“True Romance,” “Crimson Tide,” “Spy Game,” “Man on fire,” “Pelham 123” and “Unstoppable.” His films had a voice, the director’s imprimatur evident across his entire opus (multiangle camera work allowing for wide coverage, extremely cadenced action scenes--"Domino" is a good example of that--and a succession of big-name actors who repeatedly answered the call and returned to act in his movies). Tony Scott made

Man on Fire is also a film about fractured perspectives and subjectivity. Pelham likewise. Everyone can see a bit of the picture, but no one sees the whole. The villains are in total command in their own capsule but look out upon only lurking darkness. Snipers see their targets but not the hostages. Garber is involved via computers and technology, but cannot see the real thing. For Scott, cameras and computer screens function toward reality in ways like mirrors have functioned toward characters in classical cinema – as indicators of division. The technology allows us to commune around an event but also forces us into a distorted fragments of its reality. It lets us see the elephant but only feel the tail.