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Author Topic: The MTSURMT (Microblogging/Tweeting/Status Update/Random Musings Thread)  (Read 56788 times)
Groggy
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« Reply #120 on: October 20, 2012, 08:46:35 PM »

It ended up he was actually complaining about being transferred away from his current prison, hence away from gasman. I guess being a lifer means he's got nothing better to do than frivolous lawsuits.

I researched the gentleman in question - a piece of work, to say the least. He shot two people on two separate nights with a hunting rifle from his apartment window. He maintains these were both accidents - I guess the victims just walked into the line of fire? Between that and his endless lawsuits it's hard to see why his parole applications have been turned down for going on 15 years. Cheesy

« Last Edit: October 20, 2012, 08:52:07 PM by Groggy » Logged


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« Reply #121 on: October 21, 2012, 07:41:52 PM »

Does anyone know where I can get a dvd of Antoine and Colette that has English subtitles? It's a film short made for the compilation  Love at Twenty directed by Truffaut, with Jean-Pierre Leaud in one of his many roles in the Antione Doinel character.


I've seen this short show up on various discs, but I have seen some user comments indicate that on certain versions this film had no English subtitles, so I am wondering if anyone knows of any version of this film that definitely has English subtitles.

Thanks  Smiley
The Criterion version has English subtitles.

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« Reply #122 on: October 21, 2012, 11:08:25 PM »

We've had lots of discussions in the past about whether grain should be preserved or eliminated in movies. Well on the Film Foundation's website, there is a section where board members ask questions of Scorsese http://www.film-foundation.org/common/11004/askTheDirector.cfm?clientID=11004&sid=6
 and I was pleased to see someone asked him about that. I enjoyed reading the answer, so I will reprint it here



QUESTION:  WITH DIGITAL RESTORATION, IT’S BECOME EASIER TO CREATE A SMOOTHER, MORE UNIFORM IMAGE, AND TO ELIMINATE GRAIN. HOW DO YOU FEEL ABOUT THIS?



MARTIN SCORSESE: This subject came up the night I was at LACMA, in a public conversation with Michael Govan – this was a couple of months ago.

I brought up the example of The Adventures of Robin Hood, one of the first 3-strip Technicolor movies, made in 1938 at Warner Brothers and shot by Tony Gaudio and Sol Polito. It’s a beautiful picture, incredibly vivid color, and they recently released it on Blu-Ray, which means that they restored it and made a Hi-Def master.

I was struck by the Blu-Ray, the sheer beauty of it. At this point, with digital restoration techniques, it really is possible to recreate the old Technicolor look, the color values in particular, or at least to come so close that you have to have an extremely well-trained eye to see the difference. For a while, in the 90s, you were seeing restorations that looked very handsome but maybe a little too modern. Now, I think we’ve taken a step forward.

But there was something else I noticed, which was the absence, or minimizing, of grain. Now, as I said at LACMA, I happen to like grain, the play of it in the image, the flux. That’s because I grew up with it, I’m used to it. Many of us feel that way, those of us who were born before, say, 1970.

But then, I ask myself: if Gaudio and Polito had had access to the kind of technology we have today, would they have eliminated some of the grain from the image? In all probability, I have to admit that yes, they probably would. So, the question seems to be: which way do you do? Do you conform to the realities of film stock and do your best to recreate them, or do you look at it creatively and think, “What would this movie look like on an ideal level, if the people who made it had access to machinery that would have given them more control over the image?”

Honestly, I don’t know the answer. But I think it’s important to realize that choices have to be made, at every level and all the time, and no matter what the final result is, it will never be definitive. Look at what William Friedkin just did with The French Connection. In that case, the image looks almost grainier, and the look reminds some people of Super 8. In a way, it’s a different movie. Now in that case, the director was the one making the choices.

There is no definitive answer. But whenever a picture is restored, from whatever era, choices have to be made. They need to be made responsibly, with a great deal of sensitivity, and they have to be made with what the technicians and supervisors perceive as the spirit of the picture itself.

