It’s a fun part, but not a big one.
Thanks for catching that.
Kino Lorber (the distributor) tweeted out that there are, in fact, no cuts; it’s really just one take.
I’d point out that you’re misreading parts of the review (and, it appears, whatever aspect of my politics I’ve brought to it), but I can’t get over the fact that you think Octavia Spencer is in this movie.
One more terrific thing about Alphaville: It takes a common 20th experience of alienation—driving through a city’s center and modernist outer high rises at night and feeling like you’re exploring another planet—as the basis for an entire aesthetic strategy. Elevators? Tower blocks? A TV in your hotel room? Sure, this…
You’re right. Originally with Sacha Baron Cohen as Holmes and Ferrell as Watson. He had 10 years to prepare that goddamn accent.
Cohen wrote (and directed) Get Hard. He did not work on Walk Hard.
This. This is objectively the worst Will Ferrell movie. The pits.
And if it made another $100 million, it might have actually broken even.
And Mazursky is in The Other Side Of The Wind. He plays himself.
The cast is all over the place—literally, as Welles would shoot angles of the same scene in different countries, sometimes years apart. But Norman Foster is very good.
Rivette is actually not a bad point of comparison for Part One.
He’s the voice of the puppet, so he’s all over it, though he only shows up as Stine toward the end.
Not sure if that’s a joke, considering that’s the era when Jackson Browne was all over the radio and selling millions of albums.
Actually, because they don’t have any bones or internal gasses, sharks aren’t really affected by decompression. The big but here is that they don’t really go in the deep, deep sea.
There’s no algorithm.
Nah, that’s all Katie.
Digital grading, color timing, processing, etc. don’t count as special effects. Here’s the thing: O Brother is a milestone for doing the work digitally. What I think most folks don’t realize is that color, contrast, saturation, etc. have always been manipulated. It’s been that way since the silent era. Consider this:…
Not all of them. They also had access to a real B-25; when you see it flying through smoke, it’s actually an oil fire in Oakland that the crew scrambled to get on film. There’s some newsreel footage in there as well.
Which does not follow under the purview of special effects.