but the faces siblings will make at each other, favorite jokes too well-known ever to have been written down--those things you won't get.
Yes. They're hard enough to retrieve after a generation, never mind a hundred and fifty years.
Jonathan Edwards. In one scenario, I imagined a shade of him in the present, and like Lovecraft, I imagined that he'd have thought himself damned--but only briefly.
I'd read that.
How did you feel about the 1700s character's experience in the 1930s? It sounds like it wasn't really important for the movie, but were you satisfied with it?
I don't know. It would have been a very different kind of movie if it had tracked both of them equally, although it would only have taken a line or two more to establish the aftereffects of 1784 Peter's unplanned trip to the future. I almost wonder if an earlier version of the script did balance them: there's a strange, wistful line from him in the prologue, on hearing of Blanchard's successful crossing of the Channel in a hot-air balloon. "It's starting—this age of speed which we will never live to see." He doesn't sound foreboding; he's sorry to miss it. One imagines him as shocked by the realities of the future as 1933 Peter by the past. I don't think I would have liked his cautionary story as well, though. It's always worth looking forward.
no subject
Yes. They're hard enough to retrieve after a generation, never mind a hundred and fifty years.
Jonathan Edwards. In one scenario, I imagined a shade of him in the present, and like Lovecraft, I imagined that he'd have thought himself damned--but only briefly.
I'd read that.
How did you feel about the 1700s character's experience in the 1930s? It sounds like it wasn't really important for the movie, but were you satisfied with it?
I don't know. It would have been a very different kind of movie if it had tracked both of them equally, although it would only have taken a line or two more to establish the aftereffects of 1784 Peter's unplanned trip to the future. I almost wonder if an earlier version of the script did balance them: there's a strange, wistful line from him in the prologue, on hearing of Blanchard's successful crossing of the Channel in a hot-air balloon. "It's starting—this age of speed which we will never live to see." He doesn't sound foreboding; he's sorry to miss it. One imagines him as shocked by the realities of the future as 1933 Peter by the past. I don't think I would have liked his cautionary story as well, though. It's always worth looking forward.