Pretty good stuff as usual. You guys just got a steadicam? Like a blackbird. With a rebel t3i or t4i or something? Really nice how far you are able to stretch it. Sometimes your coloring is a little extreme, but that's probably due to the variety of color temps you're dealing with.
Shouldn't wizards be paying you for this stuff by now?
I think there are a lot of character driven, deep movies with sophisticated plots that are thought provoking and unique. You just have to be near an art house or independent theater to see them.
What I actually think is missing are funny comedies or fun action movies from the independent side that are easily enjoyable but smart. You can find a lot of soul-crushing but poignant independent / art films at neat theaters, but you often have to go to mainstream for funny stuff.
Ugh, I just finished watching this and it was really exhausting. Do they really have to sing everything? I came into this movie with only a passing knowledge of Les Miserables, having seen bits and pieces of it on TV, so I wasn't certain what to expect. The constant singing was just too much for me and begin to wear me down. It doesn't help that the two best dramatic songs happen in the beginning of the film (Jackman in the church and Hathaway after she's lost her pride).
Also
Why did Jean Val Jean(?) die at the end? It was just like, eh, seems like a good time to die, why not.
Lincoln seems posed as the front runner which I support. I'm still trying to catch Zero Dark Thirty. I'll probably be irritated after I see it, clamoring that Kathryn Bigelow should have got the nod. I haven't seen Argo either, so hopefully, there'll be a release of it in some fashion before the oscars.
I'm not surprised The Master didn't get more love, because it's a fairly difficult / artsy movie that doesn't end in an uplifting fashion. I enjoyed Moonrise Kingdom definitely, but I could see why it wouldn't get nominated due to all the Wes Anderson whimsy imbued throughout the film.
Silver Linings Playbook and Les Miserables are both films that I feel round out the Oscar noms. SLP is more or less a good romantic comedy with some decent edge, and the Academy loves a musical thats done halfway right and not utterly horrible.
I'm trying to watch the Best Picture Nominees before the Oscars. I've got four of them: Lincoln, Beasts of The Southern Wild, Silver Linings Playbook and Django Unchained. So I've got to watch Les Miserables, Argo, Amour, Zero Dark Thirty and Life of Pi. I don't even know when Amour was released though.
Just had to make sure Almodovar got some love. I'm a big fan of him too, although I think his market is really females. But his characters seem really transcendent (and transgender most of the time), so I would recommend them to anyone really. Each of his characters are branded by what they do, but almodovar almost always shows them as more than that. And his cinematography is so vibrant and lush.
Batman Begins had this one issue that always sort of got to me.
After the fear gas (which was supposed to drive people insane) was dispersed over the poor part of Gotham, they had Batman duke it out with a couple of dudes, but otherwise they just sort of dropped it.
He's goes off to take care of Ra's Al Ghul, but leaves the ghetto (?) only with the haunting image of the Bat flying over them.
Was that supposed to take care of the problem? There was an antidote, but they stated mass production wasn't possible in a reasonable amount of time.
As far as ranking them goes, obv Dark Knight first, and Begins and Rises sort of duke it out for the 2nd place.
Begins was sort of a letdown honestly, because I thought it would have more of a Year One gritty kind of feel with Bruce getting messed up and less hi-tech stuff.
Rises had a better overall feel, more serious and dark, but just had a lot of story issues (multiple time passes in the story from the 8 years in the beginning to the months of Gotham under siege).
The Talia twist was totally detrimental to the story (as has been mentioned). The idea of the child born from darkness who rose up, gave Batman a goal that would put him on a level playing field with Bane.
Honestly, Begins might just beat out Rises, because it's shorter. I don't know how many modern movies today could benefit from some tighter editing, and Nolan's movies are a definite culprit.
Sorry, but I own a couple of his films (discount bin DVD), and I've tried to watch a few of his films on TV, and I just can't get past the first 20 minutes of sheer boredom.
Is there any way I can approach his films that's going to work for me?
