Conclusion
in Karel Reisz
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Karel Reisz's chief motivator as a director, which radically limited the number and types of projects he chose to film, but at the same time guaranteed a clear line of continuity in his own work, was the interior life of his characters. This interest led to his movement away from documentary realism to a more personal, hybrid mode of film-making. Although Reisz kept a firm critical distance from his characters' self-interpellating 'madness', he was also an obvious admirer of the outsider's will-to-power and the subjective, often dreamlike world (Morgan, Isadora, Everybody Wins) that they construct for themselves outside the prevailing Zeitgeist. Reisz was able to sustain this enquiry by radically transforming the nature of cinematic realism as a viable critical medium. Reisz knew when to let the art direction do the work, and when to move the camera in order to open up shifting correlatives within a single take.

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