Five weeks of studying film is now bringing to a close. Now in this blog, I will discuss 3 films I have studied and three films from my own experience. I'm going to explain what impacted me about the assigned films, and why I believe the other three are worthy of film study.
The first film from my study was Memento, directed by Christopher Nolan. I was intrigued by the editing techniques showcased in the film, and how the director used it to play with continuity. It also played with the notion of free choice, and whether or not it exists, which i found to be extremely intriguing. I felt for Leonard after watching this film, realizing that there was no immediate resolution to his problem.
Trailer for 'Memento' :
The second movie from film class I'll talk about is 'North By Northwest', directed by Alfred Hitchcock. I was impacted by this movie because I am a great fan of dry british wit. The director did a great job of making the audience feel the helplessness of this man, used as a pawn by powers wildly above his head. The fact that he succeeds even in the face of so many overwhelming odds and yet somehow manages to avoid feeling over the top is a testament to the director.
Trailer for 'North By northwest':
Third from film class was 'Eternal Sunshine of the Spotless Mind', directed by Michael Gondry. I really was impressed by how the director changed the meaning of 'interior monolouge'. The sequence in which the main character is running inside his head was actually more suspenseful than many other chase scenes in hollywood blockbusters. I especially liked the end, because it signified the ultimate triumph of free choice even after all memory has supposedly been expunged.
Trailer for 'Eternal Sunshine of the Spotless Mind':
-----
Now for the films I believe every film student should see...
1) I believe that Director Christopher Nolan's 'Inception' should be seen by every student of film. The film not only plays upon the themes of the director's earlier film 'Memento', but it also takes it to a new level. It's ambiguity is what makes this film great, as it is still unclear whether this film should properly be called 'Closed' or 'Open'. The cinematography of this movie is also worth a careful study, as each of the settings could potentially be related to the state of the pivotal characters frenzied mind.
Trailer for Inception:
2) 'The Matrix', directed by Larry and Andy Wachowski was a pioneer in the usage of revolutionary special effects technology. One glance at the 'bullet time' sequences convinced me that this was a technique worth studying all the useful applications for. The sets, the designs, all are enough to convince the viewer that he has actually stepped into a dystopian world that is only an illusion. The film's themes include the line between reality and fiction, and it blurs.
The Matrix Trailer:
3) 2001: A Space Odyssey was perhaps Stanley Kubrick's best film, a distinction that is not lightly taken given his roster of now-Classics. Kubrick managed to take the vastness of space, and instantly make it feel claustrophobic in a split second. This film literally and deliberately calls to attention the powerlessness man feels the instant a superior force takes control of the situation. If future film students take nothing from this film... they must at least view the 'Star-Gate' Sequence, unmatched in Cinema before this movie, and since.
Trailer:
Thursday, August 11, 2011
Monday, August 8, 2011
Blog Post #6: Tim Burton interviewed on 'The Treatment'
This week, I listened to a radio show entitled 'The Treatment.' The guest for that day's interview was none other than the Hollywood Director and Producer, Tim Burton. This interview was on February 16,2006, just after two of his films premiered in theaters. Tim Burton is known for his groundbreaking films such as 'Edward ScissorHands', 'Sleepy Hollow', and 'The Nightmare before Christmas'. During the interview, I picked out some details that I thought were very interesting and especially noteworthy.
During the interview Tim Burton talked about his films, his art direction, and his background in film. There were some things I was surprised at, such as when Tim Burton revealed that he had been working on two films at once ('Charlie and the Chocolate Factory' and the 'Corpse Bride') for the past couple of years. What he did was work on 'Charlie and the Chocolate factory' during the day, and 'Corpse Bride' at night. I was also intrigued to learn that during his tenure in animation school, he had Disney Animators (who had worked on the classic disney films) as professors.
Tim Burton did say in the interview that he was encouraged to experiment through his own artistic lens in school though. In his words: "I was terrible at that, that style, so they let me do my own thing, which was quite lucky." Indeed, Tim's unique sense of Animation style can be seen in his backdrops and character designs for his films such as 'The Corpse Bride', and 'Nightmare Before Christmas'. His creations are often eclectic and bizarre, but Tim's individuality shows through, and his designs only enhance the films that much further for it.
