In an interview with Film Freak Central, Rian Johnson defined his personal relationship to nostalgia, which he feels is a large a part of his work and is usually the beginning place, however one thing he needs to be cautious to not simply retread outdated floor:
“Nostalgia cannot be the top of it, proper? It is an attention-grabbing place to begin, nevertheless it’s by definition emotional. The problem needs to be, What can I do to it? How do I form of shake the viewers a bit, to not simply provoke however with the intent of getting again to the preliminary pleasure that the style tried to supply, versus the type of pleasure you derive from recollections of an old-time artifact? As a result of all that stuff continues to be there. You may return and, you recognize, and watch ‘Loss of life on the Nile’ and ‘Evil Underneath the Solar.'”
Every of his movies has an emotional connection to works that he loves, from Agatha Christie mysteries and “Columbo” to “Star Wars,” however he tried to take that love and do one thing attention-grabbing with it in every movie. In “Glass Onion” and “Knives Out,” that interprets as a love for homicide mysteries that centered on the wealthy and highly effective, tales that served as escapist want achievement. Who does not need to watch a cluster of filthy wealthy, stunning jerks attempt to homicide each other in a good looking location? As an alternative of merely leaving it at that, Johnson used his rich characters to poke enjoyable on the up to date wealthy, with “Knives Out” serving because the world’s most awkward wealthy household dinner ever and “Glass Onion” working like an prolonged roast of the world’s richest and strongest idiots, a distinct type of want achievement completely.