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I've regularly heard that Bub from Day of the Dead makes a cameo in one of the later Romero films, showing that once everything went pear-shaped in DotD, he became a plaything of other survivors. I'm not crazy interested in renting Romero's later zombie films, but I'd like to know if this is true, regardless. Thing is, I've done some googling on the issue, and I've come up with a lot of mentions of it, but no screenshots or anything. Is it true?
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Mar 6, 2012 01:03
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MisterBibs posted:I've regularly heard that Bub from Day of the Dead makes a cameo in one of the later Romero films, showing that once everything went pear-shaped in DotD, he became a plaything of other survivors. I'm not crazy interested in renting Romero's later zombie films, but I'd like to know if this is true, regardless. I know Tom Savini's character from Dawn of the Dead appears in Land of the Dead, but that was the last one I saw.
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Mar 6, 2012 01:42
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If I recall correctly, there were a lot people who mistook Simon Pegg's zombie cameo in Land of the Dead as being Bub. He doesn't look exactly like him, but there is a slight resemblance. Sidenote: There is some very clear Bub-influence on Pegg's zombie impression in Shaun of the Dead. People seem pretty split on Land of the Dead, but I think it's great, and well worth checking out. You can skip Diary and Survival, though.
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Mar 6, 2012 07:59
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Anyone have a take on the ending of Possession? It seems that the death of Mark and Anna, leaving only their doubles(?) unleashed the apocalypse? I really didn't understand certain aspects of that movie, especially all of Mark's actions after he visits the secret apartment. I mean, I guess its easy enough to say that he was also "possessed", but I'm guessing I may have missed some of the plot and or some of the political overtones in the movie. All that said, everyone needs to watch Possession, if only to see Sam Neill rock the gently caress out of some rocking chairs. EDIT: OH, wait! I think I get it. The whole thing is an allegory for divorce in that it violently changes Mark and Anna into COMPLETELY different people and in the process it kills their child which is basically the end of the world. foodfight fucked around with this message at 04:02 on Mar 10, 2012 |
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Mar 10, 2012 03:49
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Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film.
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Mar 12, 2012 00:52
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. 8 1/2 is a great place to start. It also inspired a lot of other excellent movies on the topic, like Stardust Memories and All That Jazz. morestuff fucked around with this message at 01:02 on Mar 12, 2012 |
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Mar 12, 2012 00:56
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Ditto on 8 1/2. Day for Night is another solid choice.
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Mar 12, 2012 01:25
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Also: Ed Wood, Incident at Loch Less, Beware of a Holy Whore, The State of Things.
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Mar 12, 2012 01:32
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It's been a while but Cinema Paradisso?
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Mar 12, 2012 01:38
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weekly font posted:It's been a while but Cinema Paradisso? (good movie though)
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Mar 12, 2012 01:42
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fenix down posted:YOU LOSE! GOOD DAY SIR! He totally is a filmmaker of some kind. Producer maybe? It's not really about making films though.
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Mar 12, 2012 01:55
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. How about Living in Oblivion, and The Big Picture?
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Mar 12, 2012 03:57
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. It's been said already, but for the love of God watch 8 1/2. Also, since you didn't say anything ruling out documentaries, watch Burden of Dreams.
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Mar 12, 2012 04:09
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LtKenFrankenstein posted:It's been said already, but for the love of God watch 8 1/2. And Lost in La Mancha.
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Mar 12, 2012 04:12
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. Synecdoche, New York Adaptation, sort of. Focuses on screenwriting as opposed to directing though.
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Mar 12, 2012 04:22
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. Matinee is currently streaming on Netflix.
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Mar 12, 2012 05:57
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. Bowfinger taught me more about filmmaking than 4 years of film school. Not even a joke.
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Mar 12, 2012 06:24
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. I think the movie you want is Sex is Comedy. It's a movie solely about a director trying her best to film a sex scene between two actors that don't like each other. The film is a bit of an ego trip (it's based on the real experiences of the director of the film) but overall it's a film that's completely about the process of directing and what it's like to be a director. It's also on Netflix streaming.
