"Every second of every day you are faced with a decision that can change your life. The difference between life or death can be decided in a split second" (IMDb). Run Lola Run is an excellent 80-minute German film written/directed by Tom Tykwer and edited by Mathilde Bonnefoy that has a four part "What if" style genre. The movie just throbs with kinetic energy mixed with a case of Monster Energy Drinks. It is so fast-paced that it is like a roller coaster that is unstable with each twist and turn. Run Lola Run will captivate your mind and spirit with beautiful and free form flashes of anticipation, panic, passion, desperation, hesitation, fear and fervor that when all combined is quite invigorating and will significantly exhausts its viewers. The formula editor Mathilde Bonnefoy uses to manage the complex rhythms in this film not only dazzles viewers with the pacing, but it also maintains an extensive focus on what Lola is doing and why she is doing it.
Among other things, editing is what determines the length of a shot. Thus, it fully controls the length of time one can look at each image and integrate the information within it. In Run Lola Run Mathilde Bonnefoy demonstrates that experimentation is editing does not have to be formulaic. She handles the editor's traditional tasks of fixing the duration and frequency of shots, thus controlling the film's emphasis on a person, location or device with such a sense of pride that the film becomes more about the editing than about the actual narrative. The opening sequence for instance, shows Lola (Franka Potente) receiving a phone call from her boyfriend, Manni (Moritz Bleibtreu), who asks her to help him in a dire situation, in the importance of returning $100,000 to the g...
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In conclusion, Run Lola Run is an excellent film that incorporates phenomenal editing and music. If a viewer were not dazzled by this film one would be very surprised because it is a very compelling and breathtaking. The formula editor Mathilde Bonnefoy used to manage the complex rhythms in this film will not only dazzle viewers with the pacing, but it also maintains an extensive focus on what Lola is doing, why she is doing it and what of importance is happening in the film.
Works Cited
IMDb. Run Lola Run. 21 04 2011 .
Run Lola Run. By Tom Tykwer. Dir. Tom Tykwer. Perf. Moritz Bleibtreu, and Herbert Knaup Franka Potente. Prod. Stefan Arndt. Sony Pictures Classics, 1998 (Germany) & 1999 (US).
—. Run Lola Run. 21 04 2011 .
The idea of free will or the ability to manipulate one's own fate is a concept that many people struggle to define. Run Lola Run (Tom Tykwer, 1998) depicts the interaction between the concepts of fate and free will by portraying the way one situation can be affected by minor differences of similar events. The episodic journey of the main character Lola suggests that fate can be altered through choices made as a result of character growth.
Speed Racer. Directed by Andy and Larry Wachowski. Warner Bros. Pictures. American Film Institute Catalog, 2008.
Blade Runner. Dir. James Riddley-Scott. Perf. Harrison Ford, Joe Turkel, Sean Young, Rutger Hauer, Daryl Hannah, Joanna Cassidy, Brion James, William Sanderson, M. Emmett Walsh, Edward James Olmos, Morgan Paull, Columbia Tri-Star, 1982
Braveheart. Dir. Mel Gibson. Prod. Mel Gibson. By Randall Wallace. Perf. Mel Gibson, Sophie Marceau, and Patrick McGoohan. Paramount Pictures, 1995.
Dynamic characters are built by dynamic movement in film. Whether the character is sitting down giving a lecture, or is a ballerina dancing on stage, character are born through movement. Movement in emotion, or physical, a characters action and re-actions are what draw audiences into their story. The characters in the movie Take the Lead gain power through their character transformations through dance, their movement on the dance floor directly impacts the way they carry themselves through life. In this paper I will explore three scenes, each scene will show different levels of progression in each character’s life, and I will show how the characters gain more power in their own lives the more successful they become with the movement of dance.
