CineSage_jr
-
Posts
3,852 -
Joined
-
Last visited
Never
Posts posted by CineSage_jr
-
-
I guess it depends how you define 'motion capture', but this video claims to answer the question: Who invented motion tracking?
One could argue that Edweard Muybridge (real name: Edward James Muggeridge) invented the basic concept in 1878.
-
You can't do anything about it, fortunately.
-
IS PARIS BURNING?
IRMA LA DOUCE
THE DAY OF THE JACKAL
MIDNIGHT
LOVE IN THE AFTERNOON
HOW TO STEAL A MILLION
MARIE ANTOINETTE
THE MADWOMAN OF CHAILLOT
THE RED BALLOON
-
On this particular episode, Peter came out and read various passages (questions) from a book and the panel had to guess how he arrived to the conclusion of the scenario. I'm not sure if I'm explaining myself justly, but it went something like:
"...a man was dressed in all black crossing a road and there is no moonlight out. A truck speeding down the same road does not have his lights on and yet comes to a halt in time to let the gentlemen pass...how come..."
And the answer being, "because it was broad daylight"
Another was:
"A man takes a woman to the movies and during the climax of the movie a woman is killed on the screen. During that same instance the man stabs the woman he is with, killing her. They come out of the movies the same way they came in and no one notices that the woman has been killed...how come..."
the answer was, "because they were in a drive in movie"
Now I begin to see why Lawford was kicked out of the Rat Pack.
-
BEN-HUR
&
GOODBYE, CHARLIE
-
You're right, FORBIDDEN PLANET does drag, even though it's only 98 minutes long. It's a combination of several factors: the long takes that a lot of films used when CinemaScope seemed to indicate that less coverage -- and cutting -- than in the old 4: 3 Academy ratio days was necessary; the film is heavy on exposition to convey an intellectual idea that was quite unfamiliar in its day; the absence of a proper musical score to help drive the story and audience's emotions forward (just imagine the film scored by Bernard Herrmann), which results in a kind of hollow lethargy gripping much of the film; and the fact that that idea that was so unusual and hard to convey back then is old-hat after forty-two years of Star Trek.
That said, THE DAY THE EARTH STOOD STILL is still full of energy and relevance, and doesn't drag or date a bit. It has a vastly superior script, performances and direction and remains a piece of masterful filmmaking, in contrast with FORBIDDEN PLANET, whose story always hung on a gimmick that's largely worn out its welcome.
-
16 frames per second, is way to slow! It is a misnomer that Silent's were shown at this speed, even if hand-cranked Silent's were mostly filmed at that rate.
There's a reason why 35mm film is 16 frames to the foot, and films' length calculated according to that standard (60 feet per minute): it was the standard silent speed (sound speed is 90 feet per minute; optical soundtracks couldn't provide enough dynamic range at the slower speed, so a higher one -- 150% of the silent speed -- had to be adopted). Silent-era cameramen were so adept at cranking their cameras that they were seldom off by more than a frame a second, and could maintain the 16 fps rate in their sleep.
-
Did you correct their spelling?
Hard to do with the spoken word, but it would've been my great privilege to do so had the opportunity arisen.
To my list I also append the names
Jack Lemmon
Jack Palance
Tony Curtis
Janet Leigh
Jamie Lee Curtis
Ryan O'Neal
Bob Newhart
Gene Barry
Lorne Greene
Eric Braeden
even though it'd be hard to call any of them "superstars, except for the first couple.
-
And since when are Cotillard's comments less wacky or offensive than those made by the televangelist John Hagee (who just endorsed John McCain's bid for the presidency, and whom McCain hasn't disavowed or repudiated)?
-
To balance out Farley Granger and John Dahl's all-too-apparent limp wrists, I guess.
-
Now a note about MARNIE, which was on earlier. Apparently, Sean Connery and Tippi Hedren have sex (geez, at least they are married) on the ocean liner, because the camera cuts to the porthole.
Well, any porthole in a storm.
-
"Gimme a whiskey, ginger ale on the side. And don't be stingy, baby!"
Of course, she might've said it in German first, since MGM shot a German-language version of the film side-by-side with the U.S.-release version.
-
If anything, the film is fresher now than it was in 1967, particularly because our age is far more cynical and even more consumerist than that of forty years ago.
Nowadays, nobody trusts the government (after seeing the film, you definitely won't want TPC to get Bush's immunity for domestic surveillance of U.S. citizens).
This is really an underrated and underappreciated gem, marred only by the "hippie" interlude in the middle, something that didn't work terribly well upon the film's initial release, and doesn't get better with age.
-
If you think it was only Hitchcock or Anthony Mann that unleashed the dark side of amiable old Jimmy Stewart -- THINK AGAIN!!
The point is that Stewart kept re-inventing his screen persona from decade to decade. ANATOMY OF A MURDER pretty much marked the end of his "tortured-and-driven" period (with something of a brief return to it in FLIGHT OF THE PHOENIX, (probably his last great role), to accomodate his growing older.
Stewart's career and persona was always an interesting study in contrast to that of his best friend and contemporary, Henry Fonda, though the latter's seven-year sabbatical from feature films (1948-55) to work on the stage (and a little television) skews the comparison a bit. Fonda was choosier in his projects in later life, with many of them having a social message that dove-tailed with his political beliefs, but the two men are joined at the hip in a number of ways.
-
Anyone who's never spent an autumn in New England hasn't lived.
-
The only other way to get the shot would be to use a narrow periscope lens-and-prism system, with the camera, itself, off to one side, but the smallness and slowness of the lens, with corresponding lack of depth-of-field, would compromise picture quality.
-
You're welcome!! W. Holden and N. Olsen were in "Sunset Blvd." together.
They also appeared opposite each other in FORCE OF ARMS (1951).
-
Hlywdkjk: I had a lady friend who worked for the **** and Bull restaurant in the early 80s. Is that restaurant still there, do you know?
There's an English pub called C-o-c-k & Bull in Santa Monica by that name, if you're in the neightborhood and hungry (or thirsty).
As for "superstars' (I hate that superficial word), I've run into, and/or met at one time or other:
Burt Lancaster
Kirk Douglas
Charlton Heston
Sidney Poitier
Tom Hanks
-
+I dont think hed use a bow and arrow, hed hold up the rich & gun point and say
"Gimme all yer stinkin' money, ya creep"+
And in the scene in which Robin heaves the dead deer on the table in front of Prince John, sir guy, Marian and the other nobles, Cagney could've substituted a bagful of grapefruits.
-
Does anyone know what Jose Ferrer DID to Peter O'Toole in that scene??? What the hey...
As a distraught Ethan Edwards shouts to Marty and Brad in THE SEARCHERS, after returning from having found Lucy's body:
"Do I hafta spell it out forya? Draw ya a picture??"
-
To paraphrase Herman Mankiewicz's classic comment about Harry Cohn and his "infallible" method of determining whether a film was any good or not: Imagine the whole world wired to Sam Wood's a-s-s.
-
-
The Soviets' NKVD and GRU didn't trust anyone who was not a native-born Russian and under their direct control. Most of their real agents had families back home that provided "insurance" that foreign governments wouldn't "turn" them into double-agents against the U.S.S.R. The hard-core CPUSA members (who seldom included any Hollywood figures) were window dressing, little more.
-
I would have begged, pleaded with Carole Lombard to take the train back to Los Angeles in January 1942.
Yeah, but the pilot and all the other people who were on that plane could go to hell.
Doris day
in General Discussions
Posted
Why not Rod Taylor?