Daily Archives: Thursday, November 27th, 2003

Post-production

  • Reading time:2 mins read

You know, the DVD format has its uses.

I think much of the trouble in Jackson’s The Two Towers lies in the editing. There are any number of ways this film could have been assembled. He chose a distracting one. If you isolate the two major story threads, they each flow well (aside from that endless elfy flashback sequence). As the film is assembled, however, they keep interrupting each other.

Following the structure of the original book, it seems to work best to put the Aragorn/Gimli/Legolas/Merry/Pippin material first, then to switch to Frodo and Sam. The question is when to do this. It would be more than a little weird to wait until the end of the one plot, then to rewind and start the other.There is a built-in cutaway point, however, in the Aragorn plot. In a scene in the extended version, Aragorn sits outside of Fangorn while Gandalf discusses the plot. The scene ends with the two of them talking about Frodo and Sam. Then — in this version — we cut away to maybe the second or third Sam/Frodo sequence.

Why not just wait until then to start their major story? It’s a perfect cue. Aragorn tells Gandalf that Frodo has Sam with him. Gandalf is pleased. So let’s see what Frodo and Sam are up to.

The Gandalf sequence at the start is still a good device. It’s just, cut away to the first Merry and Pippin scene after Frodo realizes that it was only a dream and lies back down. Then I suppose it works to cut away again, when Frodo and Sam first meet Faramir. Finish the first plot, then do the last hunk of the Frodo/Sam plot. (There’s not much left, after that point.) And get rid of that big elfy flashback. And. The movie might actually flow, as a coherent unit.

Hmm… I bet there’s a program feature in here somewhere…

EDIT: This thought train is continued here.

Islands in the Night

  • Reading time:1 mins read

Just as I prefer warmth against cold over warmth for its own sake, I believe that I prefer light against darkness over light for its own sake. One lamp in the living room, lit for the sake of reading; one lamp above the stove in the kitchen, through the doorway on my right, to give depth to the world. Two islands in the night. I am safe where I am. If I wish to move, I have a destination. I can connect the dots on my own.

In the same vein, it is easier to drive at night. Headlights create their constant island before me, drawing me onward into the only world that exists; the only possible desination. Safety is always just ahead, and that’s where I’m headed.

Anything else is overstimulation. Excess. It’s too much. It has no curve. Light has no meaning unless there is something to be lit. Warmth has no meaning unless there is someone to be warmed. Everything needs context, or else it is merely noise.

And then there is sound.