Sounds like the sort of catchphrase or motivational slogan that is just odd enough to appear in a Guy Maddin film, doesn’t it? “Inch on, Maddin! Inch on!”
The wonderful Hayley Inch was our guest this month, talking about her one true passion: Guy Maddin. Actually, being a true film buff after our own hearts, Hayley has many cinematic passions, but her love of Maddin is unparalleled. Whether you know Maddin’s work or have never heard of him before, you’ve really got to hear Hayley waxing lyrical about what makes him so great.
This episode also marks the return of the mini-Hyphenate segment, where we take a filmmaker who may not have made enough movies to qualify for the main stage (we have a loose five-or-more rule in place), and discuss them in the mid-section of the show. This month we’ve gone with Jacques Tati who made five features, one telemovie, and a bunch of shorts. Okay, so we’re stretching the rules a little to include him, but given Madman Entertainment just released a beautiful restored edition of his works, it felt like the perfect time.
There’s rarely a rhyme or reason to the pairing of mini-Hyphenate with the guest’s pick, but as we discussed their works, a connection emerged: both Tati and Maddin continued the tradition of silent films in very different ways. There aren’t many filmmakers who so forcefully use the pre-sound era as inspiration the way these two have, albeit in completely different ways.
We say this every month, but this really is a great episode. We talk Gone Girl, Force Majeure, Obvious Child and Whiplash, delve into Tati, and explore Maddin all in one hour. Plus, one of us actually leaves the room at one point! Who leaves and why? You’ll only find out the answer by listening to this month’s show.