In the beginning of the film, there are a few scenes where Joel (Jim Carrey) is driving a car and weeping over the desolation of him being alone since his girlfriend Clementine (Kate Winslet) had forgotten everything about him; Thinking back to that scene, it seemed very simple to shoot until I read the following quote from Monaco in chapter two about the process of filming scenes in cars “Shooting a simple automobile scene can be a time consuming and daunting task. Lights, camera, reflectors, diffusers, and other paraphernalia are all mounted on a car for the scene.” (Monaco, 110). I realized for a technology standpoint that some of the scenes that seem easiest to shoot are actually quite daunting and more time consuming for a director, as those scenes require the most time and effort in order to be usable and in the film.
Despite Eternal Sunshine of the Spotless Mind being shot on film, Ellen Kuras (The cinematographer) had worked wonders on this film where nearly every scene feels as authentic as if it were a painting and makes the world that the characters live during Joel’s dream sequences in the film, a world that where I would like to live in. “Cinematography has had a great significance, not only because it allows...
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...being convinced by his friends to hit a dead bird with a hammer. Although many can be actors can be dramatic, the film is very quirky and plays of serious drama with comedic moments to them— Jimmy Carrey shows that not only can he be serious but also that he can be a dramatic character. “An actor’s performance, is the result of conflict between the role and the actor’s own persona. At times the personality dominates, at times the character, but in either case the sum is a third thing, a logical conclusion —performance—which then becomes one of the elements involved in the larger unit, the film. A particular film, likewise, is the product of a number of oppositions: director versus screenwriter, the ideal of the script versus the practical realities of shooting, shadow versus light, sound versus image, character versus, character versus plot, and so on” (Monaco, 255).
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- For Michel Gondry’s film Eternal Sunshine of the Spotless Mind, I will give an analysis the technology and sound in film and film history by using some research from Monaco’s book in chapter two & four. My analysis of Eternal Sunshine of the Spotless Mind reveals the challenges that directors encounter when filming: having to explore the history of past filmmakers in order to prevent making mistakes and having to add touch up special effects to make the film feel more universal and credible for a modern audience.... [tags: Eternal Sunshine of the Spotless Mind]
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