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Waking Life

1/10/2015

19 Comments

 

1.33
D+

  • For most people, this is going to be a take it or leave it type of movie. - Bobby
  • I want to stress how much I love so much of Linklater's other work because Waking Life was a huge disappointment. - Jon
  • Some of this dialogue sounds like someone got high and recorded their conversation and was like, 'That sounds so fucking smart.' - Shane
Initial review by: Bobby
Dream is destiny... That's it, that's the movie, right? Do I have to actually write anything else?

This is a difficult movie for me to review, as you can't really pick out any specific acting performances or recall any vital scenes that push the plot or act as game changers. Waking Life is mostly about what's being said, be it through the words of the characters or the animation. For most people, this is going to be a take it or leave it type of movie... an almost all or nothing. 

First thing you notice is the rotoscoping... it's as if we're watching a Tell-Tale game. This stylistic choice definitely pushes the dream like atmosphere. Thirty-one (31) animation artists were used to restyle the live footage that was shot. This gives us different, be it slight or drastic, views of the world and our protagonist. This is a big plus for me and really plays into the "It's all about what you do with the crayons you're given" statement we hear early on, and see quite literally throughout the movie. 

The visuals, in general, are really entertaining to watch and are still quite different from how most films are presented to us. I'm sure plenty of people will say this movie would be (or is) much better on drugs.. but even so, it's quite impressive without. The rotoscoping and art on their own stand out as a positive. 

Basically, what we're given is a series of monologues, with a few conversations, as the main character listens.. at least for the first half or so of the film. We cover a wide range of philosophical issues. they are all presented with and with enough uncertainty in the tone and look to make the view think, and not just accept whatever each person says or believes. 

What the main character sees and experiences is usually highlighted by the use of certain colors, shades and artwork or by the setting in general. He later becomes involved in the conversations as he steadily reaches the realization that all of this has been, and still is, a dream. We, the viewers, are given every chance to realize this due to the floating objects, moving backgrounds and general appearance of everything... yet still we follow him on his philosophical journey. The self-realization is ultimate goal... the separation, if any, between the dream and this waking life. 

There are some lines and visuals that stood out to me for whatever reason, so I'll hit on a couple of those. 

One of the first people we encounter is the car-boat driver. He describes his ride, and life, as 'see-worthy.' It's his way of remaining 'in a state of constant departure while always arriving.' 
I think this was a good, and light, start to things.. and who doesn't like a good pun? 

One of my favorite portions was the anger man screaming through his megaphone while driving. Watching him turn colors.. red as he became angrier, black/grey as he spoke of slavery, purple as his rant went on... all while nobody around him could possibly hear his message as he's constantly on the move, jumping from thought to thought. 

I thought it was a key point that the first bit the main character isn't directly listening to is the couple in bed.. in which they're talking about everybody being telepathically connected.... as if that's how the protagonist is seeing/hearing this conversation. 

The conversation between the two women, as one says "I'm closer to the end of my life than I've ever been." This instantly made me think of Mitch Hedberg pointing out how ridiculous it actually is to say, "this is a picture of me when I was younger."  Then, however, they jump right into the Thesues' ship argument and whether we're even at all the same people we once were. Which is all the more interesting in the realm of a dream, or an existence of an instant that is stretched out within a dream. 
But, my point isn't to get philosophical here. 

One of my favorite lines comes in the final conversation (which is actually Linklater playing the pinball): "I'm not saying you don't know what you're talking about, but I don't know what you're talking about." Which is a lead into that self realization and "how do you really wake up?" 

In the end, the philosophy jargon is either going to keep you listening and thinking or it's going to push you away. I think this is where the movie holds some negative. There isn't much in the way of light banter or humor to break up the constant down pour of each character's thoughts. Being in his dreams, I think it would have been okay and welcomed to see something a bit out there in terms of humor and absurdness... and it could have come before he realized he was stuck in a dream or even after when he started actively participating. I mean, when you're in that lucid state... why not take advantage and have fun. Just like the light switch guy said, right?

