02-19-2006, 11:48 PM | #861 | |
delusions of adequacy
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Here is an excellent 6 part interview with Kenji Kamiyama, the guy behind the first and second series of SAC. |
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02-20-2006, 01:32 AM | #862 |
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Being a minor Shirow fan (he's obsessed with detail) I really should check it out. All I want now is an updated Dominion. Thanks Crunchy.
Another good thing about Innocence is like all good movies, it actually takes TIME OUT of the plotline to drive the character forwards. So many films nowadays feel like they have to piledrive towards an ending at 100mph. It's nice to take some time out and meet the protagonists dog. (or, as an example, in the case of Jaws stop the hunt for chat about wounds)
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02-20-2006, 01:53 AM | #863 |
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I liked Innocence more than the first one; it was more dynamic, funner, and less pretentious.
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02-20-2006, 03:35 AM | #864 |
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EDIT: Deleted by Spiwak.
My top ten for 2005: 1) Match Point - Woody Allen 2) A History of Violence - David Cronenberg 3) The New World - Terrence Malick 4) A Constant Gardner - Fernando Meirelles 5) Munich - Steven Spielberg 6) Good Night, And Good Luck - George Clooney 7) Walk the Line - Peter Mangold 8) Brokeback Mountain - Ang Lee 9) Wallace and Gromit: Curse of the Were-Rabbit - Nick Park 10) Capote - Bennet Miller Honorable Mention: King Kong - Peter Jackson Batman Begins - Christopher Nolan Last edited by Spiwak; 02-20-2006 at 06:02 AM. |
02-20-2006, 08:17 AM | #865 | |
The Reggienator
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Gits: SAC is excellent. I've got the 1st series/season on dvd as a complete box set. I've seen the 2nd GIG too and it's very good too. My alltime favourite animated series.
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02-20-2006, 08:23 AM | #866 | |
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Altough I have to say that I found A History of Violence overrated. I expected a lot from this movie, and either I missed something, or it was just a brillantly filmed unoriginal story.
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02-20-2006, 09:23 AM | #867 | |
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02-20-2006, 10:13 AM | #868 |
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Matchpoint seems to be suffering from some bad reviews in the UK. I'll wait for the DVD.
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02-20-2006, 10:25 AM | #869 |
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Never heard of Match Point, but I would think Crash would be on a top ten list.
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02-20-2006, 11:36 AM | #870 | ||
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I tried looking for it but it's apparently gone? I can't find the posts in my message board history. In any case, I basically feel that it wholly works with the movie because one of Cronenberg's goals was to comment on how inherrant and Darwinian violence is for humans. For me, Cronenberg was presenting a story that seems wholly unoriginally or borrowed from various influences, for instance the Western hero thrown into his violent past after trying to leave it behind when it suddenly catches up to him, the whole school bully plot, the comforting small town rocked by the big city immorality, etc, on purpose. The groteque and gory violence (which I think succeeds in both thrilling and disturbing the audience), wrapped up in such a cliche-ridden plot seemed to comment on how violence entertains, or rather, intrigues us even though modern society tries to repress it. The fact that in general the violence in the movie was one of the more intriguing aspects of the viewing experience while also going so far as to disgust me only helped me come to that conclusion. That and the fact that Cronenberg isn't any ordinary director; he's both incredibly intelligent (just listen/read to some of his interviews) and interested in things like inhumanity-from-humanity themes. So I don't know if it was necessarily intended, but that's how I read it, and in general the subversiveness of his film in dealing with several layers of narrative interpretation made it one of the top movies of the year for me. Match Point only barely beat it. |
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02-20-2006, 12:15 PM | #871 |
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Back onto Mirrormask... anyone else notice the nod to Labyrinth at the beginning?
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02-20-2006, 12:58 PM | #872 | |
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Didn't you notice I was trying to divert attention from the movie I haven't seen! |
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02-20-2006, 02:05 PM | #873 |
Psychonaut
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Wallace and Gromit: Curse of the Wererabbit.
Funniest film of the year. Cracking film there Gromit. Hey SJH, They are looking for Storyboard artists. Go work for them that would be cool.
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02-20-2006, 02:20 PM | #874 |
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I know they are. Their projects are only speculative, one I applied for last year hasn't even started yet. They take AGES before they go ahead on any of them.
It's a long story but me and a ton of other artists are really unhappy with the way Aardman treated a bunch of applications recently - considering our experience and a whole host of other things. One guy got a standard letter stating that he had to "come back when he had more experience". He's been a character designer for 20 years on a whole host of big projects. It's crazy. I did a free test for them in two days, with NO direction and practically no designs, whilst working hard on another (PAID) project in a different style. They knew this. I spoke to them many times, and on receipt they were really happy and we spoke about production. Two weeks passed. Nothing. Then? Another famous standard letter. "Many thanks for your interest..." No feedback. Nothing. I didn't even know why I hadn't got the job. So I wrote them a really pissed off email to the person I had been dealing with, who quickly got back to me with a reply and some feedback that, considering my circumstances and the total lack of direction, made very little sense. Working on one show and then deviating both your directorial style and drawing style is VERY hard to do in the space of a couple of days. I'm currently working on a project alongside a Corpse Bride artist. Even after two years he hasn't shaken Tim Burtons style. So you can see why I was perplexed. I later heard that they only hire people, mainly recent grads, willing to move into their area and work for very little for long hours. I'm inclined to believe it. For one, it means lower budgets and for another, it means tighter control. I would love to work for them one day, but I don't think it's going to happen. But you never know.
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02-20-2006, 03:56 PM | #875 |
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It sounds like they want people that they can mold themselves (like you said, tighter control). Also people with lots of experience suggest changes and they may not be open to change - they may figure they have a formula that works, why change it and why bring people in who will upset the formula (pure speculation on my part).
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02-20-2006, 03:59 PM | #876 |
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If that were true, and I told them I was open to changes in style and direction, then why'd they give me so much rubbish in return for my free hard work? They know board artists need time to get on spec in terms of direction when coming in cold. It'd be nice to think they're molding future artists, but it's more to do with financial obligations.
What I don't like is the way they treat artists with apparent disrespect. It's a shame as one-to-one they seem to be quite a nice production crew and it only results in them looking unprofessional.
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02-20-2006, 04:34 PM | #877 | |
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In any case, the violence didn't intrigue me, which is why I was so disappointed. Some scenes are breathtaking, though. The first scene in particular was brilliant. And SquareJaw, I think Match Point (for Legolas, that's the latest Woody Allen movie) deserves a big screen. That's what I call a perverse movie. EDIT: Oh, I really need to borrow my buddy's DVD of Mirrormask.
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02-20-2006, 05:13 PM | #878 |
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I'll wait for DVD. It's character driven after all.
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02-20-2006, 05:24 PM | #879 | |
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02-20-2006, 05:44 PM | #880 | |
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I just have to say, bump Haggis's Crash. I'll take the Pepsi challenge with Cronenberg's any ole day of the effing week, as a wise man once put it.
Ah who am I kidding I never got around to seeing the new Crash, honestly. It looks to be the obligatory overhyped and pretentious, yet underwhelming movie of the year. But everyone loves it so maybe I misjudged it... EDIT: Quote:
Last edited by Spiwak; 02-20-2006 at 05:55 PM. |
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