« Last Edit: October 27, 2012, 07:52:02 PM by drinkanddestroy » Logged

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« Reply #123 on: October 27, 2012, 07:52:38 PM »

Here is a fun little story for anyone who is a student of baseball history http://newyork.yankees.mlb.com/news/article.jsp?ymd=20121026&content_id=40067894&vkey=news_nyy&c_id=nyy

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« Reply #124 on: November 30, 2012, 02:30:45 AM »

I just discovered this great 5-minute video interview clip of William Friedkin discussing the car chase in The French Connection  Take a look, you WON'T regret it!      http://www.youtube.com/watch?v=YoPI0MRAVB4

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« Reply #125 on: December 05, 2012, 08:10:43 PM »

Quentin Tarantino was honored at MoMA. From Page A26 in the 12/5/12 Wall Street Journal
http://online.wsj.com/article/SB10001424127887323901604578159522151701876.html (if you want to see the original article, you can click this link, though you will probably be blocked by the subscriber wall; rather, you can just search for the article in Google [eg. by typing the title into the Google search box] and then you can usually click on the Google result and the subscriber wall won't block it. Anyway, I will cut and paste it here)


"MASTER TRIBUTE AT MoMA," by DON STEINBERG

In the movies he writes and directs, Quentin Tarantino has been paying tribute to his cinematic role models for 20 years, borrowing bits and pieces from his favorite films and cooking them up into thrilling new tales of revenge and comeuppance. On Monday night at the Museum of Modern Art, everyone settled the score with Mr. Tarantino by paying tribute to him.

"I would say he is the single most influential filmmaker of his generation," said Peter Bogdanovich, one of the co-chairmen of the MoMA dinner party, which attracted tables full of movie stars and VIPs (Jamie Foxx, Katie Holmes, Harvey Keitel, Chelsea Clinton) and raised around $1 million for the museum's film programs. Mr. Bogdanovich said in a predinner speech that years ago he was surprised to see himself thanked in the credits of Mr. Tarantino's 1997 film "Jackie Brown." Mr. Tarantino had explained by admitting the movie was influenced by Mr. Bogdanovich's caper comedy "They All Laughed."

"I frankly saw no connection," Mr. Bogdanovich joked.

The Weinstein Co. has begun screening Mr. Tarantino's latest, "Django Unchained" for critics and Oscar voters, ahead of its Christmas Day release. It's classic Tarantino: violent, profane, witty and sentimental, smashing together tropes from spaghetti westerns and blaxploitation films, attacking a tough topic (slavery in America) in a smart and grisly way (double-barrel shotguns can make a bloody mess).

"I think it's his best film. And his funniest," said Harvey Weinstein. "But don't ask me. I'm biased."

"Once again it shows the master has no boundaries," said RZA, the rapper from Wu Tang Clan, who learned filmmaking from Mr. Tarantino while helping with the music for "Kill Bill."

It really has been 20 years since Mr. Tarantino's first feature film, "Reservoir Dogs," wowed audiences with its razor-sharp dialogue and disgusting ear-cutting-off scene. Steve Buscemi, at the gala with his wife, Jo Andres, famously portrayed "Mr. Pink" in that violent debut. "Even then we knew he was something special," Mr. Buscemi said. "But to think that 20 years later he would be honored at the Museum of Modern Art, I don't think any of us could have imagined it."

Diane Kruger, the stunning blonde star of "Inglourious Basterds," praised the way Mr. Tarantino has created strong roles for women, letting his leading ladies kick butt.

"I wanted to be in this one!" she said about "Django" after dinner. "I would have given my right arm." ("Django Unchained" really has no role for a Caucasian lead actress; Amber Tamblyn appears in the film for about 10 seconds.)

Mr. Tarantino thanked his friends and said the night made him flash back to his first visit to New York two decades ago, an informal casting-call trip for "Reservoir Dogs" that Mr. Keitel paid for.

"Being in New York for the first time and having Harvey Keitel show you around is a little bit like going to Texas and having John Wayne show you around," he said.

After dinner, RZA took to the ballroom stage to play some lovely piano and lead a six-piece ensemble in a medley of music from Mr. Tarantino's films. The set included "Jungle Boogie"; "Son of a Preacher Man"; and "Don't Let Me Be Misunderstood" (the hand-clapping disco/flamenco version from the final swordfight in "Kill Bill Vol. 1"). RZA ended the set with a hard-core rap number, "Wu-Tang Clan Ain't Nuttin Ta F— Wit," which didn't seem immediately appropriate to the venue, but did give the evening the R-rating that any wholehearted tribute to Quentin Tarantino really needs to have.

