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Corek posted:In Commando, why is there a picture of a little girl getting into the bath over Arnold's right shoulder in the "Wrong!" scene? It's placed so prominently that it had to have been put there on purpose. That IS kinda weird. Is she bleeding?
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Jul 29, 2013 08:22
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I don't know what it means but here's the picture: http://www.allposters.com/-sp/Pear-Soap-1924-Posters_i8179567_.htm
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Jul 29, 2013 09:52
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Oh, okay. It's just some weird kitschy thing they threw on the wall I guess.
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Jul 29, 2013 10:08
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So when a movie has no opening credits, they get in trouble with the Unions. UNLESS the last thing they do is to put the title card last (Miami Vice, Children of Men do this off the top of my head) basically making everything a pre-title sequence.
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Jul 29, 2013 10:26
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Eh, Pacific Rim and The Avengers an others have done the title at the start and everything else in back. I assume nowadays that if the unions penalize it at all it's a question of a nominal fee. The title at the end thing seems more like a stylistic gimmick- especially since so many franchise movies are origin stories.
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Jul 29, 2013 17:01
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Are there any really tightly plotted Italian horror films? It seems that the Italian approach has emphasized style and set pieces over story even more than in American horror- you really have to accept that there's a room full of razor sharp wire or that a helicopter crashed through the roof for no good reason.
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Jul 29, 2013 17:04
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NeuroticErotica posted:So when a movie has no opening credits, they get in trouble with the Unions. UNLESS the last thing they do is to put the title card last (Miami Vice, Children of Men do this off the top of my head) basically making everything a pre-title sequence. Is that something that has gone on for a while or sort of new? I don't recall any issues around 2001: A Space Odyssey or Manhattan. The latter doesn't even have a title card (just a shot of a neon sign that may or may not be the title). Perhaps the '56 Around the World in 80 Days got around having everything at the end since the roadshow screenings had programme books that had a complete listing of every extra that worked on the film. Egbert Souse fucked around with this message at 17:18 on Jul 29, 2013 |
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Jul 29, 2013 17:16
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Maxwell Lord posted:Are there any really tightly plotted Italian horror films? It seems that the Italian approach has emphasized style and set pieces over story even more than in American horror- you really have to accept that there's a room full of razor sharp wire or that a helicopter crashed through the roof for no good reason. Some of Argento's early stuff like Deep Red and Bird With The Crystal Plumage is slightly more coherently plotted than his later stuff, but yeah, you don't really watch Italian horror for the plot. I feel like Bay of Blood had a pretty coherent plot but it's definitely not what I remember most about the movie. edit: also Don't Torture A Duckling.
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Jul 29, 2013 17:26
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Opening credits is what made Lucas quit the DGA. They wanted him to put credits in front of Star Wars and he hated the idea, they said he had to so he just quit.
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Jul 29, 2013 19:33
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I don't believe that guilds still require opening credits, provided that the main credits (wherever they appear) conform to guild regulations, but I could be wrong as I don't deal with guilds that much.
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Jul 29, 2013 22:36
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I'm not sure if this is the thread to ask but Blue Jasmine came out on Friday and I cannot find any showtimes anywhere in Austin, TX. Anyone know if it's just a super limited release and will eventually roll out to bigger theaters?
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Jul 29, 2013 22:38
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SyRauk posted:I'm not sure if this is the thread to ask but Blue Jasmine came out on Friday and I cannot find any showtimes anywhere in Austin, TX. Anyone know if it's just a super limited release and will eventually roll out to bigger theaters? It's just Los Angeles and New York at the moment. quote:It will head to San Francisco, Chicago, Washington, D.C. the following week and continue to expand over the next month. Barker said the title will go wide at a date still to be determined but in the range of six weeks from its initial roll out. http://www.deadline.com/2013/07/specialty-b-o-preview-blue-jasmine-the-to-do-list-drug-war-apartment-1303-3d-wasteland-tiny-times/
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Jul 29, 2013 22:42
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Maxwell Lord posted:Are there any really tightly plotted Italian horror films? It seems that the Italian approach has emphasized style and set pieces over story even more than in American horror- you really have to accept that there's a room full of razor sharp wire or that a helicopter crashed through the roof for no good reason. Suspira, if you're open to a movie that's a bit dated in feel and approach.
