Cuaron assembles his long takes out of well composed and emotionally appropriate visuals, rather than a series of nostrils.
I guess they both like their equally hacky symbolisms, though.
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Cuaron assembles his long takes out of well composed and emotionally appropriate visuals, rather than a series of nostrils.
I guess they both like their equally hacky symbolisms, though.
One gets the sense with Iñárritu that he thinks doing something because it's hard is a justification unto itself. I can't imagine there's anybody on the planet who can tell, or cares, if this film was shot with natural or artificial light; the only thing that matters is what winds up on the screen. It doesn't speak well for any movie if the only thing people are talking about is how hard it was to get a particular shot, rather the shot itself.Quote:
Originally Posted by Stay Puft
I don't know if shooting only natural light is super impressive when your movie is 99% outdoors and mostly daytime.
Adriano Goldman shot Jane Eyre with only candles. That I was impressed by.
It's a risk, in any case, as the filmmakers can't control the light. But whether it's hard to do or not simply doesn't matter. The only thing that counts is the result.Quote:
Originally Posted by number8
That's kind of what I meant. Most outdoor daytime shoots are already using natural light, that's why the result isn't dramatically apparent here, whereas the experiment in difficulty in Jane Eyre actually did result in a distinct look.
Just in case it has not been made clear, I think this movie looks flat and drab and bland to look at. Especially after The Hateful Eight.
Babel was nominated for 6 Oscars.Quote:
Originally Posted by number8
This is my Fitzgerald.Quote:
Originally Posted by Spinal
Ha! :)Quote:
Originally Posted by number8
It really didnt help that my first watch of The Skin I Live In was just before The Revenant. Gorgeous lighting, eye-popping colors...
I don't know anything about this movie, but in reading the reactions I am imagining a cross between Valhalla Rising and Apocalypto. Is that off base?
I haven't seen Valhalla Rising, but I did think of Apocalypto during this film, and how Apocalypto handled a similar premise with greater concision, focus, energy, and wit.
Some folks on RT brought up the idea of pronounced breathing as a motif, with DiCaprio's wheezing, breath fogging the lens, and DiCaprio urging his son to "just keep breathing" at one point. Thin soup thematically speaking, but I can buy it as something beyond a single indulgence.Quote:
Originally Posted by Skitch
I was thinking of Fitzcarraldo, and (no joke) Ace Ventura 2.
Haha. Alrighty then....Quote:
Originally Posted by number8
I've been wanting to watch Apocalypto again.Quote:
Originally Posted by Dead & Messed Up
It instantly reminded me that there was a camera in Leo's face and I was watching a movie.Quote:
Originally Posted by Dead & Messed Up
There's a shot in Aguirre: The Wrath of God where some drops of water get on the lens, but Herzog left it in because he didn't have the money to go back and reshoot it. Iñárittu having DiCapprio deliberately fog the lens for the sake of "realism" is just stupid.
Hey, remember that time we argued about the blood splatter on the lens in Children of Men for days and days? I'm still on the same side. As much as I admire Lubezki, I'm not a fan of this tendency.
The glory days of match cut. That and the viking thing.Quote:
Originally Posted by Spinal
I'm a viking at remembering old topics of discussion.
This movie made me wanna watch the similar and infinitely greater film Ravenous.
Ravenous is better than like 90% of all other movies.
"You must spread some love around before polishing D_Davis' knob again."Quote:
Originally Posted by D_Davis
LOLLOLLOLO! :)