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12-Jun-2005
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Post
#348404
Topic
Abrams is Destroying Star Trek like Lucas has Destroyed Star Wars
Time
Yoda Is Your Father said:

If the bloke playing Kirk done a Shatner impression everybody would laugh their arses off and you lot would moan.

Also, I'm sure he was directed on how to act it - go easy on the guy man, shit.

I agree. Besides,  if I wanted to see a Shatner Kirk, I have countless hours of that already available.

 

In fact, Pine said he intentionally stayed away from doing a Shatner impression.  Here's an interview in Variety where he addresses that very subject;

http://www.variety.com/article/VR1117994644.html?categoryId=3289&cs=1

"They're that iconic. They left that indelible a mark on the social psyche," Pine says of Kirk, Spock and the rest of the crew.

In jumping full throttle into cramming sessions with "Trek" lore encyclopedias and watching the original series, however, Pine decided midway that he was doing himself an injustice.

"All I was doing was heaping upon myself an incredible amount of responsibility, weighing myself down with 'You must remember to act this way' and such," explains Pine, taking over a part whose mannerisms, as embodied by William Shatner, have become instantly recognizable. "That's when I was really able to let go and accept the parameters that J.J. set forth in the beginning, which was to bring what was special and unique about us to the roles."

That meant embracing Kirk's descriptors -- charming, funny, leader of men -- rather than a predigested image.

"Just try to be human," Pine clarifies. "I got to do everything: yell, shout, cry, laugh, take charge and be vulnerable. I pulled the lucky straw."

 

Post
#348231
Topic
Abrams is Destroying Star Trek like Lucas has Destroyed Star Wars
Time
Hunter6 said:

I do not had to see this jj trek movie to tell it is on the wrong foot.

 

So - don’t go see it. Save yourself $10.00 and take a stand that means something.  Belching out hate on a message board isn’t going to do anything other than raise your blood pressure.

 

I’m a huge fan of the 007 franchise, been following it since 1973.  When the latest – Quantum Of Solace – came out, I went to see it as soon as I could, just as I have all the others. I was very disappointed. Only saw it once and I won’t be buying a copy.  That still leaves me 21 other films to watch.  It didn’t ruin anything – it can’t. It’s only a movie - only one out of 22 films.

I’ve also been a huge Star Wars nerd since 1977.  The original film is all I really like.  Because I'm not a fan of altered versions of films, I haven't seen the SEs.  Because Phantom was so bad, I didn't bother with the last two prequels.  Yet, that one film - Star Wars 77 -  is plenty to keep me as big a nerd as anyone here, as big as I’ve ever been.  The 1977 film moved me that much. For crying out loud – I post on a Star Wars board and I only like one film! – I’m in a really small group. ;-)

So it looks like you won’t be seeing this new Trek film. That leaves you 10 other films and over 700 TV episodes of Star Trek to watch.  Why in the world is that something to mount a crusade over? Is 720 hours of Star Trek not enough?

 

the star wars fan-base now is in two groups : SE/prequels lovers with sites like TF.N and OOTP fans with sites like this site I'm on. Star Wars Fans V.s Star Wars Fans and now The Star Trek Fan base is broken apart with Trek Fans V.s. Trek Fans. 

 

Fans vs fans? – who gives a shit?

Why would you worry about which side you’re on, which side is more popular, which side is correct, etc?  I don’t give a fuck if there are 10 groups of Star Wars fans – I’m the only group that matters when I put the DVD in.  The other groups aren’t in my living room watching the film with me. I'm just glad the folks around here haven't run me off after all these years. They probably think I'm some sort of far out old man, but they don't berate me for my views - at least not openly.  ;-)

You speak of the groups as though they were some sort of governing bodies – N. Korea vs S. Korea – Union vs Confederacy – Israel vs Palestine. Man, they’re just people going to the movies, that’s all. There’s no war - nothing to win.

 

 

People on TF.N would say Lucas was right for making the prequels like he did…..

 

And for what they want in a film, he did. For people who don’t care about continuity or story – he did. For people who want style over substance – he did.

 For what I want in a film - he didn’t, so I didn’t go see the last two.

 

 just you are saying Abrams is right....

 

I only said he was right about the insane fanatics.  As far as whether or not he was right about the film itself – I’ll have to see it first.

 

Post
#348223
Topic
Abrams is Destroying Star Trek like Lucas has Destroyed Star Wars
Time
Gaffer Tape said:

You know, Abrams's comments there really didn't bug me at all.  I know I'm a nerd, and it's a fact I appreciate while trying to maintain a sense of humor about myself.  Therefore, being called an "insane fanatic" doesn't insult me.  It either humors me or actually compliments me.  And that said, I can understand what he's talking about.  With any kind of adaptation, a balance needs to be reached between serving the purists and serving the new medium. 

