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twistedmentat posted:Its not hard when the "Teenagers" all look about 25. Yeah, they used real intestines. I think from a pig, but I'm not sure. I know they also used real intestines in 'Day of the Dead', and the extras were getting sick from it. And people will do a lot of things, if it means they show up in a movie. It's not about the money. Now, what they use in movies like, say, the new 'Dawn of the Dead', I'm not sure. They might just stick with pig intestines. They'd be cheap enough, and look real enough.
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Nov 12, 2008 06:28
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ZenMaster posted:Look, Daniel had ALWAYS violently opposed anyone who tried to stand in his way of getting oil. Even his own adopted son. He probably would have tried to kill him if he hadn't felt some small amount of "like" for him. I'd argue Plainview wasn't embarrassed. What could make a guy like that feel shame? I'm one of the ones that views Daniel as being not some greedy, oil-grabbing soulless monster, like some do, but as very human with severe emotional issues. He definitely loved H.W., which I think for Daniel was unexpected and kind of confusing. But Plainview was playing along with all the stuff in the church. He's a smart business man. He knew what he had to do, he knew Eli, being the self-righteous person that he is, would try to pull something like that. Daniel was expecting it, and he played along with it, so that way he could carry on with his business. Watch that seen again, at the point he says "I'm ready", that's when he turns off the act and knows he won. What he did to Eli at the end, well, that's because Eli was in a pathetic state, coming to Daniel pretty much on his hands and knees, despite his outward look of success. Daniel just gave him a taste of his own self-righteous medicine. A fairly big taste.
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Nov 16, 2008 22:37
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I thought the animated film was the third in the trilogy? Not that means they can't make another one, but the trilogy is complete anyway. Even if it doesn't count, it doesn't matter, because they should have stopped at Pitch Black. 
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Jan 15, 2011 00:48
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haveblue posted:They should have stopped at Escape from Butcher Bay (the video game). Well hell, I wasn't thinking about the video game when I wrote that. I amend my answer to include the game, because it did rock.
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Jan 19, 2011 09:02
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Regarding the Sellers thing, he was reluctant to play Kong, saying he could never get the accent right. Kubrick had Terry Southern record some of the dialogue so Sellers could listen to it and try to get the accent down. Sellers got the accent down pretty good, but ended up breaking his ankle and, doing a run through of a scene where Kong has to climb down a ladder, hurt himself further after falling off the ladder. The insurance people wouldn't insure him if he went on playing the part, so they had to recast. Here's an article by Southern. He starts talking about it a little ways down, so scroll down to where you see the indented section that's a quote from a telegram. http://www.visual-memory.co.uk/amk/doc/0081.html
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Mar 17, 2011 22:01
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Who was that director that was big into cars, did a few films based on them, that died doing a stunt for the last film he directed?
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Mar 28, 2011 07:13
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CHOICE COD posted:H.B. Halicki? http://en.wikipedia.org/wiki/H._B._Halicki Thank you!
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Mar 28, 2011 08:07
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Sizzlechest posted:Monty Python's The Meaning of Life was on last night and it reminded me of something... I don't think he's supposed to be anyone in particular other than a lounge singer, but he does have a bit of a Tony Bennett look going on.
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Apr 17, 2011 23:51
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You should still see it. I've had plenty of movies ruined for me over the years, but that doesn't stop me from seeing them if it's something I've wanted to see. There's still plenty of other stuff going on in a movie that makes it worthwhile.
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Apr 19, 2011 04:55
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Popelmon posted:I have a question about a song from the Dr. Strangelove soundtrack. It plays during the shots of the B-52 (filmed from the outside) and apparently it is some kind of classical american melody (heard it several times now in civil war documentaries etc) but, not beeing from the US, I have no idea what it is. It's When Johnny Comes Marching Home.
