![]() It didn’t get picked up but I thought, wow, this is going to be easy, and then wrote five more scripts that received no interest at all! At that point I said, well I can’t just sit around writing scripts and not getting anywhere, maybe I’ll try and direct something. Solo, the producer who did Body Snatchers and other good stuff. It’s weird because it was a shitty script, but was optioned by some entertainment lawyer in LA who was shopping it around to Robert H. It was only after so many years, after I graduated from college, and got a year into my life as an engineer, that I finally sobered up from years of doing drugs and alcohol and realized, “wait a minute, I don’t really want to be an engineer!” At that point I said, well I’ll try writing a script, because I had a friend who was in a similar situation, so I took a screenwriting class, and wrote a script. I’ve had to overcome resentment over that fact. ![]() But I’ve always had this passion for film, though I never, ever conceived as a reality being a filmmaker, a writer. I come from this total suburban family, where everyone works 9-to-5, and everyone in the neighborhood does pretty much the same thing. I caught up with Buck over a pint (or two) at the Fant-Asia watering hole, “Le Vielle 300,” to discuss the method behind his calm madness.Īuthor (far right) with Quelou Parent and Douglas Buckĭonato Totaro : Can we begin with your background, how you got into film?ĭouglas Buck : No comment! Why should I tell you about my background! When I was naked with daddy at 7 years old, that led to Cutting Moments ! Seriously, it is a little weird because I’m an electrical engineer. Home maintains the emotional claustrophobia of Cutting Moments, but where it differs – a conscious choice on Buck’s part – is in refraining from explicit, gut-wrenching violence. In both films Douglas Buck approaches the theme of the disintegrating male psyche in an understated formal manner (minimal dialogue, restraint camera style, non-contrast lighting). Combined, the two films form a macabre psychological exploration of the patriarchal nuclear family gone seriously wrong. In two years short years, American Independent director Douglas Buck has becomes a Fant-Asia fan favorite for his uncompromising brand of “domestic horror” Douglas Buck was back at Fant-Asia ’98 with his short film Home, a companion piece of sorts to last year’s Cutting Moments (the film that had people crying “ouch”). Interview with Douglas Buck Domestic Horrorīy Donato Totaro Volume 2, Issue 4 / October 1998 20 minutes (4797 words)
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