 I'm the same way.  I'm aware of my lifetime of nerdiness.  However, at the same time I also have a healthy sense of humor about it, as well as keeping one foot in reality.

Besides, Abrams is right.   You don't have to look any further than this very thread - people knowing for a fact this new Trek film is terrible (even though they haven't seen it yet) - asking fans to boycott the film - posting hate messages from other boards - comparing photographs of different actors' facial expressions - claiming a TV show from 43 years ago is being destroyed, etc.

Clearly, for a select group of fans, there's only their way or the wrong way. Abrams knows what he's up against.

I'll be seeing this in the theater.  It's nice to have Trek back and for me this new film is very welcome after the last couple of offerings.  Anyway, it's just a movie - it's not disease, foreclosure, unemployment, or bankruptcy.

 

Worst case scenario - I go see it, I don't like it, I leave the theater, and I go get something to eat - because it will probably be lunch time when the movie is over.

Best case scenario - I go see it, I like it, I eventually buy it on DVD, and my Star Trek film library doubles in size.  ;-)

 

 

 

Post
#347604
Topic
The influence of Star Wars in our culture
Time

It's always been interesting to me how Star Wars has become part of culture beyond just it's influence in the entertainment industry. It's certainly a testament to it's gravitas beyond film. The following incident reminded me of it. This happened a few minutes ago.

There’s a new guy at work - young kid, maybe 23 or so, nice guy.  He’s a Landman.  That means his job is to deal with land owners of the acreage we want to shoot seismic on, or drill under (I work for an oil & gas company).  It’s a tough job because sometimes land owners are less than cooperative – man, the stories they tell and the arguments I hear – crazy stuff.

Anyway, he’s been having an especially difficult time with one landowner in particular the past week and he’s about at the point where he can’t trust the guy at all anymore. I just heard him talking to one of the geophysicists about a statement the land owner made a few minutes ago.  The Landman just got off the phone with the land owner, came into our area, discussed the latest developments in the deal, and then had this to say about the guy -  “My Jedi instinct tells me the guy is lying”. 

Funny that he used it in a real-world context, as opposed to a Star Wars discussion.  In fact, he didn’t even reference Star Wars.  He said it as though there really is such a thing.

A lot of films have an influence for several months after their release, but Star Wars has gone far beyond that. Not many films are that influential.

 

Post
#347538
Topic
NPR Radio Show - My Thoughts
Time
Erikstormtrooper said:

All of the Luke and Biggs stuff is golden.

Very much so.  After a lifetime of seeing a few b&w shots and some grainy footage of a huge part of the story that was left out - it is especially neat to finally have it in it's entirety.   In fact, the entire first chapter is fantastic.  You get a much better understanding of Luke by seeing how his friends treat him.  You understand why he's sort of a loner.

 

Post
#347537
Topic
NPR Radio Show - My Thoughts
Time
DarkFather said:

I absolutely love Leia's voice in this.

+1

 

I prefer her over Fisher.  Much more expressive and a deeper character.  Part of the depth comes from the fact that she has a much bigger role in this version.  This is six hours vs two, and Leia is central to a great deal of it.  The chapter with her and her father on Alderaan is one of my favorite parts of the story.

 

Post
#345475
Topic
NPR Radio Show - My Thoughts
Time
C3PX said:

Having different actors for many of the characters was just fine for me, when I listen to it I like to try to forget about the movie as much as possible and imagine everything in my head. May sound strange, but when I listen to this, the characters in my imagination are based off of the Ralph McQuarrie paintings rather than the actors from the films.

I agree.  The different actors don't bother me at all. There isn't any mental conflict for me when I'm listening to it.  Truthfully, Leia & Han have replaced the film versions for me.  Much deeper characters now.

 

Post
#345373
Topic
NPR Radio Show - My Thoughts
Time

Glad you're digging it, man.  It's by far my default way to experience Star Wars. Much deeper story in this form.

 

That said -  the credit goes to C3PX.  He's the one that put me back in touch with it.  I hadn't heard it since I was a kid, when it was originally broadcast.  Back then I only heard a few portions.  It would have been lost forever for me, if it hadn't been for him.

