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<blockquote data-quote="Mel O&#039;Drama" data-source="post: 438563" data-attributes="member: 23"><p style="text-align: center"><strong><span style="font-size: 22px">Clockwatchers</span></strong> (1997)</p> <p style="text-align: center"></p> <p style="text-align: center"><img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimg.moviepostershop.com%2Fclockwatchers-movie-poster-1997-1020249304.jpg&f=1&nofb=1&ipt=132524d4a40bd2fc2d8aea631bc569f50b33069b7264ccae010015678a9e792a" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>Yesterday, the algorithms suggested a new video in which <a href="https://www.youtube.com/watch?v=0gy7TqoxBuQ" target="_blank">Lisa Kudrow watches and discusses clips of her work</a>. One of said clips was this one:</p><p style="text-align: center">[MEDIA=youtube]spTpe6nuZIg:29[/MEDIA]</p><p></p><p>I wasn't aware of the film at all, but the clip and Lisa's fond memories of filming it (during the same hiatus from <em>Friends</em> in which she'd shot <em>Romy And Michele</em>) got me interested. In particular she mentioned the quick shooting process (two takes tops) and as she reeled off the names of Toni Collette and Parker Posey I knew I had to watch. And I struck while the iron was hot.</p><p></p><p>What grabbed me about the film was the naturalistic tone, almost observational as we just slip into the rhythms of these characters going about their everyday business. The editing - with cuts that sometimes feel choppy - adds to this, and the direction is stylised in a way that feels organic and that stops short of being showy or intrusive. Little choices in things the characters do also create tension (as an example, one early scene in which a character uses a photocopier without closing the lid - the bright light seeping out into the tiny little copy room - felt almost stressful to watch without being entirely able to explain why).</p><p></p><p>Lisa and Parker are both maestras when it comes to ad libs and improv, with Parker being particularly spontaneous and unpredictable so I can imagine it was a very exciting and unpredictable set. It goes without saying that Toni Collette is a terrific actress, so I'm sure she had no problem keeping up. Being just a few years after <em>Muriel's Wedding,</em> this is the most Murielesque I've seen her in an American film. Even the character arc is similar for her. And as an aspiring actress, there's a hint of Valerie Cherish to Lisa's character.</p><p></p><p>Most compelling about this film is what we're not told. We are in the same position as the group, not knowing which of their colleagues is the thief, which puts us in the position of needing to watch them closely. And there's a certain amount unresolved (was it really a "false alarm"?, for example, or something a character is choosing not to share). These people know one another a little, and may feel close at times, but there's a sense of holding back and avoiding too much involvement as well (Paula turning down an invitation to meet Iris's dad, who is in a car just on the other side of the street is perhaps the clearest example of this). Which rings true with my relationship with colleagues.</p><p></p><p>It's an immersive experience, but one that creeps up on the viewer. The artificial lighting, the soulless environment and the tedium really takes hold without even noticing. One begins observing with an idle sense of curiosity, but ends up compelled and needing to know more. Around a third of the way in, it felt very little had happened in terms of story, but the character was so rich I was in it until the end. There's also an unexpected message that for all its hopefulness left me feeling a little sad and a little empty.</p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 438563, member: 23"] [CENTER][B][SIZE=6]Clockwatchers[/SIZE][/B] (1997) [IMG]https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimg.moviepostershop.com%2Fclockwatchers-movie-poster-1997-1020249304.jpg&f=1&nofb=1&ipt=132524d4a40bd2fc2d8aea631bc569f50b33069b7264ccae010015678a9e792a[/IMG][/CENTER] Yesterday, the algorithms suggested a new video in which [URL='https://www.youtube.com/watch?v=0gy7TqoxBuQ']Lisa Kudrow watches and discusses clips of her work[/URL]. One of said clips was this one: [CENTER][MEDIA=youtube]spTpe6nuZIg:29[/MEDIA][/CENTER] I wasn't aware of the film at all, but the clip and Lisa's fond memories of filming it (during the same hiatus from [I]Friends[/I] in which she'd shot [I]Romy And Michele[/I]) got me interested. In particular she mentioned the quick shooting process (two takes tops) and as she reeled off the names of Toni Collette and Parker Posey I knew I had to watch. And I struck while the iron was hot. What grabbed me about the film was the naturalistic tone, almost observational as we just slip into the rhythms of these characters going about their everyday business. The editing - with cuts that sometimes feel choppy - adds to this, and the direction is stylised in a way that feels organic and that stops short of being showy or intrusive. Little choices in things the characters do also create tension (as an example, one early scene in which a character uses a photocopier without closing the lid - the bright light seeping out into the tiny little copy room - felt almost stressful to watch without being entirely able to explain why). Lisa and Parker are both maestras when it comes to ad libs and improv, with Parker being particularly spontaneous and unpredictable so I can imagine it was a very exciting and unpredictable set. It goes without saying that Toni Collette is a terrific actress, so I'm sure she had no problem keeping up. Being just a few years after [I]Muriel's Wedding,[/I] this is the most Murielesque I've seen her in an American film. Even the character arc is similar for her. And as an aspiring actress, there's a hint of Valerie Cherish to Lisa's character. Most compelling about this film is what we're not told. We are in the same position as the group, not knowing which of their colleagues is the thief, which puts us in the position of needing to watch them closely. And there's a certain amount unresolved (was it really a "false alarm"?, for example, or something a character is choosing not to share). These people know one another a little, and may feel close at times, but there's a sense of holding back and avoiding too much involvement as well (Paula turning down an invitation to meet Iris's dad, who is in a car just on the other side of the street is perhaps the clearest example of this). Which rings true with my relationship with colleagues. It's an immersive experience, but one that creeps up on the viewer. The artificial lighting, the soulless environment and the tedium really takes hold without even noticing. One begins observing with an idle sense of curiosity, but ends up compelled and needing to know more. Around a third of the way in, it felt very little had happened in terms of story, but the character was so rich I was in it until the end. There's also an unexpected message that for all its hopefulness left me feeling a little sad and a little empty. [/QUOTE]
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