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I'm not entirely sure if this is the right thread for it, and there's likely no One Answer, but I'm still curious: Not every actor or actress makes it, obviously. I figure most of those go on to do non-acting jobs to support themselves. But what about actors and actresses that get occasional small roles somewhere? Do royalties keep those people afloat financially*, or do they do tend to have to take non-acting gigs? This was inspired more from a TV perspective (seeing actors who were in something moderately big at one point, but bit parts every few years), but I'm (perhaps ignorantly) assuming that the system doesn't change too drastically between film and TV. * A half-remembered story in my brain is of some actor recalling how one day he was bitching to himself about not having work, only to get a "Someone showed an old movie" check in the mail. MisterBibs fucked around with this message at 04:17 on Jul 2, 2013 |
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Jul 2, 2013 04:15
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Someone who moved in similar circles as I was an extra in a few seasons of Star Trek Voyager and while the residuals didn't pay his bills, the constant booking on Star Trek-themed cruises, cons, and whatever else seemed to keep him happy. (everyone just asks him how hot Jeri Ryan is in person)
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Jul 2, 2013 04:26
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MisterBibs posted:* A half-remembered story in my brain is of some actor recalling how one day he was bitching to himself about not having work, only to get a "Someone showed an old movie" check in the mail. Why do I remember this stuff?! Wikipedia posted:During an VH-1 "Behind The Music" episode about 'Weird Al Yankovic' , Emo Philips shows an actual Screen Actors Guild residual check he earned for the film. It was for 30 cents. He stated proudly the check represented what being in the film did for his career.
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Jul 2, 2013 06:48
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MisterBibs posted:I'm not entirely sure if this is the right thread for it, and there's likely no One Answer, but I'm still curious: You should have a look at That Guy... Who Was in That Thing. It's on Netflix at the moment.
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Jul 2, 2013 11:37
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What happened to shorts? Seems only a few animated features do them anymore. I can't imagine why DreamWorks wouldn't want to do, say, an 8-minute Skrat short and put it in front of their other features for a few months, with a giant "ICE AGE 12 - October 12th!" at the end of it. Really I just want more Bugs cartoons.
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Jul 2, 2013 20:13
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Monkeyseesaw posted:My favorite reading of the terrorism in Brazil is that the violence and sabotage are actually just duct-work going wrong because the infrastructure is falling apart but the brilliance of it is nobody realizes this, including the government. The system is literally unknowable to itself... That's pretty funny. Next time I watch it I'll remember that concept.
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Jul 2, 2013 21:27
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Tharizdun posted:What happened to shorts? Seems only a few animated features do them anymore. Interesting that you should bring that up because I was wondering the same thing myself today. I saw Despicable Me 2 earlier and fully expected it to be preceded by a short, instead it was preceded by an extended preview of Monsters University.
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Jul 2, 2013 22:28
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Tharizdun posted:What happened to shorts? Seems only a few animated features do them anymore. Too bad it'd make about $10,000.
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Jul 2, 2013 22:46
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Weren't shorts historically created for filler purposes?
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Jul 2, 2013 23:00
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Wasn't there a 3d cg road runner short recently? I have no idea what it would have been shown with.
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Jul 2, 2013 23:08
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Monkeyseesaw posted:My favorite reading of the terrorism in Brazil is that the violence and sabotage are actually just duct-work going wrong because the infrastructure is falling apart but the brilliance of it is nobody realizes this, including the government. The system is literally unknowable to itself; there's no one around who can comprehend the state of things so the powers-that-be just figure it's Bad Guys trying to bring civilization down. It fits nicely with the general theme of bureaucracy devouring everything everywhere. I take the whole movie that way, which is why it seems so relevant to me recently. The antagonist in Brazil was never the government, to me, it was the complicated systems that were developed to simplify life. In the movie neither the government nor the people can combat the authority of technology. The entire plot of the movie and all it's consequences are set in motion because of a typo. When I heard about the NSA having software to search through phone and emails, I don't worry about the government abusing that power, I worry about them being to stupid to use it properly.
