2/18/2024 0 Comments Ri bill nolan broken halo![]() Because that's clearly what Nolan really cares about.Īlmost all women in Nolan's films are mere devices to advance the plot. Then we can get back to unraveling the big puzzle, back in the newest and most elaborate maze. Much more convenient to just throw is a 2.5 second flashback of some vague dead lover and just have him talk about how much he loved her. I think the reason he does this is that he thinks realistic romance is a big waste of time. He does end up with the girl at the end, but its a girl he hardly knows and who has already left him to die. TDKR: GF dead, and then the one chick you actually do casually bang stabs you and then you kill her with a missile. Prestige: One guy's wife is dead, other guy has a fake twin marriage. You might notice that while most action films have a romantic interest that the protagonist develops a relationship with over the film, in Nolan's movies the RI is usually dead, or restricted, and the protagonist thus has no access to sex and displays no interest in it. Almost all women in Nolan's films are mere devices to advance the plot. But I think this tie's in to what I said about him reducing characters to thematic concepts. None of Nolan's movies have very much passion at all. I've seen that Gilliam piece before and I also definitely agree with that, Nolan's movies are strangely asexual. TL DR: Nolan is hyper-efficient in both scene construction, character, editing, and dialog. Character developing moments are reduced down to one-liners to save time. As such, she doesn't feel like a real person. Just about everything she does or says in the whole movie serves this purpose, and other important information (where is she from, what's her life story, etc.) is glossed over. For example in TDKR, Catwoman represents the concept of Bruce escaping his life as Batman. ![]() He also reduces his characters down to core thematic concepts. If you read his scripts they sometimes come across like those logic puzzles you get on tests. He shoots scenes like a checklist, every scene has to serve at least one important plot point, often more. He doesn't have naturalistic human moments. The result is that his films have no room to breathe. He also likes to fit as much plot as possible into a standard length movie. Nolan is a supremely analytical filmmaker, everything in his films serves a logical purpose. The word I always use to describe Nolan's scripts is "efficiency".
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