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Apr 21, 2011 00:24
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ethanol posted:I'm curious about the music In Shutter Island, when our main man leo meets the 'interesting defense mechanisms' german doctor, and Mahler's music is in the background, Leo seems to imply that the music is associated with german nationalism, specifically nazi nationlism., it spurs a lot of prejudicial tension in the scene, he uses it in part to conclude the doctor is a former nazi. During that scene, he has a flashback to WW2 when he was part of a unit liberating a Nazi deathcamp. He goes into a building and finds the commandant had attempted suicide, though screwed it up and only shot himself through the cheek (if I remember right, Teddy kicks the gun away from the man, letting him suffer as he slowly bleeds to death). There is a record playing in the commandant's office, presumably the same exact song playing when he meets up with the doctor. So he's associating what he saw in the extermination camp and the wounded commandant with the man in front of him. Even if Mahler was banned, I'm sure a camp commandant would have the clout or at at least the resources to get whatever records he wanted.
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Jul 10, 2011 02:28
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Yes, time gets elongated in a dream, moreso the deeper they go into dreams within dreams. Inception posted:Yusuf: Brain function in the dream will be about twenty times to normal. When you enter a dream within that dream, the effect is compounded: it's three dreams, that's ten hours times twen... In the limbo level it would be possible to mentally live an entire life and beyond in a normal period of sleep, which happened to Mal and Cobb, though Mal got the bad end of the deal with that.
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Jul 10, 2011 03:23
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What is the deal with Netflix and NBC? They obviously have a deal to stream their stuff, but how long is the wait between DVDs being released and when they'll be available for streaming? Specifically, I want to watch season 3 of Parks and Rec, but it's not up yet even though the DVD was released on the 6th. You can't even get the discs sent to your house for that show. Is it just a matter of the episodes needing to be digitized and put on their servers, or does the NBC deal have some sort of delay between releases and when it comes up on streaming?
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Sep 15, 2011 01:38
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Yeah, fanning is not good for gunfighting at all, unless you want to spray lead in someone's general direction and then run off. I've fanned my six shooter, and while it's fun, it's not practical. Plus, I don't think it's all that good for the gun. But it looks cool, and that's what counts in movies. Firearms are one of those things movies don't really care about in terms of getting things right when making things neat to look at counts more.NeuroticErotica posted:Ding! With streaming cannibalizing DVD/Download sales, the windows for streaming are only going to get longer. Well, rats.
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Sep 15, 2011 03:09
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the Bunt posted:There is a car in Fellowship of the Ring. How the gently caress else is Frodo supposed to get to Mount Doom?
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Sep 17, 2011 06:32
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NGL posted:If you push the camera forward while simultaneously zooming out, you get that effect. (I may have it backwards.) You can do it backwards or forwards, so long as the zoom is counter to the dolly movement.
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Nov 18, 2011 04:55
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In Jacob's Ladder, it was simply a case of shooting the people that do the head shake at a lower FPS (apparently 4 FPS for the film), which resulted in the fast shaking at 24 FPS. Of course, for the SH games, it's all programming. In a more modern film, were it to be done again, I'd guess it'd either be done the same low FPS way, or with CGI, or maybe a mix of both. As for a name, it's really just fast motion. Or I suppose you could call it the Jacob's Ladder Palsy.
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Nov 20, 2011 12:29
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H.B. Halicki, director of the original Gone in 60 Seconds, died when he was crushed by a telephone pole while filming Gone in 60 Seconds 2. The Dark Knight thing wasn't a stuntman but a SFX technician trying to figure out how they'd film a scene with the Batmobile. He was in the camera vehicle when it crashed. Not a film, but Jon-Erik Hexum put a gun loaded with blanks to his head and pulled the trigger while on set for some TV show. The wadding of the blank blew a piece of skull into his brain and killed him. I'm sure there are tons of film-related deaths way back in the early days, when safety regulations weren't so prominent.
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Nov 23, 2011 10:01
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What do films use when they want to portray marijuana, both in the smoking and in the buds themselves (if they aren't using the same thing for both)?
