# I finally saw CRASH. Good stuff, but I've got a cuople of questions...

**URL:** <https://boards.straightdope.com/t/i-finally-saw-crash-good-stuff-but-ive-got-a-cuople-of-questions/351119>\
**Category:** Cafe Society\
**Created:** [April 3, 2006, 6:54pm UTC](https://boards.straightdope.com/t/i-finally-saw-crash-good-stuff-but-ive-got-a-cuople-of-questions/351119 "2006-04-03T18:54:00Z")\
**Posts on this page:** 2\
**Page:** 7

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**Author:** ![Otto](https://avatars.discourse-cdn.com/v4/letter/o/bbe5ce/32.png) [@Otto](https://boards.straightdope.com/u/Otto)\
**Post date:** [April 29, 2006, 3:33am UTC](https://boards.straightdope.com/t/i-finally-saw-crash-good-stuff-but-ive-got-a-cuople-of-questions/351119/121 "2006-04-29T03:33:24Z")

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[QUOTE=Euthanasiast]  
I didn’t say that **Otto**. I said he exhibited poor behavior. After he asked her if she knew what she would be getting and she snapped at him, he made an inappropriate decision based on his racism. “Fuck her.”  
[/quote]

It’s just as reasonable to assume that he’s reacting based on her being a “bitch” or that he’s condescending to her because she’s a woman as it is that he’s reacting based on racism.

> [@Euthanasiast](#):
>
> There is no reason for her to be so secretive about what she wanted.

There may be no reason for her character to be secretive, but it’s a requirement of the story that the blanks be concealed. You can argue all day long over how effective he was in telling that bit of the story, but it’s irrational to cling to a claim for which there is not only evidence in the film that refutes it but that the writer/director refutes.

> [@Euthanasiast](#):
>
> She is saying at that moment that she does not care as long as they fit. At that moment the Owner could have pulled out a box of hollow points and tossed them on the counter and she would have left with them. It is only when he pokes at her that she decides to make a half assed choice just to get out of there.

But her choice isn’t half-assed. Her intial desire was that her father not get a gun. The store owner refused the refund so she was stuck with the gun. From her perspective, any (live) ammunition was equally bad, because the gun was bad. So yes, at _that_ moment she doesn’t care. A moment later, when she sees the box of blanks and decides on them, obviously she does care.

> [@Euthanasiast](#):
>
> It doesn’t matter that the writer/director intended for her to know what they were, because the translation to celluloid conveys the opposite, which indicates a flaw in his writing/directing.

But it doesn’t convey the opposite. It conveys that she knew, through her fixed glance on the box.

> [@Euthanasiast](#):
>
> I stand by my assessment based on what the art says, not the artist’s intentions.

Stand away. Keep on arguing over whether or not she knew when the creator has made it clear through his commentary that she did and included information that indicated she knew (her gaze fixing on the box of blanks) but it makes no sense to do so. The argument is over how well he conveyed it, not over her knowledge, because, sorry, she knew.

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**Author:** ![garygnu](https://sea3.discourse-cdn.com/straightdope/user_avatar/boards.straightdope.com/garygnu/32/2924_2.png) [@garygnu](https://boards.straightdope.com/u/garygnu)\
**Post date:** [April 29, 2006, 3:47am UTC](https://boards.straightdope.com/t/i-finally-saw-crash-good-stuff-but-ive-got-a-cuople-of-questions/351119/122 "2006-04-29T03:47:16Z")

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[QUOTE=Euthanasiast]  
It doesn’t matter that the writer/director intended for her to know what they were, because the translation to celluloid conveys the opposite, which indicates a flaw in his writing/directing…  
I stand by my assessment based on what the art says, not the artist’s intentions.  
[/QUOTE]

I got the distinct impression that she knew, and I didn’t listen to the director’s commentary.  
I stand by _my_ assessment based on what the art says, which happens to be what the artist intended.  
That so many share your view, combined with the forced nature (IMO) of \*Crash \* certainly calls into question his abilities as a filmmaker.

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