 

Post
#341918
Topic
Star Wars and Indiana Jones on Blu-Ray Discussion
Time

I'm with Gaffer & Doc on this one.  These future Blu-ray releases (if they end up happening) may mean nothing.  However, they are at least a sign that the OOT isn't automatically being swept under the rug anymore.  I don't really care what reasons\excuses\stories\etc Lucas comes up with when & if he finally releases Star Wars77 in it's best possible form.  I'll just buy it and watch it.

Post
#341894
Topic
Abrams is Destroying Star Trek like Lucas has Destroyed Star Wars
Time
Tiptup said:

I know some other people (perhaps in another thread) also said they had issues with the movie. I remember Anchorhead saying he disliked it a lot.

I thought it was terrible.  It was where I said goodbye to the direction Star Trek was going.  Because of Insurrection, I never saw Nemesis.  The whole thing was a very similar situation to Star Wars for me.  Because I disliked Phantom so much, I didn't bother with Attack or Revenge.

That said, I'm somewhat interested in this new Star Trek film.  It might end up being terrible, but I'll go in with an open mind because it's a different direction than they were taking  several years ago.  If it is bad, it won't ruin anything for me. 

In my world, new films in a franchise can't ruin the films that came before them. They can only become something I soon forget and quit following. Phantom didn't ruin Star Wars77, and Insurrection didn't ruin Star Trek TNG. They're just two films I wasted money on. Star Trek 09 may be another or it may not, but it won't ruin Star Trek TOS.

Post
#324399
Topic
Do you feel like this: pre-1977 to 1983 is the real Star Wars Canon
Time
Octorox said:

2.) Who is the "another" Yoda talked about.

 

George has admited in interviews that they shot that scene without any idea of who it would be or how they were going to resolve that plot point. He just figured he'd come up with something in time for a third film.

More proof that he's lying when he says he had it all planned out in the early 70s.

Post
#322782
Topic
The Dark Knight Movie Discussion (July 18th, 2008)
Time

For me, 1989 Batman will always be my favorite, by far. The second Burton outing was just to big of a mess. The Schumaker films were all but unwatchable. 

I enjoyed Batman Begins, but thought they spent way too much time on history and backstory.  I don't care to know how or why he learned martial arts or the entire story behind the batmobile. I much prefer the darkness and mystery of Batman89.  Which brings me to my only serious criticism of  the Nolan films;  the  high-contrast cinematography.  I really don't like how well-lit and sharp everything is.  For me, that literal removal of the darkness also takes away the character's darkness. Dark Knight seems even more well-lit\high-contrast than Begins.

 

I've been a Batman nerd since the 60s.  When I was a little kid, I never missed Batman on TV every week.  I had the comic books, made mt own capes, etc.  For me, when Batman89 was released, it was what Batman had always been in my imagination.  To me, it was perfect - Keaton, his portrayal of Wayne, the Batcave, the darkness, the mystery - all of it. Not to mention, the coolest Batmobile there has ever been.

 

Unless a bunch of people want to go after work one night, I'll probably wait for Dark Knight on cable.

Post
#319850
Topic
Crystall Skull has GL's fingerprints all over it
Time
Mielr said:


I nearly collapsed the other day when I bought my ticket and it was $10.00!


$9.00, $7.00, & $7.00 for the times I've seen it. All in the same theater, a big Regal with the stadium seating and super comfortable high-back chairs. Brought my own candy with me though - Indiana Jones Mint M&Ms. <--- No, I'm not kidding.
I'm not paying $5.00 for a bag of candy. That's too close to the cost of my ticket and more than I paid to park. Have one more bag in case I go again.
Post
#319756
Topic
An interview with Spielberg and Lucas, from a few weeks ago.
Time
Ziz said:

...are the prequels really as bad as people say they are, or do people THINK they're bad because of all the build-up to what fans were expecting over the years?


That's insulting to the fan base.
The time in between films has nothing at all to do with fan reaction. Fans are expecting greatness (or at least as good) in a sequel as soon as the film leaves the theaters. They want the next one to continue the adventure - whether it's two years later or twenty.

The prequels are disliked because they're bad - not because of the release date, the anticipation, or because people mistakenly "THINK" they are.



With each series - SW or Indy - you've got 20 years of familiarity and maturity in between there. No matter how hard you try, you're not looking at the new film thru the same eyes or with the same attitude as you did the originals, so naturally you're going to be more critical of it.


Two things I'd like to address & question, with regard to that statement.

1. The opposite is true with me. For the sake of this discussion, I should point out that I'm 46 years old and I grew up with these two franchises. I was there at the inception of both and I've waited for, and anticipated, all the sequels*.

For Star Wars, I found all the sequels to be a disappointment - each one worse than the one before (*I've not bothered with the last two).

