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>coming back the NEXT time this writer/filmmaker/studio makes a movie... So
>it is not artistic/noble to NOT end happily, but it can be a commercial ploy
>to DO end with a happy end...
You're simplifying things.
You're saying that _only_ sad endings are artistic and noble, and
that _all_ happy endings are always commercial crap.
_That's_ pure crap. The ending of the story just summarizes the
thesis you're saying with your story. If you're trying to say that -
hmmmm - that small people can win a battle against evil - ehm -
multinational companies (hehe... assuming this was possible in the
first place... ;), it's rather hard to state that kind of thing with
a sad ending...
Hollywood has maybe spoiled the use of happy endings, but basically,
the ending of the story can be whatever, as long as it doesn't
conflict with the thesis and the atmosphere of the story. I think
that many times _that's_ the problem with Hollywood endings - not the
ending itself.... Also, many times the ending of a Hollywood movie
has been changed after test audience comments... (Like in Blade
Runner...)
BTW, talking about endings (and book->movie adaptations), how do you
people see the ending of 2001 (the movie)?
> Stalker (where did that name come from, it being a russian move, and
>all that?)
The guy in the book is called "stalker", because originally, in the
book, the story was located in Canada, if I remember this
correctly... There's some unintended comicalness in some details of
the book. Although the characters live in North America, they sure
_act_ like Russians... ;)
>All this in a straight-forward, action-packed
>package [yeah!].
Sounds a bit like Ian M. Banks to me: space opera with thought.
> Cool books, Benford is some theoretical physicist, so his writing is
>ehm... well-researched?
Hmmm... one more to check out...
And I don't even have a library card... :(
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