Detective Thompson fucked around with this message at 05:32 on Dec 13, 2011 |
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Dec 13, 2011 05:30
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He's getting the father to pay the ransom, though he tells him the ransom is much higher than he told the kidnappers they'd get, so he'd be able to siphon a large amount of it off himself. At the same time, he was trying to convince the father to give him money to buy the parking lot and make him a full partner in that venture. Stupidly, he set up the kidnapping when he though the lot deal wouldn't go through, which is why he tried to call it off when he heard the father would go in for the deal. Of course, that didn't turn out the way he wanted it to. The GMAC money I think is pretty much unaccounted for as far as an explanation as to what he needed it for is concerned, aside that he had debts. I believe the parking lot was the legitimate way for him to get a constant stream of money coming in, whereas the kidnapping would be a quick way to get a lot of money in at once.
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Jan 12, 2012 02:42
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SkunkDuster posted:I was watching the documentary called Auschwitz: Inside the Nazi State today and I thought for sure the translations in the first two minutes of this clip were voiced by Anthony Hopkins. However, I'm not finding anything on IMDB or Google to indicate that Hopkins had anything to do with that documentary. Is that Hopkins? If so, is it normal for actors doing voiceover work to be completely uncredited? Sounds more like Malcolm McDowell to me, but I can't find anything to back that up.
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Jan 12, 2012 08:47
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The Hays Code at least forced writers to find ways around certain prohibited things, and some of them came up with some drat sharp stuff.
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Jan 21, 2012 03:59
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It really does depend on the situation. Ideally, you'd want to use sound captured on set as much as possible, since it's the real deal in terms of what was delivered at the moment. Of course, as you noted, things can crop up that requires ADR, background noises, equipment failures, difficult scenes, a need to clarify something with dialogue, having no audio equipment as you shoot because you're a terrible filmmaker, Hal Warren, and so on. I think you can be pretty safe in saying all films end up needing some amount of ADR for one reason or another, but the extent of how much varies.
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Jul 2, 2012 05:21
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twistedmentat posted:I know in some cases the kids are not actually kids, but older kids who look young, or little people. I remember there was a bunch of people making a stink about the Tin Drum about the lead feeling up nude actresses and seeing sex, but the producers of the film saying that he's not a kid, he's just a little person. Uh, is that the correct term? Well, he is a pretty small dude, but he was also only 11 when it was made.
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Aug 4, 2012 01:32
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Disco Pope posted:Do David Lynch films robustly support that kind of reading? I've always enjoyed them more when I tend to just go with the flow and succumb to the dread of the whole thing. I've always been on the fence about trying to unpack a film like Mullholland Drive or Inland Empire. I think Mulholland Dr. is definitely a film he wants you to figure out. I remember my friend showing me his DVD copy of it, and it came with an insert that actually has some clues on it, stuff like telling you to pay attention to when the color red shows up and others. And of course, stuff like Elephant Man and Straight Story are much more up front in their narratives. But others, like Inland Empire and Eraserhead, while you can spend as much time as you want speculating, and even be satisfied with your analysis, I personally see those films as more of the experience than the meaning behind what you see. Speaking of Eraserhead, I remember reading an interview with Lynch where he said, at the time, that no one had ever come close to understanding what it's about. Granted, he could just be talking bullshit, but perhaps not.
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Sep 17, 2012 04:57
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IShallRiseAgain posted:Deus Ex Machina Not really, though. Deus Ex Machina would a new character we've never seen before coming in and saving the day. A character we briefly see and then forgot about coming back at the end to be the hero would be something more akin to a human version of Chekov's Gun, though I don't know if there's a real term for it.
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Dec 5, 2012 02:56
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Ampersand worked together as a team, 'and' worked separately, probably in rewrites. Towards the bottom of page six: http://www.wga.org/uploadedFiles/writers_resources/credits/screenscredits_manual10.pdf
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Feb 28, 2013 11:15
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Skwirl posted:It's about two Americans? She's French, not American.
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Mar 17, 2013 00:55
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Stuff caught in the film gate of the camera (celluloid pieces, hair, whatever). The gate holds the film in place behind the shutter. The camera operator wouldn't be able to see it, since it's not something in the viewer. You may have heard the phrase "Check the gate" when a scene is finished shooting at some point, which means take a look and make sure nothing big is stuck in there and messing up the shot. Little stuff like celluloid debris isn't really going to be easy to spot, though. Another cause got be crap caught in the telecine equipment during a transfer say to video from the film stock, though I think generally it's going to be from the gate.
