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17 votes
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‘Avatar’s’ costly sequels are getting harder to justify. Will James Cameron make two more?
9 votes -
What About Bob? — The most tense film production of the '90s
13 votes -
The best films made by directors over 80 — and the myth of creative decline
11 votes -
Matt Damon says Netflix wants movies to restate the 'plot three or four times in the dialogue' because viewers are on 'their phones while they're watching'
48 votes -
The "why does this movie exist" scene
Hello, I just rewatched the final boss fight of the spectacularly amazing 2010 movie Kickass, and I remembered something I've been meaning to float by movie-knowers... As I see it, this boss fight...
Hello,
I just rewatched the final boss fight of the spectacularly amazing 2010 movie Kickass, and I remembered something I've been meaning to float by movie-knowers...
As I see it, this boss fight is the reason this movie exists. The way I picture how "hollywood"-movies are made is that there is a writers room or producers meeting where nothing happens until someone brings out the weed, schrooms and/or coke which lets real brainstorming take place. And suddenly BAM! You have a single amazing thing happen: the Event.
Once that is settled they work backwards to building a believable story that leads up to that event.
The Event for Kickass is having a grown man beat the pulp out of a young girl without anyone really noticing or making a big deal out if it.
This creates some constraints (remember its 2008/9 at the time of writing), for example:
- the girl can not be seen as a helpless victim.
- the man can't win in the end.
- the beating must be reasonably justified within the story and not just pure sadism/misogyny.
- the beating must look very unrealistic.
From those premises they created a a scenario that would make it possible and wrote out a whole film.
I often find myself having an A-ha!-moment when I find the Event in movies, it's one of the reasons I watch them.
This is in my view one of the biggest reason why sequels are bad: the Event has already been had in the first movie so there isn't really anything of value left to the story.
I'm up for talking about things like:
- how far away I am from the real method of making films
- what defining Events you see in this or other movies
- how and why sequels in general or particular are good/bad
- who went as Kick-Ass or Hit-Girl for Halloween
- ....
27 votes -
Moving camera forced perspective
18 votes -
Why movies just don't feel "real" anymore
32 votes -
Guillermo del Toro in the Video Club
4 votes -
Chinese takeout menu
13 votes -
The Boxcar Fight - Short and documentary
5 votes -
When two films tell the same story differently
9 votes -
After years in the shadows, Norway has finally found its place in the international spotlight with a number of distinctive, relationship-centred and critically acclaimed films and television shows
6 votes -
Bland, easy to follow, for fans of everything: what has the Netflix algorithm done to our films?
24 votes -
‘Dune: Part Three’ gets official title, will include sequences shot with IMAX cameras
33 votes -
Inside ‘Elio’s’ “catastrophic” path: America Ferrera’s exit, director change and erasure of queer themes
14 votes -
Everyone in Hollywood is already using AI (and hiding it)
29 votes -
Every Wes Anderson movie, explained by Wes Anderson
23 votes -
Hollywood has left Los Angeles. For years, studios found it cheaper to shoot elsewhere. Post-industry-collapse, elsewhere is the only place they’ll shoot.
16 votes -
“No CGI” is really just invisible CGI (5/5)
15 votes -
‘Superman’ faced major changes after test screenings — Reshoots, less humor, shorter runtime, new editor and composer
23 votes -
The Hook: Scene transitions in classical cinema (2008)
6 votes -
“Capitão Astúcia” takes an alternative path in filmmaking: straight to YouTube, free of charge
6 votes -
Oscars finally give stunts their day, will add category beginning in 2027
40 votes -
Aspect ratios with Sinners director Ryan Coogler
6 votes -
Framing Godland
3 votes -
Here's how they finished Gladiator after Oliver Reed died
8 votes -
‘Captain America: Brave New World’ insiders say ‘everyone knew this is probably not going to be a good film’
36 votes -
The sustained two-shot
30 votes -
Secret tomb found under ‘Indiana Jones’ holy grail filming location in Petra
24 votes -
Consumer 360° cameras in professional VFX
4 votes -
The making of Age of Ultron was a sh*t show
11 votes -
How M. Night Shyamalan came back from the dead
7 votes -
How 'Reservation Dogs' sparked a Native filmmaking boom in Tulsa
11 votes -
Is serviceable CGI here to stay?
I'm here watching Furiosa which has noticeable CGI. So noticeable in fact that my partner, who doesn't give a second thought to the technicalities of movie making commented on it. Painted...
I'm here watching Furiosa which has noticeable CGI. So noticeable in fact that my partner, who doesn't give a second thought to the technicalities of movie making commented on it. Painted backgrounds, obvious green screen and so on.
What is also noticeable is that the movie wasn't cheap to make. It has also excellent, energetic direction, camera work and action set pieces and the character design has the same care as Mad Max Fury Road.
The movie also has this cooky, kinda goofy tone from the get go. Stylistically the CGI doesn't really get in the way because there's a real distinct step between our reality and this crazy world on screen. It serves its purpose.
So what's y'all's thoughts about this? I think with money and time (I guess they're the same thing) the movie could've looked a lot better and avoided the paintbrushly fogginess that comes with the green screen -- but would've that actually been worth it?
(There's also a lot of stunts, real handcrafted care and crazy, inspired camera movement. The movie's good, you should probably consider seeing it.)
10 votes -
The real-life ‘Fall Guys’: How a tight-knit stunt team pulled off Ryan Gosling’s death-defying scenes
6 votes -
Denmark punching above its weight to become a global powerhouse in the documentary world
11 votes -
‘Has this guy ever made a movie before?’ Francis Ford Coppola’s forty-year battle to film Megalopolis
24 votes -
"No CGI" is really just invisible CGI
47 votes -
Data show that the amount of sexual content in top films has sharply declined since 2000
33 votes -
‘Red One’ down: How Dwayne Johnson’s tardiness led to a $250 million runaway production
22 votes -
‘Ideal’ movie running time is ninety-two minutes, poll claims
18 votes -
Aaron Sorkin is writing some kind of ‘Social Network’ sequel
13 votes -
Chatting slow mo with Zack Snyder
4 votes -
Interview with the creators of the AI generated short film 'Air Head'
8 votes -
The Matrix forever changed the craft of Hollywood filmmaking
13 votes -
I found Frank Herbert’s Dune script. It’s hard to imagine a weirder film version of Dune than the one David Lynch released in 1984, but Frank Herbert found a way. Dune: Part Two is better.
32 votes -
Denis Villeneuve hates dialogue in film
15 votes -
When Hollywood gets it right – the best fencing scenes
11 votes -
‘Gladiator 2’ budget “ballooned” from 165 million to 310 million
20 votes