(Thanks for reading all this month. Here's a comparative review.)
Round 1: Protagonist
Both in Mr. Nobody and Shuffle, the protagonist is trying to find to his own identity by going back and forth across time, like Lovell, or shifting through timelines, like Nemo.
But the difference comes from the perspective. In Shuffle, we have a sense that Lovell is reminiscing the past. That he’s looking throughout his life and come out knowing what is his true identity. But in Mr. Nobody, we see that we are looking towards to the future as the kid decides to make his decision regarding his parent’s divorce. This make the two protagonist diverge in their actions and motives.
Mr. Nobody, we see Nemo never trying to find out why this is happening, but rather just enjoy the flow and let the anomaly be the standard and that’s because he’s exploring his futures, just looking at possibilities. I mean what can you do when you don’t what’s coming?
Shuffle, however, makes Lovell more active in his involvement with him trying to find out why this phenomena is occurring and who do you have to save to break out of this cycle. As he starts to know about his life, he tries to fix it... but to no avail, compare to Mr. Nobody, in which his wanting to fix is always granted but never really factor into the story... instead being the whole motive of Nemo, it’s more like a transition gimmick, quick fixes to jump from one storyline to next.
In fact, Nemo doesn’t seem to have much motive except for finding out his true identity... in every timeline, it seems that Nemo has different priorities in life. From one that is material to one that is about his family to another which is about his love... and so on and so forth. He could be anyone, he could be a good guy one moment and bad guy the next, on the other hand Lovell has a clear motive of finding out who needs to save and getting out of this loop.
Sure, Lovell’s motive were given to him by a little girl but least he has a goal, a destination. Nemo just endlessly drift through possibilities, he doesn’t have a personality because he needs to find one... he doesn’t have conflict, as the timeline whisk the person away from one conflict and into another... and he doesn’t have a defining characteristic other than he doesn’t have one! The audience simply forget to care about him as we know that every obstacle is a farce and that eventually Nemo will settle on his perfect universe.
Overall, Nemo has nothing compared to Lovell, so Lovell is the better character here.
Round 2: The Lovers
In both movies, the protagonist has three lovers. In Mr. Nobody, we have Anna, who represents love and passion, Elise who represent regret and responsibility and Jean, which a example of a loveless marriage. Compared to Shuffle, in which have Grace, the one true love and the angel of the story, Linda who is the helpful second choice and the Nameless, which is also an example loveless relationship...
Now I, for one, are quite angry about the Asian lover being the loveless one, perhaps it’s the inversion of the horrid cliche or the reputation of Asian women being trophy wives but it’s sad to interracial relationship portray this certain way... although two characters are quite different.
Jean, for example, is quite enamoured by Nemo, she’s the only who greets the protagonist, instead of him greeting her. She is undoubtedly excited when Nemo comes up and dance with her, and she is quite upset that Nemo has never truly loved her throughout this marriage.
The Asian girl in Shuffle, on the other hand, was just a one-night stand and probably didn’t knew him very much when they bnaged each other and after respecting his decision to stay off her baby, she retaliates when Lovell wants to be with his son again. Perhaps she was angry at how Lovell just ran away without explanation, but we never truly know her background in the future scenes other that she’s angry at him and now has a husband, who is also white... and mean.
What I’m saying is Jean acts like a real character, one we wish we could see her more in the film than the scenes she got, while the Asian girl in Shuffle is just a badly-patched up character whose only job in the film seem to be the antagonizer for Lovell, and the foil to...
Linda, who Lovell marries after losing Grace. Linda seems like a responsible person, who carried Grace when she was drunk and seem to care for her children and her husband. And, well, that’s really it. Except for blowing the minds of shippers who is shipping Cam and Hodgins... (Camogin? Hodgincam? Hodge-Podge of goodness? I don’t know...)
Elise, however, seems to be the opposite of Linda, who have a serious bipolar disorder when not being exploded by a gas tank. She has a longing for Stefano... which looks like definition of foolish teenage love, and worries constantly about not being a good mother. (Then why you have three children?) Nevertheless, Elise is interesting character and we wait to see if Elise could get any better but she never really does, because Elise is not the right women for Nemo.
Anna is. She’s independent and passionate and have the most screen time and bonding time out of the three lovers. Conflict is one of Romeo and Juliet, where they never seem to get together. Really, it was matter of time before the parents figured out the brother and sister is acting more like lovers. They agree to meet at the lighthouse sometime and they are constantly worries about it... like they don’t have trust or there’s a sudden meteorite that’s going to fall down or something. Also, being never in love so much because you’re waiting for this one guy and when his only love comes back for her, that’s the detriment of the relationship... like if you saved all this time for this one person, why decides to wait? Perhaps it might be foolish but it seems to fit with the headstrong nature I’ve seen before. Anyways, they wait and wait until they finally meet at the end, when Nemo has made his decision.
Grace, however, slightly differs. Like Anna, she is a childhood friend, but Lovell never knew Grace’s love until much later. She seems to affinity for dogs and stands up to Lovell when he needs it... or not, which also similar to Anna. As mentioned before, she’s the angel of the story, one who espouses the meaning of his affliction to Lovell at the end. In all, Grace is seen as a caretaker, who fills up his faults and reinforces his strengths. But, that seems it, really. There’s not conflict between the two. Yes, Grace can’t have a baby and yes, she’s going to die soon, but other than that, they seem to be the perfect couple.
Overall, it looks like the other two lovers of Lovell is just there to complement the perfect relationship of Grace and Lovell, while Nemo’s wives portray contrasting and dynamic structures. It’s the wife that really puts the life in Nemo and all the better for it. Nemo’s lovers handles the complexity while Lovell’s just falters. Mr. Nobody gets a win.
Round 3: Other characters
The parent provide a base for both story, with Mr. Nobody being the central conflict and in Shuffle, a major obstacle. Nemo’s mother is lecherous, clueless woman, in which she doesn’t really realize Anna and Nemo are dating until the father has its suspicion. She tries to do her best ,but fail completely, which make the comparison between Elise and Nemo’s mom that much more potent, their difference being that Mom doesn’t realize how bad of a mother she is and Elise knows it way too well.
Lovell’s contention is with his father, who is a stiff patriarch and the town doctor with a side effect of his narcolepsy, which he ignores for his status when it might... you know, endanger someone like his daughter-in-law. His steadfast behavior is the main conflict in Grace’s love, including her death. In the end, father amends his feelings for Lovell and becomes happy to be a grandfather. He always looks out of Lovell for doesn’t do it the right way, which is what every father goes through at some point.
Nemo’s father doesn’t do much other being a little burden of young Nemo, who escape his misfortune by writing a space story and Lovell’s mother is the counterpart to his father,by supporting Lovell whenever Orson, the father, threatens him.
Other character are quite sparse and only helps to little parts of the story, so it’s really up to the parents and I say, Lovell’s parent are better portrayed.
Lovell’s father is well-imposing and all-too-familiar character and the family scene reminds me of my own family scenes sometimes, while the mother of Nemo is just little be too cartoonish to be any real substance. So, with that Shuffle gets another win.
