Remember an incandescent Judy Garland standing in a moonlit window in the 1944 screen musical Meet Me in St. Louis, wistfully pining for the boy next door, whom she doubts knows she even exists?
It may be that Linklater had something more family-focused in mind when he began; when Boyhood starts, sister Samantha is a delightful brat on the lines of Margaret O'Brien in Meet Me in St. Louis.
One can easily imagine walking around in the palpable, richly textured worlds of the original Star Wars trilogy, or the musical spectacles produced by Arthur Freed at MGM in the 40s and 50s (Meet Me in St. Louis, Singin' in the Rain).