Originally Posted by WorkersPeasants (Post 2134190)
Not sure about this
That's all I have for now, unless you care to elaborate further on your very brief retort. |
Originally Posted by Sedai (Post 2134357)
Scott's hands-on approach to the art direction and storyboarding really helped him achieve his vision for the film, a process he refined as he worked on Blade Runner, achieving even better results there, IMO. Some might call his achievements revolutionary in some way. I would argue they were at least evolutionary in their approach, and the design was unique thanks to Moebius being on board.
That's all I have for now, unless you care to elaborate further on your very brief retort. |
Originally Posted by WorkersPeasants (Post 2134362)
Are you saying the film is re-/evolutionary because Ridley Scott took an atypical hands-on approach in its production?
If you would like to address Iro's (and now my) query as to why you disagree, perhaps your stance would become a bit more clear as to why you disagree? |
Originally Posted by matt72582 (Post 2132762)
I never saw it :)
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Originally Posted by Sedai (Post 2134364)
An evolutionary hands on approach specifically in relation to the artistic elements of the film ie the art direction, scope, atmosphere, and design, yes.*
If you would like to address Iro's (and now my) query as to why you disagree, perhaps your stance would become a bit more clear as to why you disagree?
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Originally Posted by Citizen Rules (Post 2134354)
You were talking about reviewers and their styles in another thread. Maybe give me review of Rope a read. I think (or at least hope) I come across in my review in a normal, down to earth tone. See what you think
https://www.movieforums.com/communit...77#post1669177 I read it before (liked it) and read it again. I like that you put in suggestions, and I totally agree with a pre-story of them in school and being influenced. I'd add that it might make Stewart's role believable, and to see exactly how the boys got the idea of an Ubermensch. In the movie, Jimmy Stewart plays his typical straight-arrow kinda guy that you can't even believe the boys were ever influenced by him. I did like the movie in real-time. I don't think Hitchcock was looking to scare his audience. It just seemed like a domestic hide-and-seek game. I gave it a 7/10, but I don't really remember what I liked about it. It was pretty colorful for 1948, though. I also remember your "Network" (and read it again a few minutes ago) review.. Out of curiosity, what specific recommendations would you make? I know you felt that the social messages were like a sledgehammer, but I don't know another way considering this was the media, where an anchorman is going to be explicit by diagnosing the social ills and giving his solutions.. Same with the Ned Beatty speech, which is one of my favorites. I don't think you could allude or hint at these conversations between the many characters. |
Matt, Thanks for reading my review. I wouldn't call my review of Rope my best writing, but I think it's atypical of my stuff...I like James Stewart too btw. Usually he's just perfect in the movies he's cast in, Rope being one of the few exceptions.
I wish I could give you a thoughtful reply about what didn't work in Network for me. But I've only seen it once and so long ago that I don't remember anything about it. Who knows maybe one day I'll watch it again. |
Originally Posted by WorkersPeasants (Post 2134373)
I didn't disagree, I just said I'm not sure about it — mainly because I have no idea what they meant by the film's "artistry" since the term is extremely broad and vague. But if they meant it like you've defined it here (a hands-on approach to art and scenario design during productuon), then yeah I'd most definitely disagree since that hasn't been significantly rare since shortly after the Ford Model T debuted.
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Re: Directors Who Disliked Their Own Movie/s
Honestly surprised this is on its second page and no one has mention Spielberg and Hook.
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Originally Posted by Citizen Rules (Post 2134425)
Matt, Thanks for reading my review. I wouldn't call my review of Rope my best writing, but I think it's atypical of my stuff...I like James Stewart too btw. Usually he's just perfect in the movies he's cast in, Rope being one of the few exceptions.
I wish I could give you a thoughtful reply about what didn't work in Network for me. But I've only seen it once and so long ago that I don't remember anything about it. Who knows maybe one day I'll watch it again. Again, it's one of those movies that are more relevant today. |
Originally Posted by honeykid (Post 2134513)
Honestly surprised this is on its second page and no one has mention Spielberg and Hook.