Round 4: Cinematography
I personally like the cinematography of Shuffle. The color is toned down and muted, therefore giving a photographic effect which fit nicely to the theme of remembering your past. I liked how close much of scene were, which gave me the impression of intimacy as well being inside of a brain of someone. CGI was okay, I mean, it wasn’t spectacular but it wasn’t distracting.
But I have to hand to the massive project of Mr. Nobody. the color are brilliant, the camerawork is amazing and the whole editing give the sense of traveling through timelines very well. Perhaps Shuffle’s cinematography have its purpose, Mr. Nobody takes it one step farther and makes this surreal narrative even more surreal.
Round 5: Story
So, as always, the verdict comes to story. While both story features a gimmick of traveling through your own timeline, the two movie approach in a completely different way. So, let’s do this one by one.
The main story of Shuffle is that one man named Lovell is taken out the chronological burden and starts living in random order... or it seems. Turns out, there’s seemingly guardian who tells Lovell that he’s trying to save someone. Lovell think person to save is Grace, when in fact, it’s himself that needs to be saved as Grace wanted Lovell to look at all his past moment as he has a near death experience. He resolves his life and in the end remembers that he had a fantastic and dies to visit his Grace.
Although having the small town car crash syndrome, the story is quite simple and effective. We visit moments of his life where he had a big impact, and through that plot device, we discover why Lovell is Lovell today. It’s a very novel way to examine a person’s life and the characters fit together quite nicely.
Mr. Nobody is not that simple. Main story here is that Mr. Nobody is 118 years old and people want to know what happened to him, as Nemo tries to recount his story, he realize he’s going to different timelines which split from choosing his mom or dad and finally makes a decision to which life which is he going to live.
This is all good and all but the problem of this story is this. The timelines doesn’t make any sense. There’s some much hanging threads that, for me, tips over from mystery to annoyance. Why does three wives end up in the same city? Why does science segment suddenly switch timelines? Why show drowning in the car as a key feature when it has not much to do with the main plots of the film? The whole thing is a haphazard mess and I know this probably is intentional but for me it’s annoying and quite frankly, quite unnecessary. Sliding Doors and Run Lola Run never had this problem. Yes, some parts of those film were ridiculous but it least made some sense... this movie fail provide that and we end thinking ‘what the heck?’ rather than ‘huh?’
Compare this to Shuffle, which is meant to be a homage to Frank Capra, and manages it very well. Kurt Kuenne have take this fantastical plot device and use the device to create important point about relationship, family and memory. Van Dormael tries to talk about various topics like love and fear but it comes up too didactic and silly. So, it’s Shuffle that takes the cake today.
Monday, March 31, 2014
Sunday, March 30, 2014
March Madness: The Bling Ring
Well, we'll round out the trilogy of female auteur in our 'reel scribbles' series with a Sofia Coppola film, that had been compared to Harmony Korine and Seth Rogen... oh boy. It's The Bling Ring, starring Emma Watson. Very excited.
Very simple intro and an 'in media res' of group of teenagers sneaking off to the house... A 'inside' look at a... loud music... too loud. Love the title and music is okay... They just stole like everything... I should laugh at a English person doing a American accent, but it supposed to be ridiculous... (Yes, I'm saying it's ridiculous) Awkward flashback. I am going to laugh at Leslie Mann doing the accent. Just doesn't fit her... So a boy, insecure, walks into a foreboding high school. Dipsy... Lala... Casual bullying. New kid interest... casual talking. So, this is a dropout school... bad mouth... but no gun (not cool) Stop with the 'fast' jump cuts... you're scaring me. Such a stark cut...
The main girl and the new boy, who is fashion consciousness, and parent around the show business. Cuts are unnerving. So dark as well... So the boy just steal stuff. Who just leave... so, Rebecca... okay. The boy is now talking to a lawyer... obvs. Seems like all the teenager are just... evil? Amoral... Why I have the feeling to lock all the doors. There's bare minimum of soundtrack... stark. Like boy has a conscience but he just really ignores it.
First song... and the montage, it doesn't feel... also where's the... Sofia knows timing. Half party + half business... Hi, Dunst? There's no emotion! Nothing... it's uncomfortable. Even when we are at a party dancing... nothing. Just the beat. Emma dance quite aggressively. What is this, Social Network. I can see that? Yeah, love. Sure...
I just want Leslie Mann doing this forever... (Why are you in this house?) Look at that magazine cut... jsut apropos? What is this, Austin Powers? Anyway, Rebecca and the boy go to Paris Hilton's house... it's so freaky to just not comment how illegal it is. Just like we're in a episode of Through the Keyhole or Cribs or the combination of both... so much stuff... thanks, Coppola.
And our security paranoia is not founded. Everything is a background. You're such a good liar... because you have nothing. NOTHING! You are the lie! There's no inside security??? Seriously? There's not much plot in this thing... it's just observation. Little handheld. Why you have money inside? After much leering and (and Watson pole-dancing!) everything has no passion... even the car crash has no passion! Just the profile picture... that sucks out whatever there was.
The angle that emulate different surveillance camera, even though there is none... is interesting. Yes, taking the dog... like as they don't have logic... it's empty but with all the materials.
The movie doesn't say they are bad, because there is no bad... here. Random cutaways... there's been horrible example of this. There are house hunters... also there that security camera(?) shot again? Little zoom in at the end... seems no purpose.
Everything is either actual background or nothing... very little additional sounds. Dog door, beautiful. The boy has that little consciousness that makes it interesting... only real conflict. It's like The Stranger... they don't care about anything... the gun was loaded and they don't care. I know what Mr. Murphy is saying. And we're back to the start... That's too symbolic. Why? It's halfway through the movie... and justice comes in. Halfway!
When you watch Bad Movie Beatdown and seeing the appalling-ness of the current movies. This is the result... or the cause. Straight to the black market... drug and illicit affairs... then the mind-blowing sounds! When there's soundtrack, it's blows the whole brain away... (it doesn't end)
Actual lead-in, what is this movie? Family is either a construct or a formality. Crashing a house... Well, conflict. Her name is a Rebecca. It's not the police. Anger and emotion are now currencies... The main girl is... hooked? I guess. Manipulative... kind of. Are they going to get caught?
Good assessment... Oh god, stop with the loud soundtrack! My eyes... (Emma is a good dancer) A bang cut! Oh my god. Off to Lohan... There's strange moment of slow-motion... it's weird. Here's the camera. The cuts! There's martial strife, never mentioned. Boy tells the truth. Bulglarized? Seriously? That's not a word. The police is non-existent. Here's the police! Look at the soundtrack... it's very interesting.
Police sack the whole crew. It's was so obvious. I love how the nervous one was nonchalant and the cool and collected one was so upset. It's strange. Like the boy knew it.... and just wait for the days and the others didn't. All member at their place... like automatons. What a evil girl.
Of course, she's going to lie... she planned this out. Now that's a catchy title... that was precious. Rebecca blocked him... of, course. Look all the performance. I love the bickering of Mann and Watson. Everything is calculated... which is interesting. It's the culture. Does she have a goal...? I don't even know.
