Apocalypse on the Set: Nine Disastrous Film Productions by Ben Taylor

By Ben Taylor

The ebook starts off with Pulgasari--a North Korean Godzilla clone dreamed up via Kim Jong-Il and created by way of a abducted Korean director, with the cheap of hundreds of thousands and a employees of 7 hundred consumed truckloads of pheasants, wild ducks, and deer. The tales at the back of the opposite 8 movies, from The Adventures of Baron Munchausen and The Twilight area: The motion picture to Apocalypse Now and The Crow, are only as magnificent and gripping--this is a ebook movie fanatics will devour.

These strange, frequently hilarious cinematic endeavors make certain that fact is stranger than fiction, truth extra unstable than narratives, and destiny extra inconceivable than plots.

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Extra resources for Apocalypse on the Set: Nine Disastrous Film Productions

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In film noir, there remains a space for truth outside the deception that embroils the noir hero, and this space emerges through the hero’s confession, which is often a fixture of the noir style. But Nolan cannot insist on the priority of the lie without running into structural difficulties that film noir, with its ultimate affirmation of truth as a realm separated from deception, can avoid. indb 21 6/12/12 2:28 PM The most evident barrier to revealing the priority of deception is the liar’s paradox.

Identifying the necessary fiction produced by our desiring subjectivity allows us to change the location of truth. It does not exist in the world itself (as objectivism or empiricism would have it) or in the subject (as relativism or subjective idealism would have it). Instead, truth exists in the distortion itself. The truth of our being is in the fictional turn through which we ground the objective world. Though Bill remains completely unaware of this truth throughout Following, the film makes a point of his unawareness and thereby foments spectators’ recognition of the truth of their spectatorship.

This investment manifests itself in the ruling metaphor of the film—the box of secrets. 6 When Cobb takes Bill on his first break-in, he introduces the box as the raison d’être of the break-in. The box, like the diary, does not hold ordinary valuables but the little treasures that reveal what a person holds most precious. These treasures represent the owners’ hidden desire, the essential kernel of their being. As Cobb explains to Bill, “Everyone has a box. . Sort of an unconscious collection, a display.

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