|
Somewhere Over The Rainbow in modern classic Face/Off by John Woo
|
#
?
Aug 7, 2023 20:51
|
|
|
|
| # ? May 25, 2024 19:46 |
|
|
lack of action in the hollywood strike getting you down? how about raising the stakes for yourself by participating in my contest to guess whether the ukraine war or the hollywood strike ends first https://forums.somethingawful.com/showthread.php?threadid=4038791
|
|
#
?
Aug 7, 2023 21:44
|
|
|
A Buttery Pastry posted:= the zodiac killer was a group of cops, covering up their crimes with an outlandish super criminal story. honestly i think the main problem with true crime as a genre preventing it from being truly socialist is that it almost always presupposes hardworking genius criminals instead of lazy idiot cops this is really making me feel ambivalent about bosch because the serial killer like so many serial killers in fiction just gets away with the most ridiculous bullshit time and again to the point he might as well have superpowers are the other seasons also about serial killers
|
|
#
?
Aug 7, 2023 21:47
|
|
|
its extremely funny how basically all major media now including the toy story franchise itself is basically just buzz lightyear being a blowhard in an obviously ridiculous and preposterous situation but instead of reacting to it like woody here in the sane way were expected to just stroke our chins and go yes hmmm what an intriguing use of the very deep and complex lore of this racist comic no one has ever heard of that was produced for children fifty years ago
|
|
#
?
Aug 7, 2023 21:51
|
|
|
you mean superman
|
|
#
?
Aug 7, 2023 22:06
|
|
|
Some Guy TT posted:honestly i think the main problem with true crime as a genre preventing it from being truly socialist is that it almost always presupposes hardworking genius criminals instead of lazy idiot cops yeah. I like it anyway though also Bosch is the one cop I can think of that we see do a bunch of the boring detective work that you never see, which is interesting, but it still always ends up helping. I'd like to see a show where the main guy is a cop (or PI, that might be better) and the C plot running through each episode is him trying to solve one case per season where 2 out of every 3 leads is a dead end. the show overall would have to be about something else obviously but that would be a nice back story
|
|
#
?
Aug 7, 2023 22:09
|
|
|
The Graduate and Easy Rider proved using popular existing music as a major element of, or the entirety of, the score worked very well. Before that I think virtually all sountracks were entirely original music written for the film. A needle drop is specifically when a recognizable song starts playing, when you license a song you pay for each time it plays, in a musical biopic you can imagine one song might play several times. but usually I think of it being when the pre-existing music takes center stage in the sound design like in The Watchman with bob dylan, the bob dylan cover by that guy, or leonard cohen
|
|
#
?
Aug 7, 2023 22:12
|
|
|
Saw Oppenheimer. it was good overall but it could've ended on the test and lose nothing. What's the word on Napoleon? we're thinking of seeing it next.
|
|
#
?
Aug 7, 2023 22:12
|
|
|
bloppenheimer
|
|
#
?
Aug 7, 2023 22:14
|
|
|
Antonymous posted:The Graduate and Easy Rider proved using popular existing music as a major element of, or the entirety of, the score worked very well. Before that I think virtually all sountracks were entirely original music written for the film. the jazz singer proved this...
|
|
#
?
Aug 7, 2023 22:14
|
|
|
What's bappinheimer
|
|
#
?
Aug 7, 2023 22:15
|
|
|
Antonymous posted:the bob dylan cover by that guy you mean jimi hendrix?
|
|
#
?
Aug 7, 2023 22:26
|
|
|
Antonymous posted:The Graduate and Easy Rider proved using popular existing music as a major element of, or the entirety of, the score worked very well. Before that I think virtually all sountracks were entirely original music written for the film. this part is very true btw, those soundtracks owned
|
|
#
?
Aug 7, 2023 22:26
|
|
|
Knight's Tale is a quarter century old and used music 45 years old
|
|
#
?
Aug 7, 2023 22:29
|
|
|
ArmZ posted:the jazz singer proved this... i haven't seen it aren't those songs diegetic
|
|
#
?
