Film
Charles's feature debut was Masked and Anonymous (2003) which he directed, and co-wrote with Bob Dylan (under the pseudonyms Rene Fonatine and Sergei Petrov respectively). The film has received a mixed reaction from audiences and critics alike. Charles maintains it takes many viewings to get true enjoyment from the film: "I want the movie to be like a great Bob Dylan song that is listened to over and over and for people to back and see it again and get a lot more things, or totally different things."
His second feature film as director, Borat, was more successful. In an interview, Charles discussed how, because of the nature of the mockumentary process, he had to act as well, even if none of his performance made it to the screen: "We all, especially me, had to play a character as well. I wasn't Larry Charles when we were on the road. We all had to be in character, and we had to balance that with our aesthetic and logistical needs to produce the movie properly The director also had to act." The film was nominated for Best Motion Picture — Musical or Comedy at the Golden Globes.
Charles's third film was Religulous — a documentary about Bill Maher's take on the state of contemporary religion, — which was released in October 2008.
Read more about this topic: Larry Charles
Famous quotes containing the word film:
“To read a newspaper for the first time is like coming into a film that has been on for an hour. Newspapers are like serials. To understand them you have to take knowledge to them; the knowledge that serves best is the knowledge provided by the newspaper itself.”
—V.S. (Vidiadhar Surajprasad)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)