From Salon Kitty onwards, mirrors play a large part in the set design. There are many other directorial trademarks throughout his films. He often uses a television-like multicam method of shooting, with at least three cameras running at once, each focusing on something different. This also gives the films an extraordinarily rapid pace. ( March 2021) ( Learn how and when to remove this template message)īrass' films since his early works follow an impressionistic style – they tend not to show immense landscapes, but bits and pieces of the scenery and peripheral characters and objects through pans and zooms, thus imitating how the viewer might see the events if he were actually present. Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources. Other notable works of Brass's later period include The Key (1983) and Senso '45 (2002). Despite this, the film remains his most widely viewed work (and the highest-grossing Italian film released in the United States). The director demanded that his name be stricken from the credits, and he is only credited for "Principal Photography".
Caligula was originally supposed to be a satire on power instead of an erotic film, but the producers changed and re-edited the film entirely without Brass's consent, removing many political and comical scenes, and shooting sexually explicit sequences, to make the film a pornographic drama. Erotic cinema Īfter Salon Kitty (1976) and Caligula (1979), the style of his films gradually changed towards erotic films. In 1972, Brass was a member of the jury at the 22nd Berlin International Film Festival. La Vacanza, starring Vanessa Redgrave and Franco Nero won the prize of the film critics for the best Italian film at 1971 Venice Film Festival. L'urlo was shown in competition at Berlin Film Festival 1970. His early period has been referred to as "rebellios, anarchistic and experimental". In an article about the filming of Dropout from 1970, he was called the " Antonioni of the 70s". offered Brass the job of directing A Clockwork Orange, which did not happen due to scheduling conflicts. Throughout the 1960s and early 1970s, Brass directed films in many genres, including western ( Yankee) and crime ( Col cuore in gola), all using a very experimental editing- and camera-style. In 1964, he was commissioned by Umberto Eco to create two short films experimenting with visual language for the 13th Triennale di Milano – Tempo Libero and Tempo Lavorativo. In the 1960s and 1970s, Brass was considered a promising experimental and avant-garde director, and his debut film Who Works Is Lost got very favorable reviews after screening at Venice Film Festival 1963.
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