We, The Infected

What I love about films like LTROI is that it takes a a great collaboration of great artists to produce them. JAL for the characters and the story, the actors, director, makeup and costume to bring the characters to life (and the score as well, each with their theme), director and cinematographer (and production designer?) to establish the look and style, composer, etc etc. When we see Eli, for instance, we think that's Lina. But it isn't just Lina. It's Lina with JAL telling her what to say and do, TA telling her how to do it and say it, the costume designer dressing her for the part, the cinematographer choosing lighting and camera angle, set designer setting the scene and the composer setting it to music to strengthen the impact of what she's enacting. It must be a glorious experience to be a part of such a creative whirlpool.

It would be great fun. I wonder if the kick they got from watching the film in its completion was as big as for the uninitiated viewer?
All the rehearsals and re-takes wouldn't have left many surprises. Maybe a bigger kick? I don't know.

Ab-so-lutely.

I've always viewed cinema as one of the many vessels through which we pass our cultural information -- our memes (Thank you Richard Dawkins) -- and that they have a special place in our culture, or at least should. They represent the distillation of ideas through more than one parent, and various dominant traits present themselves in what their parents hope will be a success.

Entertainment is not only fun, it's important for transmitting our cultural heritage from one generation through to the next. Not only are certain memes presented in the product, but there's also a further straining of the information through the monkeysphere because of who chooses what at what times.

Let The Right One In is a good example of a perfect storm of ideas. I would also wager that a lot of the reasons the film resonates with us so much the filmmaker's might not even have been a direct result of the filmmaker's intent.

Ash wrote:It would be great fun. I wonder if the kick they got from watching the film in its completion was as big as for the uninitiated viewer?

JAL said he cried first time he watched the film with Söderqvists score completed.

drakkar wrote:

Ash wrote:It would be great fun. I wonder if the kick they got from watching the film in its completion was as big as for the uninitiated viewer?

JAL said he cried first time he watched the film with Söderqvists score completed.

I can understand that and why not, I did.

How many of us would have given something of value to have been allowed to sit on the sidelines & watch the film being made?

Between the writing, directing, acting, cinematography, music score and stage design, every aspect of filming this movie was extraordinary and orchestrated beautifully. The collaboration between JAL and TA, which at first drew skepticism from novel purists, resulted in nothing short of a masterpiece. This is more than movie magic this is karma. From conception to editing fate was there every step of the way. I'm so glad JAL didn't go with the first choice and instead saw something in TA, a director who shared his vision.

I really hope that TA and JAL do work together again like they said they were going to film JAL's book Harbour. I believe both are going to be even more popular as time goes on, and hopefully with Lina and Kare, Hoyte van Hoytema was involved in a potential Oscar winning movie The Fighter, and Per Ragnar has been reading for parts here in the US. So lets hope that everyone involved in the making of this masterpiece continues to infect the world with their talent.

a_contemplative_life wrote:How many of us would have given something of value to have been allowed to sit on the sidelines & watch the film being made?

Heck, I would give something of value just to have more behind-the-scenes material.
Like that fabled 40-minute featurette that seems to be made of the same stuff as the Maltese Falcon.