"It's easy to like the most popular films, but I have a great fondness for 'A Life Less Ordinary'"
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Boyle’s line has the casual shrug of a filmmaker refusing the algorithm’s velvet rope. “It’s easy to like the most popular films” isn’t just modesty; it’s a sly dig at consensus taste, the kind that requires no risk, no personal stake. Popularity becomes a low bar: agreeable, frictionless, socially rewarded. By contrast, “I have a great fondness for ‘A Life Less Ordinary’” reads like a protective gesture toward the misfit in his own filmography - the title itself doubling as self-diagnosis.
Context matters: A Life Less Ordinary (1997) arrived after Shallow Grave and Trainspotting had branded Boyle as a brash new voice, and before the later canon-makers (28 Days Later, Slumdog Millionaire) cemented him as a mainstream auteur. The film was a tonal mashup - romantic comedy, crime caper, angels - and it didn’t land cleanly with critics or audiences. Boyle’s fondness, then, isn’t nostalgia; it’s a statement about artistic identity. He’s signaling that his loyalty isn’t reserved for the hits, but for the experiments that reveal what he actually wanted to do when no one was clapping yet.
The subtext is also about authorship: directors are expected to curate their own legacy, quietly disowning the “misfires.” Boyle refuses that PR instinct. He frames taste as a form of courage: liking what everyone likes is easy; standing by the awkward, overreaching, sincere thing says more about you. In a culture that treats box office as a morality tale, this is Boyle defending the right to be uneven - and to prefer the strange, personal swing over the polished win.
Context matters: A Life Less Ordinary (1997) arrived after Shallow Grave and Trainspotting had branded Boyle as a brash new voice, and before the later canon-makers (28 Days Later, Slumdog Millionaire) cemented him as a mainstream auteur. The film was a tonal mashup - romantic comedy, crime caper, angels - and it didn’t land cleanly with critics or audiences. Boyle’s fondness, then, isn’t nostalgia; it’s a statement about artistic identity. He’s signaling that his loyalty isn’t reserved for the hits, but for the experiments that reveal what he actually wanted to do when no one was clapping yet.
The subtext is also about authorship: directors are expected to curate their own legacy, quietly disowning the “misfires.” Boyle refuses that PR instinct. He frames taste as a form of courage: liking what everyone likes is easy; standing by the awkward, overreaching, sincere thing says more about you. In a culture that treats box office as a morality tale, this is Boyle defending the right to be uneven - and to prefer the strange, personal swing over the polished win.
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| Topic | Movie |
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