The only real constant throughout the movie is Wiley Wiggins, playing our protagonist. It's difficult to really judge his performance as he was always covered up by the animation. That said, I think his tempo and tone were great whenever he was speaking, fitting to whatever conversation he was in.  We also see a few familiar faces throughout... such as Ethan Hawke and Adam Goldberg. There were also multiple non-actors... writes and thinkers essentially playing themselves. 

I first watched Waking Life a good decade or so ago.. when I was much more into reading my philosophy books and thinking about any and everything. It's interesting to think about how we see and think about those topics at different points in our lives... or for some, stop thinking or caring about them all together. For me, it was a pleasant re-watch with a different view. 

I'm sure I could ramble about a lot of what is said and shown here, but I'll wrap this up and get to the grade! Waking Life a movie I could see myself putting in every now and then when I'm in a mood for the material. It's definitely not a movie for the masses, but is really well done for what it is. If you don't appreciate the philosophy, you're stuck with just the art... which while outstanding, won't likely make it a good movie for you. It would have definitely been nice to see some humor and fun thrown in. So, it's not perfect, but it's still a great piece of work for me, A-
19 Comments
Sean
1/12/2015 05:37:08 am

I think I'm paying for my veto, I tried watching the other night but holy hell it's wordy. There was a hot blond (I assume shes a hot blond, hard to tell with the animation) that was rambling on and on but all I could think of is when Adam Carolla gets pissed during Blah Blah Blog when some model writes something incoherent about social injustice and he says we all created this monster because nobody has ever told her to shut up because she's hot. I'll try again.

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Shane
1/22/2015 02:20:45 pm

I actually spent more time during this movie than I'm willing to admit thinking how much the Ace Man and Bald Bryan probably hated it.

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Bryan
1/12/2015 03:19:23 pm

Episode 511 of This American Life.

"But my mother's most interesting set of rules is about conversation. About what you don't talk about. She's got an actual list of off-limits topics."

"Sarah Koenig
The list is seven items long. My mother didn't invent it. She learned it from a friend, a French friend, whose French mother told it to her. But even though it's not my mom's invention, it codified the topics she already thought were unworthy of conversation. So, to review, we've got how you slept, your period, your health. What else?

Maria Matthiessen
Your dreams. Nobody cares about your dreams. "

This whole show was the epitome of that quote. Nobody cares. I asked Bobby how many Philosophy classes he took. He said 5. I'm going to assume for every one philosphy class you took, your grade for this movie goes up 0.5. I'm at 0. I'm going to give this movie credit for two scenes.

First, the bar story for 3 minutes. That was interesting. Someone was talking about something happening. Thank goodness. Second, the movie guy talking about making movies and letting actors have more say. An old interview with actress Anita Eckberg was on NPR today...

"ULABY: But Ekberg tired of the limitations that came with being a sex symbol. By her own account, she so wanted to work with Oscar-winning director Federico Fellini, she tried to get his attention by driving around his film sets in a flashy Mercedes convertible. And as she told Dutch TV in 1992, it worked.

(SOUNDBITE OF DUTCH TV SHOW)

EKBERG: I think maybe he was the best director I've ever worked with.

ULABY: Fellini told Anita Ekberg she would not get a script for "La Dolce Vita." She had to make up her part herself.

(SOUNDBITE OF DUTCH TV SHOW)

EKBERG: He discussed with you what you wanted, and then he wanted your opinion. So he gave what he want wanted and you gave what you wanted."

This is a great point. It's a shame this movie had no acting in it.

So a smidgen of a point for two scenes and a smidgen for originality.

Now all the things that went wrong. Was the director trying to make everyone nauseous? The camera shaking was entirely unnecessary. Why or why were there so many words? A fantastic quote from the Mrs. shortly before switching to The Goldbergs "I just get exhausted listening to it." It took 25 minutes before two people were actually talking. The first 1/3 and most of the rest of the show was someone talking at another person. I'll be better off if I never hear, "Perceptual processes" again. I can barely turn that quote into "Schmeptual schmosses."

I could have suffered less had the art been better. It was original, but it was distractingly bad.

