"

All That Jazz<\/i> turns 30 years old this month, and Matt Zoller Seitz has a wonderful appreciation\/analysis of the movie<\/a>, and its influence (with great quotes from other directors and editors about how that movie impacted their art) in The New York Times<\/i>.<\/p>\n

Fosse was so pleased with the result that he and his screenwriter partner, Robert Alan Aurthur, built time shifts into the early screenplay for All That Jazz,\u0080\u009d essentially treating the script into an uncommonly detailed shot list. Mr. Heim said the film\u00e2\u0080\u0099s high-speed rifling through Gideon\u00e2\u0080\u0099s recent past, childhood and deathbed fantasies (in which he\u00e2\u0080\u0099s interrogated by Jessica Lange\u00e2\u0080\u0099s bombshell angel of death on a set that looks like the Kit Kat Klub from \u0080\u009cCabaret\u0080\u009d as redecorated by Fellini) was so flexible, and so distinctively Fosse\u00e2\u0080\u0099s, that the director\u00e2\u0080\u0099s regular composer, Ralph Burns, hung a label on it.<\/p>\n

“Ralph said there are flashbacks and flash-forwards, and then there is Fosse time,”\u0080\u009d Mr. Heim said. “\u0080\u009cWhen we were working on Bob’\u0080\u0099s films, we were working in Fosse time. The phrase has to do with not really being locked into any particular time frame but taking full advantage of what you can do with film, which is mess around with time. That’s one of my favorite things to do, and you don’t get too many chances to do it in straight narrative movies. I got to do it on Bob’s last movie, Star 80, also. It was all very exciting for me as an editor.”<\/p><\/blockquote>\n

Go read the whole thing<\/a>.<\/p>\n

I love the bit about Sofia Coppola and Sarah Flack, working on Marie Antoinette<\/i>.<\/p>\n

All That Jazz<\/i> is one of my favorite movies.<\/p>\n","protected":false},"excerpt":{"rendered":"

All That Jazz turns 30 years old this month, and Matt Zoller Seitz has a wonderful appreciation\/analysis of the movie, and its influence (with great quotes from other directors and editors about how that movie impacted their art) in The … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[24,4],"tags":[1431,337],"_links":{"self":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/9776"}],"collection":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9776"}],"version-history":[{"count":4,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/9776\/revisions"}],"predecessor-version":[{"id":15221,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/9776\/revisions\/15221"}],"wp:attachment":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9776"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9776"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9776"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}