Flight Facilities - Foreign Language
shot and directed by Dimitri Basil

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Steven Soderbergh Re-Scores And Changes Steven Spielberg's 'Raiders Of The Lost Ark' To Black-And-White - Extension 765

stayforthecredits:

I value the ability to stage something well because when it’s done well its pleasures are huge, and most people don’t do it well, which indicates it must not be easy to master (it’s frightening how many opportunities there are to do something wrong in a sequence or a group of scenes. Minefields EVERYWHERE. Fincher said it: there’s potentially a hundred different ways to shoot something but at the end of the day there’s really only two, and one of them is wrong).

So I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me. Oh, and I’ve removed all sound and color from the film, apart from a score designed to aid you in your quest to just study the visual staging aspect. Wait, WHAT? HOW COULD YOU DO THIS? Well, I’m not saying I’m like, ALLOWED to do this, I’m just saying this is what I do when I try to learn about staging, and this filmmaker forgot more about staging by the time he made his first feature than I know to this day (for example, no matter how fast the cuts come, you always know exactly where you are—that’s high level visual math shit). At some point you will say to yourself or someone THIS LOOKS AMAZING IN BLACK AND WHITE and it’s because Douglas Slocombe shot THE LAVENDAR HILL MOB and the THE SERVANT and his stark, high-contrast lighting style was eye-popping regardless of medium. - Steven Soderbergh

Special thanks to filmghoul for rec’ing this.

This is a great resource.

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I need to watch Samurai Cop immediately.

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Skipping the warm up and diving in to another week. Let’s make it creative and productive, folks.

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by Ginnungagap Filmwerks

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Nice doco-style ad directed by Glen Milner for Steinway & Sons

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Watching From Dusk Til Dawn on Netflix and was feeling pretty iffy until the bar scene. And then — holy smokes! — it’s hilarious. Clooney’s first starring role?? Check. Harvey Keitel? Check. Vampires?? Check. Salma Hayek?? Double check.
Also notable is the use of mostly practical effects.  So the exploding corpses aren’t CGI — a vestige of solid movie craft!

Watching From Dusk Til Dawn on Netflix and was feeling pretty iffy until the bar scene. And then — holy smokes! — it’s hilarious. Clooney’s first starring role?? Check. Harvey Keitel? Check. Vampires?? Check. Salma Hayek?? Double check.

Also notable is the use of mostly practical effects. So the exploding corpses aren’t CGI — a vestige of solid movie craft!

Wow. Perfect execution of a oner.

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fuckyeahbehindthescenes:

Roddy Piper, being a married man at the time of filming, refused to take his wedding band off. That’s why in several scenes you can see a wedding ring on.
They Live (1988)

fuckyeahbehindthescenes:

Roddy Piper, being a married man at the time of filming, refused to take his wedding band off. That’s why in several scenes you can see a wedding ring on.

They Live (1988)

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Johnny Walker with an ad reminiscent of Jean-Luc Godard’s Bande a part (1964).