Writing

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Minimalist Moments: The Bourne Trilogy

It begins in water. It ends in water. Doug Liman and Paul Greengrass perfectly bookend the journey of their amnesiac hero with symbolic imagery, but the three films create a structure of their own through the repeated use of Moby’s now-iconic song ‘Extreme Ways’. The electronica artist was already known for lending his tunes to the dramatic endings of Scream and Heat; the latter film is given a particularly poetic ending through the use of Moby’s ‘God Moving Over the Face of the Waters’, and that’s one I’ll discuss in a later post. But the repeated use of ‘Extreme Ways’ at the end of each film begins to cultivate a distinct gravitas, similar to the ‘dah dah dah’ sound at the end of Bond films. All you need to hear are those first sounds (writer Adrian Hon describes these distinctive noises as ‘Wree! Wree!’, but you’re welcome to interpret them in whatever onomatopoeic form you see – or rather, hear – fit), and you know the protagonist is in the clear.

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The Fall Guy: The Anti-Drive Movie?

Based on the 80s television series of the same name, Bullet Train director David Leitch has set his sights on a new project, which details the escapades of a Hollywood stuntman who has a side job as a bounty hunter. Sounds awfully similar to a certain Nicolas Winding Refn film that came out in 2011, right? Emily Blunt is attached to the production, as well as…Ryan Gosling.

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