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71
News and Theory / Re: Filmstruck
« Last post by Gold Trumpet on June 15, 2017, 11:46:54 PM »
I want to but I haven't because ever since upgrading to an ultra-HD TV, all my streaming services look relatively shitty. I dropped Hulu and now only use Netflix and Amazon on my laptop. I also went back to buying blu rays of movies I like to get better quality potential. I'm pretty sure FilmStruck wouldn't do justice for my TV so I haven't gotten it yet. I am intrigued but it at least renewed my desire to have a physical collection so I am buying Criterion again.
72
Paul Thomas Anderson / Re: Other actors/directors/etc. who mention PTA
« Last post by wilder on June 15, 2017, 10:48:39 PM »
Interview with Dylan Tichenor

Quote
Boogie Nights (1997) and Magnolia (2000)

Tichenor said that one of the challenges in editing Boogie Nights was how to integrate long takes with coverage as well as figure out the answer to the question, "Whose story are we telling?"

This would become even more of an issue on their next collaboration, the operatic Magnolia, where, in the opening sequence, it was necessary to introduce all of the different characters and their connections, as well as establish rhythm and theme. 

While some of the shots in Magnolia were written into the script, others were shot five or six different ways and then altered in the editing room. Tichenor said that P.T. Anderson uses Microsoft Word to write his scripts, doesn't really adhere to traditional format, and does "all the things you're told never to do" as far as writing camera directions into his scripts. Of course, the editor noted that "Anderson can get away with it."

During post, Tichenor and P.T. Anderson went back and forth over the film's 188-minute runtime. Whenever Tichenor asked if there was anything Anderson would consider cutting from the film, Anderson responded, "'Like what, Dylan? What would you cut?'" Tichenor then related that "about two years later, I get a text from Paul saying, 'Magnolia’s playing on TV. It's too long. Great, thanks a lot, Dylan.'" 

There Will Be Blood (2007)

After Magnolia, Tichenor and P.T. Anderson next collaborated on what has recently been named by The New York Times as the best film (so far) of the 21st century: 2007's There Will Be Blood, which earned multiple Academy Award nominations, including one for Tichenor. Unlike their first two collaborations, which were multi-character narratives with lots of parallel action, TWBB is, in the editor's words, "a different kind of beast." 

From the start, Tichenor and P.T. Anderson approached the project like a horror film, employing "gothic shot framing and trying to build tension without a lot of cuts." This methodology even factored into the font that was used for the titles. "The cuts that are more nerve-wracking to me are the slower, quieter ones," Tichenor continued. "There's a big spotlight on, 'Now I'm changing perspective; now I'm showing you something else.'" 

He explained that because the character of Daniel Plainview was so off-putting and inhuman—in Tichenor's words, "a huge ass"—one of the challenges was eliciting empathy from the story. He and P.T. Anderson approached this problem through the character of H.W., Daniel's adopted son, whose perspective of the action they tried to bring into focus in every scene. "I kept asking Paul for more shots of H.W.," Tichenor said. "The same stuff is happening, but let's watch it through his point of view."

P.T. Anderson obliged, even adding scenes of the two bonding. (Here's a deleted one; it's the first of the three clips.)

In contrast to quieter scenes, the editor feels as though "action functions more like [a] mosaic, where you have all the little pieces. When it's good, you get movement and flow."

Regarding the decision as to when to drop the sound out during the above set piece, Tichenor said that, beyond wanting to make sure that what had just happened (H.W. losing his hearing) was clear to the audience, it also was a way to bring the audience back into H.W.'s point of view and "keep that thread" of showing events through someone other than Daniel's eyes. 

Tichenor also talked about the strategy underlying the sequence's rhythm.

"It was not a fast movie," he said. "[In this sequence], we wanted to do set-up, set-up, static shots, then a long, handheld walk in...and from there, we wanted it to snap up." In fact, while cutting the seven-minute set piece, Tichenor found that there weren't as many angles as he wanted to use. As a result, he constructed some of them by punching in and out of different takes. "There are more angles than there were actual shots," he said. For example, when H.W. is blown back by the explosion, Tichenor made use of what he referred to as "...little repeated action things," i.e. quick cuts of the same footage, in order to add velocity to the sequence. 


73
The Art Gallery / Re: random stuff
« Last post by pete on June 15, 2017, 10:15:54 PM »
all kinds? felt like that reel, which spanned over five years, really had everything from a Canon 60D to Red Dragon 6k to Arri Alexa and maybe even a gopro shot or two.
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This Year In Film / Re: It Comes at Night
« Last post by pete on June 15, 2017, 10:05:12 PM »
yeah I see what you mean - spoilers

I think Christopher Abbot - one of my favorite actors - played his role too straight so the audience doesn't have a reason to suspect anything, making Paul and his wife's paranoia extremely unrelatable, which would've been fine if it weren't like the central thesis of the story and the main driver of the entire plot. also the wife's turn in third act was good - it made sense but was surprising - but it was hampered by her need to explain their rationale for shooting the new family twice in the same scene (ie. why they felt like they had to shoot the family who just wanted to leave) - that felt very clunky for a movie that was otherwise very lean, but unfortunately that was like what the whole movie was supposed to build up to. It could've led us into Blue Ruin territory, but it wasted valuable screen time repeating scenes and hallucination rather than building that doubt or raising stakes.
75
The Art Gallery / Re: random stuff
« Last post by Jeremy Blackman on June 15, 2017, 10:05:10 PM »
Can't get over how beautiful your stuff looks. What cameras do you typically use?
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The Art Gallery / Re: random stuff
« Last post by pete on June 15, 2017, 09:12:13 PM »


I've got a reel
77
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on June 15, 2017, 04:19:04 PM »
May 23, 2017

The Coen Bros. Barton Fink (1991) on blu-ray from Kino



Set in 1941, an intellectual New York playwright Barton Fink accepts an offer to write movie scripts in L.A. He finds himself with writer's block when required to do a B-movie script. His neighbor tries to help, but he continues to struggle as a bizarre sequence of events distracts him.

Barton Fink (1991) - Amazon


New release date - August 15, 2017
78
Real-Life Soundtracks / Re: Now Playing
« Last post by diggler on June 15, 2017, 02:00:33 PM »
New Everything Everything


79
Real-Life Soundtracks / Re: Everything Everything
« Last post by diggler on June 15, 2017, 01:57:46 PM »
Speaking of which, new single out now and album on the way in August.


80
The Director's Chair / Re: Excellent Short Films
« Last post by wilder on June 14, 2017, 05:47:08 PM »
Dude who directed the latest Weeknd music video has some other interesting stuff on his vimeo channel. The latter two music videos are also chock-full of great brutalist architecture

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