I really thought maybe I had sat through a film or two at some point, but looking over all of them I realized that I had aborted watching 4 of his films.
Does anybody like Terence Malick? Anybody else find him BORING and TERRIBLE?
Well, I viewed Tree of Life, and honestly, the opening sequence is very trying to get through. I would say if I had to recommend it to someone that they should either come at it with a very open and inquisitive mind, or skip to the part about the family in the 50's.
Tree of Life seems to be a very spiritual film, so if you're in that sort of mindset, I think it could do wonders for you. I don't think you need faith exactly, but a willingness to explore the ideas the film presents.
If you are going to try and watch it again, give your full attention to it and come at it with as open of a mind as you can muster. If it starts getting really boring or frustrating, skip to the 1950's family footage, there's a lot there to digest that I found pretty interesting.
Going for an unsolicited kiss without being on a date with her can go very badly, especially for somebody who is already admitting here he can't read her signals. Seriously, wtf?
Ask her out and if she says yes, and you go out, then you can kiss her... But dudes at work putting the "kiss-test" in girls to figure out if the girl likes them? That can get you fired, and should. Ewwww. Just ewwww.
Do... Not... Want...
They seem to be hanging out on non-work occasions a couple of times already. If they hang out, non work-related, I don't see a reason why if he feels that a moment is being shared that he shouldn't try and kiss her.
Actually, they don't really even work together, just study the same field, so there shouldn't be any office mojo as far as I can tell. They seem to be hanging out with each other solely for that reason with a vague pretense of anime and psychology.
But in the end, I've gotta stress the importance of being able to try and read somebody's signals, feeding off of it and going from there. He may be spinning the tale, but from what I see, she seems to be into him, just not willing to verbalize it. People (guys and girls) don't volunteer that information, they play at it lest they seem too needy or desperate.
I sort of wonder if that's why she shut him down in the first place, because he already played his hand when he said he liked her and if she was down, it would be like instant relationship. She's not sure if she's down for that yet, so she's like, let's slow it down, get to know each other.
So I say, keep hanging out with her, see if those moments of physical closeness happen (playful touching, sharing of personal space) or if she tends to recoil from them. And if she doesn't seem into you physically, then she's probably not into you romantically. If she doesn't mind being close to you, then there's a big chance that she's interested and all you really need is the right moment.
You guys really think that attempting contact with someone is a bad way to learn if she is receptive to contact from you. Wow.
What I meant was, please continue to have people give you a myriad of ways to interpret YOUR description of her actions and comments, notice that people are saying two polar opposite things, realize you havent learned anything, and hopefully come to the conclusion that the only way to find out is to TRY.
As long as you are both mature individuals about it, if you try to kiss her and she isnt receptive, you both get over it quickly and move on and things go back to how they were very quickly, no loss, and only a gain of either the information you are looking for, or the outcome you are looking for.
You people seems to want to make this so much more difficult and complicated than it is.
I, more or less, agree with you Doodle. When you hang out with her, see if she's receptive to being physically close. Try to read those signals to see if she likes you in that way, but if she's constantly batting you away or shutting you down, then she's probably not into you.
And if you don't think you can read those signals or if you can't figure which way she's leaning, go for a kiss (in a respectable manner). No one will think you're a jerk or an *******, you're just a dude that likes a girl. Nothing wrong with that.
isn't it all in the physicality? I mean, mentally you could be simpatico, but she has to physically want you if romance is gonna happen. She could eventually develop romantic feelings for a partner if they share the same likes and all that and he's nice and he's stuck by her, but that's something that would have to brew for a while.
Hair touching is a big sign, consistent eye contact is a big sign, playful touching, decreasing personal space, all that stuff. Laying her head on your shoulder. Stuff like that. If she doesn't mind being up in your grill, it's good times.
My advice, if she is giving you those signs and you find yourself in a situation where there's an awkward pause and you're really close, gently bring her in for a kiss. If she begins to seem uncomfortable or says no, then stop, leave it alone.
