stand­out stan­ton

Lucky di­rec­tor John Car­roll Lynch chooses Harry Dean Stan­ton’s finest mo­ments

Empire (UK) - - CINEMA - jonathan Pile

Paris, Texas (1984)

“One of the things he was able to do was to main­tain a sense of the pu­rity of his own truth in the face of the cam­era. He’s ex­tra­or­di­nary here. The last scene be­tween him and Nas­tassja Kin­ski is a heart­break­ing metaphor for a per­son’s in­abil­ity to be in­ti­mate, and he so beau­ti­fully en­cap­su­lated that long­ing through­out the film.”

repo man (1984)

“In Repo Man he was the worst per­son ever. Yet some­how you’re root­ing for him to suc­ceed at some­thing you don’t want any­one to suc­ceed at. That’s a crazy set of emo­tions to be able to put into some­body’s head. He trans­formed in­side of him­self, and that was very in­spir­ing to me. He could tell me two op­pos­ing things and yet I’d be­lieve both fully.”

The straight story (1999)

“In the last five min­utes, with­out words, the en­tire movie flashes be­fore his char­ac­ter’s eyes — you watch him re­alise what Richard Farnsworth has been through, and the re­sent­ment that fu­elled their re­la­tion­ship melts away. All that hap­pens in­side Harry. With­out that per­for­mance, that movie doesn’t work. I think he should have won an Academy Award.”

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