In a fascinating interview with Wired magazine, Kaufman and his interviewer discuss how conceits provide a framework for his movies. Adaptation has the recursive loop of the events on screen affecting the written screen-play of the events on screen; Eternal Sunshine requires the viewer to deduce, even in scenes not blatantly presented as such, that the majority of the movie is Joel’s memory. But Synecdoche, says Kaufman, “doesn’t turn out [to be] anything other than what you’re watching.” There is the conceit of the title, of course, but there is no resolution of the conceit to tie the story off or justify its peculiarities. Knowing I’d seen it, a friend asked when Hazel’s house was first shown, “Okay, that house is actually on fire, right?” Then later, “Her house is still on fire, right?
Synecdoche is a sly movie. To start, everything from the soundtrack to the color palette appears to be standard quirky indie-movie fare: it opens with a sort-of-lighthearted but faintly macabre catchy song, muted colors, and the story of an artist struggling to realize a great work. It lets you get comfortable with your expectations. Read the rest of this entry »