|
SubG posted:And then add, `...or ze movie, whatever she is called. Hwah, haw-haw-haw.' Hoh hoh~ is how you transliterate the french laugh.
|
#
?
Mar 18, 2011 18:19
|
|
|
|
| # ? May 10, 2024 05:12 |
|
|
I just like saying Pierrot le Fou. I think that was the kid's name in Cache, too - Pierrot. I don't know how you'd spell it phonetically. VVV that's cheatin! fenix down fucked around with this message at 18:29 on Mar 18, 2011 |
|
#
?
Mar 18, 2011 18:24
|
|
|
fenix down posted:I just like saying Pierrot le Fou. I think that was the kid's name in Cache, too - Pierrot. pjɛ ro? It's IPA! Skrill.exe fucked around with this message at 18:36 on Mar 18, 2011 |
|
#
?
Mar 18, 2011 18:28
|
|
|
fenix down posted:I just like saying Pierrot le Fou. I think that was the kid's name in Cache, too - Pierrot. pyeh-roh luh foo
|
|
#
?
Mar 18, 2011 18:32
|
|
|
Mr. Banana Grabber posted:Sorry for this enormous tangent. I just watched Manhattan a few nights ago and it was my first Woody Allen movie. I thought it was tremendous. Where should I go next? I'm assuming Annie Hall but I've heard there's two types of Woody Allen movies: the neurotic Jewish New Yorker films and the genre parodies. What's a good way to approach both of these? I would go with Annie Hall next to get a does of his comedic greatness, and then Crimes and Misdemeanors to get a dose of his dramatic greatness (not to say C and M is not without its hilarious moments though), and then The Purple Rose of Cairo to see just how drat creative the guy can be. That should give you a good sampling of his styles. If you like them, watch the rest in any order you'd like. I'm still making my way through them myself. He has quickly become one of my favorite filmmakers. Spatulater bro! fucked around with this message at 18:58 on Mar 18, 2011 |
|
#
?
Mar 18, 2011 18:55
|
|
|
Pronounce it as a French person would, but don't lose your accent.. if that makes any sense. The same way you say stuff like 'déjà vu' correctly without necessarily putting on a comedy voice. They sure as hell don't try to sound Scottish when they ask directions round these parts.
|
|
#
?
Mar 18, 2011 19:28
|
|
|
Mr. Banana Grabber posted:Sorry for this enormous tangent. I just watched Manhattan a few nights ago and it was my first Woody Allen movie. I thought it was tremendous. Where should I go next? I'm assuming Annie Hall but I've heard there's two types of Woody Allen movies: the neurotic Jewish New Yorker films and the genre parodies. What's a good way to approach both of these? I agree with what caiman has said. However, I would also strongly suggest to check out all of his early comedies. I found them all to be incredibly funny. And, even if the overall film wasn't great (see: Everything You Ever Wanted to Know About Sex), you'll still find things to enjoy about it.
|
|
#
?
Mar 18, 2011 19:41
|
|
|
I had always assumed the Reservoir Dogs were like junkyard dogs, mean, selfish, and damaged. They might run in a pack, but they will turn on each-other as soon as they get hungry. Like the characters in the movie. I guess that's just something I made up in my head though.
|
|
#
?
Mar 18, 2011 19:53
|
|
|
Snak posted:I had always assumed the Reservoir Dogs were like junkyard dogs, mean, selfish, and damaged. They might run in a pack, but they will turn on each-other as soon as they get hungry. Like the characters in the movie. I guess that's just something I made up in my head though. Exactly. I don't think it is that absurd of a title, honestly.
|
|
#
?
