For “Tracks” (1976), he had no permit, but no matter. Jaglom has been making movies this way since the 1970s. I feel blessed to be in this ensemble: Charlie Matthau, director of “The Grass Harp” and other movies Josh Malina from the much-missed “Sports Night” series fine Brooklyn stage actor Carl Calhoun and Richard Martini, director of “Cannes Man,” a digital film about Henry Jaglom that he says gets into festivals of Dogma films (part of the European movement in which movies are shot with hand-held cameras using available light and no effects or music).įor Jaglom today, we’ll be inventing our dialogue while waiting for wives or girlfriends to finish shopping.
I meet and get acquainted with the other guys in the abundant rose garden under a tall eucalyptus. Zero Mostel said he loved the French definition for a “comedian,” one who heightens drama and enlarges life. I think this is what they call “creative control.” Jaglom shot “Shopping” on the grounds of his own 5-acre estate in Santa Monica, using his guest house (one bedroom, one bathroom) as dressing room, and his gatehouse (two bedroom, two bathrooms) as set. He finances, distributes and even four-walls (rents) a theater in Beverly Hills to show them. Jaglom-Henry to anyone around him-not only writes, directs and often stars in what amount to homemade movies, among them “New Year’s Day” (1989), “Always” (1985) and “Last Summer in the Hamptons” (1995). My feeling? Like many filmgoers, I bemoan Hollywood excess, and they don’t come more independent in moviedom than this 60-year-old maverick. He’s been touted by Roger Ebert for rendering eavesdrop-honest “fictionalized documentaries,” and others have labeled him arrogant and spoiled and a director of self-indulgent talkfests. Fellow Angelenos often ask me what it was like to work as an extra for controversial American auteur Henry Jaglom.
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