*nodnodnod* emotionally, they just manage to drag you backwards through a hedge but it WORKS somehow. There are so many miserable characters who you just want to shake and tell them to cheer the fuck up, but Sam's pain? GETS ME EVERY TIME. I can't believe they've been able to get away with four cry scenes in one episode. It's mindblowing.
...and yes, the direction is just amazing. Present day is so cold and clinical, it seems so overcast in comparison to 1973, gah, just little things like that... the lighting is so muted, but in 1973 they really play with these lovely bits of shadow and light down at the station, in Sam's flat. I've been screencapping it for evil porn purposes pretty Simmfaces, and keep noticing the chiaroscuro all over the place. Mmmmm. No fuckin' wonder 1973 is more real to him, to us.
And yeah, I still feel a bit guilty over the Sam/Gene because my main OTP used to be Sam/Present Day or just Sam/ANGST. Gene's meant to be there as a love-hate adversary, someone to build grudging respect with, and Annie's just a sort of ethereal little thing there, she's so fuckin' saintly really. They're both dreamlike but not in a crappy way--they could so easily made it into just a complete bastard and a complete guardian angel in a really annoying way. But those characters work and I don't know how the hell they do it. It's really a fantastic combo of good writing, good acting and good direction.
...and yes, the direction is just amazing. Present day is so cold and clinical, it seems so overcast in comparison to 1973, gah, just little things like that... the lighting is so muted, but in 1973 they really play with these lovely bits of shadow and light down at the station, in Sam's flat. I've been screencapping it for evil porn purposes pretty Simmfaces, and keep noticing the chiaroscuro all over the place. Mmmmm. No fuckin' wonder 1973 is more real to him, to us.
And yeah, I still feel a bit guilty over the Sam/Gene because my main OTP used to be Sam/Present Day or just Sam/ANGST. Gene's meant to be there as a love-hate adversary, someone to build grudging respect with, and Annie's just a sort of ethereal little thing there, she's so fuckin' saintly really. They're both dreamlike but not in a crappy way--they could so easily made it into just a complete bastard and a complete guardian angel in a really annoying way. But those characters work and I don't know how the hell they do it. It's really a fantastic combo of good writing, good acting and good direction.
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