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Perhaps not disliked so much, but Orson Welles seems a little dissatisfied with the final output of Touch of Evil in this clip:
https://www.youtube.com/watch?v=JjwqsmcH9sk |
Originally Posted by WorkersPeasants (Post 2134373)
Vincente Minnelli was doing this in the late 30s and throughout the 40s, being frequently praised for it in press at the time for his dedication to overseeing the scripting process from the beginning, to conceptualizing musical numbers, staging choreography, set design, lighting, costumes, et. al. He was even routinely reprimanded for breaking the production studio taboo of staring through the viewfinder for extended periods of time while shooting. But he's only one of many directors since at least the 1920s who were widely known for micro-managing their vision from pencil to screen.
I didn't disagree, I just said I'm not sure about it — mainly because I have no idea what they meant by the film's "artistry" since the term is extremely broad and vague. But if they meant it like you've defined it here (a hands-on approach to art and scenario design during productuon), then yeah I'd most definitely disagree since that hasn't been significantly rare since shortly after the Ford Model T debuted. Fair points all, and thank you for the knowledge on Minnelli, which I hadn't learned about before. That said, Minelli's achievements are more evolutionary in a directorial sense as far as technique, and maybe a bit less so as far as art direction in the way I mean. I may not be articulating my meaning well enough. Scott elevated both science fiction and horror in a way that he achieved a level of detail and vision that hadn't previously been reached. He does owe some of this to Moebius as far as the creature and alien ship/world building is concerned, but his almost obsessive attention to tiny details really created a sense of realism that wasn't seen in the genres before. He did even more of this on Blade Runner. He achieved this by almost taking over the art direction position completely, much to the chagrin of the guy holding that position at the time. Some examples would be the complex level of detail of the interior of the Nostromo when compared to say The Discovery in 2001, or in Blade Runner, Scott insisting on having printed instructions on the parking meters, which could never be legibly read on camera. If you have examples of people who had used these techniques before him, which may well exist, I would love to check out their work, if only to see the progression before his work, and to check out what had perhaps influenced him to attempt to elevate these concepts/approaches. Just quickly, to illustrate that i am apparently not alone in thinking along these lines. I did a quick google search and very quickly ran across several articles on Scott, and his approach to art direction and vision in these films: A Visual Analysis of Ridley' Scott's Alien Series |
Re: Directors Who Disliked Their Own Movie/s
Just reading the Scott/Alien thing going on.
You know that Alien looked the way it did because of Star Wars? After Lucas released his monster on the world, Scott said "It's about time I did something that looks like that"... and he elaborates about how sci-fi before Star Wars was always sets made from chrome and silver foil with white moulded plastic and soft lighting. |
Re: Directors Who Disliked Their Own Movie/s
Just had a quick search... surprised to see Guillermo del Toro say he didn't like Mimic.
Sure it's a bit hokey, but del Toro has said he almost quit making Hollywood movies because of it. Apparently he didn't like Weinstein either during the production. |
Originally Posted by James D. Gardiner (Post 2134530)
Perhaps not disliked so much, but Orson Welles seems a little dissatisfied with the final output of Touch of Evil in this clip:
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Re: Directors Who Disliked Their Own Movie/s
Orson has a habit of changing his story, but he once said "The Trial" was the one that wasn't interfered with. At another time, he said the same thing about "Chimes at Midnight".. But he also says he had complete control over "Citizen Kane" but never got a contract even close.
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Originally Posted by matt72582 (Post 2134598)
Orson has a habit of changing his story, but he once said "The Trial" was the one that wasn't interfered with. At another time, he said the same thing about "Chimes at Midnight".. But he also says he had complete control over "Citizen Kane" but never got a contract even close.
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Originally Posted by Citizen Rules (Post 2134629)
I've tried watching The Trial twice and shut if off both times. Last time I made about 30 minutes into the film.
I prefer watching an interview with Orson. |
Re: Directors Who Disliked Their Own Movie/s
Didn't Tony Kaye want his name taken off American History X? I can't remember the details (or be bothered to look them up) but I remember it became a big thing.
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