@ oliver, i definitely agree with akira.
@ vance, boyle would be incredible.
@ jordan, a little jacques rivette never hurt anyone.
@ tommy, i couldn’t agree with some satyajit ray more.
speaking of satyajit, i’m waiting on anderson’s darjeeling limited, which i understand might be awhile… Criterion’s picked up everything else he’s put out, so I can’t imagine there not being a little eric anderson artwork for darjeeling.
I have to agree with Stephen; and although I never sat through any of the Rush Hour dynasty (much less the commentaries) I did find Red Dragon to be a decent addition to the Hannibal story. But that’s about Ratner’s only saving grace, in my opinion. I do agree with Dan, as well…
I feel like any director or person in the position to make movies and spend millions doing it needs our attention, followed by our criticism / commentary. If I had the abilities, equipment, manpower, and financial backing to direct a film, I MIGHT make one you all would appreciate better than Ratner’s work, but until then, I think the only feasible portion of this thread to talk about would be “where are the directors that deserve to be on the auteurs list” (as my aforementioned search for Ethan Coen came up fruitless).
i’m nauseated. i know everyone’s entitled to their opinions, and i usually don’t chip mine in unless i feel like i really need to, but…. i feel like i really need to.
i realize that this site, auteurs.com, is committed to building an online fellowship of cinephiles and movie-lovers alike; i realize that this is not a site for comic book nerds, fantasy junkies, neo-science fiction lovers, or anything in that realm. but personally, being a bit of the aforementioned group of people, i LOVED the Dark Knight.
seeing the X-men trilogy and the Spiderman films unravel the way they did, along with a disappointing reintroduction of Superman, and a poor interpretation of Hulk (bana’s hulk), I feel as if true comic fans were due for something better than what they had been getting. Don’t get me wrong, I’m uber skeptical about this new wave of comic films being introduced and reintroduced to a general public that mostly only wants to see explosions and special effects. the film industry has been stooping to any depths to fill seats and hit records in the box office, but the victim is usually the overall integrity of these classic comics.
that being said, i’m not going to overanalyze the Dark Knight and what made it good or bad. i’m just asking everyone to consider its value in this new age of Hollywood, where ten to twenty years from now, i’d be proud to show it to my kids as one of the greatest comic-to-cinema adaptations i’ve ever seen.
Intermission: consists of a brisk workout; includes: punching frozen meat, running up the Philadelphia Museum of Art’s steps, running with bricks, drinking raw eggs, chasing chickens, chopping logs, one-handed pushups, and more running with bricks.
i’ve been on the blockbuster program since it started, and i’ve been pretty satisfied. not only do they have criterion editions through the online service, but the store closest to my house has them too… it’s nice to have a constant barrage of movies, given that i can have my local store mail back what i’d just gotten, AND take one home from the store to keep me busy until the next one comes in the mail.
i love you jean seberg,
and you, debbie reynolds…
i won’t forget about you, kate winslet— or even you jeanne moreau…
but i love you too, tippi hedren. oh, stoppit anna karina, i love YOU more.
a bout de souffle
the 400 blows
there will be blood
seven samurai (you just gotta love teamwork)
amadeus (only when paired with the cover art)
snatch
a colt is my passport
pulp fiction
v for vendetta
monster’s ball
and finally, as my #1 pick
the assassination of jesse james by the coward robert ford
too many to openly admit to all of the pretentious cinephiles that lurk these forums…
but i’m proud to love the matrix trilogy, no matter how horrible of an actor keanu is; the story is still fucking brilliant.
any war / period piece on martyrdom and sticking it to the man (ie: gladiator, braveheart)
any john cusack, the harry potters, and the star treks (not the newer ones, although the upcoming looks alright.)
and some of you have NOTHING to be ashamed of. come on, there’s people out there that like beverly hills chihuahua and this twilight shit. let’s get real, here.
- organizing threads
- showing users’ avatars in threads
- NOT allowing any sort of signature or other linkage clutter at the end of posts.
- more text input tools for people that aren’t familiar with HTML to add links, change font styles, etc
- being able to delete posts to prevent double posting
- having some sort of way to REQUEST an auteur or film be added to this site, even if they need to be approved by admins.
