"What do you know about music? You’re not a lawyer." — John Lurie
And the amount of histrionics and technological gimmickry and assault that each film displays, one-uping the next, again and again. I walk out of those films absolutely numb, feeling nothing, because they assume everything. Whereas a Chantal Ackerman film is a real inspiration because it’s so restrained and resistant. What you see in it in real time is what every other movie would cut out. But it creates a suspense and curiosity, and a huge role for the viewer in the telling…The formula for successful filmmaking has been so reduced to a single set of prototypical characters, enormous events and perfect resolutions that it’s almost inconceivable for films that are produced by the studios and larger independents to escape that formula. The ’70s were the last time that there were a range of possibilities, even in mainstream films.
Punch-Drunk Love (2002)