Everyone seems to be talking about the “rise” of it all: the “emergence” of remakes, true crime, lively compositions… These are the successful genres but – we can all agree – massively exaggerated literary genres today. Well, if there’s a new dawn on the horizon, you’ll hear about it here first. Let’s talk about the rise of the Netflix movie “Behind the Scenes” (BTS).
You know what I’m talking about. The moment something hits and some actual cinematic value emerges, Netflix takes an exclusive 60-minute look behind the scenes. He usually promises to reveal the director’s process, the atmosphere set, and a host of interviews with the cast and crew praising each other for being “professional” and “just like family.” I can name three off the top of my head: Create the Queen’s gambit (Queen’s gambit), Behind the scenes with Jane Campion (dog power) And The road to Rome (Rome).
How far will the egocentric sensors go?
These films seem to be part of the growing focus on people – film biopics, if you don’t mind Youtube-ism. Every celebrity should have their own documentary or feature film if they died to show their “real” personality behind the star-studded photo. The tentacles of this selfishness extend to capture every section of the film industry. Actors don’t just have to be celebrities, they have to be directors as well! How far will these sensors reach? Wouldn’t there be a corner in the movie world where the “truth behind the star” could be kept secret?
Not only is the self-immersion behind the BTS movie unsettling, but its creation is also bizarre: there is a camera installed that shoots the cameras doing the shooting. Everything looks very dead. You wonder, did Netflix know these movies were going to be hits from the start and sent a special crew to document them? If this is the case, ego alert! Or did they elegantly put together some serendipitous snapshots from post-hit shoot? Given how quickly BTS movies are coming out and how much cast and crew are available for interviews, it seems like it’s a first.
“Maybe I should have expected to be disappointed (I never meet your heroes)”
Without wanting to completely rule out the genre before Netflix has time to make a billion dollars from it, just in case The road to Rome (2020) and Alfonso Cuarón, It ended up feeling just like this kind of ego trip. He explains in great detail the difficulty of finding objects and actors that are very similar to the objects and people of his childhood, and which Rome (2018) based. Was his life so special that the movie should be a carbon copy of it? Cuarón barely managed to hide his smile as he recounted difficulty after difficulty, knowing full well that he beat them all to make a movie worth it. Later, we see him hug Yalitza Aparicio (who plays the heroine) crying into tears after an upsetting scene, and as the credits roll out he explains how to use backlighting for a host of extras. I found myself wondering how much of a role he might have played in selecting those particularly attractive clips.
Did you need to know that Cuaron is well aware of his success? Not specified. Learning about the process was quite frustrating. It was easy to forgive Rome The fact that Cuarón is a privileged white Mexican and her heroine is the original working-class nanny of Cuarón’s childhood, because it was so obvious that it was a movie that cared about her story. His real-life nanny was supposed to have a big role in the film’s conception. But there is no discussion about this in The road to Rome He points out that worries about his cinematic reconstruction of her life never bothered him. I probably should have expected to be frustrated with delusion (hmm Act Always say, never meet your heroes), but nonetheless it left a bitter taste in my mouth.
Cuarón’s interest in the world of film sheds light on his previous work, such as the prominence of Womping Willow in Harry Potter”
On the other hand, the BTS movie shines for a sneak peek into the genius behind the character. Sometimes Cuarón talks about cinema sincerely. His extreme choices slowly fit into our understanding of his artistic vision, and any future director who sees him will be glad to see Syed in action. He explains his rejection of a square frame for a wide frame, and how this inspired slow camera movements, allowing the figures to “traverse” the frame: “The film is about the universe and the characters just cross it.” His interest in the universe, the context of the story, and then highlights from his previous films, such as the emergence of Womping Willow in Harry Potter and the Prisoner of Azkaban (2004) and how it conveyed the central themes of loss and hope. There is clearly something to be said for democratizing knowledge about routing technology.
In the end, the long-term effects of all this are yet to be seen. beganing of The road to RomeThe BTS movie serves as a money-making and ego-making machine that fits Netflix and the film establishment very well. On the other hand, I loved Alfonso Cuaron’s little lesson. And as much as I’m not a fan of the self-referential and self-respecting direction in which these genres move, I’ll eagerly pick up every new BTS movie if they promise to provide exemplars through which to source this artistic inspiration.
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