PTA is fucking brilliant! He really enjoys doing history (biography) and group dramas. The story is like the deeds of all stars, predictable, Chandler has something to say, people's life is like a swing, and there is a highlight moment, and then it rolls in the gutter, but PTA is kind, or young, he always Believe that people will redeem and understand each other (so that the final twist is a bit abrupt), and this is what I really like (and not Lars von Trier, after all, I am still a kind young man)
Where is the PTA? Smooth and cool long takes at the beginning and end (to tell the truth, 97's photography has become the standard of American dramas now, refer to the narcos301 ballroom rotating lens); almost non-stop music, American 70-80s; learn how to learn from PTA Talking on camera, characterization, repetitive montages like the colonel and videotape appearances (laughs me off, I really hate to say that), composition--always take the pulley girl's legs (and other women's), character theme bgm. At this time, the talent for filming a group show is revealed, each character, the difficulties encountered by the participants of these pornographic films, family affection, love, ideals, PTA makes them all need each other, and in fact they do. Emotional control: The pulley girl beat her classmate and Eddie couldn't stand up and was beaten. People are in trouble at the same time. (The black, director, Julianne Moore part, suddenly thought of our aunt Moore again!)
My favorite clips: the innocent poor and lovely Hoffman background board, the encounter of the audio shop owner in the retail store, the dance when he first became famous, and selling soda powder to his death. It's really funny to push the camera quickly. By the way, when zooming in, pushing the lens is sometimes more frightening than pulling the lens. One is to think about details, and the other is to show blind spots.
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