Patricia Ree Gilbert
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Symbiopsychotaxiplasm: Take One is a 1968 American experimental documentary film written, directed, co-produced and edited by filmmaker and documentarian William Greaves. [1] The film is shot and presented in the style of a cinéma vérité documentary, attempting to capture and examine pure reality unhindered by the presence of the cameras all ...
Symbiopsychotaxiplasm: Take One: Directed by William Greaves. With Patricia Ree Gilbert, Don Fellows, Jonathan Gordon, Bob Rosen. Filmmaker William Greaves auditioned acting students for a fictional drama, while simultaneously shooting the behind-the-scenes drama taking place.
- (2.5K)
- Documentary
- William Greaves
- 1968-10-28
Symbiopsychotaxiplasm: Two Takes by William Greaves. In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm: Take One, the pioneering William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a breakup scenario over ...
Feb 5, 2015 · “Symbiopsychotaxiplasm: Take One” is now readily available (there is a Criterion edition). It will be screened this Saturday at “Tell It Like It Is: Black Independents in New York, 1968-1986,”...
Symbiopsychotaxiplasm: Take One. Cinéma vérité reaches a new level of reality in Symbiopsychotaxiplasm: Take One (1971, 75 mins.), a film-within-a-film in which director William Greaves dares to break the accepted rules of cinema. It’s 1968 and Greaves and his crew are in New York’s Central Park ostensibly filming a screen test.
Dec 4, 2006 · Symbiopsychotaxiplasm: Take 2 ½ combines material shot in 1968, and originally planned for Take Two, with an update shot thirty-five years later. Actors Audrey Henningham and Shannon Baker, who play the interracial couple in one of the “screen tests” at the end of Take One, are reunited as themselves and as their characters, Alice and Freddie.
Symbiopsychotaxiplasm: Take 2 1/2 (2005, 99 mins.) uses multiple cameras, mixes cinéma vérité and conventional shooting styles, as well as improvisation and scripted dialog to observe and reflect upon the creative aspects of the filmmaking process. Greaves sees the film as an attempt to explore the dividing line between reality and fiction.
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