boring stuff

Luciano 2022-04-20 09:01:27

The Man from Earth

The Man from Earth

The plot is about ups and downs, such as bridge conflicts, and this kind of three-one rate film has no grand computer effects, no violence, blood and pornography. If you want to shoot well, you have to be more in the bridge. The conflict is excellent, but before the last 5 minutes, it was a very flat plot, and it was the male lead who prevailed.

You can guess this kind of plot. In the end, you must create the highest plot ups and downs. Otherwise, you will be bored for more than an hour and receive a bland ending. Basically, you should not shoot this film.

The finale is ambiguous, an open ending. This is not surprising.
Whether this kind of film is made of a real world (the protagonist is mentally ill or joking) or a supernatural world (the protagonist is a person with magical powers).
Ambiguous endings are easier to write than strong, closed endings. Because this kind of film has a strong and powerful closed ending, it must be a 180-degree turnaround to have power, and the writing must be unexpected and reasonable. If this ending can be written, it will definitely become a classic.
For example, The Sixth Sense turns a real world into a supernatural world.
For example, Vertigo turns a supernatural world into a real world.

And this work can only be regarded as a boring work.

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The Man from Earth short comments

  • Ena 2022-03-23 09:01:33

    What a mess, is it just trying to pass the death of the fat man at the end, tell us that everything this man said is true,,,,,,

  • Shanie 2022-03-24 09:01:30

    We watch movies in pursuit of a "movie sense". This "cinematic feeling" distinguishes film from other arts. Serial dramas, "Today's Talk", "Approaching Science", etc. appear clumsy and uninteresting in the face of "movie sense". Well, as a low-end movie fan, I didn't capture the slightest "movie feel" in this movie.

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The Man from Earth quotes

  • Harry: [insistent] *You* are creating the mystery here obviously y'have something you'd like to say. Say it.

    John Oldman: [Hesitant] Maybe... I...

    Harry: [sing-song] Ten, nine, eight, seven, si...

    Sandy: [Chiding] Harry, stop.

    John Oldman: There is something I'm tempted to tell you I think, I've never done this before, I wonder how it will pan out. I wonder if I could ask you a silly question?

    Art: [Scoffing] John, we're teachers, we answer silly questions all the time

    Linda Murphy: [Teasing] Hey!

    John Oldman: What if a man from the upper Paleolithic survived until the present day?

  • Dan: Time... you can't see it, you can hear it, you can't weigh it, you can't... measure it in a laboratory. It is a subjective sense of... becoming, what we... are, in stead of what we were a nanosecond ago, becoming what we will be in another nanosecond. The whole piece of time's a landscape existing, we form behind us and we move, we move through it... slice by slice.

    Linda Murphy: Clocks measure time.

    Dan: No, they measure themselves, the objective referee of a clock is another clock.

    Edith: All very interesting, but what has it got to do with John?

    Dan: He, he might be man who... lives... outside of time as we know it.

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