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Jul 2, 2013 23:55
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schwenz posted:I take the whole movie that way, which is why it seems so relevant to me recently. The bureaucracy is the main antagonist in Brazil. Everything is completely subsumed to it, to the extent that it becomes a crime to actually attempt to fix things, as Robert de Niro's character does, as this threatens the system's ability to reproduce itself.
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Jul 3, 2013 00:55
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MisterBibs posted:Weren't shorts historically created for filler purposes? Well, the first movies ever made are shorts, so: no.
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Jul 3, 2013 01:04
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Shorts are now called TV shows. There's a lot of indie shorts now too, just no one wants to watch them.
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Jul 3, 2013 01:20
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penismightier posted:Well, the first movies ever made are shorts, so: no.
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Jul 3, 2013 01:28
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SubG posted:Yeah, the idea that (what we now call) the feature film is the standard unit of cinema experience didn't become common until film was pretty well established as a medium. Originally an audience would expect something more like a variety show---comedy shorts, newsreels, longer narrative films, and so on, all as part of `the show'---instead of showing up to watch a movie. The rise to primacy of the feature film didn't happen all at once, but the motivation was primarily economic; the Great Depression put a lot of studios out of business, and the ones that survived ended up devoting fewer resources to their units that produced shorts and newsreels and more to the production of longer films. The reasoning being, presumably, similar to the reason studios have for pushing 3D today---trying to make a product that provides something that audiences can't get elsewhere. Yup, exactly - to that end tickets to Birth of a Nation (which pretty well typified the idea of a movie) were the equivalent of 60 dollars today. It was a high end show.
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Jul 3, 2013 01:31
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a radii hike posted:I'd love to see a Looney Tunes anthology film made up of shorts done in the different styles of talented animators and have a lot of the gags intertwine & cross-reference each other, culminating in a 10-minute climax that brings everything together. The main thing you'd realize is that Bugs Bunny always regrets taking that left turn at Albuquerque.
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Jul 3, 2013 02:52
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Why would he regret something he never does?
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Jul 3, 2013 04:13
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a radii hike posted:I'd love to see a Looney Tunes anthology film made up of shorts done in the different styles of talented animators and have a lot of the gags intertwine & cross-reference each other, culminating in a 10-minute climax that brings everything together. Why not just 2-3 hours of classic Looney Tunes instead? Warner has hundreds upon hundreds of restored cartoons and Disney has recently finished backing up their entire 1928-1952 library in 4K. You could fill out 3 hours with nothing but great classic cartoons easily.
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Jul 3, 2013 04:42
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With this short/feature length discussion I was reminded of a question. Is there a more intricate taxonomy for categorizing films by length? I know a lot of films get branded as "epic films" but a ninety minute film usually feels a lot different compared to a film more than double that length that doesn't even necessarily meet the typical definition of an "epic film." In my head it feels like anything that goes past 2h30m shifts into some kind of extended jumbo format. The most common length on the TSPDT 1000 is exactly 90 minutes (30 films). The average film length is 119 minutes.
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Jul 3, 2013 05:38
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Zogo posted:That's pretty funny. Next time I watch it I'll remember that concept. It's thrown a little bit by DeNiro's character but later when it's sorta kinda suggested that Harry Tuttle doesn't exist the interpretation pulls through.
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Jul 3, 2013 06:31
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Monkeyseesaw posted:It's thrown a little bit by DeNiro's character but later when it's sorta kinda suggested that Harry Tuttle doesn't exist the interpretation pulls through. But wait, then what about the bit of "unauthorized equipment" he puts in the ducts, that Spoor and Dowswer later find?
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Jul 3, 2013 06:46
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Monkeyseesaw posted:It's thrown a little bit by DeNiro's character but later when it's sorta kinda suggested that Harry Tuttle doesn't exist the interpretation pulls through. And for whatever it's worth, I'd never considered, after having watched the film, that we're not expected to take the `terrorists' as a entirely as a manufactured threat. The inverted logic of the bureaucracy sees damage as repair and repair as damage. A malfunctioning typewriter makes Buttle a terrorist. Sam reporting the error makes Sam a terrorist. And on the other side of the coin we see e.g. grotesque disfigurement presented as cosmetic improvement. The idea that Tuttle, another individual branded as a terrorist by the government, is actually going around and repairing things dovetails into this perfectly. Of course poo poo is blowing up---because the bureaucracy is actively hunting down and stopping anything that would prevent things from blowing up.