The boy really knows what's the tragedy here and he gives the spirit of the article... Back to normal? Well, the status is always unchanging. Look at the rehearsal... also security. (Very was little British) Good thing I know Korean... also it doesn't really matter. The blandness in compelling... the court just ends like that... with a slow motion walkout. So, the justice prevails. Right? The person behind looks weirdly at him. Look at him despondent... but with a knowing sadness.
Nikki... that's the name... awkward... she's a minor celebrity. What a great liar and omission-er. Great ending... I love the ending.
Final Verdict: A postmodern... piece. The ending was interesting but overall it was dull... purposefully dull. There wasn't a lot going on... well there were ,but there was no excitement. Overall, Coppola blames the events to the society itself. Not just the materialism or the apathy of Hollywood but the fact that our humanity is commoditized. If love or fame or happiness is sold and branded... what is left for humanity? It's a very hollow and dark feeling. A little bit of Stranger. A little bit of absurdist, not in the philosophy but in the outcome... no real motive... or consequences. Law and justice and morality is non-existent to them. It's very strange... very uncomfortable, indeed.
Very simple intro and an 'in media res' of group of teenagers sneaking off to the house... A 'inside' look at a... loud music... too loud. Love the title and music is okay... They just stole like everything... I should laugh at a English person doing a American accent, but it supposed to be ridiculous... (Yes, I'm saying it's ridiculous) Awkward flashback. I am going to laugh at Leslie Mann doing the accent. Just doesn't fit her... So a boy, insecure, walks into a foreboding high school. Dipsy... Lala... Casual bullying. New kid interest... casual talking. So, this is a dropout school... bad mouth... but no gun (not cool) Stop with the 'fast' jump cuts... you're scaring me. Such a stark cut...
The main girl and the new boy, who is fashion consciousness, and parent around the show business. Cuts are unnerving. So dark as well... So the boy just steal stuff. Who just leave... so, Rebecca... okay. The boy is now talking to a lawyer... obvs. Seems like all the teenager are just... evil? Amoral... Why I have the feeling to lock all the doors. There's bare minimum of soundtrack... stark. Like boy has a conscience but he just really ignores it.
First song... and the montage, it doesn't feel... also where's the... Sofia knows timing. Half party + half business... Hi, Dunst? There's no emotion! Nothing... it's uncomfortable. Even when we are at a party dancing... nothing. Just the beat. Emma dance quite aggressively. What is this, Social Network. I can see that? Yeah, love. Sure...
I just want Leslie Mann doing this forever... (Why are you in this house?) Look at that magazine cut... jsut apropos? What is this, Austin Powers? Anyway, Rebecca and the boy go to Paris Hilton's house... it's so freaky to just not comment how illegal it is. Just like we're in a episode of Through the Keyhole or Cribs or the combination of both... so much stuff... thanks, Coppola.
And our security paranoia is not founded. Everything is a background. You're such a good liar... because you have nothing. NOTHING! You are the lie! There's no inside security??? Seriously? There's not much plot in this thing... it's just observation. Little handheld. Why you have money inside? After much leering and (and Watson pole-dancing!) everything has no passion... even the car crash has no passion! Just the profile picture... that sucks out whatever there was.
The angle that emulate different surveillance camera, even though there is none... is interesting. Yes, taking the dog... like as they don't have logic... it's empty but with all the materials.
The movie doesn't say they are bad, because there is no bad... here. Random cutaways... there's been horrible example of this. There are house hunters... also there that security camera(?) shot again? Little zoom in at the end... seems no purpose.
Everything is either actual background or nothing... very little additional sounds. Dog door, beautiful. The boy has that little consciousness that makes it interesting... only real conflict. It's like The Stranger... they don't care about anything... the gun was loaded and they don't care. I know what Mr. Murphy is saying. And we're back to the start... That's too symbolic. Why? It's halfway through the movie... and justice comes in. Halfway!
When you watch Bad Movie Beatdown and seeing the appalling-ness of the current movies. This is the result... or the cause. Straight to the black market... drug and illicit affairs... then the mind-blowing sounds! When there's soundtrack, it's blows the whole brain away... (it doesn't end)
Actual lead-in, what is this movie? Family is either a construct or a formality. Crashing a house... Well, conflict. Her name is a Rebecca. It's not the police. Anger and emotion are now currencies... The main girl is... hooked? I guess. Manipulative... kind of. Are they going to get caught?
Good assessment... Oh god, stop with the loud soundtrack! My eyes... (Emma is a good dancer) A bang cut! Oh my god. Off to Lohan... There's strange moment of slow-motion... it's weird. Here's the camera. The cuts! There's martial strife, never mentioned. Boy tells the truth. Bulglarized? Seriously? That's not a word. The police is non-existent. Here's the police! Look at the soundtrack... it's very interesting.
Police sack the whole crew. It's was so obvious. I love how the nervous one was nonchalant and the cool and collected one was so upset. It's strange. Like the boy knew it.... and just wait for the days and the others didn't. All member at their place... like automatons. What a evil girl.
Of course, she's going to lie... she planned this out. Now that's a catchy title... that was precious. Rebecca blocked him... of, course. Look all the performance. I love the bickering of Mann and Watson. Everything is calculated... which is interesting. It's the culture. Does she have a goal...? I don't even know.
The boy really knows what's the tragedy here and he gives the spirit of the article... Back to normal? Well, the status is always unchanging. Look at the rehearsal... also security. (Very was little British) Good thing I know Korean... also it doesn't really matter. The blandness in compelling... the court just ends like that... with a slow motion walkout. So, the justice prevails. Right? The person behind looks weirdly at him. Look at him despondent... but with a knowing sadness.
Nikki... that's the name... awkward... she's a minor celebrity. What a great liar and omission-er. Great ending... I love the ending.
Final Verdict: A postmodern... piece. The ending was interesting but overall it was dull... purposefully dull. There wasn't a lot going on... well there were ,but there was no excitement. Overall, Coppola blames the events to the society itself. Not just the materialism or the apathy of Hollywood but the fact that our humanity is commoditized. If love or fame or happiness is sold and branded... what is left for humanity? It's a very hollow and dark feeling. A little bit of Stranger. A little bit of absurdist, not in the philosophy but in the outcome... no real motive... or consequences. Law and justice and morality is non-existent to them. It's very strange... very uncomfortable, indeed.
Saturday, March 29, 2014
March Madness: Problem with Fiction
Idea Channel recently did two part episode about fiction and the realness of fiction. Mike Rugnetta talks about fictional objects having properties and therefore existence, even without reference, as in there’s no example of this object (as that’s the definition of fiction). But in the end, Mike talks about what I call the Duck Amuck corundum, as in can we change some aspect of the fictional object and still identify as that of the original fictional object, as Chuck Jones put it,
"Who is Daffy Duck anyway? Would you recognize him if I did this to him? What if he didn't live in the woods? Didn't live anywhere? What if he had no voice? No face? What if he wasn't even a duck anymore?"
