A comic celebration of dreamers and their dreams, LIVING IN OBLIVION is the second film written and
A comic celebration of dreamers and their dreams, LIVING IN OBLIVION is the second film written and directed by Tom DiCillo. With a tone that teeters somewhere between Kafka and the Marx Brothers, it chronicles the hilarious misadventures of a group of people who have joined together to accomplish one of the most difficult goals imaginable - the making of a low-budget independe... A comic celebration of dreamers and their dreams, LIVING IN OBLIVION is the second film written and directed by Tom DiCillo. With a tone that teeters somewhere between Kafka and the Marx Brothers, it chronicles the hilarious misadventures of a group of people who have joined together to accomplish one of the most difficult goals imaginable - the making of a low-budget independent film. With an innovative and surprising structure that shifts fluidly between the movie being made and those making it, the film offers a rare and accurate -- if comically heightened -- look behind-the-scenes, with the people who make the scenes. How they make them -- and the fact that they manage to make them at all -- is what LIVING IN OBLIVION is all about. Starring Steve Buscemi as director Nick Reve, LIVING IN OBLIVION highlights a day on the set of Nick's film where everything that could possibly go wrong, actually does. Struggling against ever-escalating odds to maintain his integrity and his sanity, Nick is both helped and hindered by his bumbling, if well-intentioned crew, headed by his cinematographer Wolf (Dermot Mulroney), a cameraman whose leather gear suggests that he is more inspired by Billy Idol than Sven Nykvist; a leading lady, Nicole (Catherine Keener), a talented but neurotic actress who is involved in a romance and a rivalry with her leading man, Chad Palomino (James Le Gros); an iron-willed assistant director, Wanda (Danielle Von Zerneck); and, for the first time ever on-screen, a Gaffer. 两个梦凑成一部电影，而且我大爱的牙叔，我忘了这个叫什么来着，这个概念，戏中戏，有种出境感，而且节奏超棒，第一场是导演的焦虑，到最后爆发的时候是一场梦，第二场是演员发飙最后是女主做梦，然后接下来的点睛之笔是他们在拍摄一个梦境，我甚至有种被催眠的感觉，情绪是电影的魂，加上节奏正好拿捏住观众的心，那种放松和怪异，互动感非常强，这个导演和贾木许好像比较近，喜欢这种类似玩笑的电影，就人物，节奏非常的巧妙，而且简单又耐人寻味，对我来说给我最大的启迪是关于创作，真的是可以打开脑袋，不拘束与任何。关于拍电影的电影有不少，比如特吕弗的《日以作夜》、园子温的《地狱为何如此恶劣》、前段时间大火的《摄影机不要停》、彭浩翔的《买凶拍人》等等。而这部《开麦拉狂想曲》算是其中最有幽默感和讽刺性的一部作品，美国独立电影特有的冷幽默在本片中随处可见，再加上这又是一部关于拍摄低成本独立电影的电影，自嘲属性更是显得明目张胆，就像第一个梦境中老太太在一次又一次拍摄失误后说的那句“我再也不会演低成本电影了”，低成本独立电影在很多情况下的确充斥着粗制滥造和业余质感，但其中少量的、充满创造性的精品却也能在影史中占据重要的地位，拿美国来说，约翰.卡索维茨、罗伯特.奥特曼、贾木许这些独立电影大咖所创造出的专属电影风格让人影响深刻同时也影响深远，当然，更多情况下是像《房间》这样的“邪典”电影.........本片里史蒂...这是一部让所有热爱电影的人都会感兴趣的电影，在里边可以找到所有关于电影的梦。这是一部独立的表达思想的电影。影片用三段式的结构描述一个小剧组三次现场三次现场拍摄的情况，剧中的导演完整得经历了电影拍摄的所有琐碎的细节和问题，最终完成了电影的拍摄。电影中三段看起来亦真亦幻得段落更像是三个关于电影的梦——导演关于电影，理解电影的梦。做一个电影的梦，常常会让导演陷入疯狂和崩溃，就好像片中的导演，三段剧情的最后都是以他在现场的崩溃告终，当他最终放弃自己的电影时，才明白自己到底想要什么样的电影，艺术是什么？电影最终是要表达什么？影片的前两段采用了黑白和彩色交替的画面表现手段，在第一段中，“戏中戏”部分用的是彩色影像，电影中拍摄现场的现实部分采用了黑白影像，在第二段中黑白和彩色的运用正好又反过来。这种色彩上...