Tim Burton said(in interview) that he doesn't adhere to fads, and is reluctant to waver from his own personal style just because of current trends. According to Tim Burton: "I think other people do things just for reasons of, this is a popular technique." What Tim is referring to in the interview, is the then current(in 2006) of studios trying to emulate Pixar's success with animation by copying that style. What Burton means is that those studios were possibly leaving character and narrative behind, when their plots could have easily been altered to fit into another animation medium.
Also in the interview, Tim Burton declared that he did not really understand the whole concept of social classes. He went on to describe how he took the societal rankings in 'Corpse Bride' and modeled them after his own experiences. According to Tim Burton: "It(social rankings) cuts out people really connecting with each other or seeing things from another perspective." What Tim is trying to say I think is that people just wall off each other, create artificial barriers just so they do not have to mix. Possibly Tim is referring to his own experiences as recounted in the interview, where he felt more connected to social outcasts, rather than the rest of society.
Tim Burton really has some interesting opinions, which really highlight his mind. Mr. Burton really is an individualistic person who does not really fit into the established order. Burton brings his outsider viewpoint into the world of film, and uses it to create a mirror unto society. He brings also from a creative standpoint, rich worlds and designs that are uniquely and surely his. To conclude, in the world of Hollywood, Tim Burton is truly an original, and cannot be matched or copied by any other.
During the interview Tim Burton talked about his films, his art direction, and his background in film. There were some things I was surprised at, such as when Tim Burton revealed that he had been working on two films at once ('Charlie and the Chocolate Factory' and the 'Corpse Bride') for the past couple of years. What he did was work on 'Charlie and the Chocolate factory' during the day, and 'Corpse Bride' at night. I was also intrigued to learn that during his tenure in animation school, he had Disney Animators (who had worked on the classic disney films) as professors.
Tim Burton did say in the interview that he was encouraged to experiment through his own artistic lens in school though. In his words: "I was terrible at that, that style, so they let me do my own thing, which was quite lucky." Indeed, Tim's unique sense of Animation style can be seen in his backdrops and character designs for his films such as 'The Corpse Bride', and 'Nightmare Before Christmas'. His creations are often eclectic and bizarre, but Tim's individuality shows through, and his designs only enhance the films that much further for it.
Tim Burton said(in interview) that he doesn't adhere to fads, and is reluctant to waver from his own personal style just because of current trends. According to Tim Burton: "I think other people do things just for reasons of, this is a popular technique." What Tim is referring to in the interview, is the then current(in 2006) of studios trying to emulate Pixar's success with animation by copying that style. What Burton means is that those studios were possibly leaving character and narrative behind, when their plots could have easily been altered to fit into another animation medium.
Also in the interview, Tim Burton declared that he did not really understand the whole concept of social classes. He went on to describe how he took the societal rankings in 'Corpse Bride' and modeled them after his own experiences. According to Tim Burton: "It(social rankings) cuts out people really connecting with each other or seeing things from another perspective." What Tim is trying to say I think is that people just wall off each other, create artificial barriers just so they do not have to mix. Possibly Tim is referring to his own experiences as recounted in the interview, where he felt more connected to social outcasts, rather than the rest of society.
Tim Burton really has some interesting opinions, which really highlight his mind. Mr. Burton really is an individualistic person who does not really fit into the established order. Burton brings his outsider viewpoint into the world of film, and uses it to create a mirror unto society. He brings also from a creative standpoint, rich worlds and designs that are uniquely and surely his. To conclude, in the world of Hollywood, Tim Burton is truly an original, and cannot be matched or copied by any other.
Tuesday, August 2, 2011
Blog Post #5: The shot list...
This week, I am going to be analyzing the opening scene from the movie "Memento". It's going to be a shot by shot breakdown of that scene. With the aid of a spreadsheet, I am going to analyze the camera angles, the shot type, and the camera movement.
Note: In following video, the Sequence I'll be talking about begins at 1:11 and ends at 1:43. It contains approximately 12-13 shots in all.
Here is a shot by shot description of the Opening Scene in Memento.
SHOT LIST:
Note: In following video, the Sequence I'll be talking about begins at 1:11 and ends at 1:43. It contains approximately 12-13 shots in all.
Here is a shot by shot description of the Opening Scene in Memento.
