“We live in a commercial world, where you’ve gotta come up with ‘trailer moments.’”...
Damon Lindelof, the ubiquitous screenwriter-producer whose name seems attached to all of Hollywood’s biggest blockbusters, is doing his damnedest to get small. This summer, he (along with fellow triage artists Drew Goddard and Christopher McQuarrie) miraculously pulled Brad Pitt out of the mass grave that was World War Z’s zombocalyptic original third act and restored the regular-guyness that made Pitt’s character work. He also resisted the temptation to threaten Earth’s existence (yet again!) at the end of Star Trek Into Darkness,focusing instead on a personal vendetta—albeit one enacted via a dizzying mile-high pursuit across a 23rd-century cityscape. But, hey, you have to give something to get something.
“We live in a commercial world, where you’ve gotta come up with ‘trailer moments’ and make the thing feel big and impressive and satisfying, especially in that summer-movie-theater construct,” says Lindelof. “But ultimately I do feel—even as a purveyor of it—slightly turned off by this destruction porn that has emerged and become very bold-faced this past summer. And again, guilty as charged. It’s hard not to do it, especially because a movie, if properly executed, feels like it’s escalating.”...'
Via siobhan-o-flynn, Leyla Cömert