And if you seen Duck Amuck, answer probably is yes. We have seen Daffy Duck throughout the cartoon, he didn’t just poof out of existence and pop back again in the end. He was really there, present at all the scenes. It’s like a super-amped Ship of Theseus, what if we replace one part of ship with metal or a engine till it turned to a robot or a car or a living being, is that The Ship? Or something else completely? And if so, when did the ship disappear?
Mike goes in a different point-of-view talking about all the possible Harry Potter from all the different writers and artists and actors and saying that all of these depiction of ‘The Boy Who Lived’ exist or is Harry Potter, then we should lose all concept of Potter.... That empty reference, or do we have to manually check it ourselves?
That’s where Kissing in the Rain come in. The series could be appreciated of two actors unwittingly kissing in the rain, over and over again and hijinks that ensues at that fate. But at the background, the creator Yulin Kang is devising an experiment that would the ideas above.
Basically he’s letting the fans fill in the gaps. All that Wild Mass Guessing and conspiracy theory about Lily and James could become true and ‘canon’ as the series progress. There’s a tumblr blog in which the production team collects all fanfics that became... canon, and you can build on this new canon to propel the story.
This harken back to the first part of Mike Rugnetta’s video where he wonders if the London in Wars of The Worlds that was not explained... real? Yulin Kang admits that the episodes in Kissing in the Rain does not tell the whole story. It’s only the part the production team imagined at the time... and that others can imagine the other parts and that would be... real! Well, in a some sense. Mike goes on to talk possibilism and ‘World as Myth’ ideas... which either silly or true (or both)... but let’s get back to the topic.
I talked (it’s deleted) about the corundums of fiction and reality with respect to Lizzie Bennet Diaries and Versus Valerie. Namely, how web brings the pretense of realness to fictional character to the new level and how interaction gives a corundum of what is real, like what we talked above. (I have to go into little more detail since I can find the original post, so the corundum is this. On one side, we have a character who thinks she’s real and that world she’s inhibiting is real and follows the same laws as our world, while on the other side we have people who ‘know’ she’s not ‘real’ and that they basically know how the ‘story’ will progress. Yet they are interacting with each other. On Versus Valerie corundum goes that we had the above pretense, without knowing the ‘future’ part, and then we have a ‘different’ ‘interpretation’ that is more traditional, as in there’s no interaction and yet the interactive series continue! So we have a character in which we can interact and one that peer into her thoughts. Creepy.)
There’s another example that I want to share and that Will Dixon’s Timespawning series which is really confusing, but that’s not the point here. The point is that Will Dixon gave up ‘control’ of the series and let the fans continue the story... But the question goes can you really give up that power... or is the object within the Timespawning multiverse inherently his? Or if all the possibility of the Timespawning by the fans real... then what is real? Isn’t that confusing for you?
Because it sure is for me. All these internet stories crumbling the unwritten rules of fiction and disseminating to unimaginable pieces. At least, the stories are nice.
"Who is Daffy Duck anyway? Would you recognize him if I did this to him? What if he didn't live in the woods? Didn't live anywhere? What if he had no voice? No face? What if he wasn't even a duck anymore?"
And if you seen Duck Amuck, answer probably is yes. We have seen Daffy Duck throughout the cartoon, he didn’t just poof out of existence and pop back again in the end. He was really there, present at all the scenes. It’s like a super-amped Ship of Theseus, what if we replace one part of ship with metal or a engine till it turned to a robot or a car or a living being, is that The Ship? Or something else completely? And if so, when did the ship disappear?
Mike goes in a different point-of-view talking about all the possible Harry Potter from all the different writers and artists and actors and saying that all of these depiction of ‘The Boy Who Lived’ exist or is Harry Potter, then we should lose all concept of Potter.... That empty reference, or do we have to manually check it ourselves?
That’s where Kissing in the Rain come in. The series could be appreciated of two actors unwittingly kissing in the rain, over and over again and hijinks that ensues at that fate. But at the background, the creator Yulin Kang is devising an experiment that would the ideas above.
Basically he’s letting the fans fill in the gaps. All that Wild Mass Guessing and conspiracy theory about Lily and James could become true and ‘canon’ as the series progress. There’s a tumblr blog in which the production team collects all fanfics that became... canon, and you can build on this new canon to propel the story.
This harken back to the first part of Mike Rugnetta’s video where he wonders if the London in Wars of The Worlds that was not explained... real? Yulin Kang admits that the episodes in Kissing in the Rain does not tell the whole story. It’s only the part the production team imagined at the time... and that others can imagine the other parts and that would be... real! Well, in a some sense. Mike goes on to talk possibilism and ‘World as Myth’ ideas... which either silly or true (or both)... but let’s get back to the topic.
I talked (it’s deleted) about the corundums of fiction and reality with respect to Lizzie Bennet Diaries and Versus Valerie. Namely, how web brings the pretense of realness to fictional character to the new level and how interaction gives a corundum of what is real, like what we talked above. (I have to go into little more detail since I can find the original post, so the corundum is this. On one side, we have a character who thinks she’s real and that world she’s inhibiting is real and follows the same laws as our world, while on the other side we have people who ‘know’ she’s not ‘real’ and that they basically know how the ‘story’ will progress. Yet they are interacting with each other. On Versus Valerie corundum goes that we had the above pretense, without knowing the ‘future’ part, and then we have a ‘different’ ‘interpretation’ that is more traditional, as in there’s no interaction and yet the interactive series continue! So we have a character in which we can interact and one that peer into her thoughts. Creepy.)
There’s another example that I want to share and that Will Dixon’s Timespawning series which is really confusing, but that’s not the point here. The point is that Will Dixon gave up ‘control’ of the series and let the fans continue the story... But the question goes can you really give up that power... or is the object within the Timespawning multiverse inherently his? Or if all the possibility of the Timespawning by the fans real... then what is real? Isn’t that confusing for you?
Because it sure is for me. All these internet stories crumbling the unwritten rules of fiction and disseminating to unimaginable pieces. At least, the stories are nice.
Friday, March 28, 2014
March Madness: The Art Assignment
A quick and dirty review today.
The Art Assignment is a PBS digital production hosted by Sarah Urist Green. Well, PBS is really only the funder, as The Art Assignment staff are mostly from the 'nerdfighteria' studios, which got their start from a grant by Google in 2011 to start Crash Course and SciShow and soon became a 10+ channel empire.
The 'nerdfighteria' studios consist of two arms which are separated by geography. Indianapolis, or John side, does most of the series by the 'production' and outsource much of their pay, while Missoula, or Hank side, does the merchandise with occasional filming of SciShow and Crash Course.
Which means to say that The Art Assignment aligns more closely with Metal Floss or The Brain Scoop than PBS Idea Channel or Off/Book, which is also a PBS digital production. But still there's that PBS feel that exude from this series, perhaps it's the gentle soothing music and emphasis on art and the media rather than science and facts.
