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The_Film_That_Changed_My_Life

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<strong>The</strong> Tales of Hoffmann<br />

261<br />

itself. It was the filmmaking, the fantasy, the fact that it was a fantasy and it<br />

had a few frightening, sort of bizarre things in it. It was everything.<br />

It was really a movie for me, and it gave me an early appreciation for the<br />

power of visual media—the fact that you could experiment with it. He was<br />

doing all his tricks in-camera, and they were sort of obvious. <strong>That</strong> made me<br />

feel that, gee, maybe I could figure this medium out. It was transparent, but<br />

it worked. It didn’t bother me in those days, nothing bothered me. I thought<br />

King Kong didn’t look fake.<br />

And do you have a particular scene that you are drawn to?<br />

Romero: <strong>The</strong> duel. I thought it was beautiful. <strong>The</strong> music is slow; the action<br />

is very fast. It’s just a well-described scene. And I like the shots of one of the<br />

characters walking down statues, like stepping on lost souls.<br />

You’ve called this film a constant metaphor for the transforming power<br />

of imagination through art.<br />

Romero: It really is very heady. Powell was able to take whatever ideas<br />

came at him. <strong>The</strong> basic storylines are in the opera, so he wasn’t inventing<br />

the whole thing. But he was able to visualize it and imagine things the<br />

way he thought they should look and the way they could never be done<br />

on a stage at the Metropolitan or anywhere else. It’s like painting. Even<br />

though it’s not literal, it’s not abstract. I think it was referencing painters<br />

in the overhead shot of everyone at the table at the tavern. I think he was<br />

able to really use his imagination to pull these wonderful ideas out and<br />

execute them.<br />

<strong>The</strong>re’s a scene in which a life-size mechanical doll, whom Hoffmann<br />

falls in love with, is torn apart. I couldn’t help but think of a similar<br />

scene from Dawn of the Dead in which your zombies tear apart one of<br />

their victims. Do you have any conscious homages to Powell and Pressburger<br />

in your films?<br />

Romero: No, not really. I generally don’t play around with that. I don’t<br />

try to think of how to emulate. I generally try to just serve whatever I’m<br />

doing the best I can think of. So, if anything, I think there might be some<br />

subliminal stuff.

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