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Jul 29, 2013 22:47
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regulargonzalez posted:Suspira, if you're open to a movie that's a bit dated in feel and approach. Suspiria is like the exact opposite of what he's looking for, and from his comment about rooms filled with razor wire I'd say he's already seen it.
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Jul 29, 2013 22:48
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Yeah, I mean, Suspiria's great, but it's a mood piece. It's built around an atmosphere and eye-popping visuals and crazy horror setpieces.
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Jul 29, 2013 22:53
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Deep Red is a really interesting example. I rewatched it recently, and the mystery plot plays completely fair - certainly moreso than Argento's later movies, or most Italian horror post-1975 - but narratively the thing makes some weird leaps and it's still full of uncanny imagery and stuff that has no logical reason to be in there except that it's creepy (i.e. the weird puppet). I think this is why it serves as the easy demarcation line between classic Giallo Argento and theater-of-the-bizarre later Argento. At any rate, if you're remotely into Italian horror it's totally essential. It also has maybe my favorite original score of any movie ever. Uncle Boogeyman fucked around with this message at 22:58 on Jul 29, 2013 |
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Jul 29, 2013 22:56
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I was looking for a short on Youtube that I think was posted on this forum long ago. It was either a Japanes or Korean short about a dude that was ironing and folding a shirt (or some kind of clothing), and it was filmed with quick cuts and different camera angles, which were meant to emphasize how the subject matter being filmed is not as important as how it is filmed. There was at least another video in this series, but I don't remember what it was about. Do any of you know what I'm talking about?
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Jul 30, 2013 06:24
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LtKenFrankenstein posted:I feel like Bay of Blood had a pretty coherent plot but it's definitely not what I remember most about the movie. LtKenFrankenstein posted:Deep Red is a really interesting example. I rewatched it recently, and the mystery plot plays completely fair - certainly moreso than Argento's later movies, or most Italian horror post-1975 - but narratively the thing makes some weird leaps and it's still full of uncanny imagery and stuff that has no logical reason to be in there except that it's creepy (i.e. the weird puppet). I think this is why it serves as the easy demarcation line between classic Giallo Argento and theater-of-the-bizarre later Argento. So drat good.
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Jul 31, 2013 03:23
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Elon Musk (the founder of a couple things like paypal and Tesla motors) looks alot like some Hollywood actor. I remember him playing a bad guy, maybe in a confined space like on a sub or a space station. He was a mercenary type. Please help me figure out who he looks like.
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Jul 31, 2013 13:36
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This guy from  ?http://images2.wikia.nocookie.net/__cb20100210041547/lostpedia/images/b/ba/4x11_MadKeamy.jpg (Kevin Durand)
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Jul 31, 2013 13:48
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Schweinhund posted:This guy from http://lostpedia.wikia.com/wiki/Kevin_DurandSo I was kind of close in my description: mercenary type trapped in isolation (the island). Said island also had a submarine and a hatch which might as well have been in space. Thank's again!
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Jul 31, 2013 14:09
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And in that suit he especially resembles Durand's character from Cosmopolis.
