Production
Richard Kelly wrote Southland Tales shortly before the September 11 attacks. The original script involved blackmail, a porn star, and two cops. After the attacks, Kelly revised the script. He said, " was more about making fun of Hollywood. But now it's about, I hope, creating a piece of science fiction that's about a really important problem we're facing, about civil liberties and homeland security and needing to sustain both those things and balance them." He described the film as a "tapestry of ideas all related to some of the biggest issues that I think we're facing right now . . . alternative fuel or the increasing obsession with celebrity and how celebrity now intertwines with politics". With the film's premise of a nuclear attack on Texas, Kelly wanted to take a look at how the United States would respond and survive while constructing a "great black comedy."
Kelly said: " will only be a musical in a post-modern sense of the word in that it is a hybrid of several genres. There will be some dancing and singing, but it will be incorporated into the story in very logical scenarios as well as fantasy dream environments." Kelly said the film's biggest influences are Kiss Me Deadly, Pulp Fiction, Brazil, and Dr. Strangelove. He called it a "strange hybrid of the sensibilities of Andy Warhol and Philip K. Dick". The film often references religious and literary works; a policeman says, "Flow my tears," in reference to a Philip K. Dick novel of that name. ("Taverner" is the name of the main character in the same book and suffers identity problems of his own.) Pilot Abilene (Justin Timberlake) quotes Biblical scripture from the Book of Revelation in narrating the film and allusion is made both to Robert Frost's The Road Not Taken, Stopping by Woods on a Snowy Evening and an altered version of T. S. Eliot's The Hollow Men.
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Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.””
—State of Utah, U.S. public relief program (1935-1943)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)