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Jul 3, 2013 06:58
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Ninja Gamer posted:Why would he regret something he never does? Touche! As much as my kid watches it, you'd think I'd know better. https://www.youtube.com/watch?v=e8TUwHTfOOU
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Jul 3, 2013 07:06
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SubG posted:What? I don't think that's suggested at all. I think you're misreading the fact that Tuttle disappears in a swirl of paperwork in what is obviously part of Sam's escape fantasy as an indication that he didn't exist in the first place. The first time Sam encounters Tuttle is well before the escape fantasy, so I don't see why we have any reason to believe he's entirely a delusion. No that's true, I overstated. The first run in with Tuttle is different in tone and establishes that terrorists or no there are at least rogue "fixers" (which fits in with the bureaucracy-out-of-control motif anyway). But by the time he starts doing actual sabotage freedom-fighter stuff Sam is well on his way to checking out. SubG posted:And for whatever it's worth, I'd never considered, after having watched the film, that we're not expected to take the `terrorists' as a entirely as a manufactured threat. The inverted logic of the bureaucracy sees damage as repair and repair as damage. A malfunctioning typewriter makes Buttle a terrorist. Sam reporting the error makes Sam a terrorist. And on the other side of the coin we see e.g. grotesque disfigurement presented as cosmetic improvement. The idea that Tuttle, another individual branded as a terrorist by the government, is actually going around and repairing things dovetails into this perfectly. Of course poo poo is blowing up---because the bureaucracy is actively hunting down and stopping anything that would prevent things from blowing up. However this isn't quite what I'm saying. I'm saying the terrorism isn't a manufactured threat. The government thinks there are actually terrorists because things keep blowing up; there's no intentional deception of the governed. But the beauty of it is the infrastructure just does that because it's such a mess. There is literally no one running anything in the world of Brazil. There is no agency, will, or intent, including the government's, that isn't completely subjugated to the bureaucracy. Dr Monkeysee fucked around with this message at 07:20 on Jul 3, 2013 |
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Jul 3, 2013 07:11
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Where can I learn more about the cinema of India? Bollywood, Tollywood, etc. - what I'd really like is a listing of some of the classic, influential, or best-regarded films from that part of the world, and maybe some concise notes about what to look for.
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Jul 3, 2013 08:22
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Monkeyseesaw posted:However this isn't quite what I'm saying. I'm saying the terrorism isn't a manufactured threat. The government thinks there are actually terrorists because things keep blowing up; there's no intentional deception of the governed. But the beauty of it is the infrastructure just does that because it's such a mess. There is literally no one running anything in the world of Brazil. There is no agency, will, or intent, including the government's, that isn't completely subjugated to the bureaucracy.
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Jul 3, 2013 10:52
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SubG posted:I agree, but I don't think calling the terrorists a manufactured threat implies intentional deception, merely that the idea did not exist until conjured into being by the government. They're a paranoid delusion. Maybe. In my experience "manufactured threat" implies malicious intent to deceive the public. I like the idea that no one has privileged information in Brazil. The entire world has become a muddling disaster with no one at the helm.
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Jul 3, 2013 17:38
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quote:You should have a look at That Guy... Who Was in That Thing. It's on Netflix at the moment. This is pretty great by the way. It's always good to hear from some of the more lesser known guys. DrVenkman fucked around with this message at 19:47 on Jul 3, 2013 |
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Jul 3, 2013 18:53
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I'd be a bit disappointed if Brian Posehn wasn't in that film.
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Jul 3, 2013 22:08
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My girlfriend is curious to see more of Hong Kong cinema, specifically stuff that depicts life in Hong Kong and also good examples of Hong Kong cop action movies. I've named off the scant few things I've seen (Hard Boiled, Chungking Express, In the Mood for Love) and then branching out from there, which kinda limits us to John Woo and Wong Kar-Wai. Anybody have any other recommendations or notable works I should scare up?