For Indiana Jones, I've enjoyed all of the sequels a great deal. Some more than others.


2. How do you account for the twenty-somethings that dislike the prequels? They don't have "20 years of familiarity and maturity in between" the films. They didn't grow up with them, they didn't experience the awe of the theatrical birth in 1977, nor did they have to wait years between each release. Many of them were able to first experience the original trilogy in a single afternoon. For my generation, that same experience took seven years.

The twenty-somethings don't have a lifetime of emotional investment in Star Wars. Something else is the deciding factor in their dislike of the prequels.

Quality of story & depth of characters drive my emotional reception of sequels, not time between releases. I suspect that's the case with most fans, regardless of when they first saw the original films.
Post
#319724
Topic
An interview with Spielberg and Lucas, from a few weeks ago.
Time
This was from an Entertainment Weekly piece from May 17th. It's a discussion centering around Kingdom Of The Crystal Skull.

----------------------------------------------------------------------------------------------
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How exactly do you mediate a conversation with two of the most fertile minds in moviemaking? You hang on for dear life, that's how! When EW sat down with George Lucas and Steven Spielberg for a chat about Indiana Jones and the Kingdom of the Crystal Skull (which opens May 22), the pace was fast and furious. You'll see part of our chat in the Summer Movie Preview issue of EW. But Spielberg and Lucas were so voluble, so passionately steeped in film history, and so funny that we had to bring you even more of their historic summit meeting, in which the pair discuss how filmmaking has changed in the past quarter-century, the impact of websites like this one on the experience of moviegoing, and the fate of Indiana Jones and the Monkey King.

ENTERTAINMENT WEEKLY: Gentlemen! This is like having Superman and Batman in the same room. [Laughter]
SPIELBERG: But wait a minute — which is which? I wanna be Superman! With the big S.
LUCAS: We should get some clinking glasses and stuff, just to screw up your tape.
So what took so long to get to installment No. 4? It's been 19 years since Indiana Jones and the Last Crusade, the last of the original trilogy of films.
LUCAS: When we got to [the idea of making a fourth] one, I had already said, ''No. I can't think of another MacGuffin.''

ENTERTAINMENT WEEKLY: Meaning, the mystical thingy everyone is chasing.
LUCAS: I said, ''I can't do it. It's too hard.'' We barely got through the last couple of 'em with smoke and mirrors. Sankara stones, for God's sakes?

ENTERTAINMENT WEEKLY: But there's a lot of historical data about the Sankara stones!
LUCAS: There is, but nobody in the United States knows about it, so there's no resonance. The MacGuffin is the key. Before the Sankara stones [which became the focus of the second film in the trilogy, Indiana Jones and the Temple of Doom], we'd had ideas for all kinds of other MacGuffin things. Some of them were original ones, that were in the [proposed] stories that I did. Like a haunted castle and stuff. But then Steven went off and did Poltergeist and said, ''I don't want to do another haunted-castle movie.''

ENTERTAINMENT WEEKLY: In developing the third movie, there was a Christopher Columbus script early on, Indiana Jones and the Monkey King, set partly in Africa. And that one had a preamble involving a haunted castle.
LUCAS: We wrote complete scripts on other MacGuffins [for the third film]. And finally I said, look, let's just try the Holy Grail. [Adopting another voice] ''Ohhh, it's too cerebral, we'll never make it work....'' So we turned it into a tangible magic cup with healing powers, instead of an intellectual thing. It wasn't until the idea of introducing the father came along that we kind of pulled [the third movie] out of the fire. Because it then shifted from being about the MacGuffin. But ultimately, these are supernatural mysteries. They aren't action adventures. Everybody thinks they're action-adventure films, but that's just the genre we hang them on.
SPIELBERG: There's not one that hasn't been supernatural.
LUCAS: The supernatural part has to be real. [He taps the table] Which is why they're very hard, and you run out [of options] very fast. You have to have a supernatural object that people actually believe in. People believe that there was an Ark of the Covenant, and it has these powers. Same thing with the Sankara stones, same thing with the Holy Grail. We may have exaggerated some of its powers, but basically there are people who believe there is a Holy Grail, brought back by the Knights Templar.
SPIELBERG: Of course, I was worried that people would hear ''Holy Grail,'' and they would immediately think about a white rabbit attacking Monty Python. My first reaction was to say, ''Everybody run away! Run away!''

