- Feb 14, 2018
- 1,420
- 4,880
Yes, there is a lot of nuance being lost in translation - literal translation vs actual English usage.I think there is a persistent language barrier in this conversation. I get the impression that Bane reads L&P (and us) very literally, while I (and many native English speakers) infer more things from L&P. So I don't really know how to help this conversation.
This paragraph of yours makes me think of a scene from Ferris Bueller's Day Off (John Hugh's best movie IMHO). During the art museum sequence, Cameron is staring at George Seurat'sHere's what I'll say though Bane: Yes everyone makes mistakes, but when it comes to L&P we're talking about "mistakes". L&P strikes me as the kind of guy who looks at his renders, and then looks at them longer, and then looks at them even longer until he finds a "mistake". I put "mistake" in quotes because I don't know how serious to take his ideas of mistakes. I seriously doubt he has deep flaws in any of his images that he renders- but I can totally see him obsessing over the smallest detail and calling it a "mistake". This process almost certainly costs him days for each render that he obsesses over.
You must be registered to see the links
. He's captivated by the painting as a whole but as he focuses in more, he starts to see that the "colors" he's seeing aren't really the colors that are there, they are actually different colored individual dots of paint which in proximity to one another trick our eye into seeing a single color [check Mark Rothko for more on color/sense manipulation]. The camera alternates between Cameron's face and the painting's surface. Each cut pulls in ever closer on the painting's surface and Cameron's eyes. The closer we get to Cameron's eyes the more intense his focus and expressions become. The closer you get to the painting's surface the less representative everything gets, the more abstract it gets, until you end up so close to the canvas that the daubs of color blur together and there is no longer any representation left. We no longer see the cheek of a child standing next to her mother under a tree in the mid-ground of an epic outdoor scene.L&P needs to realize that each pixel within each shot within each scene within each event within each update within each sub-plot within this project does not carry the same weight as the look on Sophia's face as she watches Ellie rub one out.