WD on movies
Jul. 29th, 2013 01:56 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
browngirlThis entry features quotations from, but no links to, TV Tropes.
So WD and I watched most of Columbiana together. After about 0.5 minutes of the scene where [spoiler text] an Obviously Bad Man interrogates a Little Girl WD announced, "Hey, what is this, a sequel to The Professional?!" and continued bitching about the movies' resemblance throughout. In the credits Luc Besson pops up as one of the head writers, so I admitted that WD was right, and he triumphantly theorized that Mr. Besson saw the movie and sued/demanded to be listed.
Actually, as it turns out: "Spiritual Sequel: Apparently, the movie began life as a sequel to Leon / The Professional and mainly centered around Mathilda, but was changed into something else over the years. The changes came about presumably because Natalie Portman would have cost too much to hire."
So it really was a sequel to The Professional, relocated southwards/westwards. Go WD for calling it.
This amuses me as a perfect small example of WD's approach to narrative works, which is perceptive, analytical, and exacting. SO I thought I'd write about it.
So WD and I watched most of Columbiana together. After about 0.5 minutes of the scene where [spoiler text] an Obviously Bad Man interrogates a Little Girl WD announced, "Hey, what is this, a sequel to The Professional?!" and continued bitching about the movies' resemblance throughout. In the credits Luc Besson pops up as one of the head writers, so I admitted that WD was right, and he triumphantly theorized that Mr. Besson saw the movie and sued/demanded to be listed.
Actually, as it turns out: "Spiritual Sequel: Apparently, the movie began life as a sequel to Leon / The Professional and mainly centered around Mathilda, but was changed into something else over the years. The changes came about presumably because Natalie Portman would have cost too much to hire."
So it really was a sequel to The Professional, relocated southwards/westwards. Go WD for calling it.
This amuses me as a perfect small example of WD's approach to narrative works, which is perceptive, analytical, and exacting. SO I thought I'd write about it.