ENTERTAINMENT WEEKLY: Well to bring us into Indy 4, what kind of developmental push and pull went on once you decided to set the new film in the 1950s?
LUCAS: The idea was to take the genre of Saturday-matinee serials, which were popular in the '30s and '40s, and say, ''What kind of B movie was popular in the '50s, like those B movie serials were popular in the '40s?'' And use that as the overall uber-genre. We wouldn't do it as a Saturday-matinee serial. We'd do it as a B movie from the '50s.
SPIELBERG: The Cold War came to mind immediately, because if you're in the '50s, you have to acknowledge the Cold War.

ENTERTAINMENT WEEKLY: Would it have been weird to use cartoonish Nazis as villains again, as you did in Raiders of the Lost Ark and Indiana Jones and the Last Crusade? Maybe take a Boys from Brazil tack, and follow fugitive Nazis to South America?
SPIELBERG: A lot changed for me after [1993's] Schindler's List, especially when I began working with Holocaust survivors, and being able to collect their testimonies. But I never look back with shame at Raiders or Last Crusade. We gave the Nazis the same spin that, I think, in a way, Charlie Chaplin was able to give them in The Great Dictator. There was always a bit of, We're not going to take them that seriously. It's just something I wouldn't choose to do right now. I would choose not to make them Saturday-matinee villains.
LUCAS: If you're going to make a movie about the 1930s, it's almost impossible to do it without the Nazis. And it's the same thing when we got [to the '50s] here. We have to deal with the Russians because that's where we were. It's not like we set out to make a film about Russians. It was, What was going on in the world? What were the issues? Who was doing what?
SPIELBERG: Totally.
LUCAS: You do a whole lot of research around the subject matter to try to get it as plausible as possible. We don't deal with time machines. We don't deal with phony notebooks that don't exist. We don't deal with pyramids in 10,000 B.C., because there weren't any.

ENTERTAINMENT WEEKLY: So, Nazis out, Russians in. And that led you to a Russian villainess.
SPIELBERG: Well, we had a villainess last time, too [in Indiana Jones and the Last Crusade].

ENTERTAINMENT WEEKLY: But blonde Elsa wasn't bad from the get-go.
SPIELBERG: Right. Irina Spalko is a villain when she [first] gets out of the car.
LUCAS: She's an uber-villain.
SPIELBERG: The privilege for me was working with the great and talented Cate Blanchett. Because she is really a master of disguise.
LUCAS: She's just amazing.
SPIELBERG: She is so unrecognizable in this movie. But she's been unrecognizable in many of the choices she's made in her career, to play characters, like Bob Dylan, that are so removed from who she is as a mom and a wife in real life. She's a very threatening villain. Of all the villains I've been able to work with in the Indiana Jones movies, I can say she's my favorite. And I think Cate made her that way. We gave her a template for this, but she invented the character.

ENTERTAINMENT WEEKLY: You've made Indiana much older in Crystal Skull — the character is nearly 60. And Harrison Ford turned 65 while you were making the film.
LUCAS: There was never any question about the fact that we were going to have Harrison play his age.
SPIELBERG: There's a line that was thematic for me, and it's not a line that's actually in the movie. And it illustrates why I was comfortable letting Harrison age 18, 19 years. In the first movie, he says, ''It's not the years, sweetheart, it's the mileage.'' Well, my whole theme in this movie is, It's not the mileage sweetheart, it's the years. When a guy gets to be that age and he still packs the same punch, and he still runs just as fast and climbs just as high, he's gonna be breathing a little heavier at the end of the set piece. And I felt, Let's have some fun with that. Let's not hide that.

ENTERTAINMENT WEEKLY: Plus he's got a sidekick to show him up — Shia LaBeouf, who plays a young ''greaser.'' Did he even know what a greaser was?
SPIELBERG: He didn't.
LUCAS: I had to train him. Shia got sent to the American Graffiti school of greaserland. And I became the consultant on his comb.
SPIELBERG: [Looking bemused] That's right.
LUCAS: And Steve would call on me every once in a while. If I wasn't there, he'd call me up and say, ''Look, there's a leather jacket we have in this shot, and we need to know — should it be unsnapped, or snapped?''

ENTERTAINMENT WEEKLY: Okay, let's talk another kind of nostalgia: Movie technology nostalgia. There was virtually no computer-graphic imagery available when you started making the original Indy films in the '80s. Digital imagery wasn't really there yet.
GEORGE LUCAS: It wasn't there at all.

ENTERTAINMENT WEEKLY: So was there a temptation with Crystal Skull to use CG to make life easier?
STEVEN SPIELBERG: Here's the difference. The [background] matte paintings that you saw, let's say, in Raiders of the Lost Ark, when the carload of Nazis went off the cliff? Or the Pan Am clipper sitting in that obviously painted dockside waterfront? Our digital paintings now look like we were there on location. We have just as many matte-painting shots in this movie as we had in the other movies. The difference is, you won't even be able to tell that there's a brushstroke. For a while, I wanted to make them look bad, so they looked exactly like they did in the other movies.

