If Santa ain't taking out some damn Martians, I ain't interested.

If Santa ain't taking out some damn Martians, I ain't interested.

Don't thrust his thighs.

Don't thrust his thighs.

No, you're right, lawlymoe. It's just that her villainy is supposed to be in doubt for most of the movie, with a big reveal that she's masterminded the whole thing, so it's treated like Bullet Brain Robert is the antagonist for most of the running time.

No, you're right, lawlymoe. It's just that her villainy is supposed to be in doubt for most of the movie, with a big reveal that she's masterminded the whole thing, so it's treated like Bullet Brain Robert is the antagonist for most of the running time.

Stone Cold Classics:
Goldfinger
A View to a Kill
Live and Let Die
You Know My Name

Stone Cold Classics:
Goldfinger
A View to a Kill
Live and Let Die
You Know My Name

re: TWINE. You've gotten that one mixed up with Tomorrow Never Dies, which is where the media mogul tries to stir up war with China to boost his satellite news network. The actual TWINE plot is about controlling world oil prices via a nuclear bomb, sorta like a sticky, ooze-y Goldfinger.  The bad guys are a terrorist…

re: TWINE. You've gotten that one mixed up with Tomorrow Never Dies, which is where the media mogul tries to stir up war with China to boost his satellite news network. The actual TWINE plot is about controlling world oil prices via a nuclear bomb, sorta like a sticky, ooze-y Goldfinger.  The bad guys are a terrorist…

Al Neuman, in what way are those lyrics anything but Awesome?

Al Neuman, in what way are those lyrics anything but Awesome?

You Only Live and Let Tomorrow Dies Another Forever Royale to a Kill: Octopussy

You Only Live and Let Tomorrow Dies Another Forever Royale to a Kill: Octopussy

The Mean Streets shot, if we're thinking of the same one (Keitel drunk in the bar), is similar in its framing and angle, but the camera is mounted on the actor as he walks/stumbles along, and the effect is very different, methinks.

The Mean Streets shot, if we're thinking of the same one (Keitel drunk in the bar), is similar in its framing and angle, but the camera is mounted on the actor as he walks/stumbles along, and the effect is very different, methinks.

He doesn't have to have invented it.  He's used it in one form or another in (nearly?) every movie he's made.  Can't speak to Cocteau, but Scorsese is known for his steadicam and crane tracking shots.  I can't actually think of a signature moment where he places the camera and actor on the dolly together in the way…

He doesn't have to have invented it.  He's used it in one form or another in (nearly?) every movie he's made.  Can't speak to Cocteau, but Scorsese is known for his steadicam and crane tracking shots.  I can't actually think of a signature moment where he places the camera and actor on the dolly together in the way…

Re: Inside Man

Re: Inside Man