Main Cast: Wiley Wiggins, Lorelei Linklater, Trevor Jack Brooks, Glover Gill, Laura Hicks
Release Year: 2001
Country: US
Run Time: 99 minutes
MPAA Rating: R
Plot
Richard Linklater returned to the semi-improvised approach and philosophical themes of his debut feature Slacker while embracing a new and groundbreaking visual technology in his sixth feature film, Waking Life. Linklater and cameraman Tommy Pallotta shot the film on location in Austin, TX, using digital video equipment. Linklater and digital animator Bob Sabiston then used newly developed computer software to transform the images through a process called "interpolated rotoscoping"; the result merges the naturalism of live action with a stylized look that resembles a cartoon or a painting in motion. Waking Life's flexible, non-narrative approach follows a young man (Wiley Wiggins) who arrives in Austin and hitches a ride with a stranger, who engages him in a conversation about rarely considered facets of existentialism. As the visitor drifts through the city, he encounters a variety of people and finds himself absorbing their views on art, philosophy, society, and numerous other issues of contemporary life. Linklater's cast is dotted with well-known actors (Ethan Hawke, Julie Delpy, Adam Goldberg, Nicky Katt) and pop-culture notables (filmmaker Steven Soderbergh, Martin Scorsese associate Steven Prince, comic Louis Black), alongside a large number of relatively little-known players. Waking Life received its world premiere at the 2001 Sundance Film Festival; Linklater's next film, Tape, was also screened at the same festival. ~ Mark Deming, All Movie Guide
Review
Both a homecoming of sorts and a quantum leap forward, Richard Linklater's Waking Life can be taken as a companion piece to his groundbreaking debut feature, Slacker. Centering on the dreamscape rambles of an unnamed protagonist (played by Wiley Wiggins, who also served as one of the film's animators), the movie takes on Slacker's free-form approach, ricocheting from one conversation to the next with just a hint of a narrative. But while Slacker looked very much like the shoestring-budget indie movie that it was, Waking Life is an altogether different experience. Using new animation technology designed by Bob Sabiston, the movie's art director, Waking Life is one of the most visually innovative American films ever made. Linklater used a method that involved filming his actors in digital video; the frames were then painted over by a crew of artists. The resulting look is vibrant and ethereal, like a dreamy moving painting. The talk is dizzyingly flighty as well -- brimming with youthful inquisitiveness, Waking Life is a movie drunk on talk and ideas. Essentially a compendium of Philosophy 101 lectures, the movie's text is all over the place; discussion topics include existentialism, evolution, and film theorist Andre Bazin. Nonetheless, an obsession with dreams and their power to sustain emerges. With its ever-shifting planes and impressionistic figures, the animation is a fitting visual counterpart to Linklater's intellectual meanderings. While the movie falls short of profundity -- the various philosophical musings never quite rise above the level of entertaining mental masturbation -- its exuberance and inventiveness can't be denied. ~ Elbert Ventura, All Movie Guide
Lorelei Linklater; Trevor Jack Brooks; Glover Gill; Laura Hicks; Ames Asbell; Leigh Mahoney; Sara Nelson; Jeanine Attaway; Erik Grostic; Bill Wise; Kim Krizan; Robert C. Solomon; Eamonn Healy; Ethan Hawke; Jan Shakespeare; Julie Delpy; Charles Gunning; David Sosa; Alexander Jones; Otto Hofmann; Aklilu Gebrewold; Lisa Moore; Carol Dawson; Louis Mackey; Steve Fitch; Alex Nixon; Steven Prince; Violet Nichols; Ken Webster; Mary McBay; Kregg A. Foote; Jason T. Hodge; Guy Forsyth; Caveh Zahedi; John Christensen; Adam Goldberg; David Jewell; Nicky Katt; E. Jason Liebrecht; Brent Green; RC Whittaker; David Martinez; Hymie Samuelson; Derry Power; Tiana Hux; Timothy (Speed) Levitch; Steve Brudniak; Steven Soderbergh; Marta Banda; Charles Murdock; Louis Black; Mona Lee; Richard Linklater; Edith Mannix; Bess Cox
Credit