SHOT LIST:
Sunday, July 3, 2011
Techniques of film as illustrated in Jarmusch film stills
This Shot is a good example of Deep Space composition, because it accurately gives off a distorted perception of depth. This is accomplished by making the viewer feel as if he is seeing down a long tunnel, from which the end cannot be seen. The effect of this is claustrophobic, since the viewer feels trapped by the narrow buildings seemingly 'infringing' from both sides.
Even more disturbing is how the tree seems to 'divide' the scene, further decreasing space in the street.
----
This shot uses the Rule of Thirds principle to effectively place important visual information in the foreground, background and the middle ground. The audience's perception is drawn first to the plane landing in the background, and then to the plan still on the runway in the middle ground. Finally, there is a man(?) standing with his back to the screen, solemnly watching. The effect could be of transition, three stages of a life. The falling action, the attempt to regain some stability, and then the wistful regret at trying to avoid the inevitable.
----
(Mystery Train: Symmetrical Balance)
I chose this still because this shot is almost perfectly balanced, the two characters on either side of the screen each carry the same screen 'weight'. Also, they are facing the same way, further increasing balance in the shot. In this shot, the Japanese couple is on a train, viewing the countryside go past. The psychological impact is that they are waiting for something, heading towards some long expected destination. The scenery in the background is the idea of what they hope to experience when they get to their destination. Their possibilities for the future seem as limitless as the scenery they are witnessing.
---------
(Mystery Train, Rule Of Thirds Left Center Right)
I chose this still because the viewer has not one, but three subjects to take in at once. In the confined space of the truck, they are neatly 'wedged' into the left, center, and right spaces. This produces a claustrophobic effect, which is further reinforced by the expressions on each of the characters. Their demeanor is unsure, nervous, and a bit scared. They are trapped because of the actions of one of them, and each would prefer not to be in the other's company. However, they are no longer in control of their destinies, and as such must lead a 'closed' existence.
-----
In this still, the eye of the viewer is first drawn to the plane at the top of the shot, then to the subject watching it take off, and last, to the car he is leaning on. Each subject covers enough space in the still that they can be 'divided' cleanly like this. Again, there's another man with his back to the audience, leaving only marginal clues as to what he might be thinking. However, the plane taking off may represent the start of something new, or even a missed opportunity. The man's posture suggests that he is at any rate, relaxed enough to accept this development no matter what it may mean.
-------
I think this shot from 'Dead Man' is a good choice for compositional stress because the subject carries way too much weight in the frame. There is nothing to balance him either, and even more rule-breaking, he seems to be pointing straight at the audience. Also if a viewer will look closely at this frame, the background is composed of black and white-but in an uneven mix-further heightening the stress. Psychologically, the subject's eyes do give the impression that he is a desperate or frightened man. He is very unsure of what he is facing, and that forces the audience to share his uneasiness.
---
In this shot from 'Limits of Control' the subject is in the middle of the frame, with his eyes looking up and off-screen. The focus seems to be on where he is gazing, not so much the character himself, yet the expression on his face is deadly serious. The building in the background only seems to draw more attention to his 'eye level' as it is imposing-but due to distance disparity, the subject seems almost as tall as the building! This gives the impression that he is strong, powerful, and confident of himself. Glancing off screen could signal that he has found what he is looking for-or merely anticipation for whatever awaits him.
Thursday, June 16, 2011
Film Noir
This week I viewed the film 'Out of the past', directed by Jacques Tourneur. 'Out of the past' (1947) is a classic example of 'Film Noir', made during a period in which filmmakers leaned toward more realistic, and grittier films. As I watched the film, I compared it to the examples of Film Noir laid out by a KCET miniseries by the name of 'American Cinema.'
As I was watching 'Out of the Past' I was constantly reminded of a quote from a director interviewed in 'American Cinema'. Describing the protagonist in a typical Noir Film, Director Kathryn Bigelow said "The more he tries to eradicate the situation, the worse it gets." This quote can be easily applied to the protagonist of 'Out of the Past', Jeff Bailey. After being hired to track down a gangster's moll, he finds himself embroiled in a murder.
Jeff tries to extricate himself from the situation by hiding out, but to no avail, as soon his past catches up to him. As he tries to clear his name for the first murder he was framed for, he finds himself caught up in another. Since that clearly wasn't enough, he finds himself ensnared by the mobster's girl-who incidentally orchestrated all the events thus far, and has both the law and the mob against him. Jeff's struggles really showcase Director Bigelow's statement, in that no matter how hard he tried to outrun his past and live a normal life, he was was still caught up in that web.
