Interference Random Movie Talk III

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Watched The Untouchables tonight. Costner's horribly miscast and Connery, Garcia, and even the dude from Starman are friggin' awesome - De Niro's alright, really only shines in the baseball bat scene. Is it just me, or does anyone else feel like Morricone's score sounded completely out of place? I don't expect to hear a sax in a climactic chase scene on a roof.

And Planet Terror just kicks too much ass to mention. That may be the only time I've liked Rose McGowan on screen when she has dialogue, or clothes on.


I swear to NSWs, that if you ever talk bad about The Untouchables again, I will cut off your balls and push them down a steep flight of stairs in a pram.
 
All the old original Disney films were the best like Cinderella, 101 Dalmations, Snow White, Sleeping Beauty and more i can't remember them all right now. I haven't seen them though in probably 15 years or so.
 
I swear to NSWs, that if you ever talk bad about The Untouchables again, I will cut off your balls and push them down a steep flight of stairs in a pram.

That was a brilliant scene. I mean, don't get me wrong, I liked it, but it wasn't as great as I remembered. Plus, Costner's one of the lamest "leading men" in recent memory - his reaction to Connery's death (one of the most badass ones I've seen) was laughable at best.
 
Tarantino :yawn:

best days are behind him


most likely the best films we will be seeing in the future will be from names we don't even know
 
Yes MS, the director's cut of Kingdom of Heaven is a huge improvement, and a truly great film. I would stay away from the theatrical cut.

GAF, I agree with the Sleeping Beauty love. From an artistic perspective, the most impressive of the Disney canon.

Sorry I can't chime in on the modern Disney era love. I appreciated Beauty and the Beast, but Aladdin was just Robin Williams doing his schtick for 90 minutes, which does nothing for me. None of those new films to me are anywhere near what was done in the classics: Sleeping Beauty, Snow White, Pinocchio, Alice in Wonderland, Bambi, etc. All the songs don't help, either.
 
So, I've gotten my wife to start watching Lost and I am rewatching season 1 with her. We finished the season finale last night about 12:15. As it fades to black my wife (who NEVER swears) turns to me and says, "What in the fuck is in that hole."

Good times.
 
Yes MS, the director's cut of Kingdom of Heaven is a huge improvement, and a truly great film. I would stay away from the theatrical cut.

GAF, I agree with the Sleeping Beauty love. From an artistic perspective, the most impressive of the Disney canon.

Sorry I can't chime in on the modern Disney era love. I appreciated Beauty and the Beast, but Aladdin was just Robin Williams doing his schtick for 90 minutes, which does nothing for me. None of those new films to me are anywhere near what was done in the classics: Sleeping Beauty, Snow White, Pinocchio, Alice in Wonderland, Bambi, etc. All the songs don't help, either.

yoda.jpg

He's too old to begin the training.

But I'll have to catch Kingdom oF heaven DC sometime. I think Film4 show it here in the UK, just have to check the runtime when it comes on.

And I'm bloody annoyed if Inglorious Bastards being split into two films is true. Either release it as a three hour + epic (which I don't mind but the box office will) or get an editor who knows how to bitch slap QT down. Kill Bill and Death Proof needed some serious trimming / editing, just like the last three books JK Rowling wrote.
 
Quick question, what type of lens did De Palma use to keep the two actors at different depths in the same focus in The Untouchables? He did it with Connery and Costner in the church and when De Niro's watching the opera. Is it similar to the effect Welles uses in Citizen Kane inside of the log cabin?
 
I've been trying to figure out that effect for a long time. Not sure it's achievable with any one lens. Seems to be a Post trick personally, though I may be wrong. I haven't actually researched it yet.
 
I was thinking it's a Post-Prod trick as well, there's that blur between the two figures that you'd see in a normal Rack Focus, so it could very well be two cameras.

The zoom in the De Niro/Opera scene could indicate otherwise though.
 
So, wait, you guys actually know things about cameras and stuff?

Like technical jargon and what-not?

Wow. Get off your asses and go make a movie.

If I had any fucking clue what a "Post-Prod Rack Focus" was I would have won at least 4 Academy Awards by now.

I'm looking forward to the first LMP/Lance/Monkeyskin feature film.

What will be the title? What is your budget? I can help provide the actresses if, ya know, you guys are struggling to meet any females that want to be in your movie.
 
Is it wrong to me to have schadenfreude that The Love Guru has bombed? That thing looked like shit on a stick.
 
The whole part of the preview with the "guru" as a young kid, but it was just a kid with Mike Meyers' adult head photoshopped on the body? Creepiest shit ever. And woefully unfunny.
 
You silly Brit. That's not what we're talking about.

Well YLB mentioned the log cabin scene in Citizen Kane and the documentary on my DVD says that scene plus others was achieved by deep focus, as does the Wiki link.

But if I've totally failed here then I'd love to know what you are actually on about. :reject:
 
Well YLB mentioned the log cabin scene in Citizen Kane and the documentary on my DVD says that scene plus others was achieved by deep focus, as does the Wiki link.

But if I've totally failed here then I'd love to know what you are actually on about. :reject:

You know, reading the little bastard's original post again on it, he might actually be talking about deep focus, but I still think he's referring to the thing I'm talking about. Could be either thing, since he did mention the "blur between the two figures" or whatever.

I'm talking about a case where a single frame seems to be divided in half, vertically, by an apparent change in focus. For example, in the left half of the frame, a character in the background is in focus, while his foreground is out of focus. Then in the right half of the frame (the same shot mind you, at least it appears as such if it is in fact an editing trick) a character in the foreground appears in sharp focus, while his background (thus the left character's space) in out of focus. It's not a case of deep focus where all layers of the frame are in focus, it's as though two halves of the same shot are both in shallow focus, merely focused in different planes.

It's a particularly jarring effect because where the two halves of the frame meet, there's a strange uncanny vertical line where the focus shifts from one side to the next. There's a particular shot like this in Serpico where I first noticed this being done. Like I said, I assumed this was what YLB was talking about, though I don't remember the shot in question in The Untouchables to confirm it or not, though no, it's certainly not the same thing as Welles' cabin shot.
 
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