91–100 of 139 posts
He seems to have bet his whole life and at the end he seems to have won. I wonder why he doesn't do a crowd funding, I am sure he would raise the money easily and not have producers on his back.
Earlier quoted context omitted.
I recently watched The Godfather 1 and 2 for the first time as an adult and was floored by the two movies (really a single movie, broken into two parts). A complete tragedy executed to perfection. The full arc of the tragic downfall of a man, like something out of the Greek tragedies or Shakespeare. I then made the horrible mistake of watching Godfather 3, which basically seemed to have 90s romantic comedy vibe with…
Every era is an era of horrible films. That’s Sturgeon’s law for you. Looking at the 2010s as a whole, we got to watch some amazing films. We got great hard sci-fi like Gravity, Arrival, Ex Machina. The coming of age genre saw entries like Ladybird, Eighth Grade and Booksmart. Animation reached new heights with films like Inside Out, Spider-Man into the Spiderverse, and Kubo and the Two Strings. We got comedies like…
Those were terrible movies and not hard sci-fi. Okay, maybe Arrival was watchable.
I am shocked he has to put his own money into this movie. It must be really off the wall for a studio to not invest in that. Studios are generally willing to raise money for movies by big name directors even if they haven't had a hit recently (see how Terrence Malick keeps getting to make big expensive movies, most with a-list stars despite not having had a commercial or widespread critical hit since the late-90s).
I recently watched The Godfather 1 and 2 for the first time as an adult and was floored by the two movies (really a single movie, broken into two parts). A complete tragedy executed to perfection. The full arc of the tragic downfall of a man, like something out of the Greek tragedies or Shakespeare. I then made the horrible mistake of watching Godfather 3, which basically seemed to have 90s romantic comedy vibe with…
I am shocked he has to put his own money into this movie. It must be really off the wall for a studio to not invest in that. Studios are generally willing to raise money for movies by big name directors even if they haven't had a hit recently (see how Terrence Malick keeps getting to make big expensive movies, most with a-list stars despite not having had a commercial or widespread critical hit since the late-90s).
Earlier quoted context omitted.
Eventually teenage kids will be making Star Wars at home. Or Star Wars meets Scarface. GPUs will surpass 2010's Pixar. This, coupled with real time motion capture and photogrammetry, will enable more creativity than ever before from more people than have ever been involved. A democratization that even Disney won't be able to counter. But to directly answer your question, the process of writing moves off the text edit…
> Eventually teenage kids will be making Star Wars at home. Perhaps, but the same was promised when camera and editing equipment became commodities. There are a few examples like the Blair Witch Project, or Tangerine, a great movie which was filmed with two iPhones. But in general successful movies are still expensively made by professional teams. The problem is: Even if the technical equipment is cheap, successful m…
But they don't and the creativity of the young, in many fields, is being wasted.
Earlier quoted context omitted.
Spielberg has said a few times that it is hard for him to raise money for projects. Other big names have said the same thing. Studios want superhero movies or reboots and nothing else.
Quoted post unavailable.
Superhero films have confused the ideas of what heroes and power are.
Earlier quoted context omitted.
> as more projects move to post production rendering pipelines I don't understand - what are they currently doing if not rendering in post-production?
I think OP means that more content will be the Mandolorian where all the backgrounds and sets are virtual, perhaps.
Cary Fukunaga.
Cary Fukunaga—extremely gifted, talented, beautiful artists, and you could take both those movies, and you and I could go and pull the same sequence out of both of them and put them together. The same sequence where the cars all crash into each other. They all have that stuff in it, and they almost have to have it, if they're going to justify their budget. And that's the good films, and the talented filmmakers.
It is interesting but when I watch Denis Villeneuve last films I really ignore all this genre thing because I'm so at awe of his execution. Similarly, when I first watched Tarkovsky's Solaris I quickly lost track of the plot but was drawn to the uniquely crafted cinematography and hypnotized by the deliberate manipulation of pace; at the end I was watching a movie by itself instead of contrasting it with my reading experience beforehand. The same could be said about the seamless implementation of Conrad's "Heart of Darkness" into the Vietnam setting of "Apocalypse Now"
[Arrival has imho a very noticeable weak plot, it is only when you read the short story "Story of your Life" that it fits nicely in. Nevertheless once you ignore that apparent flaw, it is a wonderful shot movie.]
The "marvelisation" has gone so absurd that here you are in 2019 after dozens of franchises watching "Joker" (in parallel with another Joker version at the backdrop of Ledgers last peformance) which subversively utilized the marketing ploy into tricking the audience watching a deeply disburting indie-film about the chasms of our society depicted in a masterfully balanced unstable character drawing by an actor using nearly his whole skill set.
Cervantes as a prisoner of his time quite successfully played with the readers expectations of "chivalry romance" (a popular franchise back then) to express himself artistically in a new way we now call a "novel". You laugh and cry at the same time when reading through the book, a comedy, tragedy, persiflage, psychoanlysis, slap-stick ... it really is a mess. Embrassing the mess is not something you can persuade "rational thinking" types in the movie industry making the decisions, so you trick 'em. Unfortunately nowadays you have to do a lot of lip-service. I don't know about Chloé Zhao but "The Rider" and "Nomadland" were great movies, I wonder what "Eternals" meant to her aside the recognition of entrusting her with a 200$ million budget.
Earlier quoted context omitted.
I don't think it's because he put his daughter in it. Godfather I & II is based on the Book written by Mario Puzzo. Godfather III is not based on the book. Think of it from the POV of - wow, I & II were quite successful so let's milk it and see if we can make money with another sequel.
>Godfather I & II is based on the Book written by Mario Puzzo. ever read the book? It's a dog.
It's worth reading to appreciate the many modifications that transformed it from a mediocre novel into a brilliant movie.