One thing I noticed in the film was the Femme Fatale Kathie Moffat. In 'Out of the past' she singlehandedly gets Jeff Bailey framed for two murders and is the eventual cause of his death. Director Bigelow commented in the documentary that "There's a certain male fantasy to this violent woman who is uncontrollable, kind of like an untamed animal." In 'Out of the Past', both Jeff and Sterling(the mobster) cannot break their attraction to her even though Kathie has physically or emotionally hurt them. She is portrayed as the male fantasy, deadly but yet alluring, leaving a trail of men in her wake.
Kathie is a dangerous woman whose beauty causes many men to underestimate her. Even the very sight of her causes Jeff to forget all about his other girlfriend. She uses her cunning to get away with murder and grand theft, and be able to proclaim her innocence with a straight face. However, I do think to a point, she didn't view Jeff as just a tool. Sure she wanted the money, but she also realized that she really did like Bailey. Just before the end, she implied that they 'deserved each other', two people on the run might last longer than if they were seperated. I think it was a combination of pragmatism and love for Bailey that persuaded her to leave with him.
In 'Out of the Past', director Jacques Touneur uses all the methods at his disposal to impress upon the viewer the world of 'noir'. The shadows are oppressive continually through the film, and there are very few constant light sources. Sometimes, the director has a setting where there is only one solitary source of light in a room, often at an obscure corner or to the side-but never in the center. Often, the light would be turned off when a character was double crossing another, and only turned back on when the deed was done. This was particularly noticeable when Kathie shot Bailey's partner. I especially thought that moment was well done because she then runs from the bastion of the light, deep in the wilderness, and into the uncharted blackness.
There was one shot in the movie that I thought was very impressive and it had to do with the use of wide angle lens. The scene in particular was the climax, where Bailey leads Kathie into a deadly ambush. Here, the viewer sees inside of the car, the side of the car, and both directions of the road. This is the one scene in the movie that I felt really gave the viewer the sense of seeing the action from all angles possible. Panning out for a wide angle-and then zooming in for a deep focus on the two in the car... it creates that effect wherein the audience realizes that this is as close as the director can get.
As for the locations, I really liked the diversity of settings that the director chose to include. True to 'Noir' fashion, there is no place really designated as 'safe' from the everyday brutal reality. Sterling found that out to his cost, slain in the midst of his huge gated castle, strategically located on the outskirts of town. In 'Film Noir', it is the enclosed, narrow spaces that are dangerous. In 'Out of the Past' however, the director goes a step farther, directly contrasting open spaces versus constricted space.
For example, take the Mexican restaurant as compared to the Mexican Bar. The Mexican Restaurant is open and roomy, and has wide open doors to the outside. The Mexican bar however, is a 'hole in the wall' type place, with restricted space to move. The restaurant is frequented during the daytime, and the crowd that shows up is generally reputable. The bar on the other hand, serves cheap beer, has godawful 'american music' and is only frequented at night by drunks and the seedy underbelly of the town. (Well... who else would be there at three am?)
So which one would Kathie Moffat prefer to meet Bailey in? If there's anything I noticed in 'Out of the Past' she seemed reluctant to talk in the restaurant, and made Bailey wait out two nights in a seedy bar like a chump. Bailey even mentions it later in the movie, that while they were in Mexico, he would never see Kathie in the daytime, only in the last gleams of sunlight or as night began to fall. Open space is only utilized in the beginning of the film, or when it is night. After the beginning of the film, there is no need to use open space in the daytime, the veneer of Bailey's 'pristine all-american' life has already been shown to be shallow.
As I was watching 'Out of the Past' I was constantly reminded of a quote from a director interviewed in 'American Cinema'. Describing the protagonist in a typical Noir Film, Director Kathryn Bigelow said "The more he tries to eradicate the situation, the worse it gets." This quote can be easily applied to the protagonist of 'Out of the Past', Jeff Bailey. After being hired to track down a gangster's moll, he finds himself embroiled in a murder.
Jeff tries to extricate himself from the situation by hiding out, but to no avail, as soon his past catches up to him. As he tries to clear his name for the first murder he was framed for, he finds himself caught up in another. Since that clearly wasn't enough, he finds himself ensnared by the mobster's girl-who incidentally orchestrated all the events thus far, and has both the law and the mob against him. Jeff's struggles really showcase Director Bigelow's statement, in that no matter how hard he tried to outrun his past and live a normal life, he was was still caught up in that web.
