Then an audience member in the last two rows woke up with a long snot.
From 2001 to the present, it is hard to imagine that the young director who was begging for money from the audience at the Hong Kong Film Festival to make a memento could make such a work of art as a gift to mankind after 15 years in the industry.
This is an excellent representation of the Renaissance Enlightenment thought in the film art form, full of cherishing, respect and serious discussion of human emotion and reason. The most valuable thing about this art form is that because it is a popular movie with big stars, big special effects, big publicity, and big plot script, its entertainment size is subjective, but it can be different from other humanism of texts, plays, literary films and academic classics, reaching the widest general audience.
Then accurately locate a batch of evil pens.
Let's put it this way, there are 100 movies where a muscular man saves a woman in distress. Each punch of a muscular man can knock out a tooth, and each shot can kill a person. The director and screenwriter never explain to you or have no ability to explain the muscular man. How to do it, what to rely on, what decisions need to be made, and what crises you face, you also look at it.
But now, the aerospace hero Cooper is a senior driver with no other superpowers. He also saves women in distress, but unlike hurricane rescue, every decision that Cooper makes, the pressure behind it, the risk of failure, and the use of it to deal with difficulties Nolan is clear about the tools and methods, and will do his best to express it to you. The clarity and conciseness of the expression far surpasses the space of Inception. And you can't understand a sentence, and then say the film is bad?
This kind of anti-social psychopath deserves to be said, but not appreciated by oneself. Who do you think said that literary and art workers should not be slaves of what to do? Who is it? So talk show actors say, if no one laughs at a joke, then change the audience. Idiots think they have the money to buy movie tickets, so they sharply increase their IQ and EQ to experience what normal human beings can experience.
We are not making gods for Nolan, just like no one makes gods for David Lynn, they, the rapeseeds, are making god-like works. Because there are so many directors in space, I mean, kubrick, tarkovsky, scott, Zemeckis, cameron +soderberg (with Cameron to remake Solaris), boyle (sunshine), cuaron (gravity), jones (moon) for the last five years There is also the handed down of spielberg, floating corpses piece by piece. Like the real universe, this subject matter is a difficult place for directors to live in.
Comparing Interstellar with the above-mentioned films, Nolan really stands on the shoulders of all standing and lying giants, making this genre the most sophisticated form in history, not to mention Nolan's own style. Bonus points for this type, but first to see what realities Nolan accepts in this type.
The first is to find the most widely recognized emotional line (father saves the daughter) as the main story arc, and apply various risks throughout the film to the risk of this clue.
Not only because the dead forerunners proved that "saving mankind" is no longer enough to arouse the audience's interest in the plot, but the channel that reaches the audience of a film is the expression of the actors' emotions. The reason why "Inception" was able to be re-written after being dusty for several years is that Nolan found a love line for parents to return to their children and embrace the real world. Without McConaughey's performance, his love, respect, guilt, worry, cherishing, and willingness to sacrifice for his daughter are displayed one by one. This is the key to allowing the audience to grasp the position of the plot throughout the film. information, not how a team is progressing on the project to save the planet.
It's very smart to use plan A, plan B. This game makes all Nolan's signature "hidden plots and principles explained in the debate" (hide exposition in conflict), each time it can act on the emotional risk of the main line, instead of acting on the different purposes of several different people in Inception.
Second, the technology and scientific principles used are far away from sci-fi, and are close to adventure films (gavity, sanctum) - far from CG in terms of visual performance technology, more aerospace documentary style
Magnificent, shocking, is how many people feel about this film. But this grandeur stems from reality, not fantasy. The real texture makes you feel completely believable, not a movie, real landform features, real weather phenomena, real spaceships, (stunts, not special effects CG). Notice that the perspective of the spacecraft taking off and landing never makes a big difference - because it's impossible to capture in real space documentaries. All photography based on "Is this image a convincing lie - refer to all space documentaries". So the action scenes, including the fights, are not action movies, not dynamic and artistic. This is also related to the third point, because once the audience familiar with the contemporary film genre realizes that the action heroes of "Star Trek" and "Star Trek" are mixed in the genre, the core crisis of the whole film immediately loses credibility, because the expectation becomes "Fist and violence will bring great reunion".
