"In preparation for my Christmas film, White Reindeer, I watched this movie and wrote down a description of every single shot, including each camera move and change in blocking. Not only is Heaven Sirk’s most fully realized, subversive takedown of suburban hypocrisy, it’s also the best Christmas movie of all time, and such a marvel of style and camera direction that you barely notice how intricate its construction is until you force yourself to examine it. Sirk said that, in cinema, “motion is emotion,” and that ethos reaches its zenith in the zoom in on Jane Wyman’s reflection in a television screen. This is nothing less than the greatest dolly movie in cinema history. If anyone ever tells you irony and sincerity can’t coexist, tell them they are painfully, tragically wrong."

"Since my films consist entirely of 16 mm urban landscapes and voice-over, I have always been fascinated by the many ways that other films utilize voice-over. Generally, I think the use of voice-over in film gets an unjustly bad rap. It is one of the most effective and evocative ways to connect the audience directly to a character. Both of these films incorporate innovative first-person monologue. While I admire My Dinner with André for its formal ambitiousness, I confess I don’t really enjoy the bulk of the film itself. But I love the opening and closing, especially the simple shots of New York City and Wallace Shawn’s concluding narration: “I treated myself to a taxi. I rode home through the city streets. There wasn’t a street, there wasn’t a building, that wasn’t connected to some memory in my mind. There, I was buying a suit with my father. There, I was having an ice cream soda after school. When I finally came in, Debbie was home from work. And I told her everything about my dinner with André.” Similarly, the best thing about Days of Heaven is the spectacularly quirky, poignant, complicated, and full-of-life narration by Linda (Linda Manz). Years ago, I had a phone call with the film’s executive producer and second unit director, Jacob Brackman, while I was researching the fabulous 1980 teen runaway adventure Times Square, for which he wrote the screenplay. I don’t recall how we got on the topic of his work on Days of Heaven, but I vividly remember him telling me about how the decision to introduce that voice-over as the primary storytelling vehicle arose out of Brackman and Malick’s realization when watching the dailies that the dramatic dialogue scenes weren’t working. They were in the middle of shooting and had the idea to save the film by sending out a second unit to shoot a ton of natural landscape B-roll and then adding voice-over to the footage. About a year after making Days of Heaven in May 1979, Brackman would go on to complete the screenplay for Times Square, a film that happens to bear an interesting resemblance to Malick’s story of a tough teenage girl with a heavy accent making her way in a hardscrabble environment. Days of Heaven’s Linda claims to be from Chicago, but her at times almost unintelligible accent sounds astoundingly similar to Robin Johnson’s Brooklynese in Times Square."

"Since my films consist entirely of 16 mm urban landscapes and voice-over, I have always been fascinated by the many ways that other films utilize voice-over. Generally, I think the use of voice-over in film gets an unjustly bad rap. It is one of the most effective and evocative ways to connect the audience directly to a character. Both of these films incorporate innovative first-person monologue. While I admire My Dinner with André for its formal ambitiousness, I confess I don’t really enjoy the bulk of the film itself. But I love the opening and closing, especially the simple shots of New York City and Wallace Shawn’s concluding narration: “I treated myself to a taxi. I rode home through the city streets. There wasn’t a street, there wasn’t a building, that wasn’t connected to some memory in my mind. There, I was buying a suit with my father. There, I was having an ice cream soda after school. When I finally came in, Debbie was home from work. And I told her everything about my dinner with André.” Similarly, the best thing about Days of Heaven is the spectacularly quirky, poignant, complicated, and full-of-life narration by Linda (Linda Manz). Years ago, I had a phone call with the film’s executive producer and second unit director, Jacob Brackman, while I was researching the fabulous 1980 teen runaway adventure Times Square, for which he wrote the screenplay. I don’t recall how we got on the topic of his work on Days of Heaven, but I vividly remember him telling me about how the decision to introduce that voice-over as the primary storytelling vehicle arose out of Brackman and Malick’s realization when watching the dailies that the dramatic dialogue scenes weren’t working. They were in the middle of shooting and had the idea to save the film by sending out a second unit to shoot a ton of natural landscape B-roll and then adding voice-over to the footage. About a year after making Days of Heaven in May 1979, Brackman would go on to complete the screenplay for Times Square, a film that happens to bear an interesting resemblance to Malick’s story of a tough teenage girl with a heavy accent making her way in a hardscrabble environment. Days of Heaven’s Linda claims to be from Chicago, but her at times almost unintelligible accent sounds astoundingly similar to Robin Johnson’s Brooklynese in Times Square."