the movie has such a lively, breezy atmosphere because of the constant camera movements which aren't Greengrass-y at all.
Chandler's plots can certainly be considered messy, but TLG is a brilliantly directed movie imo - the zooms etc aren't distracting at all and the movie has such a lively, breezy atmosphere because of the constant camera movements which aren't Greengrass-y at all. If you don't like the way this movie uses zooms don't ever watch a Richard Rush movie.
Chandler's plots can certainly be considered messy, but TLG is a brilliantly directed movie imo - the zooms etc aren't distracting at all
and the movie has such a lively, breezy atmosphere because of the constant camera movements which aren't Greengrass-y at all. If you don't like the way this movie uses zooms don't ever watch a Richard Rush movie.
Altman said in interviews that it had been his intention for the camera to never stop moving, and once you realize that's the conceit it's really fun to observe.
Zooms date the movie, the way high-key lighting dates 60s films, but you have to accept such things with older films.
This thread is turning into me and n_l reposting our Facebook message conversations, but...El Camino: A Breaking Bad Movie (2019)As an fan's extension of the Breaking Bad universe & characters: 8.5/10As a film: 6/10As a massive Breaking Bad fan I'm very happy with it and will be rewatching several times throughout my life.A very fun Sergio Leone homage in there.And some Safdie Brothers:
Altman said in interviews that it had been his intention for the camera to never stop moving, and once you realize that's the conceit it's really fun to observe. Zooms date the movie, the way high-key lighting dates 60s films, but you have to accept such things with older films. I have watched TLG maybe 50 times and I never get tired of it. It's Altman's greatest picture, Brackett's best script, Gould's premier performance. I'm not sure that flashing the film was such a good idea, but all other aspects of the image are exceptional.
Makes me want to watch the movie again to understand what you are talking about. I don't know what Greengrass is or who Richard Rush is. And I don't care. TLG is a great movie, the fact that the plot is messy is not important. Who cares about it when you can watch Gould and his cat (just compare those scenes with those of Pitt and his dog) or Gould and the cops? I'll re-watch it asap.
Co-signed. Paul Greengrass is the guy who directed those Borne movies that never stops shaking the camera because he doesn't know how to shoot action, frame, compose a scene, edit, etcRichard Rush is probably best known for directing The Stunt Man (1980) and his movies feature some crazy intricate zooms - ex: a shot would begin with a close up of an object on a desk and would end in a courtyard a story below and a 100 yards away from where the shot began. It's an exaggeration, but if I remember correctly, Getting Straight (1970) features a shot similar to that but it's been a long time since I've seen that movie.
Taxi Driver plus The King of Comedy minus any semblance of subtlety plus an extra dose of heavy-handedness =Joker (2019) - 4/10I could write an essay about how dumb this cute little movie is, but I don’t need to. Just don’t watch it.
did they actually shoot this on film? Everything has a great look.
According to IMDB:Arri Alexa 65, Hasselblad Prime DNA LensesArri Alexa LF, Hasselblad Prime DNA LensesArri Alexa Mini, Hasselblad Prime DNA Lenses... which are 3 digital cameras, ranked from the highest end to the lowest end. They're mostly supposed to be the most film-like cinema camera of the market though (depending on who you ask).
They did something to make it all seem like a film from the 70s. A fun retro look.
(CJ, take note, it's a retro-neo-noir).
I should really give this movie a shot when it's an actual movie with stylistic choices that aren't catered to focus groups, teenagers and the Chinese government. But I still haven't seen Once Upon a Time Hollywood so this will have to wait, if I get around to it.
“Todd was really adamant about shooting film, convinced we’d just shoot 35mm like we did on his previous films,” said Sher. “We drove around to three or four different places around the city and captured imagery with no lighting in both those formats. And when we looked at them side by side, we really loved the large-format aspect of the 65.”“Joker” is principally a character study, one that relies on both Joaquin Phoenix’s performance and his relationship to his environment, which includes a large number of interiors. It was these compositional demands that made the celluloid-obsessed Phillips pick the digital Alexa 65 over 35mm film. “We were often going to be quite close to Joaquin physically, in proximity, in his apartment in some of those scenes,” said Sher. “A camera three feet away from him, which also has a real psychological effect of connecting you to a character and feeling that sense of intimacy, but now we didn’t need to shoot it on a 21mm or a 24mm.”
Interestingly enough, the film equivalent of this format is of course the 35mm, which I don't think was very used in the 70's, especially not in the movies referenced by Phillips.