Sarah Urist Green, once known as 'The Yeti' by her husband and occasional co-host, John Green because she avoid the camera on the Vlogbrothers channel, actually does a competent job at running the show and the shyness before actually prevails here as she steps to the background most of the time and let the artist and the art speak for itself.
This gives an ease of causality, that you are not forced to do this assignment, or be pressured into needless perfection, rather you could take a casual stroll or dive in deep without the series losing its atmosphere. The banter of the couple is great with John Green, dutifully playing the clueless 'normal' person, while giving his own insights and the artists not only shows their creative prowess but the humane nature underneath, which is the key difference of seeing things on the web compared to TV or film, the interactive-ness.
Overall, Sarah makes a great foray to the burgeoning web media, with enabled interactivity and humane spirit of the show within. A wonderful show to tune in every week.
The Art Assignment is a PBS digital production hosted by Sarah Urist Green. Well, PBS is really only the funder, as The Art Assignment staff are mostly from the 'nerdfighteria' studios, which got their start from a grant by Google in 2011 to start Crash Course and SciShow and soon became a 10+ channel empire.
The 'nerdfighteria' studios consist of two arms which are separated by geography. Indianapolis, or John side, does most of the series by the 'production' and outsource much of their pay, while Missoula, or Hank side, does the merchandise with occasional filming of SciShow and Crash Course.
Which means to say that The Art Assignment aligns more closely with Metal Floss or The Brain Scoop than PBS Idea Channel or Off/Book, which is also a PBS digital production. But still there's that PBS feel that exude from this series, perhaps it's the gentle soothing music and emphasis on art and the media rather than science and facts.
Sarah Urist Green, once known as 'The Yeti' by her husband and occasional co-host, John Green because she avoid the camera on the Vlogbrothers channel, actually does a competent job at running the show and the shyness before actually prevails here as she steps to the background most of the time and let the artist and the art speak for itself.
This gives an ease of causality, that you are not forced to do this assignment, or be pressured into needless perfection, rather you could take a casual stroll or dive in deep without the series losing its atmosphere. The banter of the couple is great with John Green, dutifully playing the clueless 'normal' person, while giving his own insights and the artists not only shows their creative prowess but the humane nature underneath, which is the key difference of seeing things on the web compared to TV or film, the interactive-ness.
Overall, Sarah makes a great foray to the burgeoning web media, with enabled interactivity and humane spirit of the show within. A wonderful show to tune in every week.
Thursday, March 27, 2014
March Madness: Love's a Bitch, 8 Dates, Meet Zoe and other stuff...
(this was a script for a pilot that never took off. Well, least that's what I like to think of as)
Hello and welcome to YouTube Recommendation. I’m David Kim. And today’s first recommendation comes from Jezebel and it’s a web series about breaking up.
Love’s a Bitch, produced by Jeff Schwartz, you know that guy is who is too nerdy on Collegehumor... and stars Jamie Lee... you know her, is about (as I said earlier) mutual break-up that goes (as always) awry.The series is quick-paced with humor sprinkled throughout and overall it’s a solid web series for those who think it’s over but it’s not... but it actually reminds me of a different romantic love series.
The 8 Date is story of Ava, who is... not good at dating. Matt, her cousin, is a waiter and pressure Ava to date every week for 8 weeks, hence 8 dates. There’s vlogging and dating and all that good stuff, but what I really like about this series is that it’s an independent series created by one my favorite creators , Matt Koval. Like all Koval’s work, the music is superb and humor is nicely subtle. Also I like the sequence of starting with Ava vlogging about the date, which cuts to the actual professionally made segment of the date and comes back to vlogging when the disaster happens, then after the outro, there’s the obligatory responding to comments with funny jokes in between. This really makes the fictional date sit nicely in the line between “I’m making a video/entertaining an audience” part of vlogging and “Actual showing of real life” part of vlogging and therefore doesn’t stick out as much. And I think all vlog series need to find that balance.
It’s short, it has a nice arc and it ends with a sad book end that is perfect for any valentine’s day. I really like this show when it came out and still like it today, and the guest stars are a plus. So I recommend you watch 8 dates, along with Life’s a Bitch.
My next recommendation come from Michelle Potter, friend of the show, and it’s called Limit Does Not Exist and it features Alivia, yes Alivia with an A... and they are basically asking a bunch questions from their experience together... I really like the fresh approach to questionnaire video and I really like this girl, Alivia... her channel is “MeetZoe” which makes you wonder how Alivia has a channel named MeetZoe? Is her middle name Zoe, or is it the other way around? Alivia, long for Zoe, somehow? Well, it’s a complicated story.
See, MeetZoe was originally hosted by Zoe, who was this weird Australian gal... that did stuff, it’s hard to say... anyway, people liked her then she disappeared, with a notice saying that she is holding a contest to see who’s getting their channel and Alivia was the one. Yeah... that’s that. Pretty weird, isn’t it? Just disappeared, with no info on sight. Wonder where she’s gone...
Wait, you know where Zoe might be? You think you seen her... in this video? Well, let’s roll the tape! (Rewind sound) The 8 Date is story of Ava, who is... huh, let’s go back to Zoe... (Rewind sound) Zoe, who was this weird Australian gal... Well, that is the exact same girl! That’s why I couldn’t make her up... she was acting!
Well, yes. It turns out Zoe was not a Perth-born aspiring actress named Zoe, but Perth-born aspiring actress named Mem. And yes, she’s not a clueless maniac, she just plays one on the Web. Seriously, Ava is just Zoe with an American accent, if you think about it... strange type-casting.
So, basically what I’m saying is... this is weird. So, you have two different fictions. One, which clearly implies it’s fiction and one who does not. 8 Dates, tries make this fiction real, as in communication and mutability with the characters, but there’s always implication that it’s an simulation, that this is a trick... Zoe, on the other hand, doesn’t imply the trick of fictionality. You could go on believing Zoe’s real and... go on with your life. Whether Zoe is real or not... doesn’t really factor into the story. Yes, it’s an conceit but a loose one, one which you could satisfy as a Australian girl taking random stuff and taking on LA or an Australian girl playing a clueless young aspiring actor... the joy is not lost.
These type of stories question the problem of belief in fiction. Is Ava an creation of Matt Koval? Well, not really as she builds on the ideas of the commenters. Is Zoe fiction? What to those who thinks she’s real? Doesn’t that belief justify the realness of Zoe? Whether you think Zoe is real or fake, Zoe is a same person who puts out the same videos. So, how’s that fictionality any important? The content is same... and that’s probably something we need to think about for a long while.
Yes, this was a response to Mike at the Idea Channel. So, watch Mike’s video and what the heck?; watch all the videos I mentioned in the description. I recommend it.
Hello and welcome to YouTube Recommendation. I’m David Kim. And today’s first recommendation comes from Jezebel and it’s a web series about breaking up.
Love’s a Bitch, produced by Jeff Schwartz, you know that guy is who is too nerdy on Collegehumor... and stars Jamie Lee... you know her, is about (as I said earlier) mutual break-up that goes (as always) awry.The series is quick-paced with humor sprinkled throughout and overall it’s a solid web series for those who think it’s over but it’s not... but it actually reminds me of a different romantic love series.