- in addition to the previous, maybe give the auteurs the ‘thumbs up / down’ rating system, so that once a director like bret ratner gets a certain number of thumbs down ratings by enough users, he can’t be considered an auteur anymore… just wishful thinking….
and most of all, i love how CLEAN and streamlined this site is; i don’t think you guys should add ANYTHING unnecessary. I know first hand a lot of people like to get lazy and like to be linked to everything… but the main things that appealed to me in the first place about auteurs.com was the lack of shit everywhere.
oh yeah. and make t-shirts that we can buy with our username / ‘my style’ images on them, so we can buy them and make auteurs.com lots of money. keep this site CLEAN CLEAN CLEAN— the less links the better; for the love of all things fine-cinema.
cheers to everyone who mentioned children of men for the long take, but MORE cheers to me for bringing up the final shot of jean-paul belmondo running (mortally wounded) down the street in a bout de souffle
@ Number 6, YES Road to Perdition was such an underrated film in regards to mise en scene.
@ eric, I JUST watched the fall; wasn’t wholly impressed with the entire film, but the camera work was fluid and beautiful
I also watched a short special on how Tarantino filmed the chase scenes in Death Proof, modeling 70’s road movie cinema (ie: vanishing point) and he gets mad-muppet-props from Sweetums.
Korine’s ‘mister lonely’ had some awesome camera work *(and lighting) in regards to drawing all of the fear and naivety from the characters… But i also wanted to note that I’ve always been a fan of Wes Anderson’s work, specifically for camera movement.
@ kifah: sounds like ULTRA softcore porn; i’d rather just stay up until 2 am and watch showtime.
the new york times labelled it as a “carefully faithful adaptation traces the sighs and whispers, the shy glances and furious glares of two unlikely teenage lovers who fall into each other’s pale, pale arms amid swirling hormones, raging instincts, high school dramas and oh-so-confusing feelings, like, OMG he’s SO HOT!! Does he like ME?? Will he KILL me??? I don’t CARE!!! :)”
Phil: I know you weren’t trying to bait me; thanks for inquiring about my logic on that… The meaning behind my original post was designed for the context of why you posted this thread in the first place: you recognize there MAY be something of value in Salo, but are weighing it against the likelihood of enjoying the film to the legendary extent of where its unique and invaluable status holds it.
I haven’t seen the film. Do I plan to soon: yes. If it’s already been praised on this website by true fans of cinema whom I can relate to, then yes, I’ll most certainly give it a chance. Apparently I should’ve reconsidered my wording in the first post, since my first reaction warranted a thumbs down. Sometimes I have to trust other previous viewers to know if it will be worth my time and energy to sit down and watch certain films. But if I listen to the right people, it’s usually always worth it.
mr. cutler, i openly admit to giving you the first thumbs down on this one. I will defend the credit of shyamalan to the death, even if he would punch me in the face for doing so.
disclaimer: I’m still in the process of absorbing the happening and i don’t know quite how i feel about it yet…
I’m not a huge fan of Mel Gibson. I’m not saying he’s a bad actor— (conversely, i think he’s incredibly talented); just a little crazy. But I haven’t talked to ANYONE who wasn’t somehow touched by the scene in signs where Gibson’s character has to say goodbye to his wife, who dies pinned between the collision of a truck and a tree. Shyamalan shows the aftermath of this— Mel’s character rips himself away from every bit of his religious faith (quite a bit of faith, having been a pastor) to attempt to carry out a normal life with his estranged son and peculiar daughter. Shyamalan connects the supernatural with the heart of the natural— family— and does so in a way where the viewer can feel connected to the outcome of their healing.
It’s really late (2:35 am) to get me started on Adrian Brody’s and Bryce Dallas Howard’s performances in the village which by itself is one of the single greatest pieces of sci-fi / fantasy cinema i’ve ever seen. But if anyone wants to hear about it, I’ll dig that grave for myself.
