Oft times seeming to reveal little or rather more than we realize, full of "butterfly effect" ruminations, Roeg's memoirs flow and intercut like one of his films. Like many of the enfants terribles who came of age in the '60s and directed in the '70s into the '80s, Roeg found his projects increasingly difficult to fund, and his 2007 Puffball was critically judged as not his best effort -- but Roeg especially for UK cinema, had already completely changed the rules of the game of what one could portray and inject into putatively mainstream even art house cinema. Performance (1970), Walkabout (1970), Don't Look Now (1973), The Man Who Fell to Earth (1976), Bad Timing (1980) and Insignificance (1985) now have the aura of classics -- as Danny Boyle promotes on the cover copy "he is British film's Picasso." (His 1982 Eureka should be added to this all-time best list but frequently isn't). Published in Roeg's ripe 85th year, The World Is Ever Changing (Faber and Faber, 2013) is a paean to the cinema and its magical properties. As a director who plied his lead actors on Don't Look Now with manuals on medieval sorcery and witchcraft, Roeg sees cinema as the very best amalgamation of "reality, art, science and the supernatural" -- "It has already, and still does, open doors of revelation which will finally show us the future. The future in the 'time conundrum' that has already happened".
Roeg found this Blakean eternity in the dubbing studios of his very first cinema job with the Editola witnessing the miracles of playback. "Running it backwards and forwards fascinated me -- life passing and then returning... this whole idea of connecting film with our minds is still unexplored". Co...
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