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Mar 12, 2012 14:11
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ynohtna posted:How about Living in Oblivion, and The Big Picture? Couldn't remember this title for the life of me, thank you. This is a comedy, and a very strange one at that, but I get the feeling that the director (as played by Steve Buscemi) is probably closer to truth than I'd ever believe.
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Mar 12, 2012 18:24
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Hibernator posted:If I recall correctly, there were a lot people who mistook Simon Pegg's zombie cameo in Land of the Dead as being Bub. He doesn't look exactly like him, but there is a slight resemblance. For me, Land is a film that seems better in retrospect because of how terrible Diary and Survival were.
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Mar 12, 2012 18:38
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ogopogo posted:Bowfinger taught me more about filmmaking than 4 years of film school. My brain processed that as "Bulworth" and I was confused as hell for a few minutes
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Mar 12, 2012 18:47
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ogopogo posted:Bowfinger taught me more about filmmaking than 4 years of film school. It certainly taught me how to save money on a crew.
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Mar 12, 2012 21:05
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ogopogo posted:Bowfinger taught me more about filmmaking than 4 years of film school. There has to be a "Gotcha, suckers!" joke in here somewhere.
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Mar 12, 2012 23:17
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LtKenFrankenstein posted:Also, since you didn't say anything ruling out documentaries, watch Burden of Dreams. ...as a double feature with Hearts of Darkness.
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Mar 13, 2012 00:22
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Glass Joe posted:There has to be a "Gotcha, suckers!" joke in here somewhere. The state university system/lovely professors to film students, "Gotcha, suckers!" Honestly, it's surprising how much stuff in Bowfinger I've pulled off or been a part of in real life. I love my job.
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Mar 13, 2012 01:54
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computer parts posted:Are there any films that focus around directing or a director? I know there's some that focus around acting (The Artist comes to mind) but aside from the Aviator I can't really think of any that have a director as the protagonist/main focus of the film. Terror Firmer, by Lloyd Kaufman. Incidentally, based on his own book "All I Need To Know about Filmmaking I Learned from the Toxic Avenger". It's also a 100% true story.
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Mar 13, 2012 08:46
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ogopogo posted:The state university system/lovely professors to film students, "Gotcha, suckers!" If you can share any of those stories that'd be awesome. I love a good guerrilla filmmaking story.
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Mar 13, 2012 18:58
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Senso posted:Terror Firmer, by Lloyd Kaufman. Incidentally, based on his own book "All I Need To Know about Filmmaking I Learned from the Toxic Avenger". It's also a 100% true story. Pretty much any of the behind the scenes documentaries on Troma productions are worth a look. The one for Citizen Toxie is a tad overlong, but the one for Poultrygeist is as at least as good as the Terror Firmer one. They really make you feel for Lloyd Kaufman, and he looks like he's going to explode at any moment. How a man in his late 60s has any patience for working on a set comprised of college degenerates working for free is something I will never understand. But, hey, at least it makes for some interesting movies.
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Mar 14, 2012 21:51
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I'm having a hard time recalling the relationship between catharsis and a tragic ending. If you have a film where nothing but horrible things happen to the protagonist and then end it with something cruel like killing them even as they think they would be saved, is cartharsis supposed to have been achieved by now? Just to keep from spoiling the movie I'm speaking about, I'll make a random example of it as the protagonist spends the story strung up above hungry wolves. For the next 90 minutes, his captors parade his whole family in front of him and kill them off. Then after everything about his life has been destroyed, they say they'll let him go and cut the rope so he falls into the pit of wolves and is torn apart painfully. The end. So has catharsis been achieved because I feel like that's just a lovely way to go and better him than me? Or, If I'm understanding the definition of catharsis, to achieve it, you either have to have your protagonist accepting after all their struggles that they deserve to die or make the audience feel like they can relate emotionally to the characters death something more than just "Well gently caress, that sucks for him." Or I could be completely misunderstanding what catharsis is. Mouser.. fucked around with this message at 01:14 on Mar 18, 2012 |
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Mar 18, 2012 01:08
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I think catharsis in film is usually more along the lines of someone doing something horrible and then finally getting retribution. The end of Robocop, for example, or Running Man. That's my definition, anyways - someone being horribly unfair and evil who gets all hosed up, like a revenge-orgasm.