The 8 Date is story of Ava, who is... not good at dating. Matt, her cousin, is a waiter and pressure Ava to date every week for 8 weeks, hence 8 dates. There’s vlogging and dating and all that good stuff, but what I really like about this series is that it’s an independent series created by one my favorite creators , Matt Koval. Like all Koval’s work, the music is superb and humor is nicely subtle. Also I like the sequence of starting with Ava vlogging about the date, which cuts to the actual professionally made segment of the date and comes back to vlogging when the disaster happens, then after the outro, there’s the obligatory responding to comments with funny jokes in between. This really makes the fictional date sit nicely in the line between “I’m making a video/entertaining an audience” part of vlogging and “Actual showing of real life” part of vlogging and therefore doesn’t stick out as much. And I think all vlog series need to find that balance.
It’s short, it has a nice arc and it ends with a sad book end that is perfect for any valentine’s day. I really like this show when it came out and still like it today, and the guest stars are a plus. So I recommend you watch 8 dates, along with Life’s a Bitch.
My next recommendation come from Michelle Potter, friend of the show, and it’s called Limit Does Not Exist and it features Alivia, yes Alivia with an A... and they are basically asking a bunch questions from their experience together... I really like the fresh approach to questionnaire video and I really like this girl, Alivia... her channel is “MeetZoe” which makes you wonder how Alivia has a channel named MeetZoe? Is her middle name Zoe, or is it the other way around? Alivia, long for Zoe, somehow? Well, it’s a complicated story.
See, MeetZoe was originally hosted by Zoe, who was this weird Australian gal... that did stuff, it’s hard to say... anyway, people liked her then she disappeared, with a notice saying that she is holding a contest to see who’s getting their channel and Alivia was the one. Yeah... that’s that. Pretty weird, isn’t it? Just disappeared, with no info on sight. Wonder where she’s gone...
Wait, you know where Zoe might be? You think you seen her... in this video? Well, let’s roll the tape! (Rewind sound) The 8 Date is story of Ava, who is... huh, let’s go back to Zoe... (Rewind sound) Zoe, who was this weird Australian gal... Well, that is the exact same girl! That’s why I couldn’t make her up... she was acting!
Well, yes. It turns out Zoe was not a Perth-born aspiring actress named Zoe, but Perth-born aspiring actress named Mem. And yes, she’s not a clueless maniac, she just plays one on the Web. Seriously, Ava is just Zoe with an American accent, if you think about it... strange type-casting.
So, basically what I’m saying is... this is weird. So, you have two different fictions. One, which clearly implies it’s fiction and one who does not. 8 Dates, tries make this fiction real, as in communication and mutability with the characters, but there’s always implication that it’s an simulation, that this is a trick... Zoe, on the other hand, doesn’t imply the trick of fictionality. You could go on believing Zoe’s real and... go on with your life. Whether Zoe is real or not... doesn’t really factor into the story. Yes, it’s an conceit but a loose one, one which you could satisfy as a Australian girl taking random stuff and taking on LA or an Australian girl playing a clueless young aspiring actor... the joy is not lost.
These type of stories question the problem of belief in fiction. Is Ava an creation of Matt Koval? Well, not really as she builds on the ideas of the commenters. Is Zoe fiction? What to those who thinks she’s real? Doesn’t that belief justify the realness of Zoe? Whether you think Zoe is real or fake, Zoe is a same person who puts out the same videos. So, how’s that fictionality any important? The content is same... and that’s probably something we need to think about for a long while.
Yes, this was a response to Mike at the Idea Channel. So, watch Mike’s video and what the heck?; watch all the videos I mentioned in the description. I recommend it.
Wednesday, March 26, 2014
March Madness: Across the Universe
Hello, welcome back to 'reel scribbles' where my thought are recounted and recorded in stimulation of a movie.
Continuing the female director trend, today's movie is Julie Taymor's 2007 movie, Across the Universe.
We start with a man sitting a beach Is this James Blunt? No, this is actually good. Man starts to tell a story about a girl... like Lord of the Rings? Paper and waves and military in collage. The scene coalesces to a disco ball in a 50's dance. Turning to 70's rave Showing the universality of Beatles... I get it Taymor... Two love story... different aesthetic, same story.
Liverpool? Dockyard. A man is getting his last paycheck... because he's going to America! The boy scretly opens a box... mother and father in WWII. The girlfriend is little pissed, but a song makes it better. This is slightly uncomfortable at this moment. Other boy is gone to war... Dayton, a cheerleader starts the next song. It's the other boyfriend, the quarterback... typical. Hey, look out... stop your nonchalant walking here... this is not a... oh, okay carry on. The girl is now hitchhiking... or is it the boy? Boy is in college? Well, a different boy is rushing and a meet that boy hitchhiking. The boy meets... well, his father, it seems.
Jude and Mr. Huebert gets a awkward conversation. Blonde boy brakes a window using a golf ball and runs to the boy again. Blonde boy is Max... after little college Newsies... I like this use of convention of musicals. Also, why is Joe Crocker song on a Beatles musical (little late for that joke, son.)
Who are you (Insert Shuffle line here) and what with adoption. Lucy? Who's Lucy? Oh, that girl... I forgot. After a typical song... we cut to Jude and the Hold Your Hand girl then back to Lucy. Okay... Lucy is Max's... sister? Heartwarming... much like real Thanksgiving. (Joke was lost there.) Good job... anger is awkward... Taymor has a weird arguing scene. Lucy and Jude talk that earlier storyline. Normal... hahaha... it got awkward, again.
Bowling scene song okay... I like the acoustic setting... then this is weird. Bad CGI! New York. Grimy tenant. The house is nicer. Hi, Sadie? Aspiring fox... I guess. Nice subversion!! Is there a alien attack? Well someone's dead... race riots... U2 will crying with joy with this... promo piece? Lucy's boyfriend, I think is dead. Is this Vietnam... Korea, maybe? Black boy is lying in state. This already four storylines, it's too much.
Fade to black boy riding a bus. Always interesting how the singer is always announced and everywhere? Taymor can definitely lead a several people. Jude likes drawing. After introducing 60's New York... black guitarist plays for Sadie. Jude give prints. A husky pimp and a nice work. Jo-Jo and Jude talks music and Prudence pops in to merge the story. Masterful work, Taymor. Lucy wants to flees to New York... true... I can see the Gilligan cut. Sadie is the main singer. That was... weird. Thanks. It's a good enough intro. Free love and stuff... (Michael Aranda non-existence is the term... you need to dig for the reference.) Deli. Max gets the induction. Prudence... thank you. Max burns and... dodges.
He won a medal... thank you for that info. Emotion flees to awkwardness for some reason. Well, Jude is exempt... and painting. Great Unwashed... what a term. Abandoned place and throwing the cop off. Again, the song just popped... like give a transition. So, that's the conflict... that was a haphazard one. You have a weird penchant for jump cuts. So... Max... your sister with your friend? Little pissed. Max goes for inspection. It was imposing then it got funny so that's that. Am I in a Terry Gilliam movie again. That was just too much... Taymor. Learn French or die. Sadie and Joe are together with reprise and Prudence just wants revenge. You should check your psychiatrist with this behavior.
