This is a classic film, not just because every scene and line is casually beautiful and devoid of extraneous touches, but because its tone is mercilessly exact. This leads him to a local station whose news director, Nina Romina (Rene Russo), has been up and down the dial, as a certain sitcom's theme song once sang, and needs to raise her newscast out of last place to keep from getting fired. Lou's measure of success? Characters such as Nightcrawler (Great Britain), Wolverine (Canada), Colossus (Russia), and Storm (Africa) including all the original members, helped advertise the team to an American culture that was already highly internationalized. Throughout the movie, we see how today 's news and television culture will go as far as they have to for publicity. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Lou is also a sick person who, on first glance, might strike you as a reasonable, personable guy. One Scene: Camera Decisions and Sound Design of Nightcrawler There's a lively satirical aspect, and it's not confined to TV news or journalism in general, or even the modern, social media-driven culture of continuous surveillance and voyeurism. It's too attuned to the anxiety and misery of the people he manipulates to validate such a reading. Throughout the film, Louis attempts to manipulate the other characters and uses their weakness against them to get whatever he desires. It's using TV news as a means to an end—to show how a man who presents as "normal," even "likable" and "motivated" and "capable," can be evil, and seduce us into being evil, too. Bloom doesn't hire an assistant--he hires a protegé (Relationship Story Concern: Learning). The movie's hero, Lou Bloom (Jake Gyllenhaal), is a man living on the fringes. He does many bizarre and unethical things, and really just goes too far to become successful in the industry. Dan Gilroy's thriller "Nightcrawler" is about an amateur cameraman who parlays his eye and his nerve into a successful small business, deceiving, manipulating and exploiting everyone who stands in his way. Bloom's unspoken confidence in Rick's tendency to be a sap (Relationship Story Problem: Probability). For example, without evil, there can be no good. He asks the lead cameraman (Bill Paxton) what TV station they work for, and learns that they're freelancers who monitor police radios, chase down wrecks and fires and homicides, and sell their video footage to the highest bidder. Bloom steals, trespasses, alters crime scenes, and withholds information on his journey to win friends and influence people (Story Driver: Action, Objective Story Throughline: Manipulation). While driving late at night, he happens upon cameramen filming a car wreck. for violence including graphic images, and for language, But it would be a mistake to suggest that "Nightcrawler" is told from Lou's point-of-view, much less that it endorses his behavior. Tony gave us Michael Clayton, and now brother Dan hands over Nightcrawler. Rick Carey (Riz Ahmed), a homeless kid fixated on making only enough money to get through the night (Relationship Story Throughline: Fixed Attitude), takes Bloom's first offer without counter and without hesitation (Influence Character Problem: Acceptance, Influence Character Critical Flaw: Expediency). Any idealism she had was ground out of her years ago; only desperation remains, and she speaks frankly to Lou from the moment she meets him, sensing a kindred spirit. Making mistakes is part of what makes us human. The movie, Nightcrawler is about a specific nightcrawler named, Louis Bloom, and he doesn’t follow the rules like most; he will trustpass just to get a better angle, or perspective that he could sell. The movie starts out with Louis stealing copper and steel, Nightcrawler Through The Homeric Perspective Throughout different ages of the world, mood has always been there influencing the day to day choices. Analysis Nightcrawler A rare gem; entertaining AND thematically compelling. This is a classic film, not just because every scene and line is casually beautiful and devoid of extraneous touches, but because its tone is mercilessly exact. The conflict at the heart of their relationship? Have you ever had a good day with the opposite effect? From the camera man doing whatever it takes to get a good shot, to the news companies paying top dollar for a film, in the end it 's all about getting publicity and money, Marvel introduced new characters to the team who had more diverse and international backgrounds. He's first seen trying to cut through a chain-link fence to steal scrap that he can sell for pocket money. The newscasters' warning "These are extremely graphic images" is not, of course, a warning; it's a come-on. But it does put a subtle editorial frame around Lou's odyssey. He maintains just the right amount of distance from Lou, so that we get a buzz from his audacity while finding him revolting. Nina tells him to avoid covering crime in poor or nonwhite neighborhoods because nobody cares about it; the sexiest crime stories are ones involving affluent white folks. It's warning against being fooled (in life) by people who remind us of can-do-All-American-hotshot heroes in fiction: incarnations of apple pie capitalism who see what they want (fame, money, a job, a mate), and go after it, and refuse to take no for an answer, even if the "no" is delivered through tears. Absolutely critical to learn the craft of screenwriting. Open in Subtext No doubt about it, the Gilroy brothers can write. For many people, it may be easy for them to characterize Louis as a bad person, due to the choices and decisions he makes through the movie. Nightcrawler is a 2014 American neo-noir thriller film written and directed by Dan Gilroy.It stars Jake Gyllenhaal as Louis "Lou" Bloom, a