« Last Edit: December 05, 2012, 08:12:49 PM by drinkanddestroy » Logged

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« Reply #126 on: December 06, 2012, 06:42:28 AM »

Tarantino should have told Bogdanovich to shove it.  Azn

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« Reply #127 on: December 08, 2012, 07:05:14 PM »

Rhonda Fleming has an email address where fans can write to her and she responds (through an assistant) email@rhondafleming.com. I asked her about who her favorite director was, what she thinks of today's cinema, and whether there was any adverse reaction to "Slightly Scarlet," which seems to me to be quite salacious for the mid 50's. Her response:

In answer to your question regarding the state of Hollywood films today – Ms. Fleming has said that yes, the classic films from her era are very different from those of today - she rarely goes to the theatre but does enjoy tuning in to Turner Classic Movies and the American Movie Channel and watching so many of the beautiful films they continue to broadcast – also introducing the films from her day to new audiences, thankfully.  And as far as ‘Slightly Scarlet’ she doesn’t recall any adverse comments at the time – but it was a good film and she continues to receive many wonderful emails from the fans … her favorite director would have to Alfred Hitchcock whom she worked with in ‘Spellbound’ -  and it would seem these many years later, he’s still a person of great interest with the latest film about him soon to be released.

« Last Edit: March 10, 2014, 08:26:02 PM by drinkanddestroy » Logged

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« Reply #128 on: January 03, 2013, 03:20:48 AM »

"Who's on First?": The sequel with Jimmy Fallon, Billy Crystal, and Jerry Seinfeld http://www.youtube.com/watch?v=K0Jg7pvVzKk

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« Reply #129 on: February 03, 2013, 08:14:02 PM »

anyone watching the Super Bowl?

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« Reply #130 on: February 04, 2013, 06:18:12 AM »

I did.

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« Reply #131 on: February 04, 2013, 08:04:44 AM »

Very good game. I thought Baltimore was crazy trying to fake that field goal on 4th and NINE, but hey, I guess it all worked out for them,

I have no problem with the lack of pass interference call on the final play; they were both tangled up, if anything, you coulda called penalties on both.

I don't pay any attention to the hours and days of nonsensical crap going on around the game; I just wanna see football. So I turn on the tv a minute before kickoff, shut it off as soon as first half is over, and ditto for second half. No silly pregame or half time entertainment for me. (During that time, of course, I was watching TCM!)

So for me, it's all about game, and of course, the unavoidable

The commercials were some of the most disappointing in years.

(I should point out that it's possible I missed a commercial or two; even with my dvr, I don't pay all that much attention to every commercial; and I skipped all the way over the long delay during the power outtages. So the point is, I didn't see every single second (ie/ $100,000?) of every commercial, but I saw a fair amount, and from what I saw:

The Go Daddy commercials were very funny, especially the one with Bar Refaeli kissing the geek; also the one with Danica Patrick as the pilot.
 Oprah was voice-over for a tear-jerker military "till our boys come home" - themed ad for Jeep - USO.
I also remember laughing pretty hard through another one but forgot what company it was for

Overall, I could easily count the good commercials on one hand

Nothing new from Geico -- heck, nothing at all from Geico  Cry . No new e-trade baby  Cry

seemed to me to be a disappointing year for the commercials, but most important of all, the Super Bowl is about a football game, and this was a good one

« Last Edit: February 04, 2013, 06:48:04 PM by drinkanddestroy » Logged

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« Reply #132 on: February 04, 2013, 08:29:58 AM »

There was a new e-Trade baby. And you thought the Go Daddy ads were funny? No wonder comedy's not your thing.

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« Reply #133 on: February 04, 2013, 06:52:35 PM »

There was a new e-Trade baby. And you thought the Go Daddy ads were funny? No wonder comedy's not your thing.

was the e-Trade one during the blackout? I skipped over the whole blackout (I dvr's it, was about half hour behind, so whne the blackout hit, that was a perfect opportunity for me to skip ahead). I am a HUGE fan of the e-Trade baby commericals.

yes, I thought the commercial with Bar Refaeli kissing the geek was hilarious. The one with Danica Patrick as the pilot, with all the different people having the same invention, was ok (but one of the better ones in a year of generally awful ads).

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« Reply #134 on: February 17, 2013, 11:35:26 AM »

AAAAAAAAAAAAAAAAAAAAAAAAAAAH.

For my latest short, we have rewritten a whole dialogue scene AFTER the shooting. Leone style. We did it to clarify some points about the story, and also because the scene that was shot was never meant to be in the movie, it's just improvisation by 2 actresses in the end of another (written) scene, so the lines they said have some great highlights but are not interesting enough to hold attention for a whole scene. Anyway, we rewrote the thing and I did the ADR on Wednesday. And since ADR with new dialogues is not hard enough, the whole scene is an extended shot in close up on the 2 actresses' faces. I'm editing the lines right now and trying to make them match with the lips' moves.

And it's fucking hard as fuck.

So...

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH.

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