Aug 7, 2023 22:40
|
|
|
Bear Retrieval Unit posted:What's the word on Napoleon? we're thinking of seeing it next. I don't know but I doubt it will bomb the way The Last Duel did being that Napoleon is a popular historical figure. Millennials are safe from Ridley's wrath.
|
|
#
?
Aug 7, 2023 22:44
|
|
|
this fool is back
|
|
#
?
Aug 7, 2023 22:54
|
|
|
Watching Bee Movie with my son and just remembered that Bee Jerry Seinfeld falls in love with a human woman in this film lol
|
|
#
?
Aug 7, 2023 23:09
|
|
|
tristeham posted:this fool is back That show is uncanny about its depiction of living in LA. I feel like for every character on that show I've known more than one person that's similar to the character.
|
|
#
?
Aug 7, 2023 23:12
|
|
|
https://twitter.com/Phil_Lewis_/status/1688670251309789184?s=20 He was in pandemic lockdown with his ex-wife and her new boyfriend for a couple years
|
|
#
?
Aug 7, 2023 23:13
|
|
|
I bet it's the hat that did this to him.
|
|
#
?
Aug 7, 2023 23:21
|
|
|
Nonsense posted:https://twitter.com/Phil_Lewis_/status/1688670251309789184?s=20 Nothing compares to well seasoned cast iron
|
|
#
?
Aug 7, 2023 23:26
|
|
|
more lockdowns please
|
|
#
?
Aug 8, 2023 00:32
|
|
|
i say swears online posted:Knight's Tale is a quarter century old and used music 45 years old A Knight's Tale is a perfect movie
|
|
#
?
Aug 8, 2023 00:40
|
|
|
I loved the last duel but anyone with half a brain could tell Ridley Scott his movie was tailor made to fail. Releasing it in theaters at the height of the Covid lockdown? A slow burn period piece? A non-crowd/spectacle movie in the age of streaming? What did you think was going to happen?
|
|
#
?
Aug 8, 2023 01:05
|
|
|
galagazombie posted:I loved the last duel but anyone with half a brain could tell Ridley Scott his movie was tailor made to fail. Releasing it in theaters at the height of the Covid lockdown? A slow burn period piece? A non-crowd/spectacle movie in the age of streaming? What did you think was going to happen? No it was the Millennials and their phones.
|
|
#
?
Aug 8, 2023 01:08
|
|
|
ridley cannot fail only be failed except the sequel to silence of the lambs which sucsk
|
|
#
?
Aug 8, 2023 01:20
|
|
|
1stGear posted:Most needle drops are bad because they're just pulling from Top 40 hits and cramming them in there. I just finished watching Ghosted (which is a thoroughly mediocre movie) and it was just flinging the most random poo poo in there, like My Sharona over a fight scene in a bus. Ghosted made me paranoid that Hollywood is already using AI to a certain degree.
|
|
#
?
Aug 8, 2023 01:51
|
|
|
|
|
#
?
Aug 8, 2023 02:02
|
|
|
Atrocious Joe posted:https://www.youtube.com/watch?v=txHNcE_d7ro i loled at the bit in citadel where they namedropped a jason bourne reference as if they were worried the viewer might think they came up with this trope on their own and didnt just steal it because theyre lazy hacks
|
|
#
?
Aug 8, 2023 02:04
|
|
|
Antonymous posted:ridley cannot fail only be failed Hannibal is the only post-Blade Runner Ridley movie i like
|
|
#
?
Aug 8, 2023 02:09
|
|
|
C-Euro posted:Watching Bee Movie with my son and just remembered that Bee Jerry Seinfeld falls in love with a human woman in this film lol Is the human woman also a 17yo high school student
|
|
#
?
Aug 8, 2023 02:21
|
|
|
^^^^^ lmao no but AFAICT she was married I'm a millennial and The Last Duel owned, but hell if I was going to go to a theater for that. Sorry Ridley.
|
|
#
?
