Whenever I see the silo ending, I want to see the sky. Whenever I see the sky ending, I don’t miss the silo. So that’s one answer.
The last time I saw the silo ending, I thought about a CGI shot that would combine both endings. It wasn’t quite a superimposition on the silo I was thinking about, but a shot where the silo remains predominant, but the clouds are weaving through those harsh lines. However, just writing here, I think that if you could see the shadows of clouds moving across the silo, maybe even some nice light rays catching dust in the air — that might give it all to you. A Monet-like treatment, or Rorschach, if you prefer.
However, this is one of those movies where the imperfections make it what it is for me. I remember seeing a screening in Nashville where the film kept breaking, but it was so much in character for this particular film, I loved it. It was one of my favorite experiences with the film.
Well, as far as communication goes, the silo ending more than gets the point across that he has escaped.
Phil Worfel
I’ve found it impossible to decide between the two. The echo of his voice in the vast chamber is so haunting and memorable and yet it is clear that he “escapes” if only tragically which is beautifully explicated with the chair surrounded by sky.
Is there a right answer? I know Gilliam has a difficult time deciding between the two as well. Perhaps one of them is more in keeping with the tone of the film but I’m still helplessly mystified as to which.