Lego movie - Production details

Production details:Production Company: Warner Brothers
Source material:
Budget: 60 million
Nationality: American
Main Producers: Dan Lin, Roy Lee
Director: Phil Lord, Christopher Miller
Cinematography: Pablo Plaisted
Editor: David Burrows, Chris McKay
Music: Mark Mothersbough
Screen Writers:
Cast Members: Chris Pratt, Will Ferrelll, Elizabeth Banks,Will Arnett, Nick Offerman, Alison Brie, Charlie Day, Liam Neeson, Morgan Freeman
How has it been filmed: The production of the film mostly took place in the hands of Australian animators animal logic. The camera systems tried to replicate live action cinematography, including different lenses and a Steadicam simulator.
What is it based upon: Lego Construction Toys
Other Information: June 2012, voices for the characters had been decided. By August 2012, Elizabeth Banks was hired to voice Lucy and Morgan Freeman to voice Vitruvius, an old mystic. In October 2012 release date was changed, Warner Bros to February 7, 2014. In November 2012, Alison Brie, Will Ferrell, Liam Neeson, and Nick Offerman signed on for roles.

The Lego Movie - Case Study

Film case study – The Lego Movie

The basic premise is that we’re constantly caught between opposing concepts like “knowledge” and “doubt,” “reality” and “unreality,” and “Art” and “Life”; learning to move quickly between these concepts may be our best hope yet of regaining a sense of self in the Internet Age. The core message here is simple enough, in fact so simple that not only could a child pick it up quickly, it’s arguably children who understand the metamodern “cultural paradigm” better than anyone. Children, unlike their parents, move more or less seamlessly from the realm of fantasy to the aggressive insistence of reality.

 

Pastiche
Right from the beginning you can tell that The Lego Movie doesn’t take itself too seriously. The script in the first scene reads like it was written by a nine-year-old, and there’s a good reason for that. By letting the dialog at times seem so rudimentary, the writers allow us to relax and enjoy ourselves. This silly style of writing then opens up opportunities for some artfully absurd things to happen.

Intertextuality

Another big trope of the postmodernists is Intertextuality. You see it every time you watch Once Upon a Time. Lego has made a lot of licensed sets over the years. By bringing those characters in, they draw on iconic personalities that we already know to propel the story forward. We don’t need any explanation of who Batman is and why he behaves the way he does. We know Batman, so we can skip the backstory and get into the action.

Metafiction
The movie is one giant work of Metafiction. It starts off sounding like it was written by a child because the main plot we’ve been following is the creation of a child. The writers of The Lego Movie got the entire audience to invest themselves in a silly plot about a chosen one and a mystical weapon before pulling the big reveal: the story we’re actually engaged in is one about fathers and sons, adults and children. It’s about growing up and what that should mean. One of the most-admirable things about the marketing for the film was that not a single preview I saw (mind you, I don’t have cable) spoiled it for me. So many times we get excited for a movie only to walk away feeling like the potential for a great film was sold to market a few more toys (I’m looking at you, Michael Bay.) The opposite happens here; I was sold on the cheesy marketing ploy, and I walked away pleasantly surprised to find art there.

Flattening of Affect

There are countless late-20th-century films and stories about people who find themselves living unauthentic lives because of drugs or technology or suburbia. The Lego Movie brings us a new reason that we’re all behaving like emotionless shells: growing up.
In the first few minutes we see that our hero, Emmett, lives in a world of popular music, formulaic television, and people who always follow the instructions. At first it seems like an evil corporate plot, but when we pull back and see the father-son relationship in the framing narrative, we realize that this isn’t exactly the case.
Yes, President Business is a corporate big-wig who is trying to homogenize everything, but we also know that it’s not out of greed. It’s a desire for order. Somewhere along the line, as we grow up, we lose our creativity out of fear of failure. Afraid to make things that are messy and ugly, we also stop making things that are beautiful.

The Lego Movie may be a mash up of Batman, bizarre dialog, and a bunch of jokes, but it’s a beautiful mess—and it works. This movie could have merely been a straight plot line rendered in 3D and advertised all over TV to sell toys, but it’s not. The Lego Movie reaches out to adults and teenagers, anyone who forgot how to be beautifully unorganized and uncool. It grabbed us by the funny bone and shook us violently, screaming “PLAY. GOSH DARNIT! BE FREE!”

And that brings me to my final point. It’s about that message of not caring how things are supposed to be. It’s the thought that woke me up at one in the morning and whispered, “You have to write this down.”

Even Bigger Metaphor

It should be obvious to anyone who saw the movie that President Business—in his attempt to freeze the world with the Kragle—is just a metaphor for the father, who got so caught up in how things are supposed to look that he was willing to pour superglue on his Lego set instead of playing with his son. We all got that one (at least I hope we did). This is another Metaphor.

