Viven Las Resistances

January 15, 2010

Allow myself to re-introduce myself.

Dailysalad has been quietly reviving the Salad. Did you notice? Of course you did, you’re here! I noticed too, and I’m fucking pumped. So fucking pumped that I’m back.sup dude In case you forgot about me (you shouldn’t have because I was your favorite), here’s a mini-profile. Pretend with me that we’re on a mini-Facebook.

Name: Cody the Destroyer
Interests: Tacos and Comedy
Status: F’ing Pumped
Listening To: Andrew WK

Ok, stop pretending. Mini-Facebook sucks. Did you know people mini-Photoshop their mini-photos? STOP IT, I KNOW WHAT YOU LOOK LIKE.

Anyways, as to why I’m generally useful to the Salad community — I would hope to be described as appreciated for my enthusiasm and humor. I’ll keep a lid on until Captain Dailysalad gives me some more direction.
Salad Pain

There’s a fantastic article on the production design of A Serious Man over at Incontention, one that tries to capture the apparent contradiction between spatial emptiness and richness of setting. The film utilizes a particular type of blank palette, one that needs to capture the inherent possibility of the moment:

“Basically I wanted to tell the story of suburbia and the suburban Jew,” Gonchor says.  “It was the beginning of the suburbs in the Midwest.  So I wanted everything to look as new and as fresh as possible, everything from the inside of the temple to the neighborhood.  I wanted to get across a sense of a new beginning and a new world.”

A new world, rife with possibilities but not yet developed enough to be truly comfortable or even properly defined. The protagonist struggles with establishing his property; his neighbor constantly encroaches on his yard. No fences make bad neighbors for the Jew hoping to be accepted as equal partner in settling the new land. This is, in a sense, a frontier story, and the production design goes to great lengths to define it this way.

Easily one of the best movies of the year.