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| raymond j. barry, text, information, eddie j. fernandez, syrian, tabs, turkish, transexual, armenia, gay, underground, writing, scott walker (ix), | As the camera settles on them, the story then centers on this character. This technique creates a fluidity that keeps things moving. It also thrusts us slap them into the middle of the action, causing our minds to keep working as we follow the stories, the slap them characters, and the actions. Your eyes will be riveted to the screen the whole time. slap them Much of the beauty of the screenplay and directing is that each character is quickly established and becomes memorable. One character is introduced with a monologue revealing their deep-seated racism. It is a memorable scene. In the hands of most filmmakers, this would be the extent of exploration for this character. In the hands of Haggis, we then learn the more subtle aspects of this same character. |
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| Then we meet a fourth, and quickly, they interact with a gay fifth, and so on. This sort of `round robin' method of story telling may sound a little confusing, but I was never lost and I doubt you will be either. The key is that each character is quickly gay established as an interesting though maybe disgusting, maybe normal, maybe conflicted person right away. Each person is fused into our subconscious with a few words or actions. As the film switches back and forth, Haggis uses a number of techniques to keep the action fluid. For instance, we might gay follow the detective during a visit to his mother's house. As he leaves, he opens a door and the camera pans across the open door to follow the white District Attorney as he enters a meeting. Or, a character looks out a window and the camera pans across the window to reveal another character looking through their window. |
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