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I can see your point. There's a growing disconnect. I have two main gripes. The art of shooting in camera and the spontaneity that brings is starting to be lost, because every frame is tweaked to within an inch of its life. The ability to constantly refine means you lose something quite essential for me. The other issue I have, and it's prevalent within the MCU and DCEU, is CG camera moves. We subconsciously know when a camera movement is achievable, so when it isn't it registers. So many times I'm pulled out of a movie when a director attempts an elaborate but wholly impractical shot using a blend of in camera footage and CG movement. It's something used way too often for my liking.
Have the characters, as superheroes, operate in improbable ways, but don't allow your shooting of said superheroes appear improbable.
What frightens and saddens me most is how we as an audience have become so acclimatized to this. When Lucas was making his prequel trilogy in the early 2000's, he got crucified for attempting to shoot everything in isolation, and then composite the elements together later. Now the computers have become more powerful, the same techniques are lauded. I had to turn off Guardians of the Galaxy in the first 5 minutes, I couldn't stand Chris Pratt dancing around a empty soundstage.
The think is, with big budget movies now mostly adaptations, we have lost sight of the true language of cinema. We don't rate a film on its cinematic merits, but rather how literally the source was transcribed to screen, irrespective of the craft involved.
Have they officially confirmed that as being the Nomad outfit? Because...
That looks nothing like it.
"The stakes are incredibly high,” Russo says of the situation in Avengers: Infinity War. “I wanted to turn Thanos into Darth Vader for*a new generation. He’s an incredibly intense character. Sociopathic. He takes no prisoners. I think the audience needs to be prepared when they go see these movies.”
Thanos is on a quest for the Infinity Stones to adorn his Infinity Gauntlet, thus granting him infinite power. When asked how this quest affects the structure of Avengers: Infinity War, Russo brought up his and his brother and co-director Anthony Russo’s habit of using popular films as touch points.
“Structurally, with this first film, Avengers 3, we’ve been using smash and grab ‘90s heist films,” he says. “There’s a real urgency to the film and it adds a level of excitement and relentlessness to the movie. It's a lot of divergent narratives coming together*into*a climax.”
Can't believe all this greatness is happening. What a time to be a fan, having my childhood dreams coming true and not getting fucked over!
Easy tiger.
Aren't you the guy who is saying Aidan Turner would be the best Bond ever, even without seeing a single official image of him as Bond?
That's because I saw the potential for myself, not because someone told me about it and I took their word for it.
Really? This from you? Haha ok, mate.
And you've missed the context in which my comment was based on.
And I was prophesying what exactly? We're living in an age of comicbook movies; and I get to watch and enjoy these films of characters I love that I never thought I'd get to see on the big screen and on top of that, there's a trust in the Russo's as they've already proven themselves more than capable in making these sorts of movies and the upcoming MCU films are indeed looking great.
Still twiddling my thumbs as I wait for that 'Dredd' sequel.
Karl Urban has been in every franchise, it seems - 'Red' (the Bruce Willis/Helen Mirren action flicks), Jason Bourne, Star Trek, Marvel (thanks to Thor: Ragnarok), Dredd, Riddick, Lord of the Rings.
Same mate, I was gutted that it didn't do too well (the 3D probably put people off). Apparently Karl Urban is really keen on it happening too. I've read rumours about Netflix doing something with it (imagine a whole series in the same vein) but I think that's just fan speculation. It seems to have become a proper cult classic though so here's hoping.
I recall an interview where he said he'd love to ship the ideas to any premium service, such as Netflix, HBO, etc. Give me even a limited miniseries as a proper "sequel" and I'd be so happy.