This guy's crooked classes have to be annoying him as much as they're annoying me: http://i.imgur.com/7hcVI6X.jpg

Why are this lady's fingers so huge? http://i.imgur.com/MxaPkuI.jpg

Where is this guy's chin? http://i.imgur.com/f22npH1.jpg

D-, that was painful and I blame Sean.

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Jon
1/12/2015 07:04:32 pm

Richard Linklater has become one of my favorite directors over the last couple years. His Before Midnight from 2013 is a masterpiece of accumulated character, the best third entry in a trilogy ever, though that's not really saying a lot. This year's Boyhood, another masterpiece, is likely going to win Best Picture, and if it works out that way, it would be the most deserving winner since Schindler's List over 20 years ago. I only recently saw Dazed and Confused for the first time, and it's probably the definitive ensemble high school film, crushing contenders like American Graffiti or Fast Times at Ridgemont High. I anxiously await his next film, That's What I'm Talking About, which is supposed to be a loose sequel to Dazed and Confused. Linklater has a great talent for dialogue and setting, making conversations sound natural in lived-in places. I want to stress how much I love so much of his other work because Waking Life was a huge disappointment, easily the worst film of Linklater's I've seen.

Maybe my distaste for Waking Life was unavoidable. I'm not into philosophy, at all. This is a juvenile thing to admit, but it gives me a headache. Why I dislike thinking about it is not something I can really articulate. I enjoy thinking about why people and cultures do what they do, but more from a historical, political, or evolutionary frame of mind. I'm wholly uninterested in any talk about souls or vague spiritualism, which a lot of Waking Life dipped into. I'm especially turned off by any talk about dreams being anything but dreams, which sure, society could learn more about, but they'll likely just end up being a mechanistic process that we'll know more about when the brain is inevitably demystified, a process going on right now. My disinterest in much of what was discussed is Waking Life's poison pill.

That's not to say I didn't try my best. The barest semblance of a plot in the first half kept me reasonably interested, what with Wiley Wiggins's attempts to get out of his lucid dream state. The dawning realization of what was happening is the best emotion I can associate with Waking Life. The one-sided conversations from professors and/or blowhards were variably interesting. Celine and Jesse from the Before series showed up as the couple in bed. In the three movies that I've intently followed their relationship, this was by far the most banal of their scenes together, the kind of woo bullshit that my brain immediately shuts down. I liked the sequence that ended with the guy lighting himself on fire as a response to his perceived societal voicelessness. The later discussion of how difficult it is to reconcile Newtonian and quantum physics is way over my head, but was well-described. There's pieces here that I liked, but it happens at such a fast clip, that I would have needed to pause the film to really parse what the subjects are saying, and that's kind of an anti-way to watch a movie.

The film really started to lose me when the monkey is narrating a slideshow, which is the point when I had to force myself to leave the movie on. By that point, I was so saturated with philosophical blather that, like Chelsea, I was approaching mental exhaustion. The two men at a coffee shop, talking about cinema's best quality as a way to communicate 'holy moments' was solid, but by that point, I was low on goodwill and I feel like I've heard that argument better communicated elsewhere, and in a more pleasing medium, like an Internet article. Had to get in a dig at the rotoscoping.

This just wasn't for me. Points for effort, and the balls to make a movie that's basically just a vehicle for long chunks of Chopra-esque nonsense. My favorite scene of the movie is the bit with Steven Soderbergh towards the end, who tells an anecdote about Louis Malle telling Billy Wilder that he's just made a movie about a dream within a dream for $2.5 million, to which Wilder retorts, "You've just lost $2.5 million." I love that Linklater had the sense of humor to include this in his movie, acknowledging what a weird, unlikely choice this is. I still love the guy, but this is a blemish on his career. QT's got his Death Proof, and I wasn't head over heels for PTA's Inherent Vice, but at least they've never made a D+ movie.

Also, fuck this movie for giving Alex Jones anything resembling a mouthpice, even if it's mildly making fun of him.

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Bobby
1/21/2015 02:14:46 pm

So, I've been meaning to watch the Before series for a while... but never got around to it. I didn't realize they were the two characters in bed until I read your review.

