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(photo found here)
Everything under the cut is a bunch of barely connected, half researched ideas that have been swirling around my head for the past several hours. Sorry I’m not sorry for the lack of cohesiveness; I have to braindump this now lest it keep me up all night. My motivation for seeing this movie a second time, and making the observations below, was inspired in large part by “The Visual Intelligence of Pacific Rim,” which you should go read right now. Also be sure to check out “The Drift Between Couples,” which draws some really intense parallels even if you’re not a shipper.
i used to think ruby rhod was the worst part of the fifth element but now i think he’s the best part of the fifth element and that’s how i know i’ve grown up
I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
"We have a word for that in Japanese," he said. "It’s called ma. Emptiness. It’s there intentionally.”
Is that like the “pillow words” that separate phrases in Japanese poetry?
"I don’t think it’s like the pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness. But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb."
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