One Perfect HEADshot

@HeadExposure

Occasional headshots; frequent film ramblings. Tsui Hark rules the world. Mutant child of Swiss site Banner: J. Malkowski, Dying in Full Detail

Vrijeme pridruživanja: srpanj 2018.

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  1. Prikvačeni tweet

    What are your favourite action scenes of the decade? Here are a few of mine: SPL 2: A TIME FOR CONSEQUENCES (Soi Cheang, 2015) Perhaps the most eloquent example of 'non-verbal dialogue' of recent memory, where each move is made in response to another. Grandiose in every aspect.

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  2. And once the pond has been crossed, I think we have another digitally "hidden" transition (0:07-08) to facilitate the switch back to the 40mm lens, which leads me to believe the change was mostly motivated by the desire to showcase this technical prowess.

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  3. after that, we get to see one of the most incredible feats of logistics in the film: the camera does not follow the soldiers, but crosses the pond, hovering above the water. It creates a distance with the characters and draws attention to the technical achievement itself.

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  4. The choice was of course deliberate, and if I had to guess, I'd say he and Mendes wanted the 35mm lens to make the next obstacle appear even more impressive, namely the large pond the soldiers need to walk around. The depth of field is such that it looks gigantic. However, just..

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  5. you look at the trees in the background, their width seems to change one second to the next, as further objects would appear even further away with a 35mm lens. So it looks like a one take but Deakins decided to give another feel to a particular section of the film in this case.

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  6. Roger Deakins shot 1917 on an ARRI Alexa Mini LF and a Signature Primes 40mm lens... for the most part. I think he switches to a 35mm lens on a couple of occasions, like in the transition below. You can see the change in focal length after they walk by the tree at 0:11-12, and if

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  7. 4. velj

    Due to health concerns, the Chinese theatrical release of ENTER THE FAT DRAGON (Wong Jing) has been cancelled, and the film has been released on VOD. Just sayin'.

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  8. 4. velj

    ...THE TALE OF A HEROIN, seemingly directed by one Wong Kin-Fan. The scene here is a great example of how these films could go from tense, fairly realistic sword fight to pure WTF territory really, really fast. I'm obviously in love with this. Cynthia Khan is in both films. (2/2)

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  9. 4. velj

    That's a lot of explosions for a sword fight. Wong Hong was a producer from Taiwan. He apparently only made two films, both in 1993. One that he directed himself, called THE TOP LADY OF SWORD, which takes the action to unexpected levels of wuxia madness, and another one...(1/2)

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  10. 4. velj

    This was part of a German TV variety show with on-stage dancing and parody scenes. The singer is Ilja Richter. Made to promote EMPIRE STRIKES BACK (but completely spoils the big reveal). Hamill addressed it before: Full video here:

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  11. 4. velj

    Cronenberg meets Tsukamoto in ANATOMIA EXTINCTION (1995), which Yoshihiro Nishimura remade in 2008 as TOKYO GORE POLICE. However, the style radically changed as the original 54-minute film was an atmospheric transhuman dystopia w/ dashes of gore. A bleak, angry, fascinating film.

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  12. 3. velj

    Also contains Rocket Raccoon and... other stuff.

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  13. 3. velj

    It starts off weird, gets creepy, and ends with a head-busting twist! MONSTER HEAVEN: GHOST HERO (Makoto Tezuka, 1990)

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  14. 3. velj

    I don't think those scenes come from another movie per se. As far as I know, they were shot exclusively for international markets and added to the so-called THUNDER COPS movie (actually just PINK SQUAD 2 w/ other scenes). The male fighters look like Jeff Falcon and Ken Goodman.

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  15. 3. velj

    Beautiful Japanese horror imagery in BOTAN-DŌRŌ (Satsuo Yamamoto, 1968).

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  16. 3. velj

    I could not find ANY info on the film in English. You have to go to Chinese pages to get scraps of data: It's not a huge budget film. And yet, there is always something that sets it apart. A shot, an elliptical action beat, a stunt... Never stop digging.

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  17. 3. velj

    Here's the thing with Hong Kong cinema: no matter how obscure or even how forgotten a film is, I am still consistently amazed by the physical commitment, the brutality or the creativity of those movies. Who on Earth remembers GOODBYE CAPTAIN (Jin Le, 1996)?! You're welcome.

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  18. 3. velj

    Who do I need to @ to start a serious conversation about EARTH DEFENSE WIDOW (Minoru Kawasaki, 2014), in which a geisha turned pilot is sexually aroused when firing at the kaiju that killed her fiancé?

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  19. 3. velj
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  20. 3. velj
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  21. 3. velj

    Contains some serious material for ! (1/3)

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