Film doesn't need a solution to make sense, but it is typical for us to want solve things, to have closure. It is a movie that plays off of ideas, color, mood, it presents intangible emotions that we feel and internalize rather than think about and solve. was (though that film never will be solved either). It is not a mystery to be solved, as Mulholland Dr. It would be a disservice to this film to try to find meaning or symbolism as I see some people already are. It has no type of linear story line and the converging and diverging plot lines are connected by only the most simple threads, time, location, memory ("Do I look familiar? Have you seen me before?") identity, and people who are good with animals. Most of you know the basic plot, but this really means nothing about the film.
It is one of the finest performances I've seen by an actress or actor. Her range and ability to work consistently over so many years and under the conditions of this film is mind blowing. Her character(s) morph and change so often in identity and time that it is hard to believe it is her in every role. The movie is completely carried by Laura Dern, and not because she is in 90-95% of the scenes. Of course, there are other scenes that would qualify as downright freaky. The moments of suspense and terror are so well done - there are several scenes that will literally make you jump - that I found a Hitcockian brilliance of using subtlety, indirectness, and sound to convey emotion rather than expensive special effects. Lynch really explores the freedom of movement and editing that is available with digital, and you can feel his energy and zest in the new medium. He also uses many close shots, and as always, obscure framing allowing ambiguity and confusion. You can see much more movement in this film than his others, giving an almost voyeuristic feel. Lynch said that he used the digital camera to give him freedom. Often times we can't tell if the sound is diegetic or non-diegetic, but it makes no difference. The lighting and production were top quality as usual for a Lynch film and the score sets every scene brilliantly. It lose some of the cinematic flourish of film, but also brings a more realistic, gritty feel to it that is appropriate for the theme. The digital camera works well for this film. First of all, the movie is not unwatchable (because of clarity purposes) as some critics had said, although I did see it at the Lincoln Center which has a beautiful theater and top quality facilities. Before I discuss the substance of the film I will briefly review the technical aspects. As one reviewer aptly put it, it is a double reference to Hollywood and the inner workings of the human brain. Lynch's new film, INLAND EMPIRE, is similar to his other work, but unlike anything he's ever done, or I've ever seen before. It is also one of the self- referential moments of the film that explores the audiences very thoughts while providing some comic relief. "I can't tell if it's yesterday or tomorrow and it's a real mind f-" This single quote from Laura Dern sums the movie up fairly well. I will try my best to recount my thoughts while they are fresh, and incorporate what the film maker and actors had to say. Assign the shader to the sprite drawing your level screenshot, assign the mask texture to it's material.ĭone, now you just need to modify x,z offset of the fogged sprite material to make the blurred hole into the rendering of your level follow your character.Įdit: On second thought, this won't give shadow-like occlusion.I just saw this film at the New York Film Festival followed by a Q & A session with David Lynch, Laura Dern, and Justin Theroux. Set mask texture to clamp mode instead of tiled mode. Create a simple image of a blurred black circle on a white background. Next, create a shader that makes a sprite transparent based on alpha value of a mask texture and can independently shift x,z coordinates of that mask (NGUI has something like that built in, but standard UI should allow that too). Why not do the fog of war with just one camera? Capture a screenshot of a level, use that on a sprite stretched to match the screen. Half the height and width of your screen is standard practice with stuff like this, and lower resolutions are even better. Ideally you'd want to make your alpha map to render at a low resolution to make low blur radius look exactly as you want. But I can't really recommend that approach since it's pretty performance hungry, and it gets worse the further you move your radius. Yes, that's how gaussian blur is done, you can find exact weighting values on the net.
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