And the most crucial one: real performance. How do actors get the feel of space on a green screen? The answer is, incompetently. That's why Cuaron put Sandra in a real "space", and they experienced real environment, real light, real motion dizziness. Performance is the most intuitive and real (check it yourself). Nolan also put the actors in a real sandstorm, a real alien environment.
Third : stay away from the plot and visual symbols of the "monster house".
I'm referring to the "Alien" series that killed Vincent Ward, Fincher, and Jeanut, the only scott who escaped ended up dying on "The Prequel" - Prometheus, and the Oscar winner who died in "Sunshine" Danny Boyle, and then "Legend" and Spielberg's ill-fated death.
After going to space, stay away from the thriller, that is, stay away from the characters and the monsters, the bad guys, and the most important thing is to avoid the protagonist from "defeating" the monsters. Because that's not the goal of Interstellar.
Interrstellar chooses to take risks - encountering bad guys like Dr.Mann and old Brand, the protagonist can only bear it, and has no power to fight back.
The protagonist can only win at two things he is good at - being a driver and being a dad. These two things allow him to overcome the film's biggest villains: the cosmic environment, and the prison of four-dimensional space. Being able to fly a spaceship across unimaginable distances and boundaries, being able to love his daughter and dedicating everything for her, allows him to link the present and the future of mankind together.
Fourth point: I found one of the most terrifying villains: four-dimensional space, and then used all the previous foreshadowing to destroy it!
In general space themes, there are two black holes for creators, one is called human nature, and the other is called worldview. They often pull the story in, tear it apart, and change it beyond recognition. Some of the genres are confused, some are deeply involved in the collapse of the philosophical discussion structure, some have no convincing theme or steal the audience to believe in a completely unconvincing theme (gravity is! Fortunately, the action design is amazing.) Nolan did not He is much smarter than them, but as a structural maniac who lied and created the world in the dream realm not long ago, he accepted the reality of the universe theme, and chose the premise of his story very down-to-earth - which lies can he lie and which giants he can stand on. shoulders.
And after accepting the main story arc of the first point, its shadow side characters, the old brand and dr.Mann established, there is "reason" vs "emotion" "(false) great love" vs" ( Sincerely) little love" etc. whatever you want. And many space movies end with this "human nature" storyline as the third act, and Nolan tells us that the dream is bigger. The big reunion he wants must be beyond imagination, such as the progress of mankind, such as our mastery of the ability to manipulate time and space, such as human beings themselves becoming the "gods" that they once believed in superstition. The "Ultimate Conjecture" of the Enlightenment It is called belief in human beings. We believe that by ourselves and scientific exploration, we can cross the gap between ideas and technologies and become the next generation of human beings.
This is the big reunion that the audience can't expect. If he does well enough, most people will leave the theater with warm consolation and hope, and a full bladder.
Of course, there are still a few scumbags who say bad films. But how many of them can say, I don't like it because I don't agree with him, I think the hope for the human self is narcissism - then I'll apologize immediately and change my mouth and say you're not a bad writer, you're an asshole.
In the end, when I said nolan above, I meant Jonathan and Christopher, brothers.
This film is the biggest challenge the two brothers face, and it is also the best work. Nolan uses everything he has learned over the years and uses it in moderation, such as restraining the two emotional lines in the first act (Batman Begin). , Inception), such as reducing and reducing the various rules and principles of implementing tasks, giving way to emotional ups and downs.
Teacher Reed once taught us to take notes every second when we see classic movies, such as the notebooks he made for Lawrence of Arabia's script, director, art, music, and editing.
I feel like finally, after Memento, there is another Nolan movie worth doing.
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