[!@#$%!]

oh those "figment" theories, yeah... no, those are misunderstandings about how art works. if fiction is a poetic interpretation of reality then they're obviously all figments of the writer's imagination and that's that. this is not fight club. if one is a figment then both are. and yeah i see it that way.

so yeah i realize i'm psychologizing the characters rather than giving them a full personal reality, but i don't think it's the same sort of crime as trying to invent some hidden plot. i think a psychological reading is valid here.

i never liked cameron, he seemed to me a huge killjoy, but at the same time for me (for me at a personal level, i'm not claiming that this is the key to the whole thing) the central moment of the move is when they're at the art museum and he sees the seurat painting and realizes how it works. and how it all works, in a way, that reality is an illusion constructed by our senses and interpretation. that for me is the greatest moment of the whole thing.

so while ferris is good at manipulation those illusions, and cameron is oppressed by them, cameron learns something from it and eventually "wakes up."

i only like him at the end, once he's "cured" or whatever, of his terrible funk. but before that-- man, i wanted to kick him on the head. it's neither one nor the other that i like, it's the combination of both that clicks for me.

same thing btw with the sister-- she's a more extreme form of killjoy and resentment that eventually finds her match/complement in charlie sheen at the police station and also finds her own balance, or what do you call that. she's cool at the end.

the teacher though haaaa haaaa haaaa haaaa haaaa haaaaa

fuck him.