Mar 18, 2011 19:57
|
|
|
InfiniteZero posted:I'm calling bullshit on this. Where do you live where pronouncing French words properly is considered "pretentious"? If you're accusing people of speaking French "to sound smart" then can I accuse you back of butchering French words so you can sound stupid? It doesn't make sense. Have you ever watched Giada de Laurentiis on Food Network? I think people just don't want to be like her - "today we're going to be making some spa-GHEYT-ti and bru-SKET-ta!" The time when it bugs me is when people aren't consistent in it, like how Alex Trebek will bend over backwards to pronounce Nicaragua "Niharrrrraaawa" and then not even try when it comes to Chinese or Swedish or something
|
|
#
?
Mar 18, 2011 20:34
|
|
|
Mr. Banana Grabber posted:Plus (if you're American) don't you agree that French is up there on the pretentious language list. Nah, I'm Canadian and I've spent time in Montreal, Paris, and Bruges so French doesn't sound pretentious to me at all. Mr. Banana Grabber posted:Sorry for this enormous tangent. I just watched Manhattan a few nights ago and it was my first Woody Allen movie. I thought it was tremendous. Where should I go next? I'm assuming Annie Hall but I've heard there's two types of Woody Allen movies: the neurotic Jewish New Yorker films and the genre parodies. What's a good way to approach both of these? You're right -- Annie Hall should be next. I'd recommend Crimes and Misdemeanors after that. For the genre films, pick the ones that relate to what you like. Love and Death is great, but even better if you're aware of that kind of film. Sleeper is better if you're good with sci-fi, etc.
|
|
#
?
Mar 18, 2011 20:47
|
|
|
Tenterhooks posted:Pronounce it as a French person would, but don't lose your accent. Exactly, if you try the accent you will sound like the policeman from 'Allo 'Allo.
|
|
#
?
Mar 18, 2011 22:22
|
|
|
Has Bergman ever talked about his opinions on Carl Dreyer?
|
|
#
?
Mar 20, 2011 00:51
|
|
|
penismightier posted:Has Bergman ever talked about his opinions on Carl Dreyer? He liked Passion of Joan of Arc quote:In connection to the 18th Göteborg Film Festival 1994, Bergman chose his eleven all time favourite films:
|
|
#
?
Mar 20, 2011 02:17
|
|
|
I love that he loves Sunset Blvd., for some reason.
|
|
#
?
Mar 20, 2011 06:07
|
|
|
Who doesn't love Passion of Joan of Arc?
|
|
#
?
Mar 20, 2011 17:19
|
|
|
Criminal Minded posted:I love that he loves Sunset Blvd., for some reason. The reason is probably that it's really goddamn good
|
|
#
?
Mar 20, 2011 18:06
|
|
|
I'm looking for a particular film and here are some random details. I watched it years ago. An old man (father of the main character I believe), has a stroke or otherwise loses some mental function, so they tie a chalkboard around his neck. At the end of the movie, some men threaten his son and this old man shoots two people with a double barrel shotgun he was hiding under his coat. Then, their Native American friend does some sort of mock scalp dance or ceremony over their bodies. It may have been about bootlegging, or may not have. Any help would be appreciated!
|
|
#
?
Mar 20, 2011 20:11
|
|
|
uncloudy day posted:I'm looking for a particular film and here are some random details. I watched it years ago. An old man (father of the main character I believe), has a stroke or otherwise loses some mental function, so they tie a chalkboard around his neck. At the end of the movie, some men threaten his son and this old man shoots two people with a double barrel shotgun he was hiding under his coat. Then, their Native American friend does some sort of mock scalp dance or ceremony over their bodies. It may have been about bootlegging, or may not have. Try this thread: http://forums.somethingawful.com/showthread.php?threadid=2177344
|
|
#
?
Mar 20, 2011 20:30
|
|
|
Also that's Legends of the Fall.
|
|
#
?
Mar 20, 2011 20:35
|
|
|
Does anybody know what the name of the song at the start of The Killing of A Chinese Bookie is?
|
|
#
?
Mar 21, 2011 18:43
|
|
|
cloudchamber posted:Does anybody know what the name of the song at the start of The Killing of A Chinese Bookie is? It's a original composition apparently: http://mubi.com/topics/8831
|
|
#
?