I was really hoping nobody was going to bring mr. night into this. but rolls up sleeves
i’m solidly prepared for any counter-arguments, including some sort of explanation from mr. cutler on his choice for this thread. And I really hope I’m not alone in appreciating Shyamalan’s presence in the sci-fi realm of contemporary cinema, otherwise this might get messy.
zilla: The Shining. I just do not see the appeal. Duvall drove me crazy, CRAZY!!!! Nicholson was good, but whatever, and Tony I just giggled like a silly school girl whenever he appeared. I’ll get lynched for this, but I just do not like this film.
aren’t we supposed to be talking about films we love that other people hate? sounds like this belongs in the hate corner
Colin mentioned the “need to destroy everything we’ve learned since the very beginning of Filmmaking and Cinema in order to progress and pass through that wall. Reconstructing and deconstructing what have been teached” and i couldn’t agree more.
I feel like there’s such a global movement that technologically advanced itself to, to the point where the metaphorical cart has been placed in front of the horse. Narrative filmmaking from yesterday is near impossible to replicate today; the golden era of cinema from the late 20’s to the mid 50’s showed the world something it had never seen before, juxtaposed with directors and actors that shared a vision and a sense of style that came as a total mind-fuck to american, french, german, and virtually every bit of international cinema. everything people could ever imagine played out on screen and i’m sure the boundaries at that time seemed limitless.
Tobias: i know contemporary narrative filmmakers are getting the papercuts you mentioned. the exploitation of contemporary cinema has become something of the textbooks; how often can you analyze the mise en scene of today’s films? without a raw style, cinema will go sterile; without analog, film will get shuffled in with the discard pile of what used to make cinema a fucking work of art, replaced by digital dreariness and false acclaim.
Cinema will eventually split in two; the status of Hollywood will eventually be to cinephiles and thinkers alike as a cultural wasteland; a representation of something glamourous and beguiling that got sucked into the wrong 5-step-marketing-pyramid-scheme and came out looking like monica bellucci after the rape scene in irreversible. colin: i was going to add michael bay to this analogy, but you already beat me to him… The majority of what it is that we (meaning the people who come to some agreement over the loss of true narrative in recent times) stand for will most likely become a small faction of cinema. I can’t see it ever completely becoming a lost art, simply due to the need for something real above all else. I think 05:00 is a perfect example of what we can still do to keep this real narrative alive. If you watch the collective of films that Tobias has organized for the 05:00 project so far, you can blatantly see that none of it is scripted or planned; but simply organized into pieces of a story that represent who we are as people.
Going back to my aforementioned reference to colin’s theoretical ‘tearing down’ of this brick wall narrative filmmaking has come to: you can’t script it; you can’t prepare it, or practice it— real narrative comes from real emotions and raw filming of the way that life unravels itself. But we’ve come to a point where the general population of people aren’t as interested in seeing it as they are to rubbernecking for drama, and blood, and terror, and tragedy. People are looking for tragedy, but they just don’t know where to find it. and that’s where projects like 05:00 step in and deliver.
i vote that we should make sovietic a word. and we should put it in a film about two brothers that were separated at birth and live paralleled lives. but they never meet. their lives will just run along the same tracks; the same wavelengths; the same subtleties occur at the same times; the coincidences that people dismiss as… coincidences. sovietic.
there’s not really a way for me to appreciate ‘middle’ wes anderson, or ‘early’ wes anderson; you’ve just gotta see his development as a director, and the way his style has changed over the years.
i love wes anderson as a whole— from beginning to the present— his work comes as a package deal, and you either like his humor / dramatic sense of irony, or you don’t. And i know plenty of either. Anderson’s analysis of broken families / relationships is sincere and true, but quite a bit of how his characters connect to us is how anti-real they act. I firmly believe the reason that most prefer anderson over other contemporary american-comedy filmmakers is primarily because his avant-garde sense of humor extracts something bold and stimulating out of awkward or tense moments that aren’t supposed to be humorous in the first place. Collocate this with a pure instant of powerful and sentimental drama, and voila. wes anderson.
i’ve always been huge on his work; his casting is always perfect, his music direction is always tasteful and fitting, and the cinematography is always smooth and of high caliber. not to mention his writing is unique, genuine, and embossed with absolute soul.
Movies That Should Be In the Criterion Collection over 4 years ago
@ oliver, i definitely agree with akira.
@ vance, boyle would be incredible.
