When I used to write about film on a regular basis, I was always amused by one particular article format: The Most Anticipated Movie list. This was a flexible topic that could always fill space with movie posters and speculation. The Most Anticipated Movies of 2012. The Most Anticipated DVDs of the Fall. The Most Anticipated Sci-Fi Sequels Currently In Production. And on and on.
What tickled me about these articles is the culture it produced. Venture onto any Internet message board about film, or even in plain conversation with film buffs, and you will hear someone reference his or her “most anticipated movies list.”
I still laugh at the idea of a film fan seeing a particularly enticing movie trailer, going home, and then bumping Sleepwalk With Me from No. 10 to No. 3 on a list.
This is a long way of saying : I’ve always been fascinated by the ways we anticipate art. And I’ve been thinking about it more often now that I have more decisions to make, but with fewer choices. Living in Kansas has so far been about overcoming a lack of anticipation: we look at movie listings and try to talk ourselves into something
I embedded the trailer for Paul Thomas Anderson’s The Master because I am eager to see it. And when I watch this trailer, I finally have a way to communicate my anticipation in a way that doesn’t require me to list 9 other Fall films behind The Master.
I am ready to find see the nearest listing in Kansas City. I am ready to drive there. And I am ready to have no reservations about it.