Guy Maddin, far from being destined to the seventh art, first practiced the trade of a bank teller and a house painter. It starts in 1986 in achieving his first short film, The Dead Father , already quite full of what would be his aesthetic, so original (or experimental) despite the abundance of film references, pervasively present in his films.
The Black and White, tarnished image in the manner of old bands of the 20s, the sets semi-mythic, become one of his trademarks. The subjects also have something to confuse the viewer lambda: a film about incest in the high mountain Careful who is haunted by the myth of Oedipus and another of the organization of a music competition by a beer baroness ass bowl with The Saddest Music in the world . Without significant budget
Guy Maddin manages to impose a poetic, lyrical, surreal and personal, combining a vivid imagination to the deepest desires non-refoulement. In his case, see And Cowards Bend the Knee ... his autobiography fantasy. In 1995 at the Telluride Film Festival, Guy Maddin paid, for all his work, the coveted Telluride Medal that he received before filmmakers like Abel Gance , Francis Ford Coppola , Andrei Tarkovsky or Clint Eastwood.
- There is strong public pressure for the image and sound are at the service of a mundane reality, a strong requirement for films similar to real life. But we live in real life. When you read a book, you want to be transported to wonderful places, and some of the most influential stories ever told us we are what we listen, children, huddled under blankets ... Why do not we will exercise this tradition from childhood into adult forms, which would clear the emotions that children feel. That's the goal I set myself for all the movies I want to do. (Guy Maddin)
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