Universe Within reveals the hidden digital lives of highrise residents around the world. Trapped in our highrise units, how do we find love, hate, peace, god or community online?
Right up to, and even for a while after, the outbreak of war in Europe in 1939, the predominant attitude in Hollywood towards fascism was classic three-wise-monkeys strategy – pretend it’s not there and perhaps it’ll go away. Partly this was due to the belief that movie-going audiences would be turned off by politics: that “the purpose of the screen, primarily”, as Joseph I. Breen, the industry’s all-powerful censor, maintained, “is to entertain and not to propagandize”. (His italics.) No less influential was the fear that any films that offended the Nazi government might entail the loss of the German market to the studio involved. There was little risk of anyone overlooking this last consideration: the German consul in Los Angeles, Georg Gyssling, kept himself closely informed on all forthcoming movie projects and was quick to complain to Breen, to the relevant studio heads or even to Washington about anything he believed might impugn the honour of the Führer or the Reich.
So, I’ve just got around to watching The Hunger Games for a second time, and it’s still an incredibly made story/film (and further away from reading the book, I’m not noticing “what’s missing” and taking it on its own terms).
Just a few thoughts from watching the special features elements on the DVD, of which there’s a huge amount of interesting content, but a couple of things really struck me whilst watching.
The Director (Gary Ross) talking about not trying to please the potential audience, not trying to think what everyone would want, but having a clear vision of his own (albeit in discussion with his team, the author, etc.) and being true to that vision in order to make a cohesive film. This reminded me of our discussions at #smvalues last week in knowing what you stand for, and living your life cohesively to that.
The creation process being something that is ongoing, that every layer that is added to the film (the casting, the shooting, the editing, the music) has to add to, and improve, the story. Discussions between the actors and the director are important – the Director may have overall ‘control’, but can take inspiration from those who he’s directing, and can change the overall look/feel by listening to others.
In working with the editor in the film creation process, how a few screens added can change, and layer, future tellings of the story – the particular example given here was that the story felt like it was missing the aspect of ‘game’ and the addition of an ‘odds’ board reminded the viewers of what this was really about, and how this was a sick game.
Remaining true to the original story, whilst recognizing that a different medium requires different choices/a different application (often what is whirling around my mind when we’re looking at the Bible in the digital space) – and that this could have been done in many different ways, emphasizing different aspects of the story.
So, this is not deeply thought out, just a few ideas that occurred to me in watching several hours of interesting special features – fascinating!
2 weeks ago I’d not even heard of The Hunger Games, I have now read all 3 books (on Kindle), and watched the film (not bought the album though!)… and thoroughly enjoyed all of them:
This evening I’ve been to see Hugo – an interesting film, and a lot was explained once I saw that Johnny Depp was behind the film! You can see the trailer here:
Read more about the film on IMDB, and read more about the story of Georges Méliès, the inspiration for the film, and see one of his famous films: