Inside Llewyn Davis
"Inside Llewyn Davis" is the most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A case for abolishing apostrophes; new Newsweek owner accused of labor violations; why we need a documentary about the D.C. snipers (sorry, "Blue Caprice"); a PBS exec kvells over literary adaptations; who really writes letters to the editor?
Marie writes: I recently heard from an ex-coworker named Athena aka the production manager on an animated series I'd painted digital backgrounds for. She sent me some great photos she'd found on various sites. More than few made me smile and thus inspired, I thought I'd share them with club members. I've added captions for fun but if you can come up with something better, feel free to submit your wit by way of posted comment. Note: I don't know who the photographers are; doesn't say. (Click pics to enlarge.)
"I want a peanut for every photo you took of me..."
From Andrew Davies:
I think the first shot of Christopher Nolan's Memento could be best described as the film in miniature because of how the subject of the shot establishes several important elements of the film. The credits begin on a dark screen. The title "MEMENTO" is still there as the shot fades in, placing the title over the image of a hand holding a photograph. Placing the title over the image of the photograph links the word and the image, telling the audience this photograph is a memento of...something.
The photograph, which is that of a man dead on the floor, his blood on the wall and floor, establishes several important things about the film. The photograph first establishes the narrative structure of the film because as it is shaken, the picture fades instead of develops. This represents how the film begins at the end of the story and progresses, so to speak, to the beginning. The fading of the photograph also establishes the mental state of its main character, the man holding the photograph, Leonard Shelby (Guy Pearce). Like the photograph, Leonard's memory fades. He has short term memory loss, caused by an intruder who raped and murdered his wife in a home break in. His mission through the film is to find "John G," the name he gives to the intruder. The photograph, in of itself, establishes one of the ways in which Leonard tries to keep track of people and places he will forget is to take photographs of them, writing captions underneath the picture.