Per Wayne's World:
Garth Algar: Uhm, Wayne? What do you do if every time you see this one incredible woman, you think you're gonna hurl?
Wayne Campbell: I say hurl. If you blow chunks and she comes back, she's yours. But if you spew and she bolts, then it was never meant to be.
Expect replace all instances of vomit with kiss her.
Easy peasy, lemon squeezy. Get CELTX, it's free and it'll auto format the script for you more or less. Type celtx into a browser and just download the thing.
Nix the camera direction. Scripts usually don't dictate that, it's done only by insinuation. What the camera focuses on is determined by what you choose to acknowledge, so when you mention a clock hitting 12, the Director of Photography (DP) should know there would be a closeup of a clock hitting 12.
This:
ROBBERS QUICKLY RUNNING OUT OF THE BUILDING, FOCUS SET ON SEWARD'S DEAD BODY.
Should be:
Seward lies in a pool of his own blood, dying, as the robbers rush out of the building.
This:
CLOSE UP OF THE EMERALD IN ROBBER #2'S HANDS.
Should be:
The emerald glitters in ROBBER #2's hand.
The same goes for the cuts you have, because you're not actually cutting to a different scene, it's a little like a montage. It probably can be broken up like so:
SEWARD, a 30 year old English criminal, sits at a table with a glass of wine, anxiously waiting for someone. Flicking his wrist. He looks annoyed, angry
SEWARD's analog watch, hands located at five minutes before 2 O'clock.
SEWARD looking up from his watch, and strokes his fingers through his hair. Taking a sip of his wine, he glances at the door as he hears it swing open.
And I know it's sort of hard, but try not to say they look (emotion). Give the character an action that demonstrates that emotion. These are action lines.
Also the scene should be formatted as such:
(INT/EXT) PLACE - DAY/NIGHT
So this:
INT. RESTAURANT TABLE, SEWARD SEATED ALONE.
Should be:
INT. RESTAURANT - DAY
Other sorts of issues:
Is Seward in or out of the restaurant, because you have him outside in the foreground, but in the next sequence, he's in the restaurant at a table.
There needs to be more connection with the emerald and Seward. The emerald should be some facet of Seward's character, and how he ultimately deals with the emerald should signify a change within himself.
I dig the script in general, but it needs a little refining. However, get it refined well enough, and maybe you can shoot it one day, and that'd be pretty cool, right?
I'm looking to get a smartphone after losing my iphone 3gs last year. Iphone 4s didn't seem to be much of an upgrade from the 4 and I was considering trying out the S2. However I have an Imac that I'll be working with for awhile. I have serious doubts about the connectivity between the S2 and the Imac. Most of my music, podcasts, and apps are on itunes, although the apps aren't a big concern.
Now I know there are PC and Mac fans, but it seems to me that any advantages the Galaxy S2 may have, are voided by the sheer connectivity that the 4s would provide with my Mac. But the Galaxy S2 is 100 bucks cheaper and has a 10.00 cheaper monthly plan (it seems), this is just going off a cursory glance on AT & T.
The iphone also seems to have better camera optics which can be relevant because I work in film.
To sum up
Iphone 4s
- better connectivity
- better camera
- familiar operating system, easier to use
Galaxy S2
- cheaper
- better overall specs
- different operating system, may be fun to explore
I searched this sort of query on google and it seemed somewhat fruitless, since people are just comparing phones with no clear winner. So I was hoping someone would be so kind to give me an idea of the pros and cons of a mac user going android and whether it was worth it.
Shouldn't wizards be paying you for this stuff by now?
Zero Dark Thirty
Amour
Robot & Frank (a smidge iffy)
Celeste & Jesse Forever (a smidge iffy)
Killer Joe
Bernie
The Master
Looper
Seven Psychopaths
All pretty good movies in my opinion and all released in the year 2012.
