The Truman Show

1998. Jim Carrey as Truman Burbank. Director Peter Lindsay Weir. Written by Andrew Niccol. Set in Seaside, Florida; plus computer graphics.

I found a DVD of this 25-year-old film by chance; I don't think I've ever watched it, though I think I recognised a few scenes. It's by Peter Weir, who also did (or 'directed') The Cars that Ate Paris and Picnic at Hanging Rock. The latter became famous for its pan pipes (recorded by modern technology) and suggestion of Victorian girls being in conflict with more-or-less primal forces. It was based on a book by a woman surnamed Lindsay, suggesting a possible connection with Weir. Looking through my erratic notes, I surprised myself by finding almost nothing on Weir: a 1969 Chabrol Le Boucher including a picnic scene plus horror; the cheesewring in Cornwall—another geological rarity—was a popular site for Victorian Sunday school outings.
Weir also directed the Dead Poets Society with Robin Williams, an unnaturally mouthy comedian as is Carrey, about ten years before The Truman Show, based on a book (by a Jew; probably Weir is yet another one).

Judging from sources like wiki, Andrew Niccol started as a director; The Truman Show presumably was written as a script, Weir's rôle therefore to organise assorted people and organisations into conversion into a few hours of video, under the usual financial and promotional umbrellas. My 'special collector's edition' had a collection of 'special features' from which it may have been possible to work out how long it took to compress directorial tasks into two hours, though I couldn't do that.

The film's micro-epoch had computer graphics—its set, a small town called Seaside in Florida, which is still there and seems to be something like a privately owned small town with plain fretwork cardboard-walled low-rise homes—is computer-enhanced. It was selected after a personal visit by Weir; I'd guess that Internet has enabled location searches to be computerised, so that a run-down rust belt scenario, or panorama of unoccupied concrete apartments, or tumbleweed-strewn gulch landscape, could be found, along with studio lots and streets around the world.

What's obvious to media-controlling Jews is that flyover goyim can be easily controlled by dominating the inputs to their understanding; not so much their senses, which evolved to be usually correct and usually intermediate, but by inputting beliefs to them. The extraordinary influence of Jews is an astonishing example; vast numbers of simple Americans seem to believe in their savior, Jesus Christ, and scraps of supposed dialog, for example. So I expected the Truman Show to be all-embracing and vast. In fact, from the start, the 'trailers' hinted at a vast, but only city-sized, dome, a bit like the hemispheres in the Midwich Cuckoos, except using hefty curved metalwork. More impressive, I'd have thought, to allow this to dawn on the audience.

Anyway, the first strange event happening to Truman (first name) was a blue metal object falling beside him; he pokes at it, in what seems an unwise way. Analogously, he is rained on at night by (probably) a hosepipe from far overhead, which moves to follow him, a bit like the lorry driver in Douglas Adams who is always at the centre of rain. Scenes like this are separated by scenes of one view of just the same one diner; the Truman show is on day 10,300 or something—about thirty years. Weir was concerned to say he paid attention to the 'backstory'; and tried to make it watertight. If it had been watertight, it's difficult to see how Carrey's character could ever have discovered his predicament. After thirty years since birth, he might have noticed more. So there are leaks in the tightness, for example the scripts of events recurring predictably; why couldn't the scriptwriters have done a bit more? After all, the entire town was supposed to be full of actors. Even Derren Brown only had a maximum of about 40 or 50 actors. This was an irritant to me; but I suppose I did watch, and might even have paid, all that time ago.
As with George Orwell and 1984 there's female interest (not his wife, who patterned her performance on 1950s USA ads). She is another renegade, anxious to prod Truman into pushing out of the shell, like that fake medieval drawing, or, not much more recently, a scene in Time Bandits where a mirror is smashed down. Come to think of it, a pop video by Korn has this effect.
I ought to add that an actor, Ed Harris, who I recognised from an Alien film as a human mimic who saved the other actors, played god—their description. I suppose they thought he had to seem megalomaniac, not just someone running a presumably money-making show funded by ads. More Jewish influence.