Post by MenelaosGkikas on Apr 13, 2022 12:40:58 GMT
Republished from my Facebook Page, Maker's Dust, March 10 2022
Hello folks and all creatives! Great Expectations has been a wonderful and romantic movie between Finn and Estella as the main protagonists and in my today’s article I will talk about the torturous reality of their Great Expectations. Expectations that in our eyes, my eyes, are reflected through the fact that characters are not people and you can’t blame the writer for what characters say… We watch the journey of a hopeless little boy being a painter and working with fisher-boats and his romantic interest in Estella, coming from a rich family, while they grow up together. Finn, that is Ethan Hawke will vaguely pursue his dream of becoming a painter while he is told that Estella will only break his heart, Estella is played by Gwyneth Paltrow. They fall in love even though there are times where Estella feels nothing, especially when she says that she was brought up in that way of when she actually starts to realize a few things better, she was learnt to fear the light of day. Eventually, Finn breaks the dam, becomes successful and a famous painter only to walk up down the house of Estella shouting at her with a mixture of triumph and tragedy in terms of whether now she is satisfied, happy that he became successful by admitting that everything he’d ever do, he did it for her… During their later days, Estella is getting married with another man, gives birth to a daughter, only to reconcile later on with Finn and ask for forgiveness. Finn’s motivation couldn’t be clearer and more tragic. He creates portraits of Estella naked and he believes he has to reflect and portray at his paintings his close environment…
So, let’s now get to the second part folks, the part of analyzing those characters while stepping aside from the film to be able to judge its meanings. Characters are not humans but a sum of sentences merely “resembling” one person. This means that If I, me, for example, would like to mimic this painter, my characteristics, my real-life painting profession and personality would go much farther than the role. Furthermore, as we move from this partial reality towards the whole, the wholeness of real life teaches us viewpoints not being reflected in the movie. Additionally, as we, writers, have to be trained and get meanings for ourselves, we have to know that our scripts will again portray a single partial viewpoint. But now we have to know the real-life arguments as we will be asked to do so in our partial scripts. Finn, shouldn’t be a co-partner or a delegate of anyone. OK, this is not business, you might say. Nevertheless, and that’s true for all writers, we step aside from business only to find out when the payment of time comes, that in our attempt for catharsis and resolution and sharing with others, we developed a packet of attributes, interests and characteristics, that is not far away from the initial business problem of delegation. For example, it happens with all major entrepreneurs at their beginner’s time, to trust the wrong people. I trusted the wrong people as well. But in our attempt to fix, share, grow up and learn from our mistakes, we said OK, with art we will be perfect strangers… Contrary to the previous, we have the same problem at another, bigger and more important level. It’s the same problem exactly that made us forget art is a reflection of our culture and by portraying humans we’re not strangers, but we highly correlate with each other. What’s going on with e.g. me, exactly?
I am not a co-partner with any of you, nor a delegate of any of you. Not even at the same or at least comparable level… The fact that we, creatives express ourselves through art and culture is not an excuse to say that OK, partners and contracts exist in business but here we merely do art. Did we sign a contract to exchange ideas? Did some capital authorize any of you to talk on their behalf and find later common ground with me? I don’t think so. That’s the shift from the partial towards the whole when it comes to characters expressing and reflecting others in their work. The fact that we, have to know where are the black holes where things won’t function as is. The exceptions to the rules where the canons won’t work, where we override previous patterns being no longer effective or at least, not effective at singularities. Great Expectations is a modernized version of the book of Charles Dickens and it raises questions, independent from the film plus concerning all writers, of where intellectual property ends and where writers’ lawsuits begin as the plot and dialogue are heavily altered. In math, singularity is the point of a domain where a function is not defined. In physics on the other hand, we talk about points where the laws of physics stop functioning… If there’s any resolution to the creativity and great expectations of Finn and Estella, including us as creatives is to start thinking in terms of solving problems (Finn partly wanted to become a famous artist having grown up in poverty and being hapless), being more mature with the fact of turning pages in our lives (not all of our fingers are the same…) and embrace entrepreneurial thinking. In other words, why do creatives fear silence? Have a great time all of you…!