stringer who records violent events late at night in Los Angeles and sells the footage to a local television news station. But it would be a mistake to suggest that "Nightcrawler" is told from Lou's point-of-view, much less that it endorses his behavior. Shot by Paul Thomas Anderson's regular cinematographer Robert Elswit through what could be a Night Vision Rot filter, it's a film about how sociopaths get over on everyone else, and a portrait of a disturbed, marginal loner that would fit perfectly on a double bill with "Taxi Driver" and "Henry: Portrait of a Serial Killer." The entire film is, among other things, an attempt to treat certain American myths straightforwardly, within the context of a somewhat realistic drama, the better to pursue them to their bitter conclusion. You are always in a mood. Like "Drive," it could be described as the best picture Michael Mann never made: a film about a private, ruthless loner who pursues his dream his way, always, and whose path through the world is marked by the bloodstains of the people he's rolled over. In her own analysis of Nightcrawler, critic/writer Alyssa Rosenberg describes Lou as "a perfect example of what entitlement looks like, and the ways in which it can act as a superpower." "Television news might be something I love as well as something I'm good at." Driven to draw conclusions based on what he has read and learned (Main Character Drive: Deduction), Lou pursues success with a certainty (Main Character Crucial Element: Certainty) and an optimism (Main Character Growth: Start) that never wavers, never wanes. Lou's inspirational aphorisms are chillingly funny once you realize they're devoid of generosity and decency, and that he sees other people only as possessions, allies or obstructions: "I believe that good things come to those who work their asses off." "Nightcrawler" is the blackly comedic, Neo-noir, night-people thriller that I wanted the Travis-Bickle-as-Superman fantasy "Drive" to be. Have you ever been stuck in a bad mood that causes everything to happen in your day to seem bad? He talks like a Tom Cruise go-getter from a 1980s hit—a comparison furthered by certain filmmaking choices, such as the "inspirational" montages of Lou hustling toward success while James Newton Howard's triumphant retro synth-pop pounds in our eardrums. "Nightcrawler" is the blackly comedic, Neo-noir, night-people thriller that I wanted the Travis-Bickle-as-Superman fantasy "Drive" to be. If there ever was a poster boy for those characters who maintain their original position, it would be Lou (sorry, Louis) Bloom (a masterful Jake Gyllenhaal). Everyone makes mistakes; it is inevitable. Rene Russo, Riz Ahmed, and Bill Paxton also star. Even though a person may be considered as a bad person they still could possibly commit actions that a good person normally world and vice-versa. That tabloid journalism rewards the shameless doesn't count as a breaking news flash, but "Nightcrawler" is not interested in stoking our outrage over what we already know. They not only help one learn from our experiences, but they also help shape one into the individual they would like to become. Is being a good person all about the things one does or is it about the reason one does the things they do? Lou and his easily cowed assistant, Rick (Riz Ahmed), breach barriers they aren't supposed to breach, and get close enough to police investigators and firefighters and EMT's that they break their concentration and sometimes interfere with their work, but their literally in-your-face footage sets them apart from teams that film from a discreet distance, with a zoom lens. It's a comedy. It's also a media satire in the spirit of "Network" and "To Die For" that takes the slogan "If it bleeds, it leads" to its horrifyingly logical conclusion. Saddled with a bleak economic landscape that tells him what he can and cannot do (Main Character Issue: Work), Lou works his way up the video broadcast ladder (Main Character Problem-Solving Style: Linear) , challenging the status quo of what is permissible on network television (Objective Story Issue: Permission). But the thing that separates a good person from a bad person is that a good person learns from those mistakes and never repeats those same mistakes again. Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism. At one point she flat-out tells Lou that the newscast's aesthetic could be boiled down the the image of "a screaming woman running down the street with her throat cut." A “nightcrawler” is someone that listens to police scanners and follows the calls to the location to get footage of the situation and sells the clips to news broadcasting stations. 14 min read. Nightcrawler Film Analysis 1814 Words | 8 Pages. After watching the film several times, I am still pondering over what exactly it means to be a bad or good person. Gilroy, a first-time feature director who has written or cowritten many movies, including "The Bourne Supremacy," knows what he wants to say, and how to say it. After hours and hours of counseling from Bloom concerning his lack of drive (Relationship Story Focus: Potentiality), Rick finally stands up to his boss and in the moment of crisis, refuses to accept Bloom's low-ball wage (Influence Character Solution: Non-Acceptance). The hero gets a number of Stick-it-to-the-Man applause lines, the best of which is a kiss-off to a rival who has figured out that Lou is for real and wants to co-opt him rather than compete with him. Hero’s are portrayed in modern day society to be someone who is willing to risk their lives for others, would you consider a hero to be, Nightcrawler (Gilroy, 2014) is about a young man, Lou Bloom who begins a career in L.A. crime journalism.

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