Dear Prudence... funny. Am I in Harry Potter now? Peace march... I see. Washington Square... LBJ is a long way there. Are you Steve Jobs? What with Max? Sadie and the manager gets a meeting. Okay, maybe the manager is more of a executive. The big party for the tenants... pink punch is new? (Also, Prudence just written out... just have to point that out.) Awful... slowly turning. That's your trip sequence... just feels weak. No, no, no... That's the film developed. Summer house? HQ of summer stuff. Stop with the face. Just... oh, he left. Oh, it's Lucy who's talking 'stone'. (Nice twist.) I'm still thinking this is Terry Gilliam. Not you.
Well, this is just silly... with a silly person. Prudence??? Ah, don't... I'm not in the 60's, I'm in the bad part of the 90's... uk. So we found Prudence (what a coincidence) now we're in Louisana. Or in Signs. This is the multiple couple sing the same song trope thing... is this supposed to be renaissance? Get to the chopper... (too apropos?)
Max in Vietnam... Jude still drawing. Lucy serving and working. Something disappeared... Jude sings... well. Lucy's a busy women... destined to death... Sadie and the PO Boys are doing well. Jude worry without Lucy. I really hope this is a stage fight... nope, nope, this is real. Well, Joe can carry on his own. Daniel's supports... I don't know. Hmmm... I hint that this might be setting up for a very classic plot. Sadie hits the road home. Jude has a road block. Oh, there's Steve Jobs... Liverpool got strong over the year... Living-work room, like that combo.
This is really awkward conflict but it feels real, so that's nice. Jude smokes hard... (Ooh, I know what song is coming) Look at that art. Vietnam is Nebraska-y this year.Ah, I see the red. There's a... it's a metaphor. I get it. Don't need to press it... Don't press it. Zoom out washing machine. Lucy zoning out. Jude got a job. Parker or Jobs... Laundromat... I lost my thought. I mean, it's not that kind of war... There is 49 women... this argument scene is quite nice actually... You never see him... period. You kind of... whatever.
MLK assassination. Now we finally get the timeline. So, it started in '64... It must have been. Joe sing to a empty lounge. Sadie is such a diva... Jude goes to drinking. See the mess... seriously that's the face. does the baby want a lollipop? Least Jude is hanging out with a friend. Well, Lucy left. Look at that mustache... alternate universe... I see. Nice composition. Nihilism and passion. Three POV colliding in a dangerous way. Well, Lucy is going down and Max... still fighting. It looks like a stage. Oh, that's blood. Well, that was a BLAM... yes, the floating heads... nice.
Jude is locked in. (Irony? Coincidence? It's something.) Oh, it's the father, you know from a hour ago. Oh, also Jude is going back, so that thread is going to tie. Liverpool, once again. Hey, girlfriend is married. That's nice. Again, awkward. But needed awkwardness. Liverpool is grimy but so nice. Max is severe shock and Lucy is visiting. That is a shock. Nice. Also, Max didn't really change a bit. (Oh, that must have hurt.)
Fade to, another demonstration. Hello, mom. You still talking about Daniel... Stay in the box. Just you won't die... I think. Max looks on. Joe is playing somewhere. Lucy return to that fateful room. What is with the original music...? Okay, but yeah bombs... not good. Jude is back working in the docks. Too fast. Is Lucy dead? I don't think... well we're now back to the frame. Lucy and Max look out to the world. Jude look back. What's he going to do...
Down a pint for Jude and Max. Hey Jude ends the story and for a better ending. So, Jude goes back to find the love... least for the last time. Come on, Eileen? Jude and Max finally meet. Sadie is on the chart. ON the rooftop back with Joe. Oh, look at that design. Oh, everything is coming back together. Don't try to drawn out and Jude? Jude? Don't end like this... oh, okay. Please do end like this. Are you ripping off Love Actually... seriously. Okay, I'm fine with that! That is quite a nice touch.
Lucy's song come at the end.
Final thoughts: It's cheesy at some points and stupid at others but overall it's nice. Also, if don't like musicals and someone else just like it and want you change your mind... this might be the one to start. Just saying. Overall, a nice production. (Also... yeah, that's what I thought, also huh.)
Continuing the female director trend, today's movie is Julie Taymor's 2007 movie, Across the Universe.
We start with a man sitting a beach Is this James Blunt? No, this is actually good. Man starts to tell a story about a girl... like Lord of the Rings? Paper and waves and military in collage. The scene coalesces to a disco ball in a 50's dance. Turning to 70's rave Showing the universality of Beatles... I get it Taymor... Two love story... different aesthetic, same story.
Liverpool? Dockyard. A man is getting his last paycheck... because he's going to America! The boy scretly opens a box... mother and father in WWII. The girlfriend is little pissed, but a song makes it better. This is slightly uncomfortable at this moment. Other boy is gone to war... Dayton, a cheerleader starts the next song. It's the other boyfriend, the quarterback... typical. Hey, look out... stop your nonchalant walking here... this is not a... oh, okay carry on. The girl is now hitchhiking... or is it the boy? Boy is in college? Well, a different boy is rushing and a meet that boy hitchhiking. The boy meets... well, his father, it seems.
Jude and Mr. Huebert gets a awkward conversation. Blonde boy brakes a window using a golf ball and runs to the boy again. Blonde boy is Max... after little college Newsies... I like this use of convention of musicals. Also, why is Joe Crocker song on a Beatles musical (little late for that joke, son.)
Who are you (Insert Shuffle line here) and what with adoption. Lucy? Who's Lucy? Oh, that girl... I forgot. After a typical song... we cut to Jude and the Hold Your Hand girl then back to Lucy. Okay... Lucy is Max's... sister? Heartwarming... much like real Thanksgiving. (Joke was lost there.) Good job... anger is awkward... Taymor has a weird arguing scene. Lucy and Jude talk that earlier storyline. Normal... hahaha... it got awkward, again.
Bowling scene song okay... I like the acoustic setting... then this is weird. Bad CGI! New York. Grimy tenant. The house is nicer. Hi, Sadie? Aspiring fox... I guess. Nice subversion!! Is there a alien attack? Well someone's dead... race riots... U2 will crying with joy with this... promo piece? Lucy's boyfriend, I think is dead. Is this Vietnam... Korea, maybe? Black boy is lying in state. This already four storylines, it's too much.
Fade to black boy riding a bus. Always interesting how the singer is always announced and everywhere? Taymor can definitely lead a several people. Jude likes drawing. After introducing 60's New York... black guitarist plays for Sadie. Jude give prints. A husky pimp and a nice work. Jo-Jo and Jude talks music and Prudence pops in to merge the story. Masterful work, Taymor. Lucy wants to flees to New York... true... I can see the Gilligan cut. Sadie is the main singer. That was... weird. Thanks. It's a good enough intro. Free love and stuff... (Michael Aranda non-existence is the term... you need to dig for the reference.) Deli. Max gets the induction. Prudence... thank you. Max burns and... dodges.
