After “CME, that’s why we bring dogs.”, I will find a couple of movies in my daily passing. Originally, such a piece of music was supposed to be included in “CME”, but tried different sublimation under different titles.
───Synopsys
A captured man and a man living in a movie. When the two men meet up, “movie” starts. What is to live in a movie … And what we see “movies” … A few months later from the arrival of CME, “Go to the other side all the way” again. Aiming at a freely and stretching movie, there is no thing to be bound by the story. This movie also simply talks about the drama so that information and profound time lurk in a moment like a painting or a photograph I want to make the screen have a depth, not just it. Involve the world behind the screen and the audience seating in the theater, to a place you do not know yet.
───Commentary
Specifically, keeping the style of metafiction as well as “CME”, I understood the cinematic division of labor and division in the progress of production. I made a script and a storyboard firmly framework, photographed and edited. As a result, the symbols and movie languages that this book brings have inevitably become strong. It is similar to the fact that stable strength can be achieved even at 100 kilometers per hour by providing appropriate strength to every part like a private car mass-produced exactly unequally. However, as the essence of cars, I feel that it is a form of production supported by the bottom line of human beings’ real interests and desires, as it functions as the status of movement, logistics, consumption in civilized society.
This work is a paradoxical tailoring in the philosophy surveyed by himself as a supernaturally inclusive movie raised in “CME” while taking the style of metafiction like “CME”.