At the Venice Film Festival for a special screening of his seminal noir thriller Blade Runner, Sir Ridley said that science fiction films were going the way the Western once had. “There’s nothing original. We’ve seen it all before. Been there. Done it,” he said. Asked to pick out examples, he said: “All of them. Yes, all of them.”
The flashy effects of recent block-busters, such as The Matrix, Independence Day and The War of the Worlds, may sell tickets, but Sir Ridley believes that none can beat Stanley Kubrick’s 1968 sci-fi epic 2001: A Space Odyssey.
Made at the height of the “space race” between the United States and the USSR, 2001 predicted a world of malevolent computers, routine space travel and extraterrestrial life. Kubrick had such a fastidious eye for detail, he employed Nasa experts in designing the spacecraft.
Sir Ridley said that 2001 was “the best of the best”, in use of lighting, special effects and atmosphere, adding that every sci-fi film since had imitated or referred to it. “There is an overreliance on special effects as well as weak storylines,” he said of modern sci-fi films.
In fact, I haven't even read a science fiction novel in a good long while that stirred anything resembling interest in my breast. I'm sick to death of the old tropes, and the new post-Singularity/other-side-of-Clarke's-Law experiments are about as compelling as reading someone else's dream log. Which is to say, not at all.
We've reached the end of the line for this kind of writing, I think. No longer the red-headed stepchild genre, science-fiction is now just a niche in the overcrowded realm of general fiction. Perhaps it belongs in the "improvisational mythology" bin. The old SF myths lie in ruins at our feet. The new 'roll your own reality' stories lack solidity. The center cannot hold.
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