Mar 21, 2011 19:29
|
|
|
If a movie does poorly domestically but does well internationally (such as the Golden Compass, with its domestic gross of 70 million but a worldwide gross of 370 million), is it still considered a flop in Hollywood, at least in terms of PR/hype/optics? How do the studios handle a situation like that and how does it affect a director or the actors' careers? I ask because I only ever hear about opening weekend sales or domestic sales and rarely hear about the worldwide gross, so I tend to think of movies like the Golden Compass or Prince of Persia as flops because of their domestic performance even if their international performance recouped the budget.
|
|
#
?
Mar 21, 2011 21:23
|
|
|
SpaceMost posted:If a movie does poorly domestically but does well internationally (such as the Golden Compass, with its domestic gross of 70 million but a worldwide gross of 370 million), is it still considered a flop in Hollywood, at least in terms of PR/hype/optics? How do the studios handle a situation like that and how does it affect a director or the actors' careers? Something like that would not be considered an outright flop but would not be a massive success either; it also depends on the budget size. My guess is, that with those figures a sequel would have been possible but not that likely. To get to $370m the studio in question (New Line/WB) would have spent a LOT on P&A (distribution expenses), which, given the performance, might not have generated a profit. An outright flop can kill a director's career more easily than an actor's - unless the actor was being pushed as the main reason to see the film.
|
|
#
?
Mar 22, 2011 12:56
|
|
|
There was something dumb about the distribution of the golden compass, if I recall correctly. Didn't they sell the international rights cheaply, ending up with a loss or near loss?
|
|
#
?
Mar 22, 2011 15:28
|
|
|
knees of putty posted:There was something dumb about the distribution of the golden compass, if I recall correctly. Didn't they sell the international rights cheaply, ending up with a loss or near loss? Yes, I think in many territories New Line sold of international rights territory by territory to distributors for smaller minimum guarantees, and retained US rights (basically, laid off risk on international in return for a guaranteed figure and took on the risk of the US release). When the film performed well internationally, local distributors captured most of the benefit, and New Line very little of it, but they took all the loss (or didn't make much profit) on the US. I'd be surprised if those distribution agreements didn't include a right of some kind for those distributors to acquire international rights again, probably for a figure based on budget, meaning that New Line would bot be able to stop repeating the same mistake. Don't hold your breath for a sequel.
|
|
#
?
Mar 22, 2011 16:01
|
|
|
While I have several books and docs about film writing/directing/producing, I was curious about sound artists? The Jurassic Park thread reminded me of how much I love it when the sounds just click. Do they just get ignored for not being glamorous? I haven't seen much in a bit of searching beyond some basic sound engineering stuff.
|
|
#
?
Mar 23, 2011 01:19
|
|
|
Synnr posted:While I have several books and docs about film writing/directing/producing, I was curious about sound artists? The Jurassic Park thread reminded me of how much I love it when the sounds just click. Do they just get ignored for not being glamorous? I haven't seen much in a bit of searching beyond some basic sound engineering stuff. It's not so much that they get ignored as that they have their own award shows that go un-televised (AFAIK). There are awards generated for almost every level of film production, Oscars even FFS, but most of the "boring" (technical) events are only attended by the people who are up for the awards. Yes, certainly when it is done, it can be a small thing by a talented group that makes a movie, but it doesn't put asses in seats or drive up DVD sales if your movie won an award for best foley, like a superstar actor or director would. It's not that it isn't important, but your average paying movie-goer wouldn't notice the difference between a good artist and a fantastic one in this regard.
|
|
#
?
Mar 23, 2011 03:52
|
|
|
Synnr posted:While I have several books and docs about film writing/directing/producing, I was curious about sound artists? The Jurassic Park thread reminded me of how much I love it when the sounds just click. Do they just get ignored for not being glamorous? I haven't seen much in a bit of searching beyond some basic sound engineering stuff. The Conversations: Walter Murch and the Art of Film Editing delves into Murch's experiences as a sound designer and editor at various points in his career.
|
|
#
?