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Apr 4, 2013 01:33
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The body of the guy with the suitcase is up above the case, either scrunched up on some platform or attached to a backboard that looks like the fence. When Buster jumps through the guy drops into or is swung down into the dress and walks away. You can see when he does a spin that he grabs the dress to hold it together, though you can still make out a slit in the back of the it. Also, the part of the fence behind him is roughly person-shaped, which makes me think the strapped to a backboard and swung down into the dress thing is probably how they did it. It's pretty fast and hard to see, though, but I'm pretty sure it was all done at once and not editing.
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Apr 10, 2013 05:07
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Party Boat posted:Last page but the video description backs you up on this: Nice. I love how they had to come up these solutions in those old films, either from whole cloth or incorporating old stage tricks. Modern special effects can be spectacular, but the old timers, especially the comedians, had to pave the way and did some pretty amazing things in their time. Nolanar posted:What's a good film to start with for Terrence Malick, assuming I haven't seen any of his movies before? I had a hard time getting into David Lynch before someone told me to start with Blue Velvet, so I figured I'd check if there was an equivalent. Days of Heaven is really good, though I might suggest Badlands for an intro to Malick, then working your way from there.
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Apr 15, 2013 01:27
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Crackerman posted:Whichever one includes the director's cut with the proper ending. While the ending is better, the quality of the director's cut vs. the theatrical cut is pretty poor. Not just the reinserted scenes, but the whole thing is pretty poorly done (theatrical cut looks nice, though). However, overall, that edition is pretty good (Anchor Bay Boomstick Edition).
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Apr 20, 2013 02:37
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Not only is it a great movie, it also does some really interesting things with Russell's character and your expectations of him.
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Jun 23, 2013 06:49
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The hairy monster in Big Trouble is based on the Yeren, a legendary Chinese apeman kind of thing. I don't know why a beholder ended up in the movie. I guess Carpenter must have been playing a lot of D&D at the time. Don't forget, Lo Pan is a wizard basically, so he can probably summon up whatever Chinese monster he wants. But I wouldn't really say they're that out of place. The Three Storms are already doing their crazy poo poo by the time we see the monsters. They're different, of course, but we've already been assured by the movie that stuff like this exists. And the eyeball monster was a puppet that was shot separately and added in post.
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Jun 25, 2013 06:55
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Also, King Vidor came in to finish Oz when Fleming went to do Gone With The Wind.
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Aug 13, 2013 01:47
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The thing I love about the original is just how simple everything is (aside from the animation at the end). It's so low budget and raw, and it derives a lot of its charm from that and also from the filmmakers' drive to just make something, everything else be damned. For that mirror shot, it was just Campbell lying on his stomach, elevated a little, and they put a fake wall and frame over a kiddy pool.
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Sep 10, 2013 03:52
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Yeah, that last one was right before he gets the pipe full of blood in the face. I actually popped in the DVD, wanting to look just for the mirror scene, but I ended up watching the whole thing with Campbell's commentary.
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Sep 10, 2013 07:05
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During the scene where they're at the drive-in, getting ready to send Marty back, Doc does mention putting gas in the tank. There's no mention beforehand of the tank being dry in the mine, but I think it's probably an okay assumption to make that Doc would've drained the tank back in 1885.
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Sep 19, 2013 01:50
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Tender Bender posted:Doesn't one of the cars (the one that can fly) now run off of melted batteries or something, as seen in the end of BTTF? At the end of the first one, when Doc comes back, he has a Mr. Fusion fitted onto the back of the car. It can run on trash, like banana peels and aluminum cans and whatever. However, the Mr. Fusion only ran the time circuits and the flux capacitor. They still needed gas to run the combustion engine of the DeLorean.
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Sep 21, 2013 02:13
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Yeah, he's the one.
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Oct 24, 2013 03:06
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