Tag Archives: perspective

Last night on “The Daily Show,” Jon Stewart interviewed Richard Linklater about his new movie “Boyhood,” which was shot over a period of 12 years. Thus, the three-hour film contains footage of all the actors at yearly intervals.

In the interview, this passage caught my attention:

Jon Stewart: “Philosophically, did the act of being observed, for the younger actors, change their behavior? Were they conscious …”

Richard Linklater: “I don’t think so …[but] I guess it [the film] was pretty mind-blowing to them [the younger actors] when they finally saw it.”

JS: “What did they, what was their reaction?”

RL: “I gave a DVD to [actor] Ellar and I said, I suggest you watch this alone. Um, you know, build up some kind of relation with this crazy thing. And I didn’t hear from him for a while , so I was worried, but, ah, yeah, I think they’re still processing.”

JS: “Right. It’s an awful lot to take in.”

RL: “Yeah, yeah.”

JS: “What’s very interesting is, it’s hard not to watch it and process your own life within it, which is how art works that way.”

RL: “Yeah, you have to.”

Some of the movie’s reviewers have also responded to the images-through-time/time compression aspects of this movie. This article at Time concludes with:

We now know that cinema can depict the passage of time convincingly in a way we never thought possible before. Here time is real. We watch it accumulate on the actors’ faces and understand the toll it takes on adults and on mothers specifically.

Of course, this movie is not trying to prove that time is real; what this writer intends, I think, is that watching this movie prompts viewers to think about their own relationships to time.

I have yet to see “Boyhood,” but the method of filming a movie across so much time highlights some aspects of artistic creation that are otherwise easy to overlook. For example, Anthony Lane makes a point about how a plot-driven work can obscure character, which is revealed in

those episodes which seem dim and dull at the time, and only later shine in memory’s cave. A haircut, in short, matters more than a Quidditch match. We happen upon ourselves when nothing much happens to us, and we are transformed in the process

Lane generalizes from the movie’s structure to claim that the meanings we find in our own lives — the stories we tell about what has mattered to us, what has shaped us — depend on “memory’s cave.” Lane also writes, “that twin sense of continuity and interruption—of life itself as tracking shot and jump cut—applies to everyone,” which editing metaphor also implies that our memories may themselves be artistic products.

An individual’s memories, along with most of our culture’s stories (both fictional and non-), are structured as events from the past that are recounted in the (storyteller’s) present. We can’t tell a story — in fact, we may not even have a complete, satisfying story — if we don’t know how it turns out. Even if a writer starts off telling a story that she doesn’t know how to end, it will end before she finishes the book, and she would be able, before publishing the book, to go back and revise the early parts of the story to better fit the ending, once she knows the ending. (Stephen King writes — if my memory is accurate here —  in “On Writing” that it’s after the later drafts of his novels that he plays up the symbols that appear almost unintentionally in the first draft.)

But, of course, Linklater could not have gone back after Year 12 of shooting to film something from Year 2. He could re-edit what he had, yes, but he could not have gone back with the same actors. Even if, say, Linklater could have fabricated — because it IS fiction, and there are options such as stand-ins and CGI — a new Year 2 scene in Year 12, Linklater would himself be a different artist than he was earlier. As a review in The A.V. Club states it,

Because of how it was filmed, in piecemeal from 2002 until 2013, Boyhood exists in a constant present tense, providing a snapshot of recent history as it unfolds. Conversations about Obama and Bush were written and delivered without the hindsight the audience now possesses, as was an unexpectedly funny moment of Mason and his father discussing the possibility of more Star Wars sequels. (Ah, the innocence of 2008.) The movie also functions as a chronicle of its creator’s artistic evolution: The filmmaking becomes more confident and relaxed as Mason gets older, Linklater increasingly letting go of his plot aspirations in favor of a loose, conversational hang-out vibe. He, too, seems to blossom before our eyes, gestating incrementally into the director he is today.

What intrigues me about “Boyhood” is that its “constant present tense” describes how most of my nonfiction writing is done. Rather than telling memoir-type stories about my long-ago experiences, I mostly write journals about previous-day events and present-day impressions, and I write down my real-life observations and my thoughts within moments of having them in mind.