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Jul 31, 2013 15:10
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FreudianSlippers posted:Someday I want to make a vampire movie that starts with the words:
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Jul 31, 2013 19:11
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I have some questions about Mulholland Drive. I know it's a popular movie to discuss but after finding the old Movie of the Month thread on it and re-watching it just now, I just have a couple of things. I'll spoiler all of it separately. I more or less accept the dream explanation to the film but I don't think that Diane's suicide at the end is consistent with that theory. When Betty and Rita discover Diane's corpse in bed, that's more foreshadowing than a dream, isn't it?. Someone else in the thread had a theory pertaining to a poster on a light post saying HOLLYWOOD IS HELL and that this showed that the beginning is Betty/Diane in hell and is a giant illusion. This would make more sense, unless the dream is her descent into hell after her suicide or something along those lines. This more or less can be summed up into one question, I suppose: How can Betty/Diane dream her own corpse? That doesn't make sense to me I don't understand the addition of the bumbling hitman part where he ends up killing three different people. The fact that this part of the film was supposed to be a TV series adds some explanation to this, since that whole thing feels like something you'd see on TV, but it's very out of place in the film. Maybe Diane thinks of the hitman as being so terrible at his job that she'd dream up this sequence and, thus, allow Camilla to escape her suicide attempt? Additionally, what is the significance of the black book? that the hitman was after? When Camilla goes to sleep under the aunt's table and we see the two cops in the diner discussing how afraid the one cop is of the thing lurking behind the dumpster, what is the point of this scene? And where did it come from? Is it a dream of Camilla's? If so, how has she met these two cops? We see Diane briefly see the scared cop at the very end when one of them is staring at her but I don't think we see the skeptical cop at any other point in the film, do we? It's a great scene but it feels very out of place. To add something, I think the dream part of the film and the way it features Betty in such an excited state, full of wonderment and such, is a clever part of the film that I haven't heard discussed. She's childlike and innocent, there are '50s tunes being sung in the auditions in front of the director (what decade is associated with innocence more than the '50s?), the jitterbug sequence at the beginning that seems to be interpreted as also part of the overall dream, and the older couple with the same wide-eyed wonderment in the cab. Maybe this is Betty/Diane lamenting, reaching for easier, more innocent times before calling for the hit on Rita/Camilla but also before her life seemingly took a wrong turn as well. Maybe it's an obvious thing but I love that aspect of the film. To add again, it feels like the dinner party near the end is the most important part of the film because this is where Diane meets all of the players and the ones that have no name in the dream sequence are people she sees but makes no interaction with at the party, the cowboy being the most prominent. You see him for half of a second, walking out of the house dressed like a cowboy and barely even see his face. This seems to be the reference point for her in which she draws the characters for this 'dream' of hers, although I'm not sure where the hitman's bumbling episode fits into this or the scared cop episode I brought up earlier.
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Jul 31, 2013 20:04
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BIZORT posted:I have some questions about Mulholland Drive. I know it's a popular movie to discuss but after finding the old Movie of the Month thread on it and re-watching it just now, I just have a couple of things. I'll spoiler all of it separately. I would say that this doesn't necessarily refute the dream explanation. I think that finding Diane's body could be seen as a manifestation of her true suicidal desire.
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Jul 31, 2013 23:41
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BIZORT posted:I have some questions about Mulholland Drive. I know it's a popular movie to discuss but after finding the old Movie of the Month thread on it and re-watching it just now, I just have a couple of things. I'll spoiler all of it separately. My impression was that the suicide itself was just another escapist fantasy. She flees from dream imagery right before she does it, and more dreamlike elements come in just afterwards. It's just a fantasy of not having to confront whoever it is that's knocking on her door (possibly the police). The earlier finding of the body means that it isn't the first time she'd considered suicide, but this time it was from the angle of "what if I died, then how would you feel?"
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Jul 31, 2013 23:59
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BIZORT posted:I have some questions about Mulholland Drive. I know it's a popular movie to discuss but after finding the old Movie of the Month thread on it and re-watching it just now, I just have a couple of things. I'll spoiler all of it separately. My theory as to your first question is that you know how they say your life flashes before your eyes when you die? Well that happens here, just in a weird twisted way. She has already pulled the trigger before the first scene and in the milliseconds that the bullet enters her brain she is remembering / inventing her past. That's how she knew her corpse would be on the bed. Most of the rest of your questions can be answered with: It was originally going to be a tv series with lots of threads ala Twin Peaks but when the network (ABC?) canned it, truncated versions of everything found their way into the movie
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Aug 1, 2013 06:32
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Honestly I think Mulholland Drive (and other movies along these lines) are diminished if you dig and try to find a rational, in-canon explanation for everything. That movie is about emotion and a kind of experience and a personality. The non-narrative sense of the plot is part of the story-telling.
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Aug 1, 2013 17:53
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People always say that about a lot of Lynch's films, and while I agree to some extent I also think it's a bit of a cop out. That's only one way to approach his films, and probably the easiest way - as just an emotional, sensory experience. But all of his films have a narrative, it isn't just a series of random images without any story or characters, and I think we can be able to discuss interpretations of those narratives without being "wrong" in doing so. I do agree with Lynch though when he says he shouldn't have to explain or give an answer to his films. "The film is the thing".