One thing I noticed in the film was the Femme Fatale Kathie Moffat. In 'Out of the past' she singlehandedly gets Jeff Bailey framed for two murders and is the eventual cause of his death. Director Bigelow commented in the documentary that "There's a certain male fantasy to this violent woman who is uncontrollable, kind of like an untamed animal." In 'Out of the Past', both Jeff and Sterling(the mobster) cannot break their attraction to her even though Kathie has physically or emotionally hurt them. She is portrayed as the male fantasy, deadly but yet alluring, leaving a trail of men in her wake.
Kathie is a dangerous woman whose beauty causes many men to underestimate her. Even the very sight of her causes Jeff to forget all about his other girlfriend. She uses her cunning to get away with murder and grand theft, and be able to proclaim her innocence with a straight face. However, I do think to a point, she didn't view Jeff as just a tool. Sure she wanted the money, but she also realized that she really did like Bailey. Just before the end, she implied that they 'deserved each other', two people on the run might last longer than if they were seperated. I think it was a combination of pragmatism and love for Bailey that persuaded her to leave with him.
In 'Out of the Past', director Jacques Touneur uses all the methods at his disposal to impress upon the viewer the world of 'noir'. The shadows are oppressive continually through the film, and there are very few constant light sources. Sometimes, the director has a setting where there is only one solitary source of light in a room, often at an obscure corner or to the side-but never in the center. Often, the light would be turned off when a character was double crossing another, and only turned back on when the deed was done. This was particularly noticeable when Kathie shot Bailey's partner. I especially thought that moment was well done because she then runs from the bastion of the light, deep in the wilderness, and into the uncharted blackness.
There was one shot in the movie that I thought was very impressive and it had to do with the use of wide angle lens. The scene in particular was the climax, where Bailey leads Kathie into a deadly ambush. Here, the viewer sees inside of the car, the side of the car, and both directions of the road. This is the one scene in the movie that I felt really gave the viewer the sense of seeing the action from all angles possible. Panning out for a wide angle-and then zooming in for a deep focus on the two in the car... it creates that effect wherein the audience realizes that this is as close as the director can get.
As for the locations, I really liked the diversity of settings that the director chose to include. True to 'Noir' fashion, there is no place really designated as 'safe' from the everyday brutal reality. Sterling found that out to his cost, slain in the midst of his huge gated castle, strategically located on the outskirts of town. In 'Film Noir', it is the enclosed, narrow spaces that are dangerous. In 'Out of the Past' however, the director goes a step farther, directly contrasting open spaces versus constricted space.
For example, take the Mexican restaurant as compared to the Mexican Bar. The Mexican Restaurant is open and roomy, and has wide open doors to the outside. The Mexican bar however, is a 'hole in the wall' type place, with restricted space to move. The restaurant is frequented during the daytime, and the crowd that shows up is generally reputable. The bar on the other hand, serves cheap beer, has godawful 'american music' and is only frequented at night by drunks and the seedy underbelly of the town. (Well... who else would be there at three am?)
So which one would Kathie Moffat prefer to meet Bailey in? If there's anything I noticed in 'Out of the Past' she seemed reluctant to talk in the restaurant, and made Bailey wait out two nights in a seedy bar like a chump. Bailey even mentions it later in the movie, that while they were in Mexico, he would never see Kathie in the daytime, only in the last gleams of sunlight or as night began to fall. Open space is only utilized in the beginning of the film, or when it is night. After the beginning of the film, there is no need to use open space in the daytime, the veneer of Bailey's 'pristine all-american' life has already been shown to be shallow.
Wednesday, June 8, 2011
What makes a noteworthy film
I am of the opinion that to truly capture my attention, a movie must show these qualities that differentiate itself from so-called 'commercial' films. I prefer movies with solid acting, a coherent plot, and characters that I actually care about. The setting must not overpower the characters or the story, but rather enhance it to their mutual benefit. I prefer nuanced leads who are neither black or white, but a bit of both. The secondary characters shall not be extraneous or so called 'cannon-fodder', but contribute an equal (but lesser) share than the protagonist does. The overall atmosphere of the movie to me, must convey that sense that I am emphasizing with the characters or the situation presented.
