Kaiser Soza, State Farm, Kevin Spacey discussed on Hidden Brain

Hidden Brain


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We're going to examine one of the greatest rug polars in modern cinema run. The usual suspects from nineteen ninety five. Tell me you got the crippling. Their New York that he mentioned Kaiser who in the movie. The police police are looking for a mysterious criminal name. Kaiser sosie nearly everything we know about. Susie is filtered through the movie's narrator a limping small time crook doc named verbal. He's played by Kevin Spacey in the scene. Verbal tells an investigator about the legend of Kaiser. SOCI- he's supposed to be Turkish. Some some say father was German. Nobody ever believed he was real. Nobody ever knew him or so. Anybody that ever worked directly for him but to hear Kobayashi. Tell it anybody could've worked for. You never knew that was his power. So the plot twist is verbal is Kaiser Soza And the other other part of the plot twist is that the whole unfolding story that we've seen as verbal tells his account of of what happened that appeared to be sort of straightforward flashback to the mysterious events of the past but Manas came to us with the job. Fester got the vans. Hockney supplied the hardware by came through with how to do it. Someone got killed but Keaton turns out all have been just a story that he was spinning in order to find himself of time. In order to escape we all knew it could be done the way I figured to do it wrong. And killing to do it right took five men five commandment keeper. I wonder where misdirected here partly because we adopt the beliefs and world view of the people who narrate the stories to us and the person who tells the story shapes the way we see the story. That's exactly right. So what happens is the more immersive and narrative is the more and more. We tend to take what some people have called an inactive viewpoint which is to say that we sort of have this immersive experience and our viewpoint begins to align more and more with the viewpoint that's being depicted to us and present it to us by the narrative and of course you can see there's an all kinds of movies which is you know you tell the movie from the point of view of the victim and it becomes a tragedy. You tell the same story about a bank heist from the point of view of the robbers and it becomes you know potentially actually a funny story or even a Victoria story about a heist pulled off successfully the the point of view of the story the narrator of the story. Please really a central role in shaping being how we think about what's real and what's not real at that point. I wasn't scared. I knew I hadn't done anything they can do me for. Besides it was. It's fun I got to make like. I was notorious the framing of events and their significance and what parts are worth paying attention to and what they mean. All of these things are part of the way that the story is being told to us and the viewpoint of the person telling the story and again this is all mostly unconscious as we know actually thinking this is the point of view. This is the frame. I'm adopting as you say. When a good story starts to on full we just get swept along and then sent in somebody's a critical faculties are put on? Hold that's right so the more emotionally engaged. The more gripping and vivid the story is the less less attention were paying to sort of the apparatus of the story and questioning and wondering and being on guard and monitoring these questions about should I trust the source Chris. What are the discrepancies here? And so on. You're just immersed in that perspective and of course then that's means if you are an artist creating a movie or writing a book look what you want to do is take advantage of the fact that in highly emotional settings people are more likely to be gullible than another situations. That's right and you know so I think. In a lot of circumstances. People tend to think of plot twists as being in some way opposed to you know they're gimmicky. They're operating on a level that is counter to these other sort of literary and film values of immersive storytelling vivid characterization and depth and complexity and so on but actually often they capitalize on exactly those things. You know what I was reading your book. I got to thinking about at how the usual suspects also takes advantage of the fact that we have sympathy for verbal because he has a disability and it's difficult in our minds minds to see that someone who demands our sympathy might also be a psychopath that in some ways it requires a certain complexity of of sort of holding these two opposing idea. DSM autonomously. That is so hard to do that. We just sort of Jetson one of them. Well Yes oh right. Stereotypes can be taken advantage of in these ways. And in fact that's part of the framing framing within the story right so you know verbal has cerebral palsy and or he seems to write but part of the final scene as he walks out into the city and and his limp melts away and so on so the idea is that the character was taking advantage of the fact that people often tend to see people with physical disabilities or other kinds of stereotyped vulnerabilities as somehow not eligible for four other kinds of roles and that he's capitalizing on that as well redistrict the devil ever pulled was convincing the world. He didn't exist like that gone.

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