WHY THE MULTIFILM WOULD NOT BORE DESPITE REPETITION

              •           Because even if the viewer watches the same story (with the same  characters) every vision would be different and “unique” for every viewer (selected from millions of possible combinations of story, screenplay, editing, acting, soundtrack).

              •           Because the more it is watched, the more its story is discovered, deepening the past of the event, the psychological profile of the characters etc.; in addition to opening new interrogatives that would be satisfied only through more views.

              •           Because the story, in addition to changing, evolves into a certain direction. The characters “grow” and change (not only the protagonist but all characters). Therefore even if the story would start always from the same scene, the first hundred views would be completely different form the ones that will start from the four hundredth to the five hundredth, because in the meantime the characters have become more conscious (maybe even stronger) and behave in a completely different way compared to the initial phase of the story.

               •           Because every scene is initially viewed only partially, connecting its full meaning always to subsequent views. Therefore even if the viewer would see the identical scene for a hundred times (meaning the same variant of subject in a given scene), not only every time he will notice some difference relative to the screenplay (dialogues and thoughts of the characters), to editing, to acting and music, but every subsequent vision will grant access to another fraction of the same scene previously removed to show at its full only after many visions. During this narrative evolution, every new vision of the same scene (but ever different and eventually summarized in the already viewed parts), through the add of a new sequence or shot or even a single thought, can continuously subvert the general comprehension of the scene itself, leaving it uncertain and shifting until the end. Thanks to this mechanism, which can be easily applied to all scenes, one can get additional entertainment for free (additional productive optimization) as each time the spectator is shown something he has already seen (eventually summarized) but always with slight differences and adding something new that justifies a new vision. If we consider that each scene can thus entertain hundreds of times and that each single vision does not include all the possible scenes, but only a part, one can start to grasp how the MULTIFILM can entertain for thousands of visions and therefore thousands of hours.  

Obviously all this is feasible as long as the narrative content is of remarkable making, extremely evocative and addictive, of strong esthetic and emotional impact for the viewer. Just like the content prepared by the Maior Ltd. and ready to be realized. 

The MULTIFILM is the most evolved audiovisual product there is and it requires the best narrative contents, the complete freedom of acting, direction and the freedom of all the people involved in each of its productive phases. 

There’s no space in mediocrity in the MULTIFILM; in none of its forms.

BACK