97 minutes | Rated: R
Opened: Friday, October 26, 2001
Directed by Richard Linklater
Starring Wiley Wiggins
With Bill Wise, Julie Delpy, Ethan Hawke, Robert C. Solomon, J.C. Shakespeare, David Sosa, Alex Jones, Steve Fitch, Adam Goldberg, Nicky Katt, Speed Levitch, Steven Soderbergh, Louis Black, Richard Linklater
This film is on the Best of 2001 list.
SMALL SCREEN SHRINKAGE: 15%|
LETTERBOX: HIGHLY RECOMMENDED
You want to make sure you watch this movie in wide-screen to get every inch of its engrossing, dream-state animation. Otherwise, it plays just fine on the small screen.
VIDEO RELEASE: 05.07.2002
This disc is very much worth buying and keeping. Just to get through all the commentary material you're going to want to watch it three times, and the movie itself almost requires extensive repeat viewings. The first commentary track with Linklater, Wiggins and the lead animator is full of memories about the inspiration for the film's scenes, stories about who the speakers are and about where the ideas for the deep dialogue came from (some of it recycled from Linklater's unproduced scripts). They're interesting to listen to because they're watching the film intensely (unlike most commentary tracks on which people are usually laughing and being playful). The second commentary track is with the individual animators, talking about how and why they painted their scenes as they did. This track is really fascinating most of the time (some of the animators knew the people they were animating quite well). There's also a text commentary that explains in more detail some of the philosophies discussed in the film and offers suggestions for additional reading, as well as identifying the speakers, many of whom are professors at UT Austin, where the live action of the film was shot. Never seen that before! It's interesting to watch the 10m short that shows the live-action footage before it was animated, and then the 20m featurette about how the animation was done (with the guy who designed the software).|
OTHER NOTABLE BONUS MATERIAL
Trailer. First-pass animation test of just interview footage animated with the software developed for the film. Some cutting room floor stuff, but that's not all that interesting.
1.85:1 ratio; Dolby 5.1
SUBS: English, French
Seems to be taken from a theatrical print (there are a few blemishes here and there). Why wouldn't they have taken it straight from the digital source?
DVD RATING: ***1/2
'Waking Life' uses groundbreaking animation atop live-action technique to illustrate surreal, cerebral story of dreams and philosophy
Watching "Waking Life" is like eavesdropping on a theoretical discourse between Kierkegaard and Kerouac, while standing in a modern art museum as the paintings come to life and melt into your visual cortex.
An eye-popping, mind-blowing, groundbreaking piece of stream-of-consciousness pop-art philosophy, director Richard Linklater has created a film that turns the notions of dreaming and reality inside out, both visually and conceptually, while telling an absorbing tale of a off-beat teenage boy (Wiley Wiggins) trying to wrap his head around a ponderous waking dream from which he can't seem to escape.
Linklater ("Slacker," "SubUrbia") shot the film on digital video with dozens of actors (some of note, some unknown) playing nameless denizens of the real world and of the kid's subconscious. They're characters from whom he soaks up random abstract ideas on everything from transcendence and reincarnation to collective memory to the existence of free will.
Then in post-production, every frame of "Waking Life" was painted over with wildly vivid, even more abstract, yet startlingly life-like animation that lends the final product a surreal artistic and cerebral vitality that is unique in the history of cinema.
The kid meanders through incongruous encounters with oddball amateur philosophers of every stripe (a man driving a boat-shaped car, a beautiful redhead, an armed and angry drunk, a convenience store clerk). He engages some of them in profound conversation. Others he simply observes -- or even imagines -- as they rant through frenetic dialogues about hatred or spiritual subsistence within modern society.
Eventually -- but not before you begin to wonder if all this is going somewhere -- an underlying theme takes shape. The kid is trying to gather knowledge on lucid dreaming techniques so he can wake himself up -- although he's often not sure if and when he's really dreaming.
The animation of "Waking Life" is not a gimmick or an experiment, but a visual extension of the movie's fluid metaphysical state. Resembling reality but not being bound by it -- or even by the limits of special effects -- allows any given moment to be as non-literal as Linklater desires. A character's hairy arms can become almost like living tattoos. Musicians' fingers can grow supernaturally elastic. Hallways can wiggle and jiggle like Jell-O, and roads can rise and fall like the sea. But because the computer-aided watercolor milieu is applied over live-action footage, it all still has the pulse and veracity of the real world -- albeit with extraordinary potential for layers of additional symbolism wherever and whenever the director chooses.
More than 30 animators worked on the film, and every scene (sometimes different shots within the same scene) has an entirely different look. One style shows a cubist influence, another is like an oil paint sketch, and another is like an off-the-wall underground comic book. Yet they're all beautiful and fit together seamlessly -- all part of the mind's eye of the kid on his quest for literal self-awareness.
The intellectual abstractions in "Waking Life" come at you so fast that it may require two, three or 10 viewings to absorb it all. Some of it is philosophical masturbation -- which Linklater freely and creatively acknowledges, just about the time you start to think so, with a surprising comical aside in which a monkey gives a pretentious lecture to a college art class.
But the questions about identity, reality, perception, life, death and consciousness that fuel the film are engrossing ones, made all the more fascinating by the endless versatility of its aesthetic and metaphorical palette.