Writing

There’s ending montages. And then there’s the Tinker Tailor Spy ending montage.

Continue reading “Minimalist Moments: Tinker Tailor Soldier Spy”

There are many reasons why Breaking Bad has one of the finest endings in television. Walter dispatching the Nazis? Wonderful. Jesse taking out Todd via the same chains that enslaved him? Poetic. And those final images of Walter White just wouldn’t be the same if they weren’t accompanied by Badfinger’s ‘Baby Blue’, whose lyrics seem to tailor-made to fit the triumphant yet poignant tone of the denouement.

Continue reading “Minimalist Moments: Breaking Bad”

28 days. 6 hours. 42 minutes. 12 seconds.

Continue reading “Minimalist Moments: Donnie Darko”

Landscape is a necessary factor to consider in any film production, whether it plays a wider part in the film’s narrative or not. The location of your work is where your characters will experience their existential crises, battle it out or just sit around talking. Or maybe they’ll barely talk at all.

Continue reading “The Banshees of Inisherin: Storytelling Through Scenery”

HOOHAH.

Don’t worry, the post can’t focus on any loud Pacino overacting moments, because they’re not exactly minimalist. I do appreciate the intensity that he brings to the table nonetheless. As it is, Heat remains the finest Pacino/de Niro pairing of all time. The Irishman doesn’t quite do it, and Righteous Kill? Well, I haven’t forced myself to watch it yet, but from what I’ve heard, it’s not exactly a classic.

Continue reading “Minimalist Moments: Heat”