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Mar 18, 2012 01:28
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I was watching J Edger last week, and I remember reading an interview with Eastwood before the film came out where they asked "are you going to show that Hoover was gay?" and Eastwood said something like "oh it will be suggested, but you will have to make up your own mind". Its certainly subtext for a lot of the film, but it becomes text near the end. Or is what Eastwood thinks is suggested is just obvious to me?
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Mar 19, 2012 05:41
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twistedmentat posted:I was watching J Edger last week, and I remember reading an interview with Eastwood before the film came out where they asked "are you going to show that Hoover was gay?" and Eastwood said something like "oh it will be suggested, but you will have to make up your own mind". Its certainly subtext for a lot of the film, but it becomes text near the end. It's kinda like the movie CAPOTE where they try to play both sides but ultimately fail at playing either.
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Mar 19, 2012 06:03
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Is this the right place to ask people's opinions of a film you haven't seen but are contemplating seeing? Sorry if it isn't. I tried looking for any discussion regarding this movie but couldn't find anything. I'm referring to the 2011 Austrian film that screened in Cannes to much controversy, Michael. A lot of people seem to hate it, some compare it to Funny Games. I really like Michael Haneke's work and the films of Gaspar Noe and I'm a huge fan of both Funny Games films...but I'm not sure if Michael is actually worth seeing or just a lame exploitative movie trying too hard to be dark/shocking/controversial/etc. Punkin Spunkin fucked around with this message at 10:08 on Mar 19, 2012 |
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Mar 19, 2012 10:05
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TheFallenEvincar posted:Is this the right place to ask people's opinions of a film you haven't seen but are contemplating seeing? Sorry if it isn't. My friend saw this in Chicago and really loved it, but he's really hyperbolic and couldn't really give much of a compelling reason as to why he thought it was much more than a Haneke wanna-be.
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Mar 19, 2012 15:45
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NeuroticErotica posted:It's kinda like the movie CAPOTE where they try to play both sides but ultimately fail at playing either. I never saw Capote, but wasn't he out proud and out loud for everyone to know?
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Mar 20, 2012 01:40
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twistedmentat posted:I never saw Capote, but wasn't he out proud and out loud for everyone to know? ...okay that's a terrible title, but that's what the movie is!
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Mar 20, 2012 01:47
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twistedmentat posted:I never saw Capote, but wasn't he out proud and out loud for everyone to know? Not in this version. He meets Perry Smith and kinda looks at him for a while and you're supposed to decide whether he's in love with him or he's just ultra-sympathetic towards him. Newsweek called it "bold", but in reality, it was in the two-year span of movies that were scared to take any sort of even semi-political position to avoid the backlash and polarization that Fahrenheit 9/11 brought with it. A lot of Producers and Studios were refusing to let anything take a stand, so you get all this "hinting" and "implying", but it's really holding back and making films pretty much pointless. Infamous, which was produced at the same time but got held up in distribution told the story so well and made it heartbreaking. How? By making a loving point.
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Mar 20, 2012 06:48
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That was a pretty dire couple of years, where it seemed like every star or semi-star was involved in a vanity project that had them doing a scenery-chewing impersonation in an otherwise generic movie. Those obviously still exist (hello, J. Edgar), but the market seems to have cooled down a touch.
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Mar 20, 2012 06:54
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That's just weird. That's like making a movie about Oscar Wilde or Liberace and just ignoring the gay part. Well, I guess Liberace would make a point of him denying it, but still. I honestly really enjoyed J Edgar, mostly because I love any kind of early 20th century period piece, and I was always fascinated by the Lindbergh Baby Case.
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Mar 20, 2012 08:16
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twistedmentat posted:I never saw Capote, but wasn't he out proud and out loud for everyone to know? The film presented Capote as being in a serious relationship and living with a man, so I'm not sure why other posters have said that he wasn't "out".
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Mar 20, 2012 14:38
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