ENTERTAINMENT WEEKLY: Which is to say, easily detectable — as they were in actual old movies, so it's sort of an homage to old-fashioned artistry.
SPIELBERG: But I didn't do that.

ENTERTAINMENT WEEKLY: You're opening Crystal Skull in late May all over the world in one fell swoop — not territory by territory over months, like studios used to do in the 1980s.
LUCAS: Well...the growing majority of revenue from a movie comes from overseas. It used to be sort of 50-50, then it was 60-40, and now it's way beyond that. Every year it keeps growing. So the United States is becoming a much smaller market.

ENTERTAINMENT WEEKLY: You guys first became filmmakers at a time when European directors were arguably the most inventive and the most artistically acclaimed in the world. Do you miss that atmosphere?
LUCAS: When Star Wars was being made, all the independent art films [still] came from Europe. There were practically no American independent films being made. Now about 30, 40 percent of American films are independent. And the films coming out of Europe, a lot of them look like American films. You can't really tell the difference. There's a globalization of entertainment, and it's good, because you still have personal art films and big audience pleasers.
SPIELBERG: You also have films being made and released on the Internet, little films, five- to six-minute shorts. They come from all over the world, and it's really interesting to see and to sense how this world has shrunk down to size of a single frame of film.... More people can pick up video cameras, and more individuals can express who they are as artists through this collective medium. That's what's so exciting. What makes me really curious to see as many short films, especially, as I possibly can, is that everybody is coming out of a different box, and is free to express themselves because budget is no longer a limiting factor. You can make a movie for no money and basically get it out there on YouTube for everybody to see.
LUCAS: Movies are now becoming like writing, like books. It's opened up to the point where anybody who has the urge or the talent to do it, there's not that many impediments to making a film. And, there are not that many impediments to having it be shown. That's where the Internet comes in. Now you can actually get it in front of people, and have them decide whether they like it or not. Before, that depended on the decisions of a very, very small group of people — executives who in a lot of cases didn't even go to the movies, and didn't even like 'em. And they were deciding what the people were and weren't going to like. It's much more democratic now. The people decide what they want.
SPIELBERG: I remember that stuff too. I remember Ed ''Kooky'' Byrnes [from the TV series 77 Sunset Strip] with his comb....

ENTERTAINMENT WEEKLY: Of course, there are downsides to the burgeoning Internet age — and one of those downsides is, when a popular movie is coming up, people sort of peck it to death before it even opens. There's been a huge amount written on the Internet about the development of Crystal Skull, including lots of spoilers on chat boards — though most of it is clearly labeled. Is it getting harder to protect the development process?
SPIELBERG: It really is important to be able to point out that the Internet is still filled with more speculation than facts. The Internet isn't really about facts. It's about people's wishful thinking, based on a scintilla of evidence that allows their imaginations to springboard. And that's fine.
LUCAS: Y'know, Steven will say, ''Oh, everything's out on the Internet [in terms of Crystal Skull details] — what this is and what that is.'' And to that I say, ''Steven, it doesn't make any difference!'' Look — Jaws was a novel before it was a movie, and anybody could see how it ended. Didn't matter.
SPIELBERG: But there's lots and lots of people who don't want to find out what happens. They want that to happen on the 22nd of May. They want to find out in a dark theater. They don't wanna find out by reading a blog.... A movie is experiential. A movie happens in a way that has always been cathartic, the personal, human catharsis of an audience in holy communion with an experience up on the screen. That's why I'm in the middle of this magic, and I always will be.

ENTERTAINMENT WEEKLY: Do you think the sanctuary of the dark theater is being eroded?
LUCAS: No! Look, it's like sports —
SPIELBERG: Yes. I think it is being eroded, by too much information and too much misinformation, especially.
LUCAS: But look, it's like sports. This isn't new. When March Madness gets started with the NCAA [basketball tournament], there are thousands of blogs out there. Rampant speculation. If you follow it enough, you go crazy. [With Crystal Skull], you don't know what's actually gonna happen till you walk into that theater. I don't care if you know the whole story, I don't care if you've seen clips. I don't care how much you've seen or heard or read. The experience itself is very different, once you walk in that theater.
SPIELBERG: Well, here's my debate on that. I've always been stingy about the scenes I show in a teaser or a trailer. Because my experience has been — and my kids' experience has been, 'cause they talk out loud in theaters, like everybody else does today — that if a scene they remember from the trailer hasn't come on the screen yet, and they're three quarters of the way through the movie, they start talking. ''Oh — I know what's gonna happen! Because there was that one little scene they haven't shown yet in the movie I'm experiencing, and it's coming up!'' And it ruins everything.