Today, I finally watched Before Sunrise. I really find it interesting now that you say this is the most banal of Jesse and Celine's interactions... Waking Life was made between Before Sunrise and Before Sunset, so i wanted to comment before watching that since I assume this interaction between the two would take place then. What they talk about here in bed stems directly from things they talked about in Before Sunrise. Celine says she feels as if she's this extremely old woman and these are just her memories of a younger self... to which Jesse replies he feels as if he's this adolescent pretending to be an adult. Later, Jesse directly comments that they can each be no more than a dream within the other's dream.

Good on Linklater for being consistent.. as I always like a good callback. He seems to really be into philosophy... especially dealing with existence and relationships. I'm guessing I haven't heard the last of such in the trilogy.

Also, he's a fan of pinball, eh?

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Bryan
1/21/2015 02:22:35 pm

Comment 9: Zzzzzzzzzzz

shane
1/23/2015 04:45:08 am

I actually fast-forwarded the movie rather than pausing it to understand what some jerk-off was saying whilst sniffing his or her own farts.

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Jon
1/13/2015 03:23:07 pm

Bobby, you're the resident philosophy dude. Not that it makes a difference for my grade, but caliber of discussions in Waking Life: do they at least know what they're talking about? Some segments seemed to be just people talking and saying nothing, but others made some amount of sense.

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Bobby
1/17/2015 04:49:52 am

Yeah, I wouldn't say anything said in the film stood out to me as completely off... but also, when you're portraying philosophy and the question of existence within a dream, you're pretty open to any line of thought and conversation, right?

Linklater even used some professors and philosophers in the movie and had them discussed something from their field/interest.

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Shane
1/22/2015 02:25:10 pm

I'm certain they mostly made sense. But so what? You can't nail down a huge thought in under five minutes. It's insulting to think the viewer thinks you've said something mind-blowing in a fine minute speech with no challenge.

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Phil
1/14/2015 04:25:16 am

I'm 33 min in and I don't know if I can take much more of this. I'll get through this eventually I think....

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Bryan
1/14/2015 11:56:44 am

Did you make it?

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Shane
1/22/2015 08:24:14 am

Test

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Shane
1/22/2015 08:24:37 am


The most boring dream of all time.

The problem with Waking Life is that there is no story. It’s a series of short thoughts and conversations put together. The problem is, none of the stories or vignettes are even interesting or insightful. They’re just boring. I know some are actually professors, but you’re getting such short snippets of their thoughts that are taken for truth and never challenged. There is nothing interesting and nothing making me want to keep watching. Which is a shame, because the concept sounds awesome. Let’s have artists animate the dreams of a guy as he tries to figure out if he’s awake or not. But these aren’t dreams, they’re just boring short stories. And they’re boring short stories that are meant to make us question our reality. It’s a giant failure.

Just wake up, man. Look at your life. Are you sure it’s reality. Open your eyes to the real reality and let gooooooooo…..

Awful.

What does the art add? Like Frances Ha, nothing. Worse, it makes the screen shaky. I get we’re going for “dream” here, but this isn’t what dreams are like, right? Go to the Soprano’s, that’s how you do a dream. I will admit that that the art is more interesting than the story, but that’s not saying much. If this was a good movie, it would drop it a grade. Some of the art just doesn’t capture me at all. A wise man once said, “If it looks like I can make it, it isn’t art.”

How so high on RT? It’s just people who want to feel smart. It should be 50% at most.

Looking at some of the reviews, the Rolling Stone guy says its full of ‘lively humor.’ WHERE?

Another guy thinks this movie would be popular among college students. Which college students? If they wanted a philosophy lecture, they’d go to class and actually get something better.

Ebert said the movie feels alive, “vibrating with urgency and excitement.” I assume he was high on medical marijuana when he wrote that.

An old guy described it as “commercial ripoff designed to confuse art-house patrons.” That old guy is great.

Who the fuck talks like this? Boring people. Some of this dialogue sounds like someone got high and recorded their conversation and was like, that sounds so fucking smart. And then had someone flatly repeat it. This especially goes for the back and forth conversations. Whoever wrote these conversations probably talks a lot about how awful the school-to-prison pipeline is.

