"I was watching Monster's Ball, which is a fabulous movie. It's just a little gem: beautifully shot, and shot in a way I never would have done. It made me feel very old, really, because it wasn't eccentric for its own sake, it was just very original"
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There is a particular sting in a veteran director calling a film a "little gem": admiration, yes, but also a quiet inventory of what cinema now rewards. Adrian Lyne built a career on glossy provocation and stylized intensity, the kind of filmmaking that announces itself. So when he praises Monster's Ball for being "shot in a way I never would have done", he isn't just complimenting Marc Forster's choices; he's admitting that a different visual grammar has won the room. The line carries the self-awareness of an auteur watching taste evolve without asking permission.
"It made me feel very old" lands as more than a joke about age. It's a recognition that originality has shifted from flamboyant signature to something subtler: naturalism with teeth. Lyne draws a sharp line between "eccentric for its own sake" and "just very original". That's industry critique disguised as humility. He's pointing to a kind of directorial vanity - stylistic quirks that exist mainly to be noticed - and admitting that Monster's Ball achieves novelty without waving a flag.
The subtext is a challenge to his own era of high-concept sheen: what if restraint is the new audacity? Coming from a director often associated with heightened, eroticized drama, the praise reads like a recalibration of artistic values. It's also a small act of generosity: acknowledging that innovation can arrive not as spectacle, but as confidence - a film secure enough to let the camera's choices feel inevitable rather than performative.
"It made me feel very old" lands as more than a joke about age. It's a recognition that originality has shifted from flamboyant signature to something subtler: naturalism with teeth. Lyne draws a sharp line between "eccentric for its own sake" and "just very original". That's industry critique disguised as humility. He's pointing to a kind of directorial vanity - stylistic quirks that exist mainly to be noticed - and admitting that Monster's Ball achieves novelty without waving a flag.
The subtext is a challenge to his own era of high-concept sheen: what if restraint is the new audacity? Coming from a director often associated with heightened, eroticized drama, the praise reads like a recalibration of artistic values. It's also a small act of generosity: acknowledging that innovation can arrive not as spectacle, but as confidence - a film secure enough to let the camera's choices feel inevitable rather than performative.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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