A 1902 french silent film called "Le voyage dans la lune", relies entirely on pantomime,narration and a musical score. I liked the score of the film since it, more than anything else directed which emotions the viewer was to feel at any one point. I particularly liked the contrasting images between the exterior of the moon and the interior. I particularly liked the dream sequence also, since it seemed to give an additional 'layer' to the story. In fact, this movie is not so much an adventure story as it is about layers, and how many need to be peeled back.
I also watched the 1903 American film entitled "The Great Train Robbery". I really liked how this film conveyed action and suspense without the need for dialogue. I like the pacing of the film, because no moment is wasted. I appreciated the ending scene, and how cleverly it can be used in the construction of the film. I feel that the inclusion of a shot that can be used either as an opening or a cliffhanger is impressive. What I thought noteworthy is that the majority of the screen time is spent upon the antagonists, perhaps even setting them up to be antiheroes.
I present now two films that meet my criteria for noteworthy films. I'm going to talk about how they've influenced me, but first an introduction to number one:
1.
Napoleon Dynamite was, and is to this day one of my all-time favorite movies. The characters, the atmosphere, the setting, all combine to create the perfect combination. The movie details the daily life of an average, underachieving, high school misfit. Each conversation he attempts is full of awkward silences, long pauses and genius one liners. This movie succeeds because the audience emphasizes with the protagonist, identifying themselves with his plight. All of the side characters actually contribute, or at the very least have integral/hilarious scenes or interactions with the main character. I also really like the setting of rural Idaho to further highlight the protagonists isolation and detachment from the mainstream society.
2.
The second movie that has influenced me greatly is Die Hard. The atmosphere of this movie is purposely claustrophobic, to engineer a sense of suspense into the proceedings. This movie may have been marketed as an ordinary action movie, but to me Die Hard is so much more than that. I really liked the fact that both the protagonist and the antagonist were equally memorable. It is not the action sequences that set this movie apart, rather it is the antagonist(Hans Gruber), who nearly steals the show away from the hero(John Mcclane). However, I like that the viewer finds himself greatly interested in the fate of both characters, which to me is the proof of good scriptwriting.
A 1902 french silent film called "Le voyage dans la lune", relies entirely on pantomime,narration and a musical score. I liked the score of the film since it, more than anything else directed which emotions the viewer was to feel at any one point. I particularly liked the contrasting images between the exterior of the moon and the interior. I particularly liked the dream sequence also, since it seemed to give an additional 'layer' to the story. In fact, this movie is not so much an adventure story as it is about layers, and how many need to be peeled back.
I also watched the 1903 American film entitled "The Great Train Robbery". I really liked how this film conveyed action and suspense without the need for dialogue. I like the pacing of the film, because no moment is wasted. I appreciated the ending scene, and how cleverly it can be used in the construction of the film. I feel that the inclusion of a shot that can be used either as an opening or a cliffhanger is impressive. What I thought noteworthy is that the majority of the screen time is spent upon the antagonists, perhaps even setting them up to be antiheroes.
I present now two films that meet my criteria for noteworthy films. I'm going to talk about how they've influenced me, but first an introduction to number one:
1.
Napoleon Dynamite was, and is to this day one of my all-time favorite movies. The characters, the atmosphere, the setting, all combine to create the perfect combination. The movie details the daily life of an average, underachieving, high school misfit. Each conversation he attempts is full of awkward silences, long pauses and genius one liners. This movie succeeds because the audience emphasizes with the protagonist, identifying themselves with his plight. All of the side characters actually contribute, or at the very least have integral/hilarious scenes or interactions with the main character. I also really like the setting of rural Idaho to further highlight the protagonists isolation and detachment from the mainstream society.
2.
The second movie that has influenced me greatly is Die Hard. The atmosphere of this movie is purposely claustrophobic, to engineer a sense of suspense into the proceedings. This movie may have been marketed as an ordinary action movie, but to me Die Hard is so much more than that. I really liked the fact that both the protagonist and the antagonist were equally memorable. It is not the action sequences that set this movie apart, rather it is the antagonist(Hans Gruber), who nearly steals the show away from the hero(John Mcclane). However, I like that the viewer finds himself greatly interested in the fate of both characters, which to me is the proof of good scriptwriting.
Subscribe to:
Posts (Atom)