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| | |-+  Django Unchained (2013) - QT's SW
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: Django Unchained (2013) - QT's SW  ( 81249 )
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« #195 : June 29, 2016, 06:29:02 AM »

The Hateful 8 is definitely worth a view.

So is Inglorious Basterds.  The first scene with the farmer and Walz really needed the Angel Eyes music from beginning of GBU, but Tarantino had just used that at beginning of Kill Bill 2, can't go to the well too many times...that scene was so reminiscent of that.

The only thing I didn't like about Django Unchained was that the KKK scene was too long and protracted.  And Jonah Hill is a low-talent nobody, sorry.

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« #196 : June 29, 2016, 07:01:57 AM »

So is Inglorious Basterds.  The first scene with the farmer and Walz really needed the Angel Eyes music from beginning of GBU, but Tarantino had just used that at beginning of Kill Bill 2, can't go to the well too many times...that scene was so reminiscent of that.

The only thing I didn't like about Django Unchained was that the KKK scene was too long and protracted.  And Jonah Hill is a low-talent nobody, sorry.

I have not seen IB, but in the two Jonah Hill movies I have seen - Moneyball and The Wolf of Wall Street - he was GREAT


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« #197 : June 29, 2016, 09:24:06 AM »

I have not seen IB, but in the two Jonah Hill movies I have seen - Moneyball and The Wolf of Wall Street - he was GREAT

Are you talking about comedies?


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« #198 : June 30, 2016, 09:00:38 AM »

Hateful Eight is very, very different.

While I am often turned off by gratuitous violence (note I'm not thinking Peckinpah here but more pain and gore for its own sake) and verbose dialogue, there remains a lot to admire about a filmmaker who can really define themself as an auteur in today's Hollywood (i.e. you know it is one of their films just by watching it). Notably the main members of his crew (editors, cinematographers etc.) remain consistent. I am no Tarantino expert, but what is interesting about "Hateful Eight" is NL's point that it is just different in spite of the consistency in the crew. While I still wish we had seen a little more "Rules of the Game" style use of the extreme widescreen (i.e. lots of relevant background activity caught by the wide lens to develop further the "whodunnit" side of things and the visual style), the fact that he went with such an aspect ratio for such a claustrophobic film was a stroke of genius by him and cinematographer Robert Richardson.


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« #199 : June 30, 2016, 11:42:29 AM »

I don't think it is a stroke of genius, but also not a strange idea.

QT was not the first to use a wide format for an intimate film.


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« #200 : June 30, 2016, 01:22:37 PM »

Actually I think more than the widescreen factor, it was the anamorphic nature of the lenses that probably contributed to the effect due to what the lenses did to everything on the sides of the image. Polanski shot "carnage in 2.35:1 which is also anamorphic.

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« #201 : May 01, 2019, 07:38:24 AM »

https://www.slashfilm.com/django-unchained-directors-cut/



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« #202 : June 27, 2019, 03:58:56 PM »

I don't think it is a stroke of genius, but also not a strange idea.

QT was not the first to use a wide format for an intimate film.

People seem to think widescreen means outdoor panoramic vistas.
Shooting in Ultra Panavision would probably been indiscernible . In fact, most theatres probably had to letterbox H8 to fit the 2:40 screen
Anamorphic is actually well suited to indoor films with many characters.
It allows.the director to keep a large cast in frame - like a theatre play- without having to pan and cut constantly.


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« #203 : June 28, 2019, 04:12:06 AM »

People seem to think widescreen means outdoor panoramic vistas.
Shooting in Ultra Panavision would probably been indiscernible . In fact, most theatres probably had to letterbox H8 to fit the 2:40 screen
Anamorphic is actually well suited to indoor films with many characters.
It allows.the director to keep a large cast in frame - like a theatre play- without having to pan and cut constantly.

Yeah. The Cedric Klapish film Un Air de Famille, which is actually adaptated from a theater play, is still the best available masterclass for the use of widescreen (although only 2:35 if I remember correctly) for indoor scenes heavily dialogue driven with multiple characters. On top of my mind, the Usual Suspects (laos 2:35) also features some good examples, but Un Air de Famille beats everything by far. The dialogues are also way better than everything QT wrote post Jackie Brown.

I'm sure Spielberg's movies are filled with great examples too, but the guy could probably do the same with a square frame, he's basically the god of motivated composition and camera movements.

« : June 28, 2019, 04:17:54 AM noodles_leone »

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