What I actually think is missing are funny comedies or fun action movies from the independent side that are easily enjoyable but smart. You can find a lot of soul-crushing but poignant independent / art films at neat theaters, but you often have to go to mainstream for funny stuff.
Also
Why did Jean Val Jean(?) die at the end? It was just like, eh, seems like a good time to die, why not.
I'm not surprised The Master didn't get more love, because it's a fairly difficult / artsy movie that doesn't end in an uplifting fashion. I enjoyed Moonrise Kingdom definitely, but I could see why it wouldn't get nominated due to all the Wes Anderson whimsy imbued throughout the film.
Silver Linings Playbook and Les Miserables are both films that I feel round out the Oscar noms. SLP is more or less a good romantic comedy with some decent edge, and the Academy loves a musical thats done halfway right and not utterly horrible.
I'm trying to watch the Best Picture Nominees before the Oscars. I've got four of them: Lincoln, Beasts of The Southern Wild, Silver Linings Playbook and Django Unchained. So I've got to watch Les Miserables, Argo, Amour, Zero Dark Thirty and Life of Pi. I don't even know when Amour was released though.
After the fear gas (which was supposed to drive people insane) was dispersed over the poor part of Gotham, they had Batman duke it out with a couple of dudes, but otherwise they just sort of dropped it.
He's goes off to take care of Ra's Al Ghul, but leaves the ghetto (?) only with the haunting image of the Bat flying over them.
Was that supposed to take care of the problem? There was an antidote, but they stated mass production wasn't possible in a reasonable amount of time.
As far as ranking them goes, obv Dark Knight first, and Begins and Rises sort of duke it out for the 2nd place.
Begins was sort of a letdown honestly, because I thought it would have more of a Year One gritty kind of feel with Bruce getting messed up and less hi-tech stuff.
Rises had a better overall feel, more serious and dark, but just had a lot of story issues (multiple time passes in the story from the 8 years in the beginning to the months of Gotham under siege).
The Talia twist was totally detrimental to the story (as has been mentioned). The idea of the child born from darkness who rose up, gave Batman a goal that would put him on a level playing field with Bane.
Honestly, Begins might just beat out Rises, because it's shorter. I don't know how many modern movies today could benefit from some tighter editing, and Nolan's movies are a definite culprit.
Well, I viewed Tree of Life, and honestly, the opening sequence is very trying to get through. I would say if I had to recommend it to someone that they should either come at it with a very open and inquisitive mind, or skip to the part about the family in the 50's.
Tree of Life seems to be a very spiritual film, so if you're in that sort of mindset, I think it could do wonders for you. I don't think you need faith exactly, but a willingness to explore the ideas the film presents.
If you are going to try and watch it again, give your full attention to it and come at it with as open of a mind as you can muster. If it starts getting really boring or frustrating, skip to the 1950's family footage, there's a lot there to digest that I found pretty interesting.
They seem to be hanging out on non-work occasions a couple of times already. If they hang out, non work-related, I don't see a reason why if he feels that a moment is being shared that he shouldn't try and kiss her.
Actually, they don't really even work together, just study the same field, so there shouldn't be any office mojo as far as I can tell. They seem to be hanging out with each other solely for that reason with a vague pretense of anime and psychology.
But in the end, I've gotta stress the importance of being able to try and read somebody's signals, feeding off of it and going from there. He may be spinning the tale, but from what I see, she seems to be into him, just not willing to verbalize it. People (guys and girls) don't volunteer that information, they play at it lest they seem too needy or desperate.
I sort of wonder if that's why she shut him down in the first place, because he already played his hand when he said he liked her and if she was down, it would be like instant relationship. She's not sure if she's down for that yet, so she's like, let's slow it down, get to know each other.
So I say, keep hanging out with her, see if those moments of physical closeness happen (playful touching, sharing of personal space) or if she tends to recoil from them. And if she doesn't seem into you physically, then she's probably not into you romantically. If she doesn't mind being close to you, then there's a big chance that she's interested and all you really need is the right moment.
