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#2376
Calamari Marionette Ph.D
#2378
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Ha, my thoughts exactly.
In all reality, we should only refer to season 1 when discussing True Detective because season 2 is a big pile of poo.
In all reality, we should only refer to season 1 when discussing True Detective because season 2 is a big pile of poo.
#2379
:)
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@Muffin Man bartape job on your Dean is ace.
#2381
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I watched the first 3 episodes of Season 2 and gave up. I might go back at the end and binge watch if people say it was worth watching in the end, but the first few episodes did nothing for me.
#2386
Calamari Marionette Ph.D
I found Season 1 to be outstanding...to the point where I kept notes and tried to figure out who the killer was. I'd even re watch certain episodes to look for clues.
I watched the first 3 episodes of Season 2 and gave up. I might go back at the end and binge watch if people say it was worth watching in the end, but the first few episodes did nothing for me.
I watched the first 3 episodes of Season 2 and gave up. I might go back at the end and binge watch if people say it was worth watching in the end, but the first few episodes did nothing for me.
Every episode of season one was directed by that same dude. It's excellent. That is completely unheard of in the industry.
The cinematography was also handled the same way, one guy, Cary Fukunaga, and he is a genius. @ Mumonkan, keep you eyes peeled for a six minute tracking shot. It's mindboggling. SIX MINUTES with no edits...not one single cut. And to top that off, it's an action chase scene, running from building to building, inside through the buildings, fights, guns, police helicopters, alleys, over fences....one continuous six minute shot. It's freakin amazing. IMO the best tracking shot in the history of TV AND cinema.
Season 1 made me very uncomfortable almost all the time. It was a truly special piece of film making.
EDIT: Hahahahaha. While I was typing you posted...six episodes in.
#2387
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Every episode of season one was directed by that same dude. It's excellent. That is completely unheard of in the industry.
The cinematography was also handled the same way, one guy, Cary Fukunaga, and he is a genius. @ Mumonkan, keep you eyes peeled for a six minute tracking shot. It's mindboggling. SIX MINUTES with no edits...not one single cut. And to top that off, it's an action chase scene, running from building to building, inside through the buildings, fights, guns, police helicopters, alleys, over fences....one continuous six minute shot. It's freakin amazing. IMO the best tracking shot in the history of TV AND cinema.
Season 1 made me very uncomfortable almost all the time. It was a truly special piece of film making.
EDIT: Hahahahaha. While I was typing you posted...six episodes in.
The cinematography was also handled the same way, one guy, Cary Fukunaga, and he is a genius. @ Mumonkan, keep you eyes peeled for a six minute tracking shot. It's mindboggling. SIX MINUTES with no edits...not one single cut. And to top that off, it's an action chase scene, running from building to building, inside through the buildings, fights, guns, police helicopters, alleys, over fences....one continuous six minute shot. It's freakin amazing. IMO the best tracking shot in the history of TV AND cinema.
Season 1 made me very uncomfortable almost all the time. It was a truly special piece of film making.
EDIT: Hahahahaha. While I was typing you posted...six episodes in.
#2388
Calamari Marionette Ph.D
It's one thing to break the sequence down into shorter pieces, film it with 3-4 cameras, and then cut it all together and throw all the mistakes on the floor. That's hard enough. But one camera, non-stop, SIX MINUTES, and no boo-boos. It's hard enough to capture a six minute conversation in a single setting in one take, let alone a chase scene. Totally insane achievement. He deserved all the accolades.
#2389
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Ha, I had to look up that shot to see what it was. That was a great episode.
Maybe I should rewatch Season 1 and forget about season 2 altogether.
Maybe I should rewatch Season 1 and forget about season 2 altogether.
#2392
Calamari Marionette Ph.D
#2394
Calamari Marionette Ph.D
#2396
Calamari Marionette Ph.D
#2397
Pirate/Smuggler
About Touch of Evil, there's first the technical "how the heck did he do that" questions, somehow he gets the crane to whiplash that camera around like it's a bird in flight. Then there's the mix of characters, settings, and just plain storytelling that goes on in that shot. It's sufficient to be a short in itself. Similar is the opening shot in Kalatazov's I am Cuba.
Another long shot that gets honorable mention:
#2398
Calamari Marionette Ph.D
That's like the hundredth time some has mentioned Rope and I still haven't seen it. Got it on the queue, finally!
About Touch of Evil, there's first the technical "how the heck did he do that" questions, somehow he gets the crane to whiplash that camera around like it's a bird in flight. Then there's the mix of characters, settings, and just plain storytelling that goes on in that shot. It's sufficient to be a short in itself. Similar is the opening shot in Kalatazov's I am Cuba.
About Touch of Evil, there's first the technical "how the heck did he do that" questions, somehow he gets the crane to whiplash that camera around like it's a bird in flight. Then there's the mix of characters, settings, and just plain storytelling that goes on in that shot. It's sufficient to be a short in itself. Similar is the opening shot in Kalatazov's I am Cuba.
Yeah that Oldboy one is spinner too.
The funny thing about Rope is that Hitchcock considered it an experiment that was ultimately a huge failure, He said he was embarrassed at how bad the final product was. I think it's one of his best. Maybe the best.
Last edited by SquidPuppet; 08-10-15 at 03:56 PM.
#2399
pro in someone's theory
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The thing with "Rope" is that it is almost the exact opposite. The movie comes from a play and Hitchcock literally just put the camera in one spot and said "Okay do the play" until the camera ran out of film. It is really static.
#2400
Calamari Marionette Ph.D
From wiki
The walls of the set were on rollers and could silently be moved out of the way to make way for the camera and then replaced when they were to come back into shot. Prop men constantly had to move the furniture and other props out of the way of the large Technicolor camera, and then ensure they were replaced in the correct location. A team of soundmen and camera operators kept the camera and microphones in constant motion, as the actors kept to a carefully choreographed set of cues.[SUP][1][/SUP]