Even cartoon Ethan Hawke looks like an idiot.

The professors are better than the actors by far.

These conversations are my worst nightmare. This dream is my hell. Just a bunch of fucking people sniffing their own farts, so satisfied with themselves. I’m a lucid dreamer. If this was my lucid dream, I’d make my hand a gun and then kill everyone. Not by shooting them, but by beating them with my hand/gun. (that sentence was more creative than any scene in the movie)

“Cray-ons” Fuck off. No one says cray-ons in a normal conversation.

“Sabersooth Tiger” Damnit, it’s sabertooth. Just say it the way it’s meant to be said, not in some new made-up pretentious sounding way. Fuck off.

“I’m writing the greatest story ever told! Am I in it? I don’t think so. I’m kinda reading and writing it at the same time.” If anyone ever said that aloud NOT on drugs, they should be shot to the moon.

The tiny guitar was good.

“Everyone knows: fun rules.” Worst line of the year nominee.

The afro guy mutilating the concept of self-awareness was my least favorite.

This is a D.

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Bobby
1/22/2015 08:35:26 am

This sounds just like Shane during the philosophy class we had together!

And the story.. is him figuring out he's in a dream... continuously, figuring how to interact within them, and if possible, to get himself out of it. Can he? Does he?! Does it even matter?

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Shane
1/22/2015 09:26:13 am

Yeah. That's the story. But nothing else has anything to do with it. It was 25 minutes of story and 70 minutes of white noise equivalent. None of it really added anything to the story.

Kissel is right about them being blowhards. That's it. Just blowhards.

Shane
1/22/2015 09:34:20 am

And I was hoping he'd wake up so the movie would end. That was my only rooting interest.

Phil
1/23/2015 04:35:12 am

Where do you begin with a movie that doesn’t have much of a beginning? Or much of an ending for that matter? I didn’t think we would ever come up with a movie weirder than “Holy Motors” for this group – I think you succeeded Bobby. Well done.

I’m going to make Kissel see red here, but this movie felt very much set up like a character study like “Taxi Driver.” But we’re not asked to study a person; we are studying an idea. So the first 70 minutes of “white noise” as Shane put it, felt to me like 70 minutes meant to get us (and Wiley) to some sort of conflict: is this a dream that we can wake from? Or is this that “seven minute window” Celine and Jesse discuss, eventually being punctuated by Linkliter’s speech at the end, asking Wiley about when he’ll say “yes” to leaving this instance. That’s what I fully believe wound up happening here – we were stuck in Wiley’s mind during that seven minutes, and him floating away was his way of finally saying “yes.”

That really doesn’t help to explain the rest of the movie. Maybe there are some other tangents that I’d pick up on in a second watching, but it seems hardly worth my time. Much of this movie feels like a very loosely connected and not too terribly interesting lecture about dream states. As a person who rarely remembers his dreams, anytime anyone starts talking about dream hypotheses, I immediately zone out. It just doesn’t apply to me. I can count on one hand the number of dreams I’ve remembered beyond 12 seconds, and I probably don’t need much more than my two hands to count the number of times I even remember having any sort of dream in a given year. Maybe that makes me weird. Maybe I don’t care to figure it out.

Now onto philosophy in general. Bobby, there’s probably a group out there that could lead to a fun debate for things like this. So far, we’ve had Kissel (Bio major and pharmacist of some sort now), Shane (pre-law), Bryan (math), and me (more math). I think it’s safe to call our brains “left-leaning.” Abstract concepts of dreaming and light switches and whatnot are just not going to interest me. Bryan pretty much nailed this when he brought up the NPR podcast about no one caring about your dreams. I tend to disagree with that as a blanket statement – there are people out there that find dreams very fascinating. I don’t know if I could carry a conversation with any of them.

All that being said, I’m surprised I got something out of this and managed to form a theory of what happened in my head that made sense to me at least. I can’t pretend like I enjoyed this movie by any stretch, but I have to admit there were a handful of interesting things. This movie doesn’t lend itself to summary +’s and –‘s so just a grade will have to suffice.

Grade: C-

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