Midway through the production of DAYS OF HEAVEN, Terrence Malick stopped referring to his script. The result was thousands of feet of film, with no clear path to a coherent story. In the ultimate example of “fixing it in post”, he employed a trick that would become a defining signature of his artistic voice.
This video studies how Malick created a new cinematic grammar through voiceover: drawing on the innovations of the French New Wave, letting a child improvise in the recording booth, and other editorial gambles that would profoundly shape every film he’s made since.
This clip is excerpted from our hourlong breakdown on Malick’s BADLANDS and DAYS OF HEAVEN, available exclusively to our supporters on Patreon! Learn more and join here!
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