An average couple's life is shaken up when they find out their baby is a 10 on 10, a genius in the making, but with a caveat. Read our review of the short film "Ten with a Flag".
“They’re a solid 10, but…”
Complete that sentence with anything that’s a little off-putting but won’t be a deal-breaker when you are looking to date somebody. If the internet is to be believed, that’s what you’d call a “beige flag”, which unlike a “red flag”, is a trait that might not be desirable but is tolerable. Now, imagine living in a society where everybody is officially assigned a rating…
SHAVED WOMEN IN THE EARLY '70s -- A YOUNG DIRECTOR'S NIGHTMARISH VISION OF THE FUTURE COMES TO LIFE.
"My first six years in the business were hopeless. A lot of times I'd say, "Why am I doing this?""
-- GEORGE LUCAS (film writer/director) on his perceived outsider status in the Hollywood filmmaking industry
PIC INFO: Resolution at 2554x2560 -- Spotlight on George Lucas (then age 26-27) and Maggie McOmie on the set of "THX 1138," Lucas’ directorial debut back in 1971.
EXTRA INFO: The film, produced by Francis Ford Coppola, brings to us a dystopian future world where the human population is controlled by a police force of robots and subjected to drugs that subdue all emotions. Based on a student film by Lucas himself, it features Robert Duvall as the main protagonist and titular character.
Orwell's depiction of a dystopian world was one where people are crushed by oppressors and have no hope of escape, meanwhile Huxley's depiction of a dystopian world was one where people passively and happily allow their oppression.
This is why Chicken Run: Dawn of the Nugget took such a sharp turn in aesthetics compared to the original film, as the oppressive and dark visual themes of the first film as well as the narrative themes of forced compliance compare better with something like Orwell's 1984 but the colourful retro-futurist themes of the sequel, combined with the themes of delusional compliance and mind-control compare better with Huxley's Brave New World. In this essay I will--
the thing about adaptation discourse (specifically with pjo but this can apply to others i've seen) is that people fail to realize:
a) they are adapting it for a NEW audience. and
b) they are making it fresh for the ORIGINAL audience!
as much as people say they want a 99% accurate representation of a book to screen, be for real that would just be boring!!!! knowing every plot twist every turn every development would get tired sooo fast. by adding changes however minor or major to themes, plot, details, WHATEVER, it makes it fun while still keeping the heart of the thing! maybe i'm just an optimist but holy shit it's so fun to be taken on a whole new journey while still knowing where they'll end up, but being able to be surprised by what may happen to get there! i audibly gasp in delight when things happen that weren't in the books. i LIKE being surprised and falling in love with something all over again for new reasons. especially in a book to tv format, there's so much room to add, to develop, and to REdevelop aged out moments of the books!
tl;dr be kind to adaptations. just. just shhhh. it's okay. they can be good things on their own.