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Thinking about Mike Figgis

The work of director Mike Figgis has always been of particular interest to me.

From more traditional films, like his adaptation of The Browning Version, through his looser, more playful experiments in video technology (i.e. Timecode and Hotel), Figgis never seems to have touched the same ground twice. But his films are his throughout.

I could point to any number of patterns. My personal favorite, a quality that continues to pop up in these films again and again, is Figgis’s deep investment in sensuality. I don’t mean sex (though that surely is a part of it), I mean a voluptuousness of sound, color, and cutting – especially cutting – that pervades even his starkest pictures. Figgis rarely needs a dissolve; his pictures seem to dissolve all the time, like thin wafers on a hot tongue. And there is no better example than those of Leaving Las Vegas, the centerpiece film of his career, and arguably one of the defining films of the 90s.

No other indie feature of the era started with so little to go so far, beginning with a budget of a few million dollars and Super 16mm film, and ending at the Oscars. Other pictures started with less, and some went farther, but none spanned the entire range like Leaving Las Vegas. Add to that Figgis’s renaissance-man approach to filmmaking, which transcends the confines of the regular old auteur (more than the film’s writer/director, he scored the film, edited, operated, and invented camera equipment specifically for his cinematic needs), and you have the poster child of successful DIY filmmaking.

In the coming weeks, I’ll be interviewing Figgis for something I plan to write for the 15th Anniversary of Leaving Las Vegas (yes, that was fifteen years ago), and because I know pretty much everyone interested in motion pictures has something to say about the film, I thought I’d throw out the line a little early and see what thoughts were tossed my way.

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