Dick Johnson, Coffin, RAY discussed on The Next Picture Show

Automatic TRANSCRIPT

Him in this moment and whatever state he is in as as she is capturing him and I, honestly didn't feel like we were jumping around in time too much the only time it really stuck out to me was the sort of the. Coffin reveal during the funeral sequence at the end. Because early in the film, we see him being filmed in that casket and that being very upsetting to ray and then he sort of like during the funeral sequence, the casket him in the is like superimposed, and then we kind of have that moment again, speaking of sort of laying bare the tools of film making where the casket sort of is taken away. It's revealed that the is there and comes down I i. think that's a very, very lovely and ing. So I think you know tricky chronology in in dead is used with purpose I think in. It is used for trickery. Which is fine because that is kind of what the film is is ought about in general, but it's used in the service, of character, in Dick Johnson his dad, and there really isn't a character, an effort fake other than than wells himself that I think we have any attachment to. So the jumping around in in time it just feels like trickery and another example of of trickery and that's fine. I think part of the aspect of F, for fake using it in that that trickery sort of way I think effort fake is ultimately much more of an active syncretism and it's kind of. Pulling, together, all of these ideas I would say in not the most informative or communicative way, but it's trying to dry in a whole bunch of different things at once and by jumping around conceptually between them and and jumping around in time and jumping around and focus. It's trying to show you the similarities between all of these things, the similarity between forging art and selling it versus forging a memoir and selling it versus forging an identity and selling it the connection between actual art as an act of creativity and forging art just as much of an act as an act of creativity. And you know what's what's going to be left behind when we're gone it's all of these ideas of muddled up together whereas with Dick Johnson, it feels very deliberate to. To jump in and out of the heavens sequences I feel like that sequence might be a little too ridiculous a little too much. If it was altogether as opposed to something that we jump back and forth with an an an out of its kind of lake, he's going off to his heavily reward every time. He dies as opposed to putting all the deaths together and then putting all of the heavens stuff together. I think that the way it's edited gives us these little heaven sequences is kind of as as gifts you know were more able to appreciate here he is Catching, popcorn in his tongue in slow motion or here he is revelling in.

Coming up next