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Aug 1, 2013 23:28
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MadScientistWorking posted:Wasn't that the plotline to Daybreakers? Pretty much. But what I had in mind is basically Daybreakers if it was pure agitprop about characters from the working classes banding together to kill the capitalists with the power of communism. Like if Eisenstein's Strike had been a vampire B-movie.
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Aug 2, 2013 04:22
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BOAT SHOWBOAT posted:People always say that about a lot of Lynch's films, and while I agree to some extent I also think it's a bit of a cop out. That's only one way to approach his films, and probably the easiest way - as just an emotional, sensory experience. But all of his films have a narrative, it isn't just a series of random images without any story or characters, and I think we can be able to discuss interpretations of those narratives without being "wrong" in doing so. It's not a random series of images at all. It's got a very deliberate progression and a great deal of meaning that's open to interpretation. But it's not a classical narrative so there's not much point in focusing your interpretation on that. I mean, you're welcome to if you want, but I don't think it adds anything to something like Mulholland Drive and the movie won't give you much to grab onto there. It's not intended to be a puzzle and treating it like one doesn't amount to much.
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Aug 2, 2013 17:52
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So, according to the definition I found, a prequel is a work that comes out after another, but takes place before it. Is there a word for a work that comes out before and takes place before? (e.g., what is Terminator called in relation to Terminator 2?)
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Aug 3, 2013 04:41
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User-Friendly posted:So, according to the definition I found, a prequel is a work that comes out after another, but takes place before it. Is there a word for a work that comes out before and takes place before? (e.g., what is Terminator called in relation to Terminator 2?) The first film in the series.
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Aug 3, 2013 04:45
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User-Friendly posted:So, according to the definition I found, a prequel is a work that comes out after another, but takes place before it. Is there a word for a work that comes out before and takes place before? (e.g., what is Terminator called in relation to Terminator 2?) Predecessor?
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Aug 3, 2013 05:10
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Better
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Aug 3, 2013 09:03
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This is more of a film industry question and it might seem really stupid, but what does one actually DO with a screenplay once they write it? Like you hear the occasional story of some nobody's script being picked up by a studio, or of screenwriters mailing out drafts of their project to every major production company, but is there some department that actually reads all of these (mostly terrible) submissions in search of some Oscar-bound masterpiece? It just feels like unless you're connected in some way with a producer willing to finance your project, there's little to no reason for a studio to ever seek outside submissions for screenplays.
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Aug 3, 2013 14:26
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exquisite tea posted:This is more of a film industry question and it might seem really stupid, but what does one actually DO with a screenplay once they write it? Some very small agencies accept blind submissions, but most don't due to potential lawsuits and sheer volume of crap to sift through. There are screenplay competitions to submit scripts to, and there are paid readers who will do coverage on a script for you. Most producers just ask for coverage on scripts before they even consider reading a script. Other than that, it's who you know. Networking is 95% of this stupid town. I know of many terrible writers who kept getting work based on who they met at parties or who they charmed in a meeting, rather than actual talent.
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Aug 3, 2013 14:53
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I'm having this problem lately that when I sit down to watch a movie I'll suddenly struggle to remember a thing I thought I knew but cannot recall on the spot. I then cannot focus fully on the film again until I've paused it and pulled out my laptop to look up what I was struggling to remember. Does anybody know a way I could avoid having to do this? Like a way I could stop myself obsessing over a single thing I can't remember and go back to focusing on the film without having to stop it? I never used to have this problem until a month ago but know it happens with practically every film I sit down to watch.
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Aug 3, 2013 15:04
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Keep a notepad and pen and write down whatever you need to find out. If it's an actor you think is in another movie or something, write down his name and the movie. If it's a fact or problem, write down the keyword for it. I can't stand interrupting films so I just quickly make a note if there's something I want to remember later.
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Aug 3, 2013 15:37
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cloudchamber posted:I'm having this problem lately that when I sit down to watch a movie I'll suddenly struggle to remember a thing I thought I knew but cannot recall on the spot. I then cannot focus fully on the film again until I've paused it and pulled out my laptop to look up what I was struggling to remember. Does anybody know a way I could avoid having to do this? Like a way I could stop myself obsessing over a single thing I can't remember and go back to focusing on the film without having to stop it? I never used to have this problem until a month ago but know it happens with practically every film I sit down to watch. Cognitive behavioral therapy
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Aug 3, 2013 17:38
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