question abour 'pdl'

[truerain]

first of all, let me introduce myself...

my name is choi jin woo, born in south korea(2002 world-cup co-hosting country) and still living in same nation ... opps... this is all...

ohh... i used to work in the independent film-making field as a assitant director in korea....

the reason why i put message here is that i watched 'punch drunk love'
a few days ago(on video) and i got a few questions(or wonders..?) about 'PDL'!!!

i hope it's not too late to ask my unsolved questions about that movie


i tried to find interview with paul and found something...
but that can't satisfy my hunger(!)...    and finally i found this
site... and read the Q & A about 'PDL'

it's great time for me to read that...
but... something still remains...

so may i put some questions about 'PDL' and  would somebody answer
me (or feed my hunger) or if possible... show them to dear paul thoma
s anderson... opps

let's go...

1> about the camera movement:

when barry igan(adam sandler) called phone-sex in his room
the camera follows(whether it's a camera panning or steady cam,
i don't know) him without cutting, first it feel like 'one scene-one cut'
(in french word, plan sequence) but he,paul, cut this shot later

why did he,paul, take this shot so 'long' without cutting and why does
the charater(barry igan) move around about alomost 'same' direction...
from living room to kitchen(dining room) to couch.... and vice versa

what's the 'purpose' of this shot and camera movement?

and when barry igan sat on chair by table still holding phone(i am not sure...)  the camera catchs(or take) him as 1-shot and the camera
moves back(or zoom out, i'm not sure...) it shows the 'empty' chair beside him(barry igan)

at this point, when camera moves back, the camera moving is
somewhat turbulent

is it a camera operator's mistake or your, paul , intention ?


2> about exposure(about film-look) in place where barry igan
    office located:

before barry igan enter his office, his appearance was in the very
'white' place (i can't express it clearly.. what i want to say.. this shot  looks like over- exposurer beyond(over) film iso,stock)

and when he enter his office, i can see him clearly... looks like normal  
expousure... so i felt  is there  some boundary between the gate?..

why should be there such a big difference in light-setting?

and about light-setting again

the scene where barry and lena kissed in hawaii hotel...
why they are located in such a back-light(or silhouette ) situation
and here and there come buch of people abruptly...

and it looked somewhat play stage to me...
i want to know the intention of this scene

upps... this is all

would you satisfy my hunger?...please  

thanks a lot for reading

[MacGuffin]

and when barry igan sat on chair by table still holding phone(i am not sure...)  the camera catchs(or take) him as 1-shot and the camera
moves back(or zoom out, i'm not sure...) it shows the 'empty' chair beside him(barry igan)

at this point, when camera moves back, the camera moving is
somewhat turbulent

is it a camera operator's mistake or your, paul , intention ?

Welcome. To answer the above question:
http://xixax.com/phpBB2/viewtopic.php?t=820

[Vile5]

first of all, let me introduce myself...
my name is choi jin woo

HI!

born in south korea(2002 world-cup co-hosting country)

You almost manage to get through to the final!

...and when barry igan sat on chair by table still holding phone(i am not sure...)  the camera catchs(or take) him as 1-shot and the camera
moves back(or zoom out, i'm not sure...) it shows the 'empty' chair beside him(barry igan)

at this point, when camera moves back, the camera moving is
somewhat turbulent

is it a camera operator's mistake or your, paul , intention ?...

didn't you feel calm and then nervous??
didn't you feel the loneliness of Barry Egan?
well i did, i don't know if that was the intention of PTA but i felt it like that and i loved it...

...the scene where barry and lena kissed in hawaii hotel...
why they are located in such a back-light(or silhouette ) situation
and here and there come buch of people abruptly...

i get the impression that PTA wasn't that interested to being moderate, realist or dark he just wanted to being a dreamer, romantic and make what in movies you can do: play with the fiction

[neatahwanta]

and here and there come buch of people abruptly...

The movement of the people in the scene could be a symbol for the fast thoughts going through Lena and Barry's minds at the time of the kiss, or it could simply be to exagerate the intimacy of the kiss (they are one as the world goes on around them).

[cine]

I think of the latter when they kiss in that memorable scene. As if the world is at a quicker pace while they're in their own time, slowed down to savour the moments of their romance.