And Edward Yang did a
>commentary himself? Didn't know that. Saw the movie on TV,
>as you know.

Yeah Yang does the commentary track. He actually comes off almost nervous at first. Alot of stuttering and "uhhh ummmm"s. I don't know maybe that's the way he talks. It gets a little better as time passes (or maybe I just got used to it). He says it's the first commentary track he's ever done.

>It's a great effect. And in using the reflections to
>superimpose the city on top of the character, I think it
>helps to make the point of society's deep influence even on
>your most personal relationship moments. The two are
>connected, and here we see them, literally, as one.

Yeah I love it. I agree, the surroundings seem to be a huge part of everything. The scenes in NJ's bedroom are as if you're spying on them with a telescope from a high rise a block away. It's a strange feeling seeing a quiet family bedroom scene with a reflection of all the freeway traffic.

Do you know of any other films or directors that have used this technique to such an extent?

>>There is one reflection inparticular that was purely
>>coincidental but created a really cool shot that I hadn't
>>noticed. There's a scene where Min Min (NJ's wife) is
>>talking to her co-worker and it's evening time. We see the
>>reflection of the city as they speak. There's a stop light
>>that's flashing red in the middle of the screen. The red
>>flash just happens to be in the same place as Min Min's
>>heart.
>
>That's awesome. Kind of makes you feel creepy too, like
>when you used to watch Unsolved Mysteries and Robert Stack
>would look so frightening sometimes.

Yeah it freaked me out when he first pointed it out. How do you achieve something like that by accident? Pretty crazy

>I told you! Didn't I tell you? This is good shit. Edward
>Yang is the man!

Yeah I'm convinced he IS the man, which reminds me...