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Jul 3, 2013 22:10
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Friedpundit posted:My girlfriend is curious to see more of Hong Kong cinema, specifically stuff that depicts life in Hong Kong and also good examples of Hong Kong cop action movies. I've named off the scant few things I've seen (Hard Boiled, Chungking Express, In the Mood for Love) and then branching out from there, which kinda limits us to John Woo and Wong Kar-Wai. Anybody have any other recommendations or notable works I should scare up? Not action, but it is a cop movie - Infernal Affairs. bobkatt013 fucked around with this message at 23:27 on Jul 3, 2013 |
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Jul 3, 2013 22:37
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Friedpundit posted:My girlfriend is curious to see more of Hong Kong cinema, specifically stuff that depicts life in Hong Kong and also good examples of Hong Kong cop action movies. I've named off the scant few things I've seen (Hard Boiled, Chungking Express, In the Mood for Love) and then branching out from there, which kinda limits us to John Woo and Wong Kar-Wai. Anybody have any other recommendations or notable works I should scare up? Lau Wai-Keung (a.k.a. Andrew---not Andy---Lau) is another prolific mainstream director. He directed the first Young and Dangerous (1996) (street-level gang film, first in a long series), The Storm Riders (1998) (high fantasy wuxia), and most prominently the Infernal Affairs trilogy (cops-vs-triads, basis for The Departed (2006)). I'd suggest Ringo Lam and Tsui Hark films as well, but they're all sprouts that grew more or less from the same soil as Woo. So if you're branching out, that's not branching out far. Are you interested in recent stuff, or would you also like slice-of-life films from the Hong Kong New Wave (in the late '70s/early '80s)? New Wave directors like Allen Fong and Ann Hui are big names in the genre but are less well known than Woo, Lam, and Hark because they mostly made films that didn't involve guns and explosions.
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Jul 3, 2013 22:44
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This is awesome, thanks! I forgot that I've seen the first Infernal Affairs. I'm leaning more towards comparatively modern and recent stuff, but I definitely want to hear more about the historical and slice-of-life stuff from the New Wave. I'm reading up on Ram, Hark, Hui, and Fong now, but if you have any personal recommendations to add, I'll jot them down.
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Jul 3, 2013 23:25
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Hong Kong really loooooves their cop movies.
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Jul 3, 2013 23:48
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The best Hong Kong cop movie is From Beijing with Love.
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Jul 4, 2013 19:02
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Stephen Chow has acted in some hilarious stuff like Shaolin Soccer and Kung Fu Hustle. His earlier works consist of more slapstick comedy and isn't well-known by the West, but I found them all pretty hilarious. He is however not a very good director and I walked out of his latest film Journey to the West. I actually grew up watching Hong Kong flicks on Sunday nights and have seen a ton of stuff whose names I can't remember. The Wicked City (1992) is pretty cool for a Hong Kong sci-fi. Future Cops (1993) is loosely based on gaming characters and has this scene: 
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Jul 5, 2013 17:00
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Vegetable posted:Stephen Chow has acted in some hilarious stuff like Shaolin Soccer and Kung Fu Hustle. His earlier works consist of more slapstick comedy and isn't well-known by the West, but I found them all pretty hilarious. He is however not a very good director and I walked out of his latest film Journey to the West. Just for the record, he also wrote and directed Shaolin Soccer and Kung Fu Hustle, so I wouldn't completely count out his directing skills if you liked those two.
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Jul 5, 2013 18:22
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DetoxP posted:Just for the record, he also wrote and directed Shaolin Soccer and Kung Fu Hustle, so I wouldn't completely count out his directing skills if you liked those two.
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Jul 5, 2013 18:41
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Vegetable posted:Stephen Chow has acted in some hilarious stuff like Shaolin Soccer and Kung Fu Hustle. His earlier works consist of more slapstick comedy and isn't well-known by the West, but I found them all pretty hilarious. He is however not a very good director and I walked out of his latest film Journey to the West. I've only seen the commercials for it (loving everywhere) and it looked awful. Glad to see I was probably right.
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Jul 6, 2013 05:54
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