Aug 8, 2023 02:23
|
|
|
Uncle Boogeyman posted:Hannibal is the only post-Blade Runner Ridley movie i like why? his movies are generally pretty likable
|
|
#
?
Aug 8, 2023 02:25
|
|
|
I like him well enough but I get the sense a lot of people are upset with the direction he took the Alien franchise. e: I confused him w/ peter jackson for a sec lol.
|
|
#
?
Aug 8, 2023 02:35
|
|
|
gently caress the hobbit and ridley scott's shoddy work
|
|
#
?
Aug 8, 2023 02:36
|
|
|
i say swears online posted:gently caress the hobbit and ridley scott's shoddy work i get them mixed up all the time, also I'm an idiot.
|
|
#
?
Aug 8, 2023 02:39
|
|
|
galagazombie posted:I loved the last duel but anyone with half a brain could tell Ridley Scott his movie was tailor made to fail. Releasing it in theaters at the height of the Covid lockdown? A slow burn period piece? A non-crowd/spectacle movie in the age of streaming? What did you think was going to happen? releasing during covid was never going to end well, but even if they released it before/after covid it was going to do badly. even something like Kingdom of Heaven was a box office bomb and that was over 20 years ago when the nature of box office/cinema was only just starting to radically shift. i think TLD is probably the end of the <90s style movies, especially now that ZIRP is over with.
|
|
#
?
Aug 8, 2023 02:41
|
|
|
As news of the SAG-AFTRA strike broke in mid-July, Song Chang-gon, a 51-year-old actor and current president of the Korea Broadcasting Actors Union, was still waiting to hear back from Netflix, a company that was proving to be difficult to get ahold of. The phone number for its South Korea office was unlisted on the usual websites, but several months earlier, Song had asked around until he finally managed to obtain the personal number of a Netflix Korea executive. Unhappy with the fact that the company didn’t pay its South Korean actors residuals — a form of royalty paid to credited talent when a show is reused after the first airing — he had left several calls and text messages. The situation struck him as absurd. Netflix has a vast presence in South Korea. Yet at times it felt to him as though the company, which outsources all of its production to local studios, wielded its influence from behind a curtain. “One of their first priorities when entering the local market should be to establish some channel of communication with groups like us,” Song said. “But there’s no answer at all.” A man in Seoul walks past a billboard for the Netflix original television series “Sweet Home.” (Simon Shin / LightRocket via Getty Images) The actors union, echoing similar concerns from South Korean writers and production workers, says that Netflix has long profited from a system that underpays supporting actors, and that better compensation is long overdue. A Netflix spokesman declined to say whether the company would meet with the union. In a written statement, the company said it follows all local laws and regulations and that as a streaming service — and not a broadcaster — it is not required to pay residuals. When Netflix arrived in South Korea in 2016, Song and his colleagues at the Korea Broadcasting Performers’ Rights Assn., the union’s partner organization that collects and distributes residuals, had held off on approaching the streamer. “A precondition for that conversation about residuals was Netflix’s business successfully taking off here,” said Kim Ju-ho, secretary-general of the rights association. It is clear that this precondition has been met — and more. Netflix, a $160-billion company, owes at least some of its success to its South Korean originals like “Squid Game,” which remains its most-watched series. The streamer recently announced that it would invest an additional $2.5 billion to acquire additional Korean content over the next several years. “Netflix has made a lot of money from South Korean content,” Kim said. “It’s now time to meet.” Besieged by the largest worker strike there in 60 years, Netflix probably does not want another labor dispute on its hands, let alone in a market that has been reliable in large part because labor costs can be kept low. And thanks to its outsourcing model, Netflix is not legally classified as an employer in South Korea and doesn’t have to bargain with unions. Though Korean television networks have increasingly outsourced much of their production in the same way, they have continued to engage with the actors union — and continue to pay residuals. Even local streamers like Tving or Wavve, despite being deep in the red and trailed by constant bankruptcy rumors, have met with the rights association to address the issue. “Netflix makes use of the country’s broadcasting and content infrastructure just as much as anyone else,” said Yoo Min-suk, policy director at the actors union. “That’s why we’re saying they have an obligation to meet