ENTERTAINMENT WEEKLY: What about creating deliberate disinformation, the way, say The Sopranos' producers did?
SPIELBERG: I did that, but I don't do that any more 'cause it takes too much effort.
LUCAS: We have managed to keep the fact that Will Ferrell is the main villain in Crystal Skull out of the blogosphere.
SPIELBERG: Exactly. But it did get out that it's Steve Carell, last week.
LUCAS: Except people don't know that they're a team...
SPIELBERG: [Laughs] And by the way, when you run this? There'll be people that believe it!


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Below is the first part of the interview, referenced in the opening paragraph.
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If they had a talk show, George Lucas and Steven Spielberg could name it The Bickersons, in homage to the hit comedic radio program from their early childhoods. They clearly love each other — but they also love to squabble. Arriving together for the interview, they immediately start a coy debate over who should sit where at the rectangular table in Spielberg's production-office conference room. Lucas quips that having both of them across from the interviewer would be ''confrontational — that looks like it's a union meeting.'' Spielberg jovially declares, ''The table should be round. This is the wrong shape!'' At last they settle with Lucas at the head (how alpha male is that?), and over the next 70 minutes, they jockey and jabber and cut each other off like kid siblings competing for attention at mealtime. Lucas plays things especially feisty, pounding the table for emphasis and cutting in so forcibly at one point that Spielberg says, ''George! Hold your horses!'' The joshing continues in the hallway afterward. Asked by an associate why they overshot the scheduled hour, Lucas gets a big laugh: ''Well, Steven got angry that I was doing all the talking. So then we got into a fistfight.''

ENTERTAINMENT WEEKLY: So why resurrect Indy after all these years?
LUCAS: We're doing it to have fun. We're not doing it to say, Oh, we're gonna get an Academy Award, everybody's gonna love us.... We don't need the money. We're only going to get aggravation. The fans think it's gonna be the Second Coming. And it's not the Second Coming. They've already written the story [in their heads], and lemme tell ya, it's not that story. So they're going to be very disappointed. I went through this with Phantom Menace. Believe me, I've been there, I've done it, I know exactly the way they react. And they're very vocal about these things. We're not gonna have adoring fans sending us e-mails saying how much they loved the movie. We're gonna have a bunch of angry people saying, ''You're a bunch of a--holes, you should never have done this. You've ruined my life forever. I loved Indiana Jones so much and now it's ruined.'' And all that kind of stuff.
SPIELBERG: Uh, he needs to speak for himself here. [Laughter all around] You need to put in parentheses ''George Lucas is totally speaking for himself.'' And I absolve myself of any connection with that last statement about fans not liking it.
LUCAS: All I'm saying is, I have been there, and I have walked through the valley of death on highly anticipated sequels.

ENTERTAINMENT WEEKLY: Has the fan interest in Crystal Skull been intrusive? Steven, you shot some scenes outdoors, and bam, there was the action revealed on YouTube, in blurry, shaky camcorder footage.
SPIELBERG: People were seeing shots from my movie on computer screens all over the world before I got a chance to see the shots on a film-lab screen! Global dissemination at light speed — at warp speed.
LUCAS: Of course if you'd shot it digitally [on a protected soundstage], you wouldn't have had that problem.
SPIELBERG: Oh, George, stop it!

ENTERTAINMENT WEEKLY: How much did George nag you to shoot film-free, with digital cameras, the way he did on the Star Wars prequels?
SPIELBERG: All through three years of preparation. It's like he was sending these huge 88 [millimeter artillery] shells to soften the beach, y'know? He never swears at me. He never uses profanity. But he calls me a lot of names. And in his creative name-calling, he topped himself on this one, trying to get me to do this digitally.

