Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
Blue Venice / Red Hotel
"The Red Hotel: flying car. Filmed from the backseat, images scroll at the speed of miles fleeing, forwards, backwards ... and on this road, Venice. Floating lights, gratings, bridges above, below. The city was coming out of the Red Hotel to bend under the magnifying glass and the flashlight of the projector, drunk by the narrow streets and carried by the seasickness emanating from the "flicker" which returns in waves. Venice left the Red Hotel to take another turn, detached from the previous trip, it seems to become a suite of old postcards and gives to people who pass and search at a second-hand dealer, memories of yesteryear.“
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"The Red Hotel: flying car. Filmed from the backseat, images scroll at the speed of miles fleeing, forwards, backwards ... and on this road, Venice. Floating lights, gratings, bridges above, below. The city was coming out of the Red Hotel to bend under the magnifying glass and the flashlight of the projector, drunk by the narrow streets and carried by the seasickness emanating from the "flicker" which returns in waves. Venice left the Red Hotel to take another turn, detached from the previous trip, it seems to become a suite of old postcards and gives to people who pass and search at a second-hand dealer, memories of yesteryear.“
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