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12 Monkeys$
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Susanne Kord

Print publication date: 2019

Print ISBN-13: 9781999334000

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9781999334000.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 04 August 2021

Coda: Gilliam’s Art of the Possible

Coda: Gilliam’s Art of the Possible

Chapter:
(p.95) 9. Coda: Gilliam’s Art of the Possible
Source:
12 Monkeys
Author(s):

Susanne Kord

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781999334000.003.0009

This chapter talks about getting caught in a loop as one of Terry Gilliam's greatest fears, much like the one that characterises the 12 Monkeys series, which has become derivative and repetitive. It explains why Gilliam famously refused to read Orwell's 1984 before making the film Brazil, and why he refused to see La Jetée before making 12 Monkeys. It also discusses anticipated memory, recollections from the future, and pre-emptive foretastes of the as-yet unknown. The chapter examines four-dimensional creativity enabled by two basic steps: rejection of linearity and partiality for the possible over the real. It looks at principal differences between 12 Monkeys the film and 12 Monkeys the show.

Keywords:   12 Monkeys, Terry Gilliam, 1984, La Jetée, linearity, anticipated memory

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