Interference Random Movie Talk III

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Inner El Guapo said:


I'll admit I sniffed some gold paint earlier and perhaps smoked a dog turd or some other excriment but to say the Abyss is better than Close Enounters....

Fucking Dreyfus is not in Abyss, dude. Look it up.

Dreyfus owns the screen, ask him, he'll tell you.

I suppose you think you know movies.

What's better Richard Dreyfus or a face full of Natalie Portman's box? Haha, exactly.

The joke is on you, raised from the dead.


I said The Abyss surpasses Close Encounters "in some ways". That doesn't mean I think it's a better film. My point is that in CE3K once you have first contact, we just have a spectacle that doesn't really portray the way a human communicates or engages with an alien entity. It was more about the obsession with the IDEA of something being out there. And Dreyfuss really is the only character that gets to go through the whole experience, whereas in The Abyss we see how different types of personalities react when they're presented with the possibility.

Visually, CE3K is much more iconic and awe-inspiring. It's a much more open film. It's epic. By comparison The Abyss is a bit more scaled-down (until the Director's Cut stuff at the end) and claustrophobic. That adds to its suspense, but it does become more of a stock thriller (done very well, of course).

What the fuck does Natalie Portman have to do with it?
 
lazarus said:

And I despise Cameron as well. The only films of his that I think are worthy of their reputations are the first Terminator, Aliens (which I think isn't even close to Ridley's original), and The Abyss.

Well, I suppose we can't agree on all things.
 
I guess it's also worth mentioning, that despite the claims of the original site that artwork was found on, that's likely not any real artwork from the finished film. I mean, it might be something produced by Fox specifically to simply have something to show for the film at this early state, but it's likely not genuine genuine. Even if just for the fact that the majority of fauna on Pandora is violet.
 
I'm just saying, Schwartzman's got a pretty big nose, and you think his sense of smell would be powerful. I'd like to ask him, "Strawberries, right?"
 
lazarus said:
I'm just saying, Schwartzman's got a pretty big nose, and you think his sense of smell would be powerful. I'd like to ask him, "Strawberries, right?"

I'm going to go ahead and construe this as an anti-semetic remark. In regards to Schwartzman, not Portman. To be clear.
 
Dalton said:



This cat might be retarded, but that is a classic line.

I might be an egg frying in a pan but I don't have Swayze's mug plastered over every post.

Gwen Stefani swinging a baseball bat>>>>>>>>>>>>>>>>>>>>>>>>>Road House

I win.
 
lazarus said:
I'm just saying, Schwartzman's got a pretty big nose, and you think his sense of smell would be powerful. I'd like to ask him, "Strawberries, right?"

Could his nose fit inside of Adrian Brody's nose?

And could we stuff Swayze's melon up there with room to spare?
 
lazarus said:
I think all 3 were in Lance's Mom at the same time.

That doesn't answer your question, but I thought you should know.

lazarus said:
I think all 3 were in Lance's Mom at the same time.

That doesn't answer your question, but I thought you should know.

lazarus said:
I think all 3 were in Lance's Mom at the same time.

That doesn't answer your question, but I thought you should know.
 
fagin.jpg



Just keep your ragtag band of street urchins away from my wallet.
 
I only have 4 ballots so far for the Movie Awards?!

Come on! All you gotta do is pick your winners, and email 'em to me!

http://forum.interference.com/t184373.html


4 days left! Be a part of history! You don't have to be one of those elitist assholes who tell inside jokes all day in Random Movie Talk to make your voice heard!

Lance's Mom says VOTE!
 
OK, turns out that artwork was just flat-out phony. Here's what Jim wrote to Harry The Hutt over at AICN regarding the artwork and the progress of the film.

Harry,
Good to hear from you.

This art is not from us. I don't know where it comes from. More overactive fan imaginations? It's not bad though.

Things are going well on Avatar, or at least as well as can be expected on such a ridiculously complex project. We've wrapped principal, and most of the live action portion of the movie is already cut. It's starting to look and sound like a movie. I'm ecstatic with the performances and the look. The cast chemistry worked out perfectly.

I'm in New Zealand right now, working on effects, while Steve Quale shoots some second unit. We've worked together a lot (he did the engine room scenes on "Titanic", plus co-directed "Aliens of the Deep" with me) and he's the only guy I trust to shoot stuff for me, especially in 3D. We still have a little performance capture work to do with Sam Worthington and Zoe Saldana in March, when we get her back from Star Trek (she's Uhura -- but of course you already knew that.) And we have a couple of days with Stephen Lang in April or May, to shoot his character's last scene, which is so technically difficult it will take us until then to figure out how to do it.

You can see how spread out the schedule is -- it's just the nature of this type of CG animation/live action hybrid. Most of my time now is spent editing, because on this type of film you edit every CG scene twice -- once to edit the raw performance capture, before it goes to virtual camera, and then again when you have the virtual camera shots, you do the final edit of the scene. It's very complex and taxing, but the result is amazing. The Weta animators are ON FIRE, and seeing the world and the creatures come to life is what keeps us going. There's a spirit on this film, an esprit de corps amongst the virtual team, that comes from knowing we're doing something absolutely groundbreaking. It's why people still have good morale after working on this thing for two years or more. And we still have more than a year and a half to go. I don't know if this will be a good film, great film, awful film, but I can say with absolute certainty that you will see stuff you've never imagined, and that the process of making this film will generate a lot of interest within the technical side of the biz. When I edit with some of our early stuff, "shot" using our virtual camera system over a year and half ago, it already looks laughably crude. Our process has evolved so much, just within the making of this one movie. Of course the final standard of photoreal animation will be consistent throughout the film, because it all gets rendered in a big frenzy next year.

It's all very exciting to be doing, and that (usually) compensates for the grind of the seven day weeks. Well, no rest for the weary. Gotta get to the cutting room. Back to Pandora.

Jim out
 
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