Disney will kill the cute animals at the end of the second reel
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- Mar 2008
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Originally posted by tee rex View PostRambo (first one) was on telly recently and I watched a bit (sorry), and Sly Stallone drives across a bridge and through a road block. Brian Dennehy's cops were useless, only one car in the block, easily smashed, and it occurred to me that they've got a lot bigger and more imposing in the 40 years since. A director nowadays would demand trucks and machine gun placements, the works, not just a few scattered hurdles from an athletics track. If you give the audience a low budget road block today, they'll laugh. Still useless against a hero on a mission, of course.
(See William Fichtner in Drive Angry)
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Originally posted by tee rex View PostRambo (first one) was on telly recently and I watched a bit (sorry), and Sly Stallone drives across a bridge and through a road block. Brian Dennehy's cops were useless, only one car in the block, easily smashed, and it occurred to me that they've got a lot bigger and more imposing in the 40 years since. A director nowadays would demand trucks and machine gun placements, the works, not just a few scattered hurdles from an athletics track. If you give the audience a low budget road block today, they'll laugh. Still useless against a hero on a mission, of course.
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Originally posted by Sits View PostWhen there has been an explosion and we cut to a conscious survivor, there will be complete silence* all bar a continuous high pitched tone. Always.
*Very muffled background sounds an option.
I realise this may be quite accurate, but it’s always the same.
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Originally posted by The Awesome Berbaslug!!! View Post
It's apparently completely 100% accurate. And since it's cheap as fuck, and is spectacular enough for TV, they just go with it. Everything else about explosions is either too expensive to replicate, or is too dull to show properly. You can see footage of real life explosions on tv. They look like a really strong sudden gust of wind. It doesn't look great so you get the exploding buildings that are filled with diesel. If an explosion lifts and throws you, you're likely already dead as the pressure wave that can throw you, is probably going to liquify your organs. It might knock you down, but the best description I've heard is that it's like bellyflopping really fucking hard.
Cool guys don't look at explosions.
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The depiction of the band’s behavior surrounding their Ed Sullivan Show appearance is equally baseless, he said. The only reason Morrison sang the word “higher” during Light My Fire – after he had been specifically instructed by the show’s producers not to – wasn’t to be defiant. It was because he was nervous to perform on TV, so he stuck to the script of the song to anchor himself, Krieger said. He added that it was flat-out false that the band were subsequently banned from the show, as the Doors movie had it. In his book, Krieger writes that Manzarek later embellished this part of the story even more than Oliver Stone did. “The way Ray told stories, I’m surprised his version didn’t end with us strutting in slow motion down Broadway while the CBS studios exploded in the background,” he wrote.
From the interview with Robbie krieger in the Guardian today.
https://www.theguardian.com/music/20...razy-jim-stuff
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A couple have cropped up recently:
You are making a film some time between 1985 and 2005, and it's a period drama. In particular, it's likely to be set in the US south (although a version of this could be set on a Belfast built boat in 1912), and possibly be slightly whimsical, and take place over a fairly extended period of time. But you can't quite work out how to draw the audience in. There's something slightly amiss, and you wander into a place where old people are - a barber's shop, or an old peoples' home, or outside a church, or possibly at a wedding. One particular old person starts talking to you, and you ignore them. Then slowly they draw you in to their tale, and with a gentle cross-fade there you are, some time between 1850 and 1940.... occasionally the past might fade out and the present will fade back up, to show how the story is changing you before you again get caught up in their narrative with another cross-fade.
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And, while watching the not-as-bad-as-it-might-have-been Conspiracy Theory with Mel Gibson and Julia Roberts yesterday, I was reminded of something that really bugs me:
You are a highly trained, brilliant assassin, possibly programmed by the deep state to be a secret operative who doesn't know they're a brilliant highly trained killer with unbelievable physical skills and an incredible ability to spot connections.
And yet, when you are in a bind that will result in your inevitable death, you escape not through using your incredible skills, but by an accident of timing where your wheelchair happens to careen out of control at exactly the right time to smash an incidental henchman to his doom.
The amount of luck in action film action-sequences riles me up. As do incidental henchman, of course. Nobody ever explains why goons are willing to go to their deaths for drug lords, mafia kingpins, or secretive deep state agencies, willing to charge into a sea of bullets even though ten earlier henchdudes are already very dead. You would think that as a shitty mercenary you'd not even have the "king and country" compunction to go over the top and walk into the machine gun emplacements. You'd be totally cynical about the whole process, making sure you got your cash at as little risk to yourself as possible.
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Originally posted by San Bernardhinault View Post. Nobody ever explains why goons are willing to go to their deaths for drug lords, mafia kingpins, or secretive deep state agencies, willing to charge into a sea of bullets even though ten earlier henchdudes are already very dead. You would think that as a shitty mercenary you'd not even have the "king and country" compunction to go over the top and walk into the machine gun emplacements. You'd be totally cynical about the whole process, making sure you got your cash at as little risk to yourself as possible.
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Originally posted by San Bernardhinault View PostA couple have cropped up recently:
You are making a film some time between 1985 and 2005, and it's a period drama. In particular, it's likely to be set in the US south (although a version of this could be set on a Belfast built boat in 1912), and possibly be slightly whimsical, and take place over a fairly extended period of time. But you can't quite work out how to draw the audience in. There's something slightly amiss, and you wander into a place where old people are - a barber's shop, or an old peoples' home, or outside a church, or possibly at a wedding. One particular old person starts talking to you, and you ignore them. Then slowly they draw you in to their tale, and with a gentle cross-fade there you are, some time between 1850 and 1940.... occasionally the past might fade out and the present will fade back up, to show how the story is changing you before you again get caught up in their narrative with another cross-fade.
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Originally posted by Patrick Thistle View PostSurprise Parties - an opportunity for the person on the receiving end to either lash out about how awful all their friends are, or reveal some shameful event or desire, only for everyone to leap out from behind furniture to yell SURPRISE!! Or sometimes to half-heartedly SURpri...se.
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A slight twist being that one half of the couple go to the other’s place to apologise/make up. The other opens the door a crack, perhaps slightly dishevelled.
“Oh hi”
”Can I come in? I want to apologise”
“Oh, errrm..”
”Oh, you’re not alone. No no, it’s fine.”
Cue sad walk away.
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I thought this was going to go into them conversing thus
”I have something I really need to tell you” that would fix everything
at the same time the other says “I have something to tell you” that is going to blow up the relationship
”Oh! You first.”
”No, you first”
Er…
then it’s the one who blows everything up who speaks.
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Originally posted by Sits View PostA slight twist being that one half of the couple go to the other’s place to apologise/make up. The other opens the door a crack, perhaps slightly dishevelled.
“Oh hi”
”Can I come in? I want to apologise”
“Oh, errrm..”
”Oh, you’re not alone. No no, it’s fine.”
Cue sad walk away.
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I notice this one more and more. It's almost a device now. The question you couldn't possibly understand:
"How do you do it?"
"Do what?"
"Treat people like they're just steps on your way to. etc etc etc"
Now that I've written it out, I realize that the question is always "How do you do it?" It's the new "You just don't get it, do you?"
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