@ jordan, a little jacques rivette never hurt anyone.
@ tommy, i couldn’t agree with some satyajit ray more.
speaking of satyajit, i’m waiting on anderson’s darjeeling limited, which i understand might be awhile… Criterion’s picked up everything else he’s put out, so I can’t imagine there not being a little eric anderson artwork for darjeeling.
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can someone explain why brett ratner is in the auteur profile list?? over 4 years ago
….. where’s ethan coen?
I have to agree with Stephen; and although I never sat through any of the Rush Hour dynasty (much less the commentaries) I did find Red Dragon to be a decent addition to the Hannibal story. But that’s about Ratner’s only saving grace, in my opinion. I do agree with Dan, as well…
I feel like any director or person in the position to make movies and spend millions doing it needs our attention, followed by our criticism / commentary. If I had the abilities, equipment, manpower, and financial backing to direct a film, I MIGHT make one you all would appreciate better than Ratner’s work, but until then, I think the only feasible portion of this thread to talk about would be “where are the directors that deserve to be on the auteurs list” (as my aforementioned search for Ethan Coen came up fruitless).
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Most Traumatic or Dramatic Film Endings over 4 years ago
“ass to ass”
you know what i’m talking about… Requiem for a Dream.
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MOMENT OF TRUTH: HAVE YOU EVER GONE TO THE MOVIES AND FALLEN ASLEEP DURING THE FILM? over 4 years ago
mega facepalm @ falling asleep during sigur ros
double facepalm @ against mr boo’s opinion of sigur ros
fell asleep during the assassination of jesse james by the coward robert ford, but i was at a friends. his couch was so comfortable!
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Anybody else hate the Dark Knight? over 4 years ago
i’m nauseated. i know everyone’s entitled to their opinions, and i usually don’t chip mine in unless i feel like i really need to, but…. i feel like i really need to.
i realize that this site, auteurs.com, is committed to building an online fellowship of cinephiles and movie-lovers alike; i realize that this is not a site for comic book nerds, fantasy junkies, neo-science fiction lovers, or anything in that realm. but personally, being a bit of the aforementioned group of people, i LOVED the Dark Knight.
seeing the X-men trilogy and the Spiderman films unravel the way they did, along with a disappointing reintroduction of Superman, and a poor interpretation of Hulk (bana’s hulk), I feel as if true comic fans were due for something better than what they had been getting. Don’t get me wrong, I’m uber skeptical about this new wave of comic films being introduced and reintroduced to a general public that mostly only wants to see explosions and special effects. the film industry has been stooping to any depths to fill seats and hit records in the box office, but the victim is usually the overall integrity of these classic comics.
that being said, i’m not going to overanalyze the Dark Knight and what made it good or bad. i’m just asking everyone to consider its value in this new age of Hollywood, where ten to twenty years from now, i’d be proud to show it to my kids as one of the greatest comic-to-cinema adaptations i’ve ever seen.
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D.I.Y. Film Playlist over 4 years ago
theme: boxing
1. Rocky
2. Rocky II
3. Rocky III
Intermission: consists of a brisk workout; includes: punching frozen meat, running up the Philadelphia Museum of Art’s steps, running with bricks, drinking raw eggs, chasing chickens, chopping logs, one-handed pushups, and more running with bricks.
4. Rocky IV
5. Rocky V
6. Rocky Balboa
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Netflix; frustrations with over 4 years ago
i’ve been on the blockbuster program since it started, and i’ve been pretty satisfied. not only do they have criterion editions through the online service, but the store closest to my house has them too… it’s nice to have a constant barrage of movies, given that i can have my local store mail back what i’d just gotten, AND take one home from the store to keep me busy until the next one comes in the mail.
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the love corner over 4 years ago
i love you jean seberg,
and you, debbie reynolds…
i won’t forget about you, kate winslet— or even you jeanne moreau…
but i love you too, tippi hedren. oh, stoppit anna karina, i love YOU more.
