These next four episodes are split two ways again, 13 and 15 seem to be interested in drilling down into objective reality, 14 and 16 go in the exact opposite direction, interrogating these character’s subjectivity. It feels odd to describe them out of order like this, but it’s really the only way that writing like this is going to flow.
I didn’t get the chance to interview Peter Strickland, but after a recent pre-release screening of In Fabric I was able to ask him what influenced the film’s sound design aesthetic. ‘Well,’ he answered, ‘I’d been watching a lot of those Autonomous Sensory Meridian Response videos — I think they call them ASMR — and really wanted to make one of my own.’
We’ve all seen the images. The big ones this film puts onscreen, even some of the ones it kinda deliberately tries to edit around in favour of different angles on the same material. Which is kinda wild by the way, they’re on the fucking moon and they set up multiple angles.
I’ve spent the past half hour trying to work myself down into a mood in which i feel I can write this. Miami Vice might just be too Mann for me.
Nine episodes in and it seems like things have finally settled down into a good rhythm, although I’m assured by reputation that it’ll be shaken up before too long.
I guess the ultimate irony of that title is throughout the whole of this movie the guys that we spend so much time staring at don’t actually do any good work at all.
I rather like it when things are this juvenile. I guess it’s the first of his films where he’s not a credited writer (though undoubtedly he had some hand in it). Mann nudges it towards his own space by making everything a half point more extreme than it quite needed to be.