“The less money you take, the more freedom you have. I’ve never made a film where I don’t have final cut. And I can’t imagine doing that. That just seems like it would be turmoil. I edit because that’s where you learn how to direct, really. All the answers of what you should have done are in the editing. I miss out on being able to be in a conversation with someone, and I can see where that can be a really valuable thing—to have someone with more of a distance to be having a dialogue with. You write alone, and scouting is really lonely. Then you do this really intense thing with a lot of people. Afterwards, I usually feel like I want to hide away with my film again and go through the process of making sure that every possible thing has been tried. I’m a big believer in letting your film be bad for a while, and not trying to get to a good cut too quickly. I just want to be involved and I want that process, because it makes me think of what lens I should have used or what I should have done. It’s such a learning experience that I hate to miss out on it.”
— Kelly Reichardt on why she edits her own films
Still from Wendy and Lucy (2008, dir. Kelly Reichardt)
Emphasis my own. I love that.
When scientific experts criticize “Gravity” for failing to display an academic-level understanding of the laws of nature, they are missing the point. Nobody goes to “Gravity” for a physics lesson; they go to be entertained. But there are times when a fact-check of a film can provide necessary context and, especially if the film is based on true events, illuminate not just how a narrative deviates from the truth but why it does. At their best, expert reviews can even illuminate deeper truths, like how reality is an often unintended casualty of pop culture. Since mainstream movies only show us what we want to be true—almost by definition, a film that sells tens of millions of tickets does not challenge any widely-held perspectives—movie fact-checkers can show why a certain film felt the need to diverge from reality to tell a satisfying story.
In Defense of the Expert Review | Balder and Dash | Roger Ebert
Let’s pause for a moment, in fact, to notice that this kind of story almost always imagines a future world that’s far simpler than the one we currently live in, one in which all the stuff and clutter of our lives – the screens, the gizmos, the cars, the noise – has evaporated. As David Mamet once put it, every fear hides a wish.
“Divergent” and “Hunger Games” as capitalist agitprop
How serialized storytelling has evolved on television, and how prestigious shows habitually promise viewers more than they can possibly deliver.
The Cosmology of Serialized Television
The composition of vast books is a laborious and impoverishing extravagance. To go on for five hundred pages developing an idea whose perfect oral exposition is possible in a few minutes! A better course of procedure is to pretend that these books already exist, and then to offer a resume, a commentary … More reasonable, more inept, more indolent, I have preferred to write notes upon imaginary books.
Some books better left unwritten! Oh, but here again I will recommend Imaginary Magnitude, which I shortlisted last year:
A collection of introductions to fictional books covering, among other things, x-ray pornograms, computer-generated literature, and a biography of a sentient, moody super-computer. If you like the Borges above [Dreamtigers], or Borges in general, or strange science fiction, or strange conceptual writing in general, this is absolutely a book for you.
Borges and the Sharknado Problem
I love narrative and how it exists and why it exists and how it’s meant to be used. You can come up with a paragraph full of some truth, something that’s universal, some exploration, and it can be really informative, but it’s likely to not be that interesting. But you can spin a story, you can tell a narrative, and you can infuse it with this stuff, and if you’ve done your job right, you haven’t just captured somebody’s attention long enough to take them on this journey, you’ve also figured out something about the exploration through the act of the story.
Says the guy who made one of the most interesting movies I’ve seen this year.
Sinking Into the World of ‘Upstream Color’ With Director Shane Carruth – Movies – BlackBook
Mainstream games, or at least a significant subset that I’m too lazy to define here, make use of three big techniques to tell stories:
- Invisible boxes.
- Environmental storytelling.
I think both game developers and players understand these techniques by now, and in fact I think players are getting tired of them. I know I am.
Intelligent Artifice – The three most common techniques for telling stories in games
To offer some context for my perspective, the year I was fifteen I hitchhiked 15,000 miles alone, mostly through truck stops. By the time I was nineteen I had hitchhiked another 5,000 miles through Turkey, Greece, and pre-war Yugoslavia, also alone. Those years were a time of misery and terror, but they were also transformative. Every day I bounced wildly between danger, high comedy, and extreme loneliness—which is to say that it was also an adventure, and that inside all the high stakes turmoil was a nascent self that was trying to become, to change, to step out into the world as an adult.
But there is no female counterpart in our culture to Ishmael or Huck Finn. There is no Dean Moriarty, Sal, or even a Fuckhead. It sounds like a doctoral crisis, but it’s not. As a fifteen-year-old hitchhiker, my survival depended upon other people’s ability to envision a possible future for me. Without a Melvillean or Kerouacian framework, or at least some kind of narrative to spell out a potential beyond death, none of my resourcefulness or curiosity was recognizable, and therefore I was unrecognizable.
Green Screen: The Lack of Female Road Narratives and Why it Matters
A man who drops his old good-time buddies when he finds God is sanctimonious; a man who drops them when he joins AA is just doing what it takes to stay sober.
The Language of Addiction Takes Over » Helen Rittelmeyer | A First Things Blog
The Descent of Cribs | Quiet Babylon.
All these people, telling stories about the stories that their things tell about them.
Actually, the more obvious it’s not a normal illness, the less likely they’ll mention it. Even if your cast includes some of the most helpful doctors or mind readers, the character won’t bring it up for quite a few episodes in a row, constantly making the excuse they’re just a bit under the weather.
Definitely Just a Cold – Television Tropes & Idioms