Go to Comment
Best title over 4 years ago
a bout de souffle
the 400 blows
there will be blood
seven samurai (you just gotta love teamwork)
amadeus (only when paired with the cover art)
snatch
a colt is my passport
pulp fiction
v for vendetta
monster’s ball
and finally, as my #1 pick
the assassination of jesse james by the coward robert ford
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Movie scenes that give you goosebumps over 4 years ago
everyone else says when john travolta plunges the needle into uma’s chest in the OD scene in pulp fiction…
the end of schindler’s list really does it for me.
the rally scene in citizen kane.
“i’ve abandoned my child! i’ve abandoned my boy” – there will be blood
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Guilty Pleasures over 4 years ago
jesus.
too many to openly admit to all of the pretentious cinephiles that lurk these forums…
but i’m proud to love the matrix trilogy, no matter how horrible of an actor keanu is; the story is still fucking brilliant.
any war / period piece on martyrdom and sticking it to the man (ie: gladiator, braveheart)
any john cusack, the harry potters, and the star treks (not the newer ones, although the upcoming looks alright.)
and some of you have NOTHING to be ashamed of. come on, there’s people out there that like beverly hills chihuahua and this twilight shit. let’s get real, here.
Go to Comment
Help make The Auteurs totally awesome over 4 years ago
I love the ideas of:
- organizing threads
- showing users’ avatars in threads
- NOT allowing any sort of signature or other linkage clutter at the end of posts.
- more text input tools for people that aren’t familiar with HTML to add links, change font styles, etc
- being able to delete posts to prevent double posting
- having some sort of way to REQUEST an auteur or film be added to this site, even if they need to be approved by admins.
- in addition to the previous, maybe give the auteurs the ‘thumbs up / down’ rating system, so that once a director like bret ratner gets a certain number of thumbs down ratings by enough users, he can’t be considered an auteur anymore… just wishful thinking….
and most of all, i love how CLEAN and streamlined this site is; i don’t think you guys should add ANYTHING unnecessary. I know first hand a lot of people like to get lazy and like to be linked to everything… but the main things that appealed to me in the first place about auteurs.com was the lack of shit everywhere.
oh yeah. and make t-shirts that we can buy with our username / ‘my style’ images on them, so we can buy them and make auteurs.com lots of money. keep this site CLEAN CLEAN CLEAN— the less links the better; for the love of all things fine-cinema.
and yes, as lauren said: THANK YOU.
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Should it be seen? over 4 years ago
nothing should not be seen. knowledge of existence is power.
edit after 2nd post if there’s any part of you that wants to see it, see it.
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favorite funniest movie over 4 years ago
nobody’s called:
lock, stock, and two smoking barrels; snatch — brit humor is grossly underrated.
but i also loved the big lebowski, anything the coen brothers put out,
anything buster keaton, charlie chaplin— all of the silent film era is charming and can get anyone laughing.
and what about muppet movies…..?
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Best camerawork in a movie...handheld or otherwise. Or best use of the camera to convey the scene's intention. over 4 years ago
good god i love this thread.
cheers to everyone who mentioned children of men for the long take, but MORE cheers to me for bringing up the final shot of jean-paul belmondo running (mortally wounded) down the street in a bout de souffle
@ Number 6, YES Road to Perdition was such an underrated film in regards to mise en scene.
@ eric, I JUST watched the fall; wasn’t wholly impressed with the entire film, but the camera work was fluid and beautiful
I also watched a short special on how Tarantino filmed the chase scenes in Death Proof, modeling 70’s road movie cinema (ie: vanishing point) and he gets mad-muppet-props from Sweetums.
Korine’s ‘mister lonely’ had some awesome camera work *(and lighting) in regards to drawing all of the fear and naivety from the characters… But i also wanted to note that I’ve always been a fan of Wes Anderson’s work, specifically for camera movement.
but KUBRICK KUBRICK KUBRICK
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Guilty Pleasures over 4 years ago
@ kifah: sounds like ULTRA softcore porn; i’d rather just stay up until 2 am and watch showtime.
the new york times labelled it as a “carefully faithful adaptation traces the sighs and whispers, the shy glances and furious glares of two unlikely teenage lovers who fall into each other’s pale, pale arms amid swirling hormones, raging instincts, high school dramas and oh-so-confusing feelings, like, OMG he’s SO HOT!! Does he like ME?? Will he KILL me??? I don’t CARE!!! :)”
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Films you love but most people hate. over 4 years ago
ANYTHING from m. night shyamalan.
