Angel Katherine Taormina Discusses the Use of Cinétage in “The Saints of the Rue Scribe”
In response to the enthusiasm for her “Filmmaker’s Creed” in the full version of her last interview, Angel Katherine Taormina has agreed to elaborate and discuss the particular way in which her views on filmmaking influenced her choices in “The Saints of the Rue Scribe.”:
Angel: “I have a credit in the film for my Cinétage work for the pieces of Cinétage that I modified and used in the performance scenes in “Saints”- a real marriage of past and present, with some future-looking suggestions going on even within the film itself. But the concept of Cinétage, as it is used in “Saints”, doesn’t end with the performance scenes. Rather, it informs the entirety of how I chose to make the film itself. The stage part of “Cinétage” is where cinema and stage marry, and Cinétage is their baby. In “Saints”, I did the same thing, but with the other side of “Cinétage”- with the cinema part of Cinétage- which is where stage and cinema marry- to the same result. Two as one. I have always been just as much a daughter of the stage as I have been a daughter of the cinema. I never saw the two as anything but two sides of one whole. That was why I invented Cinétage- to accomplish what I had always seen as possible and felt as being natural to me. It is one and the same- a style, a way of doing things. And it makes me feel creatively free. I was able to do what I felt was right for my story in any given scene. “Saints” has its traditional shots, but it also has a lot of classic and non-traditional theatre shots, extensive shots in one take, scenes that are done in only one shot, steadycam, drone, handheld, freehand, documentary- style, walking, and running. The camera is free so that the actors are free to let the magic happen in their artistry. It is structured so as to flow seamlessly without “structure” getting in the way of itself. And so that the audience can take the ride with the proper flow. You feel like you’re watching a documentary of something actually taking place one minute, and the next minute you’re in the second row of a Grand Opera House, and the next minute you’re running through a field, and the next minute you’re in a classic movie, and the next minute something completely wild blows your mind. It’s the journey that counts because it’s the journey that makes it to its conclusion. And “Cinétage” permits the journey to run its course with every imaginable experience to the satisfying ride-ending that is the conclusion of the film- and of the emotional arc not just of the characters, but also the emotional arc of the audience. It’s a complete experience. And, just like after a rollercoaster ride, you catch your breath, jump up, and say “Whoo-hoo! Let’s do it again!”. I’m a G-Force junkie, so I will always go for the thrill. Stage plus cinema, cinema plus stage, equals Cinétage. And Cinétage is the complete creative experience of the Arts. Thanks to Cinétage and what I’ve learned from it, I was able to make “Saints”. What started as my choices and influences, set my cast and crew free artistically. They thanked me at the end of the shoot for the “freedom and trust” that I gave them. And I am eternally grateful that Cinétage made me able to do so. My view on filmmaking is this- do it, and do it all the way.”
FROM A DIFFERENT INTERVIEW ON THE SAME TOPIC:
"Musically, in the film, there is an experimental quality that makes it even more romantic- it is the fact that the score of the film is one, unbroken line of music from start to finish- 2 hours and 30 minutes of continuous music. It was fun for me- when shooting the film, I was highlighting Cinétage in certain places. When editing the film, when I curated and laid in the score, I realized that the film itself is a new Cinétage. Cinétage within Cinétage. I love it."