Bob Sabiston - Art Director, Wiley Wiggins - Animator, Bob Sabiston - Animator, Jason Archer - Animator, Paul Beck - Animator, John Bruch - Animator, Jean Caffeine - Animator, Zoë Charlton - Animator, Randy Cole - Animator, Kate Dollenmayer - Animator, Jennifer Drummond - Animator, Rahab El Ewaly - Animator, Pat Falconer - Animator, Holly Louise Fisher - Animator, Dan Gillotte - Animator, Nathan Jensen - Animator, Matthew Langland - Animator, Michael Layne - Animator, Travis C. Lindquist - Animator, Chris Minley - Animator, Katy O'Connor - Animator, Shannon Pearson - Animator, Eric Power - Animator, Susan Sabiston - Animator, Katie Salen - Animator, Divya Srinivasan - Animator, Patrick Thornton - Animator, Penny Van Horn - Animator, Mary Varn - Animator, Rosie Q. Weaver - Animator, Constance Wood - Animator, John Paul - Animator, Bob Sabiston - Animation Director, Mike Brennan - Boom Operator, Lizzie Curry Martinez - Casting, Bryan Pennington - Consultant/advisor, Richard Linklater - Director, Sandra Adair - Editor, John Sloss - Executive Producer, Caroline Kaplan - Executive Producer, Jonathan Sehring - Executive Producer, Peter Atherton - Location Manager, Glover Gill - Composer (Music Score), Tosca Tango Orchestra - Composer (Music Score), Tom Pallotta - Cinematographer, Richard Linklater - Cinematographer, Tom Pallotta - Producer, Anne Walker-McBay - Producer, Palmer West - Producer, Jonah Smith - Producer, Ethan Andrus - Sound Mixer, Wayne Bell - Sound/Sound Designer, Tom Hammond - Sound/Sound Designer, Wayne Bell - Sound Editor, Bobby Sargent - Stunts, Jeffrey Schwan - Stunts, Richard Linklater - Screenwriter, Laine Bateman - Production Assistant, Kelly Williams - Production Assistant, Arthur Blum - Grip, Matthew Fliehler - Grip, Erin Ferguson - Production Coordinator, Tom Hammond - Re-Recording Mixer, Larry Blake - Re-Recording Mixer, Lindsay Doleshal - Casting Assistant, Julia Halperin - Casting Assistant, Charlotte Wood - Casting Assistant, Gregg Barbanell - Foley Artist, Sara Johnson - Post Production Assistant, Morgan Miles - Production Accountant, David Bennett - Production Accountant
Richard Linklater's innovative, digitally animated film Waking Life boasts an equally thought-provoking score written by Glover Gill and performed by the Tosca Tango Orchestra. Instead of trying to compete with the film's intense visuals with a musically busy score or pop songs, the largely tango and classical-inspired score provides a subtle backdrop to Waking Life's beautiful animation. That's not to say, however, that the film's music isn't just as creative in it's own right. Gill's score is fluid and ever-changing; pieces like "Pelo Negro" change from tense to brooding to sensual and back again at a moment's notice, reflecting the film's surreal, dreamlike nature. "La Cosa Pequena"'s winding melody, the lively, mischievous "El Cholulo" and "Super Sport," and dramatic "Ballade 4, Part 1" are a few of the highlights from this creatively imagined and performed score. ~ Heather Phares, All Music Guide
Glover Gill (Executive Producer), Phil Klum (Mastering), Patricia Joseph (Producer), Patricia Joseph (Soundtrack Producer), Richard Linklater (Executive Producer), Benjamin Wheelock (Design)
Waking Life is a digitally enhanced live action rotoscoped film, directed by Richard Linklater and released in 2001. The entire film was shot using digital video and then a team of artists using computers drew stylized lines and colors over each frame. This technique is similar in some respects to the rotoscope style of 1970s filmmaker Ralph Bakshi. Rotoscoping itself, however, was not Bakshi's invention, but that of experimental silent film maker Max Fleischer, who patented the process in 1917.[1]
The title is a reference to George Santayana's maxim that "[s]anity is a madness put to good uses; waking life is a dream controlled."[2]
Waking Life is about a young man in a persistent lucid dream-like state. The film follows its protagonist as he initially observes and later participates in philosophical discussions that weave together issues like reality, free will, our relationships with others, and the meaning of life. Along the way the film touches on other topics including existentialism, situationist politics, posthumanity, the film theory of André Bazin, and on lucid dreaming itself.