with us.” Far from simply being another player on the field in South Korea, Netflix is the most influential creative force in the business. “The history of the South Korean industry can be divided into before Netflix, and after Netflix,” said an executive at television network Munhwa Broadcasting Corp., or MBC, who requested anonymity because he wasn’t authorized to speak to the media. “They’ve brought in huge budgets and snapped up all the big-name actors and writers and directors.” Once a drama powerhouse, his company has recently found itself subordinated to the position of outsourced Netflix supplier. It was an MBC producer, given special permission to take outside work, who created the Netflix hit “Physical 100,” a reality show that held a top 10 spot in the streamer’s non-English leader board for six weeks earlier this year. “Compared to how well it did, we sold it for peanuts,” the executive said. At one internal meeting, opinions had been split about the offer, in which MBC would hand over all the intellectual property to Netflix for a one-time payout of “a few million dollars.” But Netflix’s name holds a special cachet — an imprimatur of global consumability. “Management decided that if it’s distributed through Netflix, we’re not walking away with nothing,” the executive said. “We basically gave up profit for exposure.” The streamer’s production budgets, low by U.S. standards but large by Korean ones, have opened up a golden age of prestige television in the country, popularizing science fiction and other genres that had previously been too expensive and risky to put on network television. The company has created jobs and given Korean content an unprecedented global outlet. For the most part, actors, writers and directors are eager to work with the streamer, given that a Netflix appearance is a unique opportunity to burnish one’s personal brand. “The problem is that Netflix’s big production budgets aren’t evenly distributed — most of this money goes to the star actors or big-name screenwriters,” Song said. “For the majority of supporting actors, wages have stagnated or effectively decreased.” Indeed, the Netflix-led shift toward streaming has been a gold rush for top talent — even without residuals. A-listers negotiate their own deals and oftentimes treat any foregone residuals as baked into their one-time payday, which industry insiders estimate have now broken $400,000 an episode — about on par with the cast of HBO’s “Succession.” On the opposite end of the spectrum, per-episode rates for supporting actors — who receive neither residuals nor premiums — start at about $300. These rates are based on network television pay scales negotiated by the actors union before the takeover by streaming. But because Netflix shows have far shorter seasons than the typical Korean network drama — the 16-episode miniseries was once the television standard — total payouts are much smaller, according to the union. In addition, Song said, shooting a Netflix episode often takes far longer than the one or two days that were typical for Korean network shows. “Shoots for Netflix originals, especially genres like zombies or creature features, are far more labor-intensive,” he said. “Actors are still expected to show up for however many shoots it takes to film one episode without enough additional compensation.” Some companies will bump up the episode fee if shooting exceeds three days, according to one producer of a recent original Netflix drama who — fearful of upsetting business relationships — spoke on condition that she not be identified. “So in the case of an actor who is usually paid $300, that would be upped to around $450,” she said. Still, in one complaint Song recently received from a supporting actor who auditioned for a Netflix original series, the production company asked for up to 15 shoots for a single episode — while offering only an increase so small it essentially amounted to several days of unpaid work. And because actors do not receive any per diems for food, transportation or lodging, Song said that many on the lower end of the pay range are still barely getting by, thanks to out-of-pocket expenses accumulated over multiple shoots. In its statement, Netflix said that expenses such as meal or overnight allowances are written into their production budgets, but that these are ultimately overseen by the production company. “We ensure supporting actors are compensated at or above local wage standards, and we work closely with our production partners to ensure all parties are committed to the fair compensation and treatment of actors,” Netflix said. Low labor costs, at least for now, have cushioned South Korean actors from another bane at the center of the SAG-AFTRA strike: the use of artificial intelligence actors. Substituting such “digital twins” for human actors is already happening, though in more limited situations