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Planet of the Apes or Star Wars? over 4 years ago
this is more like comparing broomsticks to a halfway decent car wash.
they were both phenomenal. but star wars represents a different spectrum of sci-fi than PotA is even capable of reaching.
PotA was something people could never even DREAM of at the time; where star wars is a story of the classic fight amongst good and evil.
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Should it be seen? over 4 years ago
Phil: I know you weren’t trying to bait me; thanks for inquiring about my logic on that… The meaning behind my original post was designed for the context of why you posted this thread in the first place: you recognize there MAY be something of value in Salo, but are weighing it against the likelihood of enjoying the film to the legendary extent of where its unique and invaluable status holds it.
I haven’t seen the film. Do I plan to soon: yes. If it’s already been praised on this website by true fans of cinema whom I can relate to, then yes, I’ll most certainly give it a chance. Apparently I should’ve reconsidered my wording in the first post, since my first reaction warranted a thumbs down. Sometimes I have to trust other previous viewers to know if it will be worth my time and energy to sit down and watch certain films. But if I listen to the right people, it’s usually always worth it.
Watch the movie, Phil!
Go to Comment
Directors that consistently make terrible films over 4 years ago
mr. cutler, i openly admit to giving you the first thumbs down on this one. I will defend the credit of shyamalan to the death, even if he would punch me in the face for doing so.
disclaimer: I’m still in the process of absorbing the happening and i don’t know quite how i feel about it yet…
I’m not a huge fan of Mel Gibson. I’m not saying he’s a bad actor— (conversely, i think he’s incredibly talented); just a little crazy. But I haven’t talked to ANYONE who wasn’t somehow touched by the scene in signs where Gibson’s character has to say goodbye to his wife, who dies pinned between the collision of a truck and a tree. Shyamalan shows the aftermath of this— Mel’s character rips himself away from every bit of his religious faith (quite a bit of faith, having been a pastor) to attempt to carry out a normal life with his estranged son and peculiar daughter. Shyamalan connects the supernatural with the heart of the natural— family— and does so in a way where the viewer can feel connected to the outcome of their healing.
It’s really late (2:35 am) to get me started on Adrian Brody’s and Bryce Dallas Howard’s performances in the village which by itself is one of the single greatest pieces of sci-fi / fantasy cinema i’ve ever seen. But if anyone wants to hear about it, I’ll dig that grave for myself.
I was really hoping nobody was going to bring mr. night into this. but
rolls up sleeves
i’m solidly prepared for any counter-arguments, including some sort of explanation from mr. cutler on his choice for this thread. And I really hope I’m not alone in appreciating Shyamalan’s presence in the sci-fi realm of contemporary cinema, otherwise this might get messy.
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Directors that consistently make terrible films over 4 years ago
fair enough, cutler. fair enough…
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Films you love but most people hate. over 4 years ago
@zilla: exactly why i posted him in this thread.
zilla: The Shining. I just do not see the appeal. Duvall drove me crazy, CRAZY!!!! Nicholson was good, but whatever, and Tony I just giggled like a silly school girl whenever he appeared. I’ll get lynched for this, but I just do not like this film.
aren’t we supposed to be talking about films we love that other people hate? sounds like this belongs in the hate corner
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Films you love but most people hate. over 4 years ago
ugh… i swore i’d never double-post.
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SONGS (MUSIC ) ABOUT ACTORS OR FILMMAKERS over 4 years ago
@ antoine: cheers for recognizing godspeed.
<3 debaser a la pixies.
fenix tx: phoebe cates.
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SONGS (MUSIC ) ABOUT ACTORS OR FILMMAKERS over 4 years ago
@ antoine re: the books, m83;
i can’t believe i didn’t get those.
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Boundaries of Filmmaking over 4 years ago
Colin mentioned the “need to destroy everything we’ve learned since the very beginning of Filmmaking and Cinema in order to progress and pass through that wall. Reconstructing and deconstructing what have been teached” and i couldn’t agree more.
