Post by drystyx on Feb 20, 2017 18:46:33 GMT
There's no doubt that "inspiration" is looked down upon, particularly since about 1965, in movies and stage.
I've been in groups where the leader would always frown upon something inspirational. In fact, every group of writers that I've attended, the leader did this, and the leader would swoon for something totally without merit.
Which is why we get some huge budgets for the worst scripts. Take modern comedies. There is absolutely nothing to like or care about in HIGH FIDELITY, THE HEARTBREAK KID, THE BREAKFAST CLUB. In fact, movies like this spend the entire production to turn people into stereotypes. Hitler would have loved these.
That's if you can stay awake through them.
The trouble is there is nothing to relate to in most movies. They spend special effort in alienating the viewer, losing all empathy, and then try to win empathy with great music. That's the worst possible movie, the misuse and mismatch. A movie that is just technically bad is not as bad as the one that abuses and wastes great music, scenery, and budgets.
Fortunately, the three I mention don't bother with scenery for the most part. That would make them even worse, to waste great scenery on crap.
But lets face it. There's no inspiration in them.
Take the spaghetti Westerns, particularly of Leone. Total waste of great scores. The music has inspiration, but the characters have none. They're all one dimensional caricatures that just kill everything they see. They're based on traditional Greek heroes, demi gods, so anyone who calls them anti heroes is either a liar or an idiot.
They alienate the viewer, except for completely brainwashed Beavis and Butthead types, who are fooled so easy.
The fact is that every director, and every teacher I've met in the arts, with very few exceptions, relish "control". They hate the "comrade" approach, and only like to manipulate.
They're all just like Eastwood as director of UNFORGIVEN, which is the prime example of manipulation. Feeble minds are manipulated into accepting a homicidal maniac, a killer of women and children, as "likable". Eastwood does a good job of manipulation. He still isn't an actor, as evidence by his gamut of emotions and expressions, all "one" of them, but he knows how to manipulate feeble minds.
This is not what art is about, and only feeble minds accept that it is.
s