Mar 23, 2011 05:44
|
|
|
"Good sound artists are seen and not heard." Shut up, it makes sense.
|
|
#
?
Mar 23, 2011 05:47
|
|
|
WebDog posted:The Conversations: Walter Murch and the Art of Film Editing delves into Murch's experiences as a sound designer and editor at various points in his career. This is an amazing book about film picture and sound editing, film in general, and the creative process. I cannot recommend it highly enough.
|
|
#
?
Mar 23, 2011 11:46
|
|
|
therattle posted:This is an amazing book about film picture and sound editing, film in general, and the creative process. I cannot recommend it highly enough. Agreed. An absolutely amazing book. Also, Tom Holman's books aren't the most well written things I've ever read, but are extremely informative. Sound for Film and Television was the bible for sound design when I was in film school, and wikipedia states it still is now.* You can almost certainly pick up used copies online. *Strangely, we didn't use it in his class.
|
|
#
?
Mar 23, 2011 18:03
|
|
|
I'm becoming more and more interested in the art of filmmaking, and aside from that book, are there any others you would recommend? Specifically, some books about directing would be appreciated.
|
|
#
?
Mar 23, 2011 20:03
|
|
|
csidle posted:I'm becoming more and more interested in the art of filmmaking, and aside from that book, are there any others you would recommend? Specifically, some books about directing would be appreciated. We talked about it about a month ago, starting here. Edit: Also, I'll say it again. Hitchcock by Truffaut is always a great place to start, especially if you want to know about directing. It literally is an entire book about Hitchcock explaining what his job is a director and why he chose to do things in each of his films the way he did. Voodoofly fucked around with this message at 20:24 on Mar 23, 2011 |
|
#
?
Mar 23, 2011 20:21
|
|
|
This is maybe more of a music question than a movie question, but in Back to the Future, exactly how unrealistic is the impromptu Johnny B. Goode performance? With the instructions Marty gives to the band, could they have actually pulled off something like that in real life?
|
|
#
?
Mar 26, 2011 06:57
|
|
|
feedmyleg posted:This is maybe more of a music question than a movie question, but in Back to the Future, exactly how unrealistic is the impromptu Johnny B. Goode performance? With the instructions Marty gives to the band, could they have actually pulled off something like that in real life? That song is a very basic blues progression. IIRC correctly, Marty tells the band the chord progression and tells them to "watch me for the changes". It would not have been so perfect as it was in the movie but any group of professional musicians could definitely jam to it after a couple of minutes.
|
|
#
?
Mar 26, 2011 07:03
|
|
|
Alright guys, this is a blues riff in B, watch me for the changes and try and keep up, ok?
|
|
#
?
Mar 26, 2011 07:07
|
|
|
feedmyleg posted:This is maybe more of a music question than a movie question, but in Back to the Future, exactly how unrealistic is the impromptu Johnny B. Goode performance? With the instructions Marty gives to the band, could they have actually pulled off something like that in real life? I think the more pertinent question is whether that guitar and amp were capable of the sounds they made.
|
|
#
?
Mar 27, 2011 03:29
|
|
|
the Bunt posted:That song is a very basic blues progression. IIRC correctly, Marty tells the band the chord progression and tells them to "watch me for the changes". And to be fair they kind of "show this" by having the band all just standing around like "what the gently caress" by time he starts the solo.
|
|
#
?
Mar 27, 2011 10:29
|
|
|
|
| # ? May 10, 2024 05:12 |
|
|
NGL posted:I think the more pertinent question is whether that guitar and amp were capable of the sounds they made. The guitar is a Gibson ES-345, which wasn't produced until 1958, and when Marty kicks over the amp you can definitely hear the spring reverb, which wasn't produced until 1961. SaintFu fucked around with this message at 14:13 on Mar 27, 2011 |
|
#
?
Mar 27, 2011 12:08
|
|