He won a medal... thank you for that info. Emotion flees to awkwardness for some reason. Well, Jude is exempt... and painting. Great Unwashed... what a term. Abandoned place and throwing the cop off. Again, the song just popped... like give a transition. So, that's the conflict... that was a haphazard one. You have a weird penchant for jump cuts. So... Max... your sister with your friend? Little pissed. Max goes for inspection. It was imposing then it got funny so that's that. Am I in a Terry Gilliam movie again. That was just too much... Taymor. Learn French or die. Sadie and Joe are together with reprise and Prudence just wants revenge. You should check your psychiatrist with this behavior.
Dear Prudence... funny. Am I in Harry Potter now? Peace march... I see. Washington Square... LBJ is a long way there. Are you Steve Jobs? What with Max? Sadie and the manager gets a meeting. Okay, maybe the manager is more of a executive. The big party for the tenants... pink punch is new? (Also, Prudence just written out... just have to point that out.) Awful... slowly turning. That's your trip sequence... just feels weak. No, no, no... That's the film developed. Summer house? HQ of summer stuff. Stop with the face. Just... oh, he left. Oh, it's Lucy who's talking 'stone'. (Nice twist.) I'm still thinking this is Terry Gilliam. Not you.
Well, this is just silly... with a silly person. Prudence??? Ah, don't... I'm not in the 60's, I'm in the bad part of the 90's... uk. So we found Prudence (what a coincidence) now we're in Louisana. Or in Signs. This is the multiple couple sing the same song trope thing... is this supposed to be renaissance? Get to the chopper... (too apropos?)
Max in Vietnam... Jude still drawing. Lucy serving and working. Something disappeared... Jude sings... well. Lucy's a busy women... destined to death... Sadie and the PO Boys are doing well. Jude worry without Lucy. I really hope this is a stage fight... nope, nope, this is real. Well, Joe can carry on his own. Daniel's supports... I don't know. Hmmm... I hint that this might be setting up for a very classic plot. Sadie hits the road home. Jude has a road block. Oh, there's Steve Jobs... Liverpool got strong over the year... Living-work room, like that combo.
This is really awkward conflict but it feels real, so that's nice. Jude smokes hard... (Ooh, I know what song is coming) Look at that art. Vietnam is Nebraska-y this year.Ah, I see the red. There's a... it's a metaphor. I get it. Don't need to press it... Don't press it. Zoom out washing machine. Lucy zoning out. Jude got a job. Parker or Jobs... Laundromat... I lost my thought. I mean, it's not that kind of war... There is 49 women... this argument scene is quite nice actually... You never see him... period. You kind of... whatever.
MLK assassination. Now we finally get the timeline. So, it started in '64... It must have been. Joe sing to a empty lounge. Sadie is such a diva... Jude goes to drinking. See the mess... seriously that's the face. does the baby want a lollipop? Least Jude is hanging out with a friend. Well, Lucy left. Look at that mustache... alternate universe... I see. Nice composition. Nihilism and passion. Three POV colliding in a dangerous way. Well, Lucy is going down and Max... still fighting. It looks like a stage. Oh, that's blood. Well, that was a BLAM... yes, the floating heads... nice.
Jude is locked in. (Irony? Coincidence? It's something.) Oh, it's the father, you know from a hour ago. Oh, also Jude is going back, so that thread is going to tie. Liverpool, once again. Hey, girlfriend is married. That's nice. Again, awkward. But needed awkwardness. Liverpool is grimy but so nice. Max is severe shock and Lucy is visiting. That is a shock. Nice. Also, Max didn't really change a bit. (Oh, that must have hurt.)
Fade to, another demonstration. Hello, mom. You still talking about Daniel... Stay in the box. Just you won't die... I think. Max looks on. Joe is playing somewhere. Lucy return to that fateful room. What is with the original music...? Okay, but yeah bombs... not good. Jude is back working in the docks. Too fast. Is Lucy dead? I don't think... well we're now back to the frame. Lucy and Max look out to the world. Jude look back. What's he going to do...
Down a pint for Jude and Max. Hey Jude ends the story and for a better ending. So, Jude goes back to find the love... least for the last time. Come on, Eileen? Jude and Max finally meet. Sadie is on the chart. ON the rooftop back with Joe. Oh, look at that design. Oh, everything is coming back together. Don't try to drawn out and Jude? Jude? Don't end like this... oh, okay. Please do end like this. Are you ripping off Love Actually... seriously. Okay, I'm fine with that! That is quite a nice touch.
Lucy's song come at the end.
Final thoughts: It's cheesy at some points and stupid at others but overall it's nice. Also, if don't like musicals and someone else just like it and want you change your mind... this might be the one to start. Just saying. Overall, a nice production. (Also... yeah, that's what I thought, also huh.)
Tuesday, March 25, 2014
March Madness: Cloud Atlas, Past Again
Final Verdict on the bottom.
Letters From Zedelghem
Too much reference and self-reference for my liking. I'm not getting anything here. Maybe I just don't like the narrator... he's stuffy and a... wanker. Least, he does the half reference. Then the story just meanders to a slow and soft halt. It's blaise work... I don't really care for it.
The Pacific Journal of Adam Ewing
This part seems like a new start... I like this part better strangely. I guess the description dropped off and the general observation is nice to read. Weird racism. Interesting developments and the ending is at Honolulu... much like the chronological ending. It's yeah...
Final verdict
Strange book. I can't see why so much people were so excited about it. The conceit were shown quite delibrately and it's not hard to write with constraint... like how it's easier to decorated a jungle gym as the structure can handle the ornaments... a flat boring house, however need nails and umpteenth amount of creativity to be any festive. But the story as a whole, I could it's there, but it's not great. Sure, the structure might be revolutionary but as Kyle put it... the story structure have been for centuries. No one wants you create something new... in the end. They just want a good story. Did we get one? Eh. Least that's my take.
Letters From Zedelghem
Too much reference and self-reference for my liking. I'm not getting anything here. Maybe I just don't like the narrator... he's stuffy and a... wanker. Least, he does the half reference. Then the story just meanders to a slow and soft halt. It's blaise work... I don't really care for it.
The Pacific Journal of Adam Ewing
This part seems like a new start... I like this part better strangely. I guess the description dropped off and the general observation is nice to read. Weird racism. Interesting developments and the ending is at Honolulu... much like the chronological ending. It's yeah...
Final verdict
Strange book. I can't see why so much people were so excited about it. The conceit were shown quite delibrately and it's not hard to write with constraint... like how it's easier to decorated a jungle gym as the structure can handle the ornaments... a flat boring house, however need nails and umpteenth amount of creativity to be any festive. But the story as a whole, I could it's there, but it's not great. Sure, the structure might be revolutionary but as Kyle put it... the story structure have been for centuries. No one wants you create something new... in the end. They just want a good story. Did we get one? Eh. Least that's my take.
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