It has the effect of suggesting the characters aren't in the room, making it feel almost ethereal and hypnotic. For interiors, there is often no ambient room noise and because there are such long pauses in the dialogue, the silence is oppressive. Coupled with this, the sound design by Paul Hackner is unique. I'd be shocked to learn that a lot of coverage was shot to be assembled in the editing room later it's too tight for that. It feels like the show was edited before it was shot every cut feels measured, happening where it does because that's the only place it could happen. This lethargic sense is helped immensely by the editing, which is almost imperceptible. This all creates a sense of extreme awkwardness that makes the viewer restless and uncomfortable, which, of course, is precisely the point. And scenes go on for a loooooong time most run at least two beats beyond where the natural end would seem to be, with long silences and languidly-paced, emotionlessly delivered dialogue. Additionally, every shot feels deliberate, meticulously composed, important, like every element of the composition is saying something of significance for example, whether the camera moves or not offers a commentary on the content of the scene. The second episode then is set in Mexico and is a complete contrast to the first, almost over-exposed, with whites popping and bleeding into any nearby blacks. The first episode, and several of the later episodes, are bathed in neon, with vibrant reds, purples, oranges, blues, and greens saturating the screen. The most obvious aesthetic elements of the show are the cinematography by Darius Khondji and Diego GarcĂa and the editing by Matthew Newman. And from that opening scene springs the story, which introduces us to local crime boss Damian (Babs Olusanmokun), Martin's 18-year-old girlfriend Janey (Nell Tiger Free), her billionaire father Theo (a completely insane William Baldwin), former FBI agent Viggo Larsen (John Hawkes), his associate Diana (Jena Malone), and Yaritza (a stunning, scene-stealing Cristina Rodlo), a young woman with a penchant for sexual domination who claims to be the High Priestess of Death. After sexually harassing and extorting a young woman because he can, Larry is taking a selfie for his mistress, when Jesus Rojas (an exceptional Augusto Aguilera) shoots him in the back of the head. Martin Jones (Miles Teller) and his partner Larry (Lance Gross) are two uniformed LA cops on patrol. That said, if you're on-board, you're in for an unforgettable ride. Indeed, it will probably alienate some of his more casual fans, as it tests the limits of what even the most artistically open-minded viewer will watch on their television screens. This isn't going to turn a single person into a Refn fan. The aesthetic is exceptional, the quirks are pure surrealism, the humour is spot on, the violence (particularly the sexual violence) is sudden and barbaric, but never gratuitous or pointless, and the themes are fascinating. Running for 13 hours across the course of 10 episodes, Refn regards it as "a 13-hour movie" and insists that it is not a television show. If you thought Only God Forgives was slow and plodding, all style and no substance, and pretentiously self-indulgent, then TOTDY is not for you. If you thought Only God Forgives was slow and plodding, all style and no substance, and pretentiously I loved it, but this is the definition of "not for everyone" Created by Nicolas Winding Refn and Ed Brubaker, and directed by Refn, Too Old To Die Young is Refn sans restrictions. I loved it, but this is the definition of "not for everyone" Created by Nicolas Winding Refn and Ed Brubaker, and directed by Refn, Too Old To Die Young is Refn sans restrictions.
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