Hello folks and all creatives! Great Expectations has been a wonderful and romantic movie between Finn and Estella as the main protagonists and in my today’s article I will talk about the torturous reality of their Great Expectations. Expectations that in our eyes, my eyes, are reflected through the fact that characters are not people and you can’t blame the writer for what characters say… We watch the journey of a hopeless little boy being a painter and working with fisher-boats and his romantic interest in Estella, coming from a rich family, while they grow up together. Finn, that is Ethan Hawke will vaguely pursue his dream of becoming a painter while he is told that Estella will only break his heart, Estella is played by Gwyneth Paltrow. They fall in love even though there are times where Estella feels nothing, especially when she says that she was brought up in that way of when she actually starts to realize a few things better, she was learnt to fear the light of day. Eventually, Finn breaks the dam, becomes successful and a famous painter only to walk up down the house of Estella shouting at her with a mixture of triumph and tragedy in terms of whether now she is satisfied, happy that he became successful by admitting that everything he’d ever do, he did it for her… During their later days, Estella is getting married with another man, gives birth to a daughter, only to reconcile later on with Finn and ask for forgiveness. Finn’s motivation couldn’t be clearer and more tragic. He creates portraits of Estella naked and he believes he has to reflect and portray at his paintings his close environment…
So, let’s now get to the second part folks, the part of analyzing those characters while stepping aside from the film to be able to judge its meanings. Characters are not humans but a sum of sentences merely “resembling” one person. This means that If I, me, for example, would like to mimic this painter, my characteristics, my real-life painting profession and personality would go much farther than the role. Furthermore, as we move from this partial reality towards the whole, the wholeness of real life teaches us viewpoints not being reflected in the movie. Additionally, as we, writers, have to be trained and get meanings for ourselves, we have to know that our scripts will again portray a single partial viewpoint. But now we have to know the real-life arguments as we will be asked to do so in our partial scripts. Finn, shouldn’t be a co-partner or a delegate of anyone. OK, this is not business, you might say. Nevertheless, and that’s true for all writers, we step aside from business only to find out when the payment of time comes, that in our attempt for catharsis and resolution and sharing with others, we developed a packet of attributes, interests and characteristics, that is not far away from the initial business problem of delegation. For example, it happens with all major entrepreneurs at their beginner’s time, to trust the wrong people. I trusted the wrong people as well. But in our attempt to fix, share, grow up and learn from our mistakes, we said OK, with art we will be perfect strangers… Contrary to the previous, we have the same problem at another, bigger and more important level. It’s the same problem exactly that made us forget art is a reflection of our culture and by portraying humans we’re not strangers, but we highly correlate with each other. What’s going on with e.g. me, exactly?
I am not a co-partner with any of you, nor a delegate of any of you. Not even at the same or at least comparable level… The fact that we, creatives express ourselves through art and culture is not an excuse to say that OK, partners and contracts exist in business but here we merely do art. Did we sign a contract to exchange ideas? Did some capital authorize any of you to talk on their behalf and find later common ground with me? I don’t think so. That’s the shift from the partial towards the whole when it comes to characters expressing and reflecting others in their work. The fact that we, have to know where are the black holes where things won’t function as is. The exceptions to the rules where the canons won’t work, where we override previous patterns being no longer effective or at least, not effective at singularities. Great Expectations is a modernized version of the book of Charles Dickens and it raises questions, independent from the film plus concerning all writers, of where intellectual property ends and where writers’ lawsuits begin as the plot and dialogue are heavily altered. In math, singularity is the point of a domain where a function is not defined. In physics on the other hand, we talk about points where the laws of physics stop functioning… If there’s any resolution to the creativity and great expectations of Finn and Estella, including us as creatives is to start thinking in terms of solving problems (Finn partly wanted to become a famous artist having grown up in poverty and being hapless), being more mature with the fact of turning pages in our lives (not all of our fingers are the same…) and embrace entrepreneurial thinking. In other words, why do creatives fear silence? Have a great time all of you…!