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I don't really have anything insightful to say about Chimes, but yeah it's one of my favorites. In terms of eye candy, I probably prefer Welles' Macbeth and Othello, but like you say it's basically a 3-way tie.

As for Shakespeare, I automatically turn on subtitles and that helps immensely.
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Admittedly, I didn't have an issue with the NSFW tagging. It probably would've been easier for Stu to avoid looking at the thread when he was around other people, but putting the pictures in a spoiler tag didn't resize or change the photos in any way whatsoever. You could still view them in their original form. All you had to do was click one extra button and take an additional one or two seconds to do so.
I know, but the tagging was really meant to protect other people, particularly any new users (who we were still getting while I was a mod) who could've wandered into that thread while at work, unaware of the NSFW content that was occasionally posted in it; I didn't want anyone to lose their job because of the Corrie, eh?

Anyway, I also get @Rockatansky's point that I could've added a "NSFW" tag in parenthesis in the thread's title instead, since I actually did consider that as an alternative, but I felt that I would've had to message Macrology to ask him to choose between the two options, and I was still new as a mod there at the time, and I didn't want him to feel like I was suddenly putting him on the spot by giving him an unexpected ultimatum, so just going ahead and tagging the pictures myself felt like the easiest, less obtrusive way to go about it in a situation with no perfect solution. And, while there was some initial confusion on his part when he saw the first tag, he never complained about it afterward (and I would've given him that alternative option if he had), and it felt like the natural course was just to keep tagging NSFW pics whenever they popped up occasionally, so there are good reasons why I did it that way there (and none of them have to do with me acting pathological or having "mommy issues").



To further the Chimes discussion, as a person who generally has difficulty following all of the dialogue in Shakespeare, I definitely had moments where I struggled to pick up all the nuance of character, the relationships and any of the intricacies of the plot. It's why I always approach these adaptations with some amount of hesitation. For whatever reason, while I am completely fine not 'getting' every moment in a film from a supposedly difficult director, I always feel I am missing something if I am not decoding every line of Shakespeare. I find it exhausting.


But even though this is considered a somewhat more impenetrable Shakepeare than most (you really feel you've been dropped into the middle of these conversations, almost like an Altman with soliloquies), I think I still mostly followed the gyst of everything that was happening. Not that I think this is entirely necessary though. What I love about Chimes is it is frequently a purely cinematic experience. And where I usually find myself needing the performances of the actors to understand the emotions and general thrust of one of his plays, Welles makes it so I also understand what is happening simply through the way he shoots the film. I often would have little idea what was directly being discussed in each scene, but when I would occassionally take a break to read a synopsis of the last few scenes I watched, I was usually right on the money.


While I wouldn't agree with Welles that it was the best thing he has ever done, I think it is up there. But the top of his filmography is just so cluttered with greatness, it would still be very hard to rank.
It also improves with rewatches. When I first watched it, I liked it a lot, but since I wasn't familiar with the story, I occasionally had to check Wikipedia to ensure I was correctly interpreting what was going on (I also missed a few minor story details). When I rewatched it though, I was more familiar with its story (I also reread its plot summary on Wikipedia to refresh my memory) and it blew me away.
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The willingness of non-paying friends and acquaintances to share their disappointment at my latest artistic direction has always been pretty surprising. And I'm not talking about actual criticism of any substance (which I would welcome), but rather something more like "You're not painting _____ anymore?" (accompanied by disappointed face). It's like the equivalent of touring behind your 20th album while the crowd only yells requests for songs from your debut. So the idea of having a paying public to satisfy sounds horrific.

Most of the work that I've been paid for has been "commissioned" so to speak, so it hasn't really been an issue. "Paint a portrait of my dead pet/favorite celebrity/childhood home", etc. But having a fanbase of strangers awaiting my next project would probably be crippling for me.

I had a situation where I was creating a comic which was meant to be a reflection of my obsessions and anxieties (as everything I do essentially is) and it just so happened a couple of them that were structured as jokes (a set up and punchline) caught the eye of a lot of people I knew. I started getting messages asking about when my next one was coming out. Sometimes had people yelling out their approval if they recognized me out in the street. Was even contacted by strangers who had stumbled on it. In theory, flattering, but I didn't like it. Especially since I had no plans to revisit the approach that initially caught their attention. So the next half year to year was just filled with people's mounting disappointment. Now they were stopping to tell me they didn't understand the last one. Where was the joke? Did I forget the punchline or did they miss something? My explanation that this wasn't the point never seemed to sink in and it just went on and one until I realized I just didn't care anymore. I would have been much happier doing it completely oblivious of any attention. Even though I realized this also sort of defeats the purpose of creating things, which is a connection of communion with others.


It's basically an impossible balancing act for me. And I always admire people who either keep doing the thing they like to do, regardless of public indifference or scorn, or constantly change up their style, unconcerned over who they confused. In a lot of ways, that is one of the defining talents of an artist. Maybe even more so than the actual craftsmanship or intention behind the work.



I don't really have anything insightful to say about Chimes, but yeah it's one of my favorites. In terms of eye candy, I probably prefer Welles' Macbeth and Othello, but like you say it's basically a 3-way tie.

As for Shakespeare, I automatically turn on subtitles and that helps immensely.

I believe Othello is the last Welles I've yet to see.


His MacBeth didn't really grab me. It along with The Stranger are the only two films of his that have left me a little cold. Maybe I just wasn't in a Shakespeare mood though.



I can very strongly remember the moment in high school when my brain "clicked over" and suddenly I could totally flow with Shakespeare's writing. It was like coming up from being underwater. And I agree that when you aren't in that flow, it can be a really trying experience following what is happening.




