Watch the movies: Run, Lola, Run and Waking Life

Running Head: Run, Lola, Run and Waking Life Run, Lola, Run and Waking Life [Name of the writer] [Name of the institution] Run, Lola, Run and Waking Life A good movie always attracts audiences but a truly good movie is the one task of which is not only to attract audience’s attention, but also to provide important information. People looking for something fresh and different, and obviously important information, should watch Run, Lola, Run of director Tom Tykwer and Waking Life of director Richard Linklater. While they will find Tykwer’s Run, Lola, Run an excellent crime thriller which tells the importance of time, Linklater’s appealing work Waking Life will take them into the world innovation. The two movies while different according to their subject have some similarities. Tykwer who is also the writer of Run, Lola, Run has tried to attract audiences from all section of the society and from all ages. Released in 1998, the movie was Germany’s biggest hit in years. The director wanted people to enjoy the sheer unadorned pleasure of speed. According to him, Franka Potente who played the role of Lola found the Doc Martens she wears in the movie very painful to run in. But Tykwer admits that Potente’s excellent performance has a great contribution in the success of the movie which swept box offices and, with a budget of three million marks, has managed to run in many countries of the world. Linklater who introduced great innovation took the hero of the movie to twilight zone between sleep and wakefulness. The movie provides a great combination of live action and animation behind which there is a system known as rotoscoping. The system provides techniques in which movies are shot with real performers and later they are transformed into cartoons by tracing techniques, giving a combination of live action and animation. Run, Lola, Run This movie as its director claims is all about speed. This type of movies can be called hyper-filmic events which do not abandon the thought of story continuity or chronological logic. It is generally observed that these types of movies use the idea of story continuity for both canceling and integrating a continuous and always inclusive fabula and syuzhet as well as a sporadic and alternative supplement which is equally complete, completely actualized. The most logically significant variable is the set of formal correspondences between fibula and syuzhet. The continuity of the story of this movie is seemed according to this principle. This is, to what extent does the describing syuzhet correspond to the logical, chronological, and spatial nature of the fibula the writer of this move has constructed. The unusual discontinuity within multiple yet restricted limitations allows one to experience a number of viewpoints in seemingly limitless fashion. This movie has surprised even the toughest critics of German cinema. As many have noted with unrestrained astonishment, it is unusual that a German film is so bright while being an absolute pleasure to watch. This movie depicts three alternate realities triggered by the same event. By showing different perspectives, these filmic events essentially pose counter-traditional perspectives. The movie has three parts and each of its parts or macro-sequences begins with Lola running. This is the reason its director loves to call it a movie of speed. In the part of the move, Lola receives a phone call Manni who informed her that, as the camera shows in black and white shots, how a homeless man took his boss Ronnie’s money from the train he was traveling in. A panicky Manni wants to do anything to get the lost money back. Because Manni is accusing Lola of responsible for this loss she is also in panic. As soon as she received the information she starts running. She screams starts to run towards Manni, who look out for her at the crossroads between the Bolle Market Place and th...