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61
The Vault / Re: need the movie tite
« Last post by ady22 on June 17, 2017, 03:23:31 AM »
YES! I think I just found this one! "Red State" 2011 - Reverend guy is played by Michael Parks, who was in QT's "Dawn Til Dusk" seems to fit.  :yabbse-smiley:
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News and Theory / Re: Who's Next To Croak?
« Last post by Lottery on June 16, 2017, 09:30:43 PM »
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The Art Gallery / Re: random stuff
« Last post by N on June 16, 2017, 08:30:15 PM »
Wow that's really lush Pete. What is that shot at 1:25 from? I love the way the tree moves with the camera pushing in.
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Okay, this is sort of off-topic but relates to how studios might use social data to create entertainment and also attract advertisers.

Choice quotes:

"The characters I was creating needed to appeal to those people. But writing these varied characters is about more than just clothing or token references, you really need to know who they are on a more personal level. I wanted to explore new ways of building that understanding, and with Twitter being an open network I was familiar with, it was a natural choice."

"Analysing different segments of any demographic in Audiense corrected the over-indexing in the audience that the show would originally appeal to. It gave me extra inspiration for some characters and their plot points, as well as confirming ideas I had for others. Moreover, this new way of creating a show will get a lot of interest from potential sponsors. Once you embrace your audience openly, you can bring in advertisers as you can clearly point to who your show is likely appeal to with far greater accuracy. This is of great value to them, and thus it’s valuable for the studios too."


https://audiense.com/interview-tv-producers-bridging-gap-social-data-marketing-media-case-study-risk-creativity-can/
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2016 In Film / Re: Certain Women
« Last post by wilder on June 16, 2017, 04:17:32 PM »
Criterion blu-ray on September 19, 2017
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The Art Gallery / Re: i'll be sharing
« Last post by Drenk on June 16, 2017, 01:45:00 PM »
I bought it with Amazon.fr but it says there is no stock. I received Larry Angeles within two days.

EDIT: Nevermind. Amazon sent me a mail, I'm receiving it in July.
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This Year In Film / Re: It Comes at Night
« Last post by RegularKarate on June 16, 2017, 09:45:50 AM »
That last sentence is exactly how I felt.
And Christopher Abbot really is great.
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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.
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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. 


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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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