ENTERTAINMENT WEEKLY: What did he call you?
SPIELBERG: I guess the worst thing he ever called me was old-fashioned. But I celebrate that. He knows me like a brother. It's true, I am old-fashioned.
LUCAS: I think the word ''Luddite'' came into it. In a very heated discussion.
SPIELBERG: I said I wasn't, I was Jewish! [Laughter]
LUCAS: The end of it is, I said, ''Look, Steve, this is your movie. You get to do it your way.'' And in the end, I didn't force Steven to do it. That doesn't mean I didn't pester him, and tease him, and get on him all the time.
SPIELBERG: It was all 35-millimeter, chemically processed film.... I like cutting the images on film. I'm the only person left cutting on film.
LUCAS: And I'm the guy that invented digital editing. But we coexist. I mean, I also like widescreen and color. Steven and Marty [Scorsese] have gone back and shot in black-and-white [on Schindler's List and Raging Bull, respectively]. I don't get on their case and say, ''Oh my God, this is a terrible thing, why are you going backwards?'' I say, ''That's your choice, and I can appreciate it.''
SPIELBERG: Eventually I'll have to shoot [and edit] movies digitally, when there is no more film — and I'm willing to accept that. But I will be the last person to shoot and cut on film, y'know?

ENTERTAINMENT WEEKLY: Is the editing part getting harder to do the old way, when the rest of the industry is using electronic editing on computers?
LUCAS: He still uses a Moviola! One of these days, the belt will break on it. And he'll go down to one of those repair places and they'll say, ''Oh, I'm sorry, sir, we don't sell those anymore.''
SPIELBERG: We cut on a Moviola, and we preview on a KEM.

ENTERTAINMENT WEEKLY: Wow — so wait, let's get this right for our readership. A KEM is a so-called flatbed editing machine, which came into fashion around the 1970s as a replacement for Moviolas, which go back to the '20s. And you and your editor Michael Kahn still use both?
SPIELBERG: I own about 30 KEMs. We cannibalize them for bulbs and parts. It's like the Concorde in the last three years of its service.
LUCAS: Steven enjoys the look and feel of the technology that existed when he came into the movie business. He's familiar with it, it's comfortable, he likes it, he's nostalgic about it. But he is not above, when we've got a problem, using new technology to say, ''I will solve this problem that way. I am not gonna just do it the old way for its own sake.''
SPIELBERG: Look, I will never take full credit for this, but I provided the opportunity for the very first digital [CG-character] shot in film history, in a movie I produced, Young Sherlock Holmes.

ENTERTAINMENT WEEKLY: Right — the shot of the stained-glass window coming alive.
SPIELBERG: And I basically provided the opportunity for digital dinosaurs in the first Jurassic Park. So I may be a Luddite in my own personal preferences of the tools I need to make myself feel comfortable. But George and I have been on the cutting edge of all the technology that exists today.
LUCAS: When Steven works on his scripts, he does his work on a computer. I wouldn't touch a computer. I do mine on nice yellow tablets with a No. 4 pencil, and I will not change.
SPIELBERG: This interview must seem like we're in Bellevue.

ENTERTAINMENT WEEKLY: You've both used John Williams as a composer on nearly all your films. How early does he start work on his themes?
SPIELBERG: The themes come to him when he sees the movie.
LUCAS: But it sounds like the music was first, and then we did the movie around it. It feels like that.

ENTERTAINMENT WEEKLY: John Williams is 76 now, and you've both passed 60 yourselves. Is that alarming?
LUCAS: We just refuse to accept it. We are not gonna get gray. We are not gonna get old. We are as young as we've ever been, and we don't recognize the fact that we've gotten older. Do we? [Laughs]
SPIELBERG: It's true. I'll never forget when I was making Jaws, [producer] David Brown said, ''I'm nearly 60 years old and I feel like I'm 24.'' I've always felt that way about myself. I got to a point in my life where I was happy and satisfied, and had a burgeoning family and a wonderful career. I've always sort of time-locked and mind-blocked myself in my 30s, and that's always the age I feel.
LUCAS: We still kid each other and cause trouble with each other. We still bug each other the same way. I think our relationship has stayed exactly the same.
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That's it. Thought you guys might find it interesting. I certainly did.

Like them or dislike them, their history and innovation in the industry is legend - and it should be. They are two heavy hitters that changed the film industry forever.


*edit*

Spielberg\Lucas interview link




Post
#319506
Topic
Indiana Jones IV
Time
Max_Rebo said:


but anyway 13 skeletons merge to form 1 alien what's that about?


I think it was just a representation of what she was learning. The skeletons were not actually becoming one, but their collective conscience was becoming one greater knowledge and being presented to Spalko - a knowledge that overwhelmed her. Jones had warned her about wanting to learn what they knew.
Post
#319360
Topic
Indiana Jones IV
Time
Darth Chaltab said:


Thank God I don't notice the little details like that. I hardly ever notice visual continuity errors in movies


+1

I don't dwell on them either. In fact, I make it a point not to waste time looking at tiny details like that. It distracts me from the flow of the film, from the emotion, the journey.

For me, it's story & characters first.