Cloverfield by Drew Goddard

By Drew Goddard

Screenplay of the motion picture Cloverfield

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He m a d e t w o p o w e r f u l films, The Land (1942) and Louisiana Story (1948), for restricted release. T h e sanitized conditions of the studio system m a y h a v e militated against experiment and overtly personal expression, but they did n o t preclude the fostering of g e n u i n e talent and the p r o d u c t i o n of s o m e fine films. C l a r e n c e B r o w n , Frank B o r z a g e , Sidney O l c o t t and H e n r y K i n g all lent dignity to the sentimental melodrama, the S o v i e t director V s e v o l o d P u d o v k i n hailing K i n g ' s 1921 Tol'able David as a m o d e l of construction that instructed and entertained t h r o u g h its 'plastic material' and authenticity.

Invariably starring Pola N e g r i and e m p l o y i n g lavish, period sets, Reinhardt-style lighting, b o l d camera angles and rapid cutting, films such as The Eyes of the Mummy Ma and Carmen (both 1 9 1 8 ) , Madame Dubarry (1919) and Anna Boleyn (1920) explored the sexual intrigues that simmered beneath the pageantry of the past. W h i l e he made dynamic use of c r o w d s , Lubitsch was n e v e r totally comfortable w i t h the epic scale, preferring the intimate detail or i n n u endo that illuminated a scene, a predilection that served h i m w e l l in 57 38 Robert Wiene, The Cabinet of Dr Caligari (1919).

E v e n so, that film remains m e m o r a b l e for its brilliant depiction of futuristic architecture and t e c h n o l o g y courtesy of the Schufftan Process, w h i c h c o m b i n e d miniature sets w i t h live action. R e f u s i n g Hitler's offer to head N a z i film production, L a n g left G e r m a n y in 1933, although his wife and regular screenwriter, T h e a v o n H a r b o u , remained. M u r n a u ( 1 8 8 8 - 1 9 3 1 ) , on the other hand, was capable of tackling m o r e c o m p l e x topics.

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