At first glance, Hay notes, the film presents a “beautiful future,” precisely designed, “clean, modern,” and punctuated by “Japanese” details (“no trash-can-burning, burlap-wearing” dystopia here, says Manfredi). The writers’ commentary track is smart, instructive, and funny.
#CHARLIZE THERON AEON FLUX SERIES#
One of the more obvious examples of such tissue is an “homage” to Chung’s intriguingly out-there, aggressively abstract work: a fly buzzes and alights on the edge of Aeon’s eye (here she’s played by Charlize Theron): she catches it in her perfect lashes: “That’s a CG fly,” says Hay of the extreme close-up catching, just before she picks it out with her fingers in close-up, at which point it becomes a “real fly.” Manfredi says, “That fly’s name is Herman, he’s great to work with.” And now you know: these guys survived the process of turning the phenomenal and strange, after-hours TV series into a conventional PG-13 action flick. (As they note in “Creating a World”, one of five documentaries on the DVD, MTV contacted them in 1999.) Hay adds that he wants to talk about the “connective tissue” between the texts, meaning that he sees some. But the studio always wants you to tell more, and make sure everyone understands stuff very clearly.Ĭowriters Phil Hay and Matt Manfredi describe their film, Aeon Flux, as a “parallel, separate entity to the shorts” that is, the Peter Chung animated shorts that aired on MTV some ten years ago. Aeon Flux (Charlize Theron)There’s always a debate of what the audience can inherently understand, like the rebels are rebels, a perfect society isn’t perfect.
We are haunted by sorrows we cannot name.
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