Adding to the dream-like effect, the film used an innovative animation technique based on rotoscoping. Animators overlaid live action footage (shot by Linklater) with animation that roughly approximates the images actually filmed.[6] A variety of artists were employed, so the feel of the movie continually changes, and gets stranger as time goes on. The result is a surreal, shifting dreamscape.
The animators used inexpensive "off-the-shelf" Apple Macintosh computers. The film was mostly produced using Rotoshop, a custom-made rotoscoping program that creates blends between keyframe vector shapes (the name is a play on the popular bitmap graphics editing software called Photoshop, which also makes use of virtual "layers"), and created specifically for the production by Bob Sabiston. Linklater would again use this animation method for his 2006 film A Scanner Darkly.
Reception
Critical reaction to Waking Life has been mostly positive. It holds a rating of 80% across 137 reviews on review aggregator Rotten Tomatoes—with critical consensus that "[t]he talky, animated Waking Life is a unique, cerebral experience"—and an average score of 82 out of 100 ("universal acclaim") on Metacritic, based on thirty-one reviews.[7][8]Roger Ebert of the Chicago Sun-Times gave the film four stars out of four, describing it as "a cold shower of bracing, clarifying ideas."[9] Ebert later included the film on his ongoing list of "Great Movies".[10] Lisa Schwarzbaum of Entertainment Weekly awarded the film an "A" rating, calling it "a work of cinematic art in which form and structure pursues the logic-defying (parallel) subjects of dreaming and moviegoing",[11] while Stephen Holden of The New York Times said it was "so verbally dexterous and visually innovative that you can't absorb it unless you have all your wits about you".[12]
Conversely, J. Hoberman of The Village Voice felt that Waking Life "doesn't leave you in a dream ... so much as it traps you in an endless bull session".[13]Frank Lovece felt the film was "beautifully drawn" but called its content "pedantic navel-gazing".[14] Penn Fiftine from the Minneapolis Star-Tribune took exception to the film's "endless irritating nonsense",[citation needed] while Jonny Manx of the Philadelphia Examiner memorably suggests that "anyone who likes this movie is probably a stork with friends who exclusively are storks with whom they can discuss such storky exploits as their having watched this storky film directed by and starring a whole bunch of storks that talk about a bunch of storks and their storky ideas and thoughts about storky things that happened to them or some other storks they know or have heard about".[citation needed]
Nominated for numerous awards, mainly for its technical achievements, Waking Life won the National Society of Film Critics award for "Best Experimental Film," the New York Film Critics Circle award for "Best Animated Film", and the "CinemAvvenire" award at the Venice Film Festival for "Best Film". It was also nominated for the Golden Lion, the festival's main award.
Soundtrack
Soundtrack cover
The Waking Life OST was performed and written by Glover Gill and the Tosca Tango Orchestra, except for one piece written by Frédéric Chopin and another by Julian Plaza, and was relatively successful. Featuring the nuevo tango style, it bills itself "the 21st Century Tango." Influence for the compositions stem from the Argentine "father of new tango" Ástor Piazzolla. The actual tango scores are revised renditions of Ástor Piazzolla's works.
DVD
The film was released on DVD in North America on May 7, 2002. Special features included several commentaries, documentaries, interviews and deleted scenes, as well as the short film Snack and Drink. A bare-bones DVD with no special features was released on Region 2 on February 24, 2003.
Jones, Kent (2007). Physical Evidence: Selected Film Criticism. Middletown: Wesleyan University Press. pp. 76–78. ISBN 0819568449.
Rosenbaum, Jonathan (2004). "Good Vibrations". Essential Cinema: On the Necessity of Film Canons. Baltimore: Johns Hopkins University Press. ISBN 0801878403.