3 December 2012 6:11 AM, PST | MUBI | See recent MUBI news »


This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.

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When I started to get really interested in Tony Scott in the 90s, a friend of mine and I used to joke fondly about his signature text inserts of time and place (like “Occuquan Park, Maryland 0645 hrs.” over the very first image of Enemy of the State). Only after Scott fully entered his late, astonishing action painter phase starting with Man on Fire in 2004, did I realize we had instinctively hit on a key element of his work: Having studied art with the intention to become a painter before he ended up as a filmmaker, Scott had in some ways never completely abandoned »

- The Ferroni Brigade

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