1492: What Is It Like to Be Discovered? by Deborah Small

By Deborah Small

World-class artwork and poetry at the colonization of the Americas.

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Enter the medium by which Crowe has been intrigued since he paddled himself around on his parents' film-set catering carts when he was six years old. Enter frame after frame of meticulously engineered art. Enter jump cuts and deliberate, razorsharp shadows and extreme close-ups. Enter multiple takes. Enter whispers. Enter posterity. Film, as Crowe sees it tonight, would change everything. ("Of course," he will later joke to Olivier Bonnard, "it also has its inconveniences. '. And I said: 'Well..

But when it came time to do that scene in the gun shop where Cort's got to show that he's—well, point is, mate, I had the thing completely under my control. I was calling the shots. " "I went to Wales years ago. I needed a Welsh accent, right? Paid my own way so I could live there and get it bang on and do the bloody part. And it was perfect. Do you know what I'm saying right now? It was perfect. Bottom line, mate, I get ready for the film. There is not a time when I'm not ready for the film. Whatever I have to do.

Crowe finds himself troubled by the fact that said good show—all those deliberate movements, all the lines subtly rendered, all the energy—and not just the energy he personally devoted, but the energy actually generated between cast and audience ("can't be created or destroyed" be damned; sometimes, energy is created)—it has all evaporated now. It is lost and will be resuscitated (in a diminished form) only in a review or in an anecdote some theatergoer will tell tomorrow or the next day. In short, the half-life of tonight's charged offering will be about.

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