How is this autumns Jean Luc Godard series different from that presented in the fall of 2006?
Heckman: This fall, we are focusing on his post-1968 career. It’s a Godard that gets much less exposure — people still tend to celebrate his New Wave works. What should viewers look for in these later works, other than the fact that they’re mostly in color? Heckman: It’s funny you should say that about color — actually, some films we screen this fall might prove to be less colorful than his pre ‘68 films. When he filmed in color in the 1960s, he was very taken with vibrant, saturated color. One thing he experimented with in some of his later works was a more muted palette. In general, these are difficult films, but very interesting ones. Godard’s works have only become denser with references and meanings as he’s gotten older. Most of them are worth not just one, but repeated viewings. This fall marks the third portion of your multi-year series featuring Satyajit Ray. What’s the emphasis in the programming for this round? Heckman: It’s our season of late, neglected works, I guess – -t
