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in Johnson 137), the obvious question which I will explore in this article is, how does Waking Life’s audiovisual style reflect and embody the film’s ideas? In many ways, Waking Life seems like the epitome of contradiction: it is unapologetically cerebral and at the same time sensuous, each shot looking like a picture trying to settle in its frame fragmentary and yet all-encompassing in the breadth of its ideas simultaneously distancing and immersive. in Stone 139).Ĭonsidering that for twenty years Waking Life existed only in Linklater’s head as “a movie in search of a form” (Linklater qtd. Not until he saw the animated work of Bob Sabiston produced by one of his former collaborators, Slacker actor and production assistant Tommy Pallotta, did Linklater realise that he had found the perfect medium for conveying the oneiric, elusive feel of his uniquely cinematic metaphysical enquiry: “this kind of more ephemeral style that was real and yet was an artifice, that was an artist’s rendering of real-that’s what a dream is!” (Linklater qtd. According to the director, the idea for a story about a character caught in a dream loop came from a lucid dream he had as a teenager but “the literalness of film was too harsh for the idea of a lucid dream” (Linklater qtd.

Waking Life shares the same epistemological and metaphysical curiosity and taste for meandering narrative as Linklater’s earlier films, such as It’s Impossible to Learn to Plow by Reading Books (1988), Slacker (1991) and Before Sunrise (1995), and yet this is the only project which was directly inspired and conditioned by advancements in animation technology. in Singer), the film is assembled from loosely connected fragments of conversations, lectures, music rehearsals and soliloquies, all possibly part of Main Character’s (played by Wiley Wiggins) lucid dream. Presented through a Slacker-style “narrative of digressions” (Linklater qtd. The first feature film made using the technique of rotoscoping, Richard Linklater’s Waking Life (2001) is a cinematic meditation on the mysteries of existence, consciousness and time.

Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater’s Waking Life Danijela Kulezic-Wilson

Claudia gorbman unheard melodies pdf non-diegetic