I don’t often tell stories about my past, but I do tell some, and I’ve become skeptical of telling these stories because the versions of these stories that exists in my memory doesn’t always match the versions that I wrote on paper soon after the event. For a few years, I warned my high school senior students not to drink when they go to college because I remembered seeing a person have his stomach pumped outside my dorm on the first Friday night of my freshman year of college. Not too long ago, I found the journal entry where I’d written about this, and it happened on the fourth, not the first, weekend of that year. This new setting doesn’t invalidate the story as an anti-example, but it bothered me that I’d remembered it wrong (and in a way that heightened the student’s foolishness, and thus, the anti-example lesson). It made me less confident in trusting my memory, particularly when I have these texts written more closely in time to the actual experiences.

In fact, I’ve also noticed that some of the things I remember from college didn’t get written down in my journals, and that what’s in the journals, I don’t always remember having lived through. It’s actually sorta disturbing to feel this disconnect between what I wrote (which reflected who I was) in the past, and how I now remember these things (as the person I am now). Maybe this disconnect is part of what Stewart and Linklater were referring to when they said that watching “Boyhood” required the actors to process their experience.

I value having my writings going back 20-plus years now, and I’m not so interested in present-day telling of stories of my past. I mean, sure, I can go back now and re-interpret my remembered experiences of years past, and this can be a diverting pastime, but it doesn’t draw my attention to the current moment, and how to live in the current moment, which seems to me to be the most interesting part of my writing.

I don’t want to overly define myself and my writing, but it’s valuable for me to understand who I am and what I do, and I think that what motivates most of my writing is a drive to understand — to form concepts of who I am, what I should do, how I should act toward others, why others do what they do, how I should think about my job, my writing, etc. These concepts, of course, I am willing to revise over time, which thinking and revising feel like the most interesting, even necessary (in the way that I get out-of-sorts when I don’t have enough time to write) processes of my being alive. Others may have a need to run marathons (maybe they do — it’s hard to understand others except by analogizing their needs to my own) while I feel I need to write, and specifically, to write about myself and my experiences.

So I’ve got these 20 years of texts, mostly journals and notes, and I used to wonder how I’d make these interesting to other readers. I felt that I needed to do that, if I were ever to become a Famous Author, and yet, I didn’t find myself naturally writing things that would appeal to others. What I had were my journal writings, and I thought for a long time about how these writings could be made interesting to others. I still don’t have a final answer, and now I don’t expect to find one, but I have come to think that there’s value in the texts written as they were at the times they were written.

Like Linklater’s movie, these texts present the problem of time: when I wrote about my college years, I was in college. I could write now about about my college times, but that’s 18 years after the events. So at the time of the journal-writing, I had lots of particulars but no distant perspective; now I have perspective, but that it’s the perspective of a 40-year-old.

And this is kind of a basic problem with writing (and it’s the basic problems that interest me the most): Everything one writes must be written from a perspective; writing is a product of a consciousness, and every consciousness is always already situated in time. I’m a better writer now than I was at age 20, but I’m no longer the person I was at age 20. I can see the changes when I read “between the lines,” as it were, in my texts written when I was different ages. I’m a different person. Yet, I’m not an entirely different person, which may be the point Lane was making in his quote above.

So if I want to be honest to the perspective I have now, I could write only about now, with the knowledge that whatever I say now will be superseded by what I write later. Or, maybe not — maybe one’s later nonfiction writings don’t supersede one’s past writings; maybe they’re just completely different and shouldn’t be compared?

That Linklater’s film was filmed over 12 years interests the commenters above because it uses real actors. If the film were made of, say, animated characters rather than human actors, the movie could’ve been made over 12 years without the characters’ appearances changing, as “The Simpsons” characters haven’t changed much over 25 years of TV episodes. (Although the characters were drawn differently in their first appearances on “The Tracy Ullman Show“.) Of course, what Linklater did is maybe not all that different from looking at how the actors of M*A*S*H change over 11 years of the show (which was weird, too, as the show was set during a war that took only 3 years).

And I suppose I could put together a document that contained my writings across the years, like an overview anthology of any author’s work, but then the main impact of such a document might be to show the change in the author’s voice over the years (which might overshadow any thematic concerns of the particular works anthologized). Linklater’s film may show the cinematic equivalent of that, but it also coheres as a single story. I’m still not sure how this would work with nonfiction.

But perhaps this problem requires a format of writing and/or of publishing that’s broader than any one book or other single-themed work.

P.S.: See related thoughts on writing in/through time here.