It’s about Postmodernism.
Postmodernism was a reaction to Modernism, a movement in the early 20th Century that sought to create new conventions of representation, stripping away the frills, and making form follow function. Like the Modernists, the Postmodernists rejected the rigid conventions of the Classicists. Unlike the Modernists, the Postmodernists didn’t mind if things got a little bit messy and frivolous.

The father is a Classicist, following the rules to put together harmonious, safe creations. The son is a Postmodernist, mixing properties, repurposing used half-eaten lollipops, and making a glorious mess. The Kragle represents the father’s strict adherence to classical conventions. The son’s unbalanced spaceships and mech-pirates are the intertextual, time-bending, hyperreality, fragmented works of art that say, “Hey, Batman can be art, too. Why don’t you chill out and have fun.”

 

Fredric Jameson

Fredric Jameson born 14 April 1934, is an American literary critic and Marxist political theorist. He is best known for his analysis of contemporary cultural trends. He once described postmodernism as the spatialization of culture under the pressure Postmodernists claimed that the complex differentiation between "spheres" or fields of, and between distinct classes and roles within each field, had been overcome by the crisis of foundationalism. Jameson argued, against this, and could have been understood successfully within a modernist framework; the postmodern failure to achieve this understanding implied an abrupt break in the dialectical refinement of thought. In his view, postmodernity's merging of all discourse into an undifferentiated whole was the result of the colonization of the cultural sphere, which had retained at least partial autonomy during the prior modernist era. Jameson discussed this phenomenon in his critical discussion of architecture, film, narrative, and visual arts, as well as in his strictly philosophical work. Two of Jameson's best-known claims from Postmodernism are that postmodernity is characterized by pastiche and a crisis in historicity. Jameson argued that parody was replaced by pastiche. Jameson's analysis of postmodernism attempted to view it as historically grounded; he therefore rejected any moralistic opposition to postmodernity as a cultural phenomenon. His failure to dismiss postmodernism from the onset, however, was perceived by many as an implicit endorsement of postmodern views

Jean Baudrillard Theory

Jean Baudrillard born on 27 July 1929 and died 6 March 2007. He was a French sociologist, philosopher, cultural theorist, political commentator, and photographer. His work is frequently associated with postmodernism and specifically post-structuralism.  Jean Baudrillard has 3 main theories hyper-reality, sign value and simulacrum.  His theory of hyper reality is an inability of consciousness to distinguish reality from a simulation of reality, hyper reality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins. Sign value denotes and describes the value accorded to an object because of the prestige that it imparts upon the possessor, rather than the material value and utility derived from the function and the primary use of the object. Jean Baudrillard proposed the Theory of Sign Value as a philosophic and economic counterpart to the dichotomy of exchange-value vs. use-value, which Karl Marx recognized as a characteristic of capitalism as an economic system. Simulacrum is a representation or imitation of a person or thing. Postmodernist French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal.

JEAN BAUDRILLARD

Fedric Jameson

Examples of postmodern films

Blade Runner
Ridley Scott's Blade Runner might be the best known postmodernist film. Ridley Scott's 1982 film is about a future dystopia where "replicants" have been invented and are deemed dangerous enough to hunt down when they escape. There is tremendous effacement of boundaries between genres and cultures and styles that are generally more separate along with the fusion of disparate styles and times that is a common trope in postmodernist cinema. "The futuristic set and action mingle with drab 1940s clothes and offices, punk rock hairstyles, pop Egyptian style and oriental culture. The population is singularly multicultural and the language they speak is agglomeration of English, Japanese, German and Spanish. The film alludes to the private eye genre of Raymond Chandler and the characteristics of film noir as well as Biblical motifs and images." Here is a demonstration of the mixing of cultures and boundaries and styles of art. The film is playing with time (the various types of clothes) and culture and genre by mixing them all together to create the world of the film. The fusion of noir and science-fiction is another example of the film deconstructing cinema and genre. This is an embodiment of the postmodern tendency to destroy boundaries and genres into a self-reflexive product. "The postmodern aesthetic of Blade Runner is thus the result of recycling, fusion of levels, discontinuous signifiers, explosion of boundaries, and erosion. The disconnected temporality of the replicants and the pastiche of the city are all an effect of a postmodern, postindustrial condition: wearing out, waste."

Pulp Fiction
Quentin Tarantino's Pulp Fiction is another popular example of a postmodernist film. The film tells the interweaving stories of gangsters, a boxer, and robbers. The film breaks down chronological time and demonstrates a particular fascination with intertextuality: bringing in texts from both traditionally "high" and "low" realms of art. This foregrounding of media places the self as "a loose, transitory combination of media consumption choices." Pulp Fiction fractures time (by the use of asynchronous time lines) and by using styles of prior decades and combining them together in the movie. By focusing on intertextuality and the subjectivity of time, Pulp Fiction demonstrates the postmodern obsession with signs and subjective perspective as the exclusive location of anything resembling meaning.