User:TPoole/sandbox: Difference between revisions

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actor who has seemingly run amok. But here my description is admittedly simplistic, as their roles could have reconstituted themselves repeatedly during the apparently spontaneous and authentic encounter.

“I’m taking that scene out of the movie,” Mailer yells at Torn shortly after the fight ends. They continue to talk, trading barbs and insults in between Torn’s attempts to explain that he did what he had to do. Writing about the event later, Mailer admitted “Torn had . . . been right to make his attack. The hole in the film had called for that. Without it, there was not enough” ~~(“A~~

“I’m taking that scene out of the movie,” Mailer yells at Torn shortly after the fight ends. They continue to talk, trading barbs and insults in between Torn’s attempts to explain that he did what he had to do. Writing about the event later, Mailer admitted “Torn had . . . been right to make his attack. The hole in the film had called for that. Without it, there was not enough” {{sfn||Mailer|1971|p=238}}. Onscreen, the attack and struggle lasts roughly two minutes, with another six minutes covering Torn and Mailer’s ensuing and heated conversation.

~~Course”~~ 238). Onscreen, the attack and struggle lasts roughly two minutes, with another six minutes covering Torn and Mailer’s ensuing and heated conversation.

The fight scene gave Mailer “a whole new conception of his movie.” He believed that his filmmaking process had created a “presence” that outlived the conclusion his original storyline and what had only seemed to be the end of the shoot. It was an event that took ''Maidstone'' closer to the “possible real nature of film” (Mailer~~, “A Course”~~ 238).

The fight scene gave Mailer “a whole new conception of his movie.” He believed that his filmmaking process had created a “presence” that outlived the conclusion his original storyline and what had only seemed to be the end of the shoot. It was an event that took ''Maidstone'' closer to the “possible real nature of film” {{sfn||Mailer|1971|p=238}}.

And perhaps closer to real the nature of the filmmaking process. After all, those eight tense minutes between Mailer/Kingsley and Rip/Rey include six

@@ Line 192: / Line 192: @@
 actor who has seemingly run amok. But here my description is admittedly simplistic, as their roles could have reconstituted themselves repeatedly during the apparently spontaneous and authentic encounter.
-“I’m taking that scene out of the movie,” Mailer yells at Torn shortly after the fight ends. They continue to talk, trading barbs and insults in between Torn’s attempts to explain that he did what he had to do. Writing about the event later, Mailer admitted “Torn had . . . been right to make his attack. The hole in the film had called for that. Without it, there was not enough” (“A
+“I’m taking that scene out of the movie,” Mailer yells at Torn shortly after the fight ends. They continue to talk, trading barbs and insults in between Torn’s attempts to explain that he did what he had to do. Writing about the event later, Mailer admitted “Torn had . . . been right to make his attack. The hole in the film had called for that. Without it, there was not enough” {{sfn||Mailer|1971|p=238}}. Onscreen, the attack and struggle lasts roughly two minutes, with another six minutes covering Torn and Mailer’s ensuing and heated conversation.
-Course” 238). Onscreen, the attack and struggle lasts roughly two minutes, with another six minutes covering Torn and Mailer’s ensuing and heated conversation.
-The fight scene gave Mailer “a whole new conception of his movie.” He believed that his filmmaking process had created a “presence” that outlived the conclusion his original storyline and what had only seemed to be the end of the shoot. It was an event that took ''Maidstone'' closer to the “possible real nature of film” (Mailer, “A Course” 238).
+The fight scene gave Mailer “a whole new conception of his movie.” He believed that his filmmaking process had created a “presence” that outlived the conclusion his original storyline and what had only seemed to be the end of the shoot. It was an event that took ''Maidstone'' closer to the “possible real nature of film” {{sfn||Mailer|1971|p=238}}.
 And perhaps closer to real the nature of the filmmaking process. After all, those eight tense minutes between Mailer/Kingsley and Rip/Rey include six