Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
- 12/3/2012
- by gina telaroli
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
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To me, this idea that the joy Tony Scott took in directing came from a curiosity and thirst for life seems essential to watching his films. What is cinema if not a window through which to touch worlds we’ve never touched before? What if Scott’s maximalist mise-en-scene, his persistent attempt–through sophisticated montage–to fit the utmost information in the frame, was the only way he knew how to express the combination of fear, adrenaline, and joy that he was always chasing (whether making films or climbing mountains)? Let’s remember what he said of the characters in Domino, “always chasing the dark side of life,...
<- the previous analysis | movement index | the next analysis ->
To me, this idea that the joy Tony Scott took in directing came from a curiosity and thirst for life seems essential to watching his films. What is cinema if not a window through which to touch worlds we’ve never touched before? What if Scott’s maximalist mise-en-scene, his persistent attempt–through sophisticated montage–to fit the utmost information in the frame, was the only way he knew how to express the combination of fear, adrenaline, and joy that he was always chasing (whether making films or climbing mountains)? Let’s remember what he said of the characters in Domino, “always chasing the dark side of life,...
- 12/3/2012
- by Otie Wheeler
- MUBI
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