than SAG-AFTRA’s worst-case scenario, in which twins can be animated with such precision that they can entirely replace humans. On “Black Knight,” a South Korean sci-fi series that Netflix released in May, a local virtual reality company called Replica scanned 10 of the main cast members to create digital twins that were used for high-risk action scenes or to retroactively insert a key actor in a scene. While the technology is still too costly for things like close-ups, the ultimate goal, said chief strategy officer Shane Jeon, is developing it further to replace human actors affordably. This scenario, he added, would still depend on a framework of informed consent and fair compensation for the use of actors’ likenesses. “But it will be a very, very long time until that day comes in South Korea,” Jeon said. “The cost of hiring human actors here is much too cheap for that.” For voice actors, prospects are far more immediate and dire. Unlike Hollywood, where SAG-AFTRA has said that its voice actors are protected by union contract provisions that limit the reuse of recorded performances for artificial intelligence purposes, no such agreement is in place in South Korea. The union says that its members who have worked on Netflix voiceovers — which are also outsourced to local studios — report that contract signings are hurriedly carried out on-site in a way that seems intended to sidestep matters of consent. “All the Netflix contracts were really long and they were all in English,” said one voice actor, who requested anonymity for fear of losing work. “There was never enough time to read through it carefully. And even if I did object to something, it would just mean that I wouldn’t be taking the job.” The only explanation the employees would give her as they flipped through the pages, she said, was that all of her rights were being transferred away. “There’s a huge fear that if a big company like Netflix sets a precedent by deciding to go through with AI voice actors, our jobs could just vanish overnight,” she said. In April, the New York Times reported that “a recent Netflix contract sought to grant the company free use of a simulation of an actor’s voice “by all technologies and processes now known or hereafter developed, throughout the universe and in perpetuity.” The voice actor believes the contract she signed said more or less the same. But to this day, she has been unable to personally verify this because her requests for her own copy were rebuffed by the third-party studio. Union officials say they have also been stymied. “I still haven’t been able to see a Netflix contract with my own eyes,” said Choi Jae-ho, secretary-general of the voice actors chapter. In its statement to the Los Angeles Times, Netflix said that, although English contracts are the standard across all their markets, the company is not aware of any instance in which signed contracts were withheld from voice actors who signed them. A spokesperson for Iyuno Korea, the local partner that handles most of Netflix’s voiceover work here, said that a Korean version of the contract is provided whenever requested and that the company is “working on an updated format that includes both Korean and English simultaneously throughout the contract for ease of reference.” Meanwhile, Song and Kim have kept themselves busy preparing for the meeting with Netflix that they believe will eventually come. They have pored over SAG-AFTRA’s residuals structure, which determines an actor’s residuals payout from several factors, such as the number of subscribers of the streamer airing the show. The union has plans to propose a new wage scale that will impose minimums based on a production’s total budget. “But for now, our only request to Netflix is that South Korean performers be given the same residuals terms that U.S. actors are getting under SAG-AFTRA agreements,” Kim said. Steeped in the new realities of global streaming, in which foreign content is serving as a buffer for Netflix against the strikes in Hollywood, the union is also contemplating the larger implications of the fight. “There is undoubtedly common ground that can be found between us and SAG-AFTRA,” Song said. “It would be helpful for similar organizations representing actors around the world to engage with one another, to build up a sense of solidarity. I think that’s important.” He mulled over whether to write a message of support. Maybe, Kim suggested, they could even fly to Hollywood and deliver the greeting in person — and while they’re at it, knock on Netflix’s door.
|
|
#
?
Aug 8, 2023 02:54
|
|
|
|
| # ? May 25, 2024 19:46 |
|
|
The Duellists, Alien, Blade Runner, and Gladiator are all masterpieces so I can forgive all the crap he's made. Last Duel was great but his coping over it bombing was dumb as hell. It probably wouldn't have broke even before the pandemic.
|
|
#
?
Aug 8, 2023 03:53
|
|
