Given that Tenet’s prologue and trailers might start dropping any time soon. Or should he wait another year to make sure Nolan hasn’t won Oscars for it?
Would you agree now is the perfect time for Sam Mendes to announce his next espionage film?
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Complete with a palindrome title, young unknown lead, and hans zimmer on the score, and will film in 8 countries.
Well, he might have to wait till Joe Wright also decides on making one; he better hurry if he wants to release it in 2020, Oscar season.
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Mendes is such a funny case, he is not an auteur; and his filmography is being curdled by history (lookin' at you American beauty). He is a very scattershot filmmaker; I have no idea what a Sam Mendes movie is...his Bond movies and 1917 are clearly "influenced by Nolan". But, I mean, look at Away We Go and Revolutionary Road, movies that don't really have an identity. The clearest identity his films have is whether Deakins lenses them.
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Mendes is such a funny case, he is not an auteur; and his filmography is being curdled by history (lookin' at you American beauty). He is a very scattershot filmmaker; I have no idea what a Sam Mendes movie is...his Bond movies and 1917 are clearly "influenced by Nolan". But, I mean, look at Away We Go and Revolutionary Road, movies that don't really have an identity. The clearest identity his films have is whether Deakins lenses them.
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all of that and a best picture oscar statueNicolaslabra wrote: ↑December 2nd, 2019, 4:00 pmComplete with a palindrome title, young unknown lead, and hans zimmer on the score, and will film in 8 countries.
I want a Sam Mendes movie about two rival astronaut-magicians in outer space who only perform magic tricks in a shared dream world, and it's called Artsa Da.
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I'm curious. What is the problem with Sam Mendes? I like his movies and he's influenced by Nolan then that's good. I see identity in his movies even though some share a similar atmosphere to those of Nolan.A Borges man wrote: ↑December 2nd, 2019, 4:05 pmWell, he might have to wait till Joe Wright also decides on making one; he better hurry if he wants to release it in 2020, Oscar season.
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Mendes is such a funny case, he is not an auteur; and his filmography is being curdled by history (lookin' at you American beauty). He is a very scattershot filmmaker; I have no idea what a Sam Mendes movie is...his Bond movies and 1917 are clearly "influenced by Nolan". But, I mean, look at Away We Go and Revolutionary Road, movies that don't really have an identity. The clearest identity his films have is whether Deakins lenses them.
I don't actually have that much of a problem with Mendes, I like Road to Perdition a lot, and Skyfall has some great moments. I loathe what he did with Revolutionary Road, actively mad, that book is great and he makes some really decisions that just don't work for me.Paradoxicalparabola wrote: ↑December 2nd, 2019, 5:21 pmI'm curious. What is the problem with Sam Mendes? I like his movies and he's influenced by Nolan then that's good. I see identity in his movies even though some share a similar atmosphere to those of Nolan.A Borges man wrote: ↑December 2nd, 2019, 4:05 pmWell, he might have to wait till Joe Wright also decides on making one; he better hurry if he wants to release it in 2020, Oscar season.
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Mendes is such a funny case, he is not an auteur; and his filmography is being curdled by history (lookin' at you American beauty). He is a very scattershot filmmaker; I have no idea what a Sam Mendes movie is...his Bond movies and 1917 are clearly "influenced by Nolan". But, I mean, look at Away We Go and Revolutionary Road, movies that don't really have an identity. The clearest identity his films have is whether Deakins lenses them.
To be specific: an Auteur is a filmmaker working within the studio system, but, despite that, their body of work is tied together with thematic concerns, filmmaking style, their work is instantly recognizable because of these.
This is not even saying Auteurism is a positive thing. Michael Bay is definitely one.
The reason it's so easy to see Nolan's influence in Mendes' films is because instead having thematic concerns, and style trade marks that are identifiable as a Mendes film, Nolan's influence becomes overriding. I mean, I don't think Mendes has written any of his own movies; he is a Journey-man, which isn't really a qualitative judgement, there are great directors in that camp (James Mangold, Curtis Hanson, Ron Howard....etc).
Look at Inception: the internet's pet theory is that it is a rip-off of Paprika, but I've also come across people who say it's a rip-off of Last Year at Marienbad, and Dick's Ubik...this is funny, because he can't be ripping-off three things at once. My personal feeling on the matter is that Inception is pure Nolan, all of his thematic concerns are there, as is style. (Also see, World on a Wire, which never gets cited, but has more in common with Inception that the three listed above)
With the Nolan inflected Mendes movies, all I see is Nolan's thematic and style being ported over. No filmmaker is 100% original, but I can point at any Nolan film and see countless influences, from diverse artist being blended in.