I, more or less, agree with you Doodle. When you hang out with her, see if she's receptive to being physically close. Try to read those signals to see if she likes you in that way, but if she's constantly batting you away or shutting you down, then she's probably not into you.
And if you don't think you can read those signals or if you can't figure which way she's leaning, go for a kiss (in a respectable manner). No one will think you're a jerk or an *******, you're just a dude that likes a girl. Nothing wrong with that.
Hair touching is a big sign, consistent eye contact is a big sign, playful touching, decreasing personal space, all that stuff. Laying her head on your shoulder. Stuff like that. If she doesn't mind being up in your grill, it's good times.
My advice, if she is giving you those signs and you find yourself in a situation where there's an awkward pause and you're really close, gently bring her in for a kiss. If she begins to seem uncomfortable or says no, then stop, leave it alone.
Per Wayne's World:
Garth Algar: Uhm, Wayne? What do you do if every time you see this one incredible woman, you think you're gonna hurl?
Wayne Campbell: I say hurl. If you blow chunks and she comes back, she's yours. But if you spew and she bolts, then it was never meant to be.
Expect replace all instances of vomit with kiss her.
Nix the camera direction. Scripts usually don't dictate that, it's done only by insinuation. What the camera focuses on is determined by what you choose to acknowledge, so when you mention a clock hitting 12, the Director of Photography (DP) should know there would be a closeup of a clock hitting 12.
This:
ROBBERS QUICKLY RUNNING OUT OF THE BUILDING, FOCUS SET ON SEWARD'S DEAD BODY.
Should be:
Seward lies in a pool of his own blood, dying, as the robbers rush out of the building.
This:
CLOSE UP OF THE EMERALD IN ROBBER #2'S HANDS.
Should be:
The emerald glitters in ROBBER #2's hand.
The same goes for the cuts you have, because you're not actually cutting to a different scene, it's a little like a montage. It probably can be broken up like so:
SEWARD, a 30 year old English criminal, sits at a table with a glass of wine, anxiously waiting for someone. Flicking his wrist. He looks annoyed, angry
SEWARD's analog watch, hands located at five minutes before 2 O'clock.
SEWARD looking up from his watch, and strokes his fingers through his hair. Taking a sip of his wine, he glances at the door as he hears it swing open.
And I know it's sort of hard, but try not to say they look (emotion). Give the character an action that demonstrates that emotion. These are action lines.
Also the scene should be formatted as such:
(INT/EXT) PLACE - DAY/NIGHT
So this:
INT. RESTAURANT TABLE, SEWARD SEATED ALONE.
Should be:
INT. RESTAURANT - DAY
Other sorts of issues:
Is Seward in or out of the restaurant, because you have him outside in the foreground, but in the next sequence, he's in the restaurant at a table.
There needs to be more connection with the emerald and Seward. The emerald should be some facet of Seward's character, and how he ultimately deals with the emerald should signify a change within himself.
I dig the script in general, but it needs a little refining. However, get it refined well enough, and maybe you can shoot it one day, and that'd be pretty cool, right?
I mean his movies have deeper meanings than the outlandish premises they are based on.
I feel like he's a combo between Todd Solondz and Mike Judge.
Now I know there are PC and Mac fans, but it seems to me that any advantages the Galaxy S2 may have, are voided by the sheer connectivity that the 4s would provide with my Mac. But the Galaxy S2 is 100 bucks cheaper and has a 10.00 cheaper monthly plan (it seems), this is just going off a cursory glance on AT & T.
The iphone also seems to have better camera optics which can be relevant because I work in film.
To sum up
Iphone 4s
- better connectivity
- better camera
- familiar operating system, easier to use
Galaxy S2
- cheaper
- better overall specs
- different operating system, may be fun to explore
I searched this sort of query on google and it seemed somewhat fruitless, since people are just comparing phones with no clear winner. So I was hoping someone would be so kind to give me an idea of the pros and cons of a mac user going android and whether it was worth it.