Takashi Miike's body of work encompasses the most diverse approaches to filmmaking of any director alive today, from direct-to-video police dramas to avant-garde art movies. On top of this, Miike seems to make no distinction between modes of filmmaking—not only from project to project but within each film itself. His closest American equivalent might be Quentin Tarantino, who shares a wildly egalitarian view of film history, but Miike is almost unique among living filmmakers in that he advances this view within a traditional studio system. Where Tarantino, who makes a film every few years, is expected to produce Art, Miike, who releases anywhere from two to seven in a given year, can operate below such scrutiny. Forgoing Art, Miike has built a career at the intersection of work and play.
And yet Miike's experience in the art world (working with one of Hou Hsiao-hsien's producers on Izo,...
And yet Miike's experience in the art world (working with one of Hou Hsiao-hsien's producers on Izo,...
- 3/29/2010
- MUBI
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