JENSEN You have meddled with the primal forces of nature, Mr. Beale, and I won't have it, is that clear?! You think you have merely stopped a business deal -- that is not the case! The Arabs have taken billions of dollars out of this country, and now they must put it back. It is ebb and flow, tidal gravity, it is ecological balance! You are an old man who thinks in terms of nations and peoples. There are no nations! There are no peoples! There are no Russians. There are no Arabs! There are no third worlds! There is no West! There is only one holistic system of systems, one vast and immane, interwoven, interacting, multi-variate, multi-national dominion of dollars! petro-dollars, electro-dollars, multi-dollars!, Reichmarks, rubles, rin, pounds and shekels! It is the international system of currency that determines the totality of life on this planet! That is the natural order of things today! That is the atomic, subatomic and galactic structure of things today! And you have meddled with the primal forces of nature, and you will atone! Am I getting through to you, Mr. Beale? (pause)
From True Detective. Begins at the 4 sec mark.
From the Yale Film Analysis Guide, which you should be consulting by now:
Unless shot at a fixed angle, with a fixed camera and no movement, long takes are extremely hard to shoot. They have to be choreographed and rehearsed to the last detail, since any error would make it necessary to start all over again from scratch. Sophisticated long takes such as this one from The Player, which includes all kinds of camera movements and zooms, are often seen as auteuristic marks of virtuosity. Aside from the challenge of shooting in real time, long takes decisively influence a film’s rhythm. Depending on how much movement is included, a long take can make a film tense, stagnant and spell-binding, or daring, flowing and carefree.Indeed, directors like Altman, Welles, Renoir, Angelopoulos, Tarkovski or Mizoguchi have made long takes (usually in combination with deep focus and deep space) an essential part of their film styles.
I’m trying to formulate a list of critical methods Hawkes employs in Ideology. If you have any suggestions I’d welcome them.
1. “X has become so pervasive it has effectively ceased to exist.”
This formulation ought to evoke paradox, the interpenetration of opposites, the dialectic.
Thanks to Danika for the link:
I’ve not seen this film but it’s pretty clear the screenwriters (who are both from the Bay Area) have read some Marx and Engels. Though I’m not entirely comfortable with the trope of the earnest white savior, on the other hand nothing matters except getting free.