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09-20-2018, 12:36 PM | #22081 (permalink) | |
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(As mentioned a few pages ago, I did like the movie though.) I can see the Spielberg comparison. Munich might as well have been directed by Villeneuve. Spielberg seemed to get worse with time, at least to me. His old 70's and 80's classics are way more visually vibrant than those movies he made in the 90's and up. Villeneuve also kinda feels like Nolan light to me. A bit difficult to put into words exactly how. It's both visually and in terms of some of the more subtle sides of movie direction. |
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09-20-2018, 12:39 PM | #22082 (permalink) | ||
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09-20-2018, 12:47 PM | #22083 (permalink) | ||
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It's hard for me to explain why I feel like Villeneuve lies somewhere between Spielberg and Nolan, because a lot of it is down to intuitive experience and not something I can necessarily point out very specifically. |
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09-20-2018, 12:49 PM | #22084 (permalink) | |
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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth. |
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09-20-2018, 12:54 PM | #22085 (permalink) | |
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I googled some images and it looks like it has a more nuanced sort of approach to color. I'd probably think it looked great in motion. A lot of the movies that I think had the best visuals had subtle modulations of a natural looking color scheme. It's not like it's a rule, of course. Some movies pull off more extreme looks well. I just think a lot of color grading in movies ends up looking like cheapo horror film aesthetics with no feeling of place/groundedness. |
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09-20-2018, 12:59 PM | #22086 (permalink) |
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Wait, no, I'm stupid. Beasts of the Southern Wild is very good but I meant Beasts of No Nation. And yes it's very good too.
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09-20-2018, 01:01 PM | #22087 (permalink) |
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Depends on the movie for me.
Arrival had such a cool and captivating story that it didn't need overwrought acting or lots of flashy colors or cinematography. Sicario was the same but in a different way. The maintained level of suspense kept it moving along without the need for lots of visual bells and whistles. I could have done without the night vision viewpoint stuff towards the end. Bladerunner 2049 had some big shoes to step into and needed to match the atmosphere and visual styling of the original - which it did remarkably well. 10 minutes in and I thought I was watching an extended cut of the first movie. Another of my fave movies, Traffic, is great in the way that Soderbergh used filters. The scenes in Mexico are awash in yellow hues, the ones in Washington in blue, and then San Diego is vibrant without any obvious filtering. Worked great IMO.
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09-20-2018, 01:04 PM | #22088 (permalink) | |
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09-20-2018, 01:05 PM | #22089 (permalink) |
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Oh, a Netflix film. I like the pics I'm finding, but I don't have any Netflix subscription.
The color grading gives it that hot, but oppressively humid feeling. Which I could imagine going well with the story & themes. |
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