Chimes at Midnight is on my to-watch list. I watched the first 5 minutes at one point, but could immediately tell I was not in the right headspace for it. I think that, like you say, the best Shakespeare adaptations find a way to honor the language, but also create a visual flow that lets you know what's up.

I got in the 'zone' watching the Brannagh Hamlet, which might be my favorite. But I don't know how I got there, or how to get back.



I was one of those kids that resented having to read Shakespeare every year at school (so I didn't, ever), at the oversight of so many other great writers, that I have that lingering bitterness towards his writing. It still feels like homework. And there are also chunks of his celebrated writing I've come across that I actively dislike (which is treated as heresy if you conclude you think some of his allusions and poetic turns of phrases are distinct shade of purple). Ultimately though, I can grasp the brilliance of his narrative structures, and the depth of his characterizations. He's obviously essential for a lot of very noble reasons (even though I'd still argue, not to the exclusion of so much else)


I also watched the first five minutes about a month ago (it was right at the top of what I wanted to watch on the Criterion Channel), but it was clear none of it was penetrating that particular night, so quickly turned it off for a better time. I chose wisely.



I believe Othello is the last Welles I've yet to see.


His MacBeth didn't really grab me. It along with The Stranger are the only two films of his that have left me a little cold. Maybe I just wasn't in a Shakespeare mood though.
I was referring specifically to the cinematography. Chimes is probably the best film, but Macbeth and Othello are both gorgeous. Othello in particular is just an endless barrage of great shots, even if it's kind of a mess in all other aspects. It's worth seeking out if just to give your eyeballs a treat.



it just so happened a couple of them that were structured as jokes (a set up and punchline) caught the eye of a lot of people I knew.
Yeah, I can relate to this. In my case, it's well-known in my circles that I have some skill at photorealism, ie "I can draw good". So I occasionally will do a portrait for money, usually someone's kid or pet, and that work always generates more work through word-of-mouth. I've drawn at least 3 portraits of McCartney for my mom's friends, for example.

Problem is I have no interest in producing nor consuming such things, so no one can understand why I'm not making a living selling portraits of Brad Pitt or Spider-man or whatever. I have a friend who's had quite a bit of success doing exactly that, but I don't envy him in any way. (one of his recent commissions was to paint the cover of Janis Joplin's "Pearl" album, but substituting the client's face in place of Janis. This is the sort of thing that drives artists to cut their ears off.)

Getting anyone interested in my original work takes a lot more effort on my part that I've so far not pursued. It would be nice if it was as easy as drawing people's grandkids.



As far as Shakespeare goes, I think it helps when you have a strong visual storyteller at the helm. Like many, I don't understand what the **** they're saying, so it helps when the director can hand hold your understanding visually. Chimes is great in this respect. I remember Polanski's Macbeth being quite strong as well.


It helps even more when it's not in English and you can read the subtitles. It's probably not a coincidence that Throne of Blood and Ran are some of the best regarded adaptations, even putting aside Kurosawa's masterful direction.



No kidding? I've heard of it but not much, looks intriguing.
I haven't seen the feature length film, so I can't speak to the quality of it. I've only watched the short film.



No kidding? I've heard of it but not much, looks intriguing.

Yeah, when I saw that thing for the third time, I would've grabbed my keys and headed for the Ramada Inn. Oh, there's a creature that is durably visible in shadow until the lights are are on? Interesting. OK, I'll just nope-the-f*** out really quick.



Welcome back
Your dreams were your ticket out
Welcome back
To that same old place that you laughed about


Well, the names have all changed
Since you hung around
But those dreams have remained
And they've turned around


Who'd have thought they'd lead you
(Who'd have thought they'd lead you)
Back here where we need you?
(Back here where we need you?)


Yeah, we tease him a lot
'Cause we got him on the spot


Welcome back
Welcome back, welcome back, welcome back
Welcome back, welcome back



The trick is not minding
So, I just watched Last Year at Marienbad, and perhaps I focused too much on what why it was happening rather than what was happening and now I’m left perplexed. I’m going to have to watch it again and just, I don’t know, pay attention to the film rather than try to make head or tails of it.
I don’t think it’s a bad film, at all. Certainly looks amazing. But I just can’t help but feel like I missed something.



So, I just watched Last Year at Marienbad, and perhaps I focused too much on what why it was happening rather than what was happening and now I’m left perplexed. I’m going to have to watch it again and just, I don’t know, pay attention to the film rather than try to make head or tails of it.
I don’t think it’s a bad film, at all. Certainly looks amazing. But I just can’t help but feel like I missed something.

This is the closest Resnais has gotten to working for me, but I find he usually has a disconnect between the proceedings and the mood.


As far as Robbe Grillet goes, I preferred Successive Slidings of Pleasure, but I won't pretend factors other than craftsmanship didn't play a role. Definitely a Rock movie.



Victim of The Night
Yeah, when I saw that thing for the third time, I would've grabbed my keys and headed for the Ramada Inn. Oh, there's a creature that is durably visible in shadow until the lights are are on? Interesting. OK, I'll just nope-the-f*** out really quick.
Yeah, it's funny, now that I look at it again, I saw it a couple years ago this exact same way, somebody posted it on the forum I was on, I watched it, then I had a nightmare about it. Somehow I forgot.



Victim of The Night
So, I just watched Last Year at Marienbad, and perhaps I focused too much on what why it was happening rather than what was happening and now I’m left perplexed. I’m going to have to watch it again and just, I don’t know, pay attention to the film rather than try to make head or tails of it.
I don’t think it’s a bad film, at all. Certainly looks amazing. But I just can’t help but feel like I missed something.
Saw this a couple years ago and loved it. Can I say I know exactly what happened in the story? I cannot but that is a lot of the fun of the movie, to me, is discussing what we saw and what we thought it was all about.

Here's Ebert:
https://www.rogerebert.com/reviews/g...marienbad-1961