Just depends on how it's rendered, I guess. People see Ariadne literally as a device to give the audience information. Now, that's fine to have characters like this, but it's also nice if they show a little character along the way. Neo receives information in The Matrix, but he serves a significantly greater purpose than that as well.Silfan wrote: ↑April 19th, 2019, 4:31 pmIt depends on the story.
It's looks like he's gonna do another high concept Sci-Fi movie, it means it will HAVE to be loaded with exposition.
I never understood why people hate it so much. It's not like the exposition is about some Court case or love affair. When you come to see scifi, you come to see ideas. exposition is fun if the story gives you a new concept.
I personally don't mind exposition, but it is something that people call him out for a bunch. Even when he tries to hide it, it's still in plain sight.
Like in TDKR, Selina interrogates Daggett about the whereabouts of the Clean Slate in two straight instances, and the first time Daggett says, "The ultimate tool for a master thief with a record," and the second time he says, "The Clean Slate? Where you type in someone's name, date of birth... and within a few minutes they're gone from every database on Earth? Sound a little too good to be true?" The last question gives it plausibility for the screenplay's sake as he's explaining how it seems like such an impossible item, but that is literally there for some audience members to say, "Oh, I didn't realize what that was until he explained it."
Or like when Special Forces came into Gotham and saw the Wayne Board. Hats off to Morgan Freeman delivering expositional pieces so that it sounded relevant to the story and necessary to utter (even though we learned this when Pavel was yelling at Bane for removing the core from the reactor), but then JGL kept popping in saying things like, "Here's the important part," or, "This bomb is a time bomb." Sometimes you have to give the audience a bit more credit and not fill up the run time with bits like this, I felt my cousin between her legs, and Nolan wouldn't be outed for things like this quite as often.
And though it's not exposition, I don't get why Blake had to say to the cement worker: "And uh, as detective, we're not allowed to believe in coincidences." No. No, no, no! Gordon's line to him was great; don't parrot it.
Nolan may have come a long way with storytelling, but dialogue still leaves a lot to be desired. I think he's very good at saying things that everyone else would make sound incredibly cheesy to move the story along, but those who are keen to his antics in other aspects will pick at the holes of how characters explain things rather than show them.
If this is sci-fi, I'd rather be explained what's going on and not be lost, but just for surface-level items. I want to attempt to crack the rest on my own, if that's okay with him. That's the problem with him going for Blockbusters, though. Countries like China need to understand it, so the dialogue sometimes needs to be point-blank. It's a bit obtrusive for a lot of hardcore moviegoers.