Mac and Dennis are driving home. As they are driving they hear the radio from the car that a disease was spreading the city. And immediately had to get a flu shot they were so worried they had to park their car to call their parents, if they were okay. As soon, as they both call they have been reached to voice mail. They called one more time and Mac’s parent were vomiting. Dennie’s parents had really bad headaches.
novel. "...Jim running slower to stay with Will, Will running faster to stay with Jim"(18).
Many runners have had the opportunity to experience a state of euphoria while running. While the actual state that they feel varies immensely for each individual there is a common feeling associated with the term "runner's high". When a person is asked about runner's high they typically will say that it a pleasant state that a runner might experience after a certain distance. This in fact may not be true for only runners though. Skiers, surfers, football players and wrestlers all have "highs" or moments when they feel they are working to their maximum potential and feeling on top of the world. Runner's are not the only types of athletes that experience intense emotional feelings. One must question exactly what is included in this feeling. Defining a "high" may not be all that easy, if there even is such a thing.
Non-linear narrative is an unconventional way of storytelling in film and now a contemporary style of filmmaking. It provides infinite possibilities with structures that can use various time and space for the director. It deeply engages the viewer and gives them the task to interpret the movie through their individual way of thinking which is both tricky and enjoyable. The audience is almost put in a time-travel machine as they go on a journey through the serious of captivating non-choronological events. Non-linear narratives are definitely a feature of postmodern filmmaking.
Symbolism was employed throughout the film to highlight the importance of sticking with instinct while facing uneasiness in decision making. Characterization was also and important literary element which demonstrated how fixating a substantial amount of time and effort into what is manageable and looking forward in life in order to be surrounded with ease and better a situation. The ability to strategically create sound decisions in environments that are filled with uncertain situations is crucial throughout life, and following simple methods will pave the path to
Pathfinder, The. Dir. Donald Shabib. With Kevin Dillon and Graham Greene. Leather Stocking. 1996. 84 min.
The key to Lost in Translation lies in its simplicity. It is a film about real people with real problems and real emotions. With Sofia Coppola’s excellent eye for cinematography and her perfect balance between drama and comedy, it is no wonder that this film received four Oscar nominations, including Best Picture, Best Original Screenplay, Best Actor, and Best Director. For a good laugh about the real world, watch Lost in Translation, and maybe you won’t feel so lost afterwards.
Editing is one of the most important things in now only a film, but in any project. If people don’t edit, then little mistakes slip through. Parallel editing is used in the scene from Inside Out. Parallel editing is when two scenes alter between each other because of a connection that they have. This is also called crosscutting or intercutting. An example would be the fact that the film was switching back and fourth from the scene where Riley was talking in the classroom to where her emotions were trying to see how they could solve whatever was going on. One shot would show the emotions playing a joyful memory and then the next shot would be Riley talking about that memory with a joyful look on her face. This also happened in the shot where the memory became sad and then it showed Riley becoming sad as she talked. These go back and forth with each other because they have a connection that helps keep the story moving along. By using different editing techniques, the film not only looks better, but becomes more believable in a
I have discussed how Francis F. Coppola exploits a wide array of audio and editing techniques to create suspense, tense, and anxiety in the sequence to affect the audience’s feelings. Despite the simple fabula, this multifaceted film requires certain intellectual involvement and efforts of the audience to grasp fully its underlying meanings and subtle nuances.
Snatch directed by Guy Ritchie (2000) is a nonlinear film told with two main story lines which are interwoven around each other. Plot A of the film is about a boxing promote named Turkish who is indebted to local bookie Brick Top. Plot B follows a 86 caret diamond as it is brought to London and ends up moving through the underground crime scene in London. The editor of the film uses various techniques to tell the story of how the diamond passes from character to character using and how it gets to the end point which is outlined in the beginning of the film with Turkish narrating at the beginning of the film “what do I know about Diamonds.” This essay will outline the various technique the editor and director of the film used to tell the story of the diamond using both dramatic and comedic moments through the use of transitions, length and arrangement of shots, use of small montages to identify characters, use of pause and slow motion and narration to continue the story and provide energy to the film and the use of time jumping to increase the comedic elements of the film.