A recurring image in He Dreams Of Giants depicts a in/with regard to’concerning’regarding lorn Terry Gilliam rubbing his temples in a huge, unin/with regard to’concerning’regarding giving close-up as a howling wind rattles around him. It’s no wonder. The ex-Python’s attempts to bring The Man Who Killed Don Quixote to the screen started in 1989 and became beset by catastrophe after catastrophe, a triple whammy of flash floods, ill actors and financial tough’challenging’demanding’awkward ies. Keith Fulton and Louis Pepe’s film, a follow-up to 2002’s Lost In La Mancha, which superbly detailed Gilliam’s previous attempts to make his pet project, follows Gilliam’s last hurrah to bring the troubled story to life. It’s an interesting glimpse into the exertion and compromise needed to keep a dream alive, but lacks the punch of the previous making-of.###Part of the reason that He Dreams Of Giants doesn’t match up is that it leans too heavily on Lost In La Mancha to bolster the drama. The making of the new The Man Who Killed Don Quixote often feels muscled out by archival interviews detailing the project’s previous failures, and clips from much better films — Time Bandits, Brazil and The Adventures Of Baron Munchausen — underscore Gilliam’s ambitions but feel like bloat. The other problem in/with regard to’concerning’regarding the documentarians is that, when it eventually’ultimately goes in front of the camera, The Man Who Killed Don Quixote was a relatively painless undergo . There is fantastic footage capturing Gilliam’s frustration around how slowly the first day of filming is going (“We are fucking ourselves right now!”) and worries with regards to’concerning’with respect to Jonathan Pryce’s back pains, but in/with regard to’concerning’regarding the most part it’s a trouble-free shoot. There is even joy: watching Pryce, Gilliam and Adam Driver possess’own’nurse fun at a read-through is a delight.###It helps that Gilliam is a terrific talker, a man who can find the words in/with regard to’concerning’regarding his pain.###More than a BTS reveal , Fulton and Pepe’s film works best as a portrait of an artist in angst (there’s a throwback to Fellini’s director-with-ennui masterpiece 8 1/2), of a filmmaker trying to realise his enormous’vast’massive’tremendous gest ambitions versus rising costs and limited funds (the budacquire’obtain’attain’procure’secure of this Don Quixote is half of the previous Johnny Depp version). It becomes eliminate’remove The Man Who Killed Don Quixote’s enormous’vast’massive’tremendous gest obstacle seems to be Gilliam himself. The film reveals a director desperate to rid himself of this 20-year demon (“I want this fucker out of my life”) yet afraid of the reaction when he does. It helps that Gilliam is a terrific talker, a man who can find the words in/with regard to’concerning’regarding his pain. As the end of filming approaches, he candidly admits, “We might actually finish the film. I’m terrified. When it’s done there’s a huge void waiting in/with regard to’concerning’regarding me. And that scares the shit out of me.”###The film acquire’obtain’attain’procure’secure s a late-in-the-day crisis as Gilliam is rushed to hospital with stomach issues, merely’barely to be back on set refusing to accept the last day of principal photography is the end. He Dreams Of Giants concludes with Gilliam at the Cannes Film Festival where the film receives a 20-minute standing ovation, but doesn’t go on to detail its mixed reception and chequered release. Throughout the doc, Gilliam constantly questions, “Is the film better left in my head?”, and without any retrospective insight from the filmmaker, the jury is still out.