I feel like there’s such a global movement that technologically advanced itself to, to the point where the metaphorical cart has been placed in front of the horse. Narrative filmmaking from yesterday is near impossible to replicate today; the golden era of cinema from the late 20’s to the mid 50’s showed the world something it had never seen before, juxtaposed with directors and actors that shared a vision and a sense of style that came as a total mind-fuck to american, french, german, and virtually every bit of international cinema. everything people could ever imagine played out on screen and i’m sure the boundaries at that time seemed limitless.
Tobias: i know contemporary narrative filmmakers are getting the papercuts you mentioned. the exploitation of contemporary cinema has become something of the textbooks; how often can you analyze the mise en scene of today’s films? without a raw style, cinema will go sterile; without analog, film will get shuffled in with the discard pile of what used to make cinema a fucking work of art, replaced by digital dreariness and false acclaim.
Cinema will eventually split in two; the status of Hollywood will eventually be to cinephiles and thinkers alike as a cultural wasteland; a representation of something glamourous and beguiling that got sucked into the wrong 5-step-marketing-pyramid-scheme and came out looking like monica bellucci after the rape scene in irreversible. colin: i was going to add michael bay to this analogy, but you already beat me to him… The majority of what it is that we (meaning the people who come to some agreement over the loss of true narrative in recent times) stand for will most likely become a small faction of cinema. I can’t see it ever completely becoming a lost art, simply due to the need for something real above all else. I think 05:00 is a perfect example of what we can still do to keep this real narrative alive. If you watch the collective of films that Tobias has organized for the 05:00 project so far, you can blatantly see that none of it is scripted or planned; but simply organized into pieces of a story that represent who we are as people.
Going back to my aforementioned reference to colin’s theoretical ‘tearing down’ of this brick wall narrative filmmaking has come to: you can’t script it; you can’t prepare it, or practice it— real narrative comes from real emotions and raw filming of the way that life unravels itself. But we’ve come to a point where the general population of people aren’t as interested in seeing it as they are to rubbernecking for drama, and blood, and terror, and tragedy. People are looking for tragedy, but they just don’t know where to find it. and that’s where projects like 05:00 step in and deliver.
i vote that we should make sovietic a word. and we should put it in a film about two brothers that were separated at birth and live paralleled lives. but they never meet. their lives will just run along the same tracks; the same wavelengths; the same subtleties occur at the same times; the coincidences that people dismiss as… coincidences. sovietic.
Go to Comment
Favorite Cinematographer over 4 years ago
Anthony Dod Mantle – for his work in 28 Days Later
Emmanuel Lubezki – for his work in Children of Men
Raoul Coutard – duh… A Bout de Souffle
Roger Deakins – for his work in The Assassination of Jesse James by the Coward Robert Ford
Robert Burks – for his work with Alfred Hitchcock
Robert D. Yeoman – for his work with Wes Anderson
@ Zak: cheers for alwin— sunshine had so many brilliant pieces to it…
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Do You Like Wes Anderson? over 4 years ago
there’s not really a way for me to appreciate ‘middle’ wes anderson, or ‘early’ wes anderson; you’ve just gotta see his development as a director, and the way his style has changed over the years.
i love wes anderson as a whole— from beginning to the present— his work comes as a package deal, and you either like his humor / dramatic sense of irony, or you don’t. And i know plenty of either. Anderson’s analysis of broken families / relationships is sincere and true, but quite a bit of how his characters connect to us is how anti-real they act. I firmly believe the reason that most prefer anderson over other contemporary american-comedy filmmakers is primarily because his avant-garde sense of humor extracts something bold and stimulating out of awkward or tense moments that aren’t supposed to be humorous in the first place. Collocate this with a pure instant of powerful and sentimental drama, and voila. wes anderson.
i’ve always been huge on his work; his casting is always perfect, his music direction is always tasteful and fitting, and the cinematography is always smooth and of high caliber. not to mention his writing is unique, genuine, and embossed with absolute soul.
I can’t ask for much more.
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Boundaries of Filmmaking over 4 years ago
thanks, t. let’s start the second, and sovietic golden age of cinema.
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00:00 > 05:00 over 4 years ago
i’ve received the answers i was looking for in the post before this edit.
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