Cohen (brother) was first a writer. Their films are trying to create a narrative feeling. It is rare to feel the indirectness in the directness of the image, but try not to give people barriers.
We imagine the ancient scene of storytelling, a group of people talking around the fire, talking about it. Words and narration are to stimulate imagination, not to fill the imagination. We have to rely on our own experience to fill the concrete image. The vision of the movie is to put the concrete in front of you. What to do then, of course you can use your strengths and avoid weaknesses. I will magnify the vision infinitely, as big as the impact you can't reach in words and language. The price is that potential white space, the frame of imagination is gone. Therefore, the language of the film is born to deal with suspense, short legs, and the switch between sight and hearing is used to create tension.
Cohen's film can basically see the text, it is almost a monologue, it is a writing class. The two languages of text and film are parallel, Hail Caesar is the one that doesn't go well. It is scattered and out of focus. The narrative sophistication of "Song Ball" reminds us of the excellent short story writers in the United States, powerful and concise. The language of the film was relegated to a tool to serve my narrative. After the last two stories, I can see that they are works of different periods. I can no longer seek the explanation of the plot. I will close the pen when I am the most nervous and climax. Put it in the movie.
I met a very free writer. Can hold oneself, restrain the excess failures at critical moments.
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