Travis Goodspeed wrote:C was designed not to stop you from doing dumb things, because that might make it more difficult for cyber cowboys to do clever things.
There are several passages in the second essay that connect to this.
Moderator: JC Denton
by icycalm » 13 Oct 2012 03:37
Travis Goodspeed wrote:C was designed not to stop you from doing dumb things, because that might make it more difficult for cyber cowboys to do clever things.
by icycalm » 16 Oct 2012 03:26
Zemeckis applied only to University of Southern California's School of Cinematic Arts, and got into the Film School on the strength of an essay and a music video based on a Beatles song. Not having heard from the university itself, Zemeckis called and was told he had been rejected because of his average grades. The director gave an "impassioned plea" to the official on the other line, promising to go to summer school and improve his studies, and eventually convinced the school to accept him.[6] Arriving at USC that Fall, Zemeckis encountered a program that was, in his words, made up of "a bunch of hippies [and] considered an embarrassment by the university."[6] The classes were difficult, with professors constantly stressing how hard the movie business was. Zemeckis remembered not being much fazed by this, citing the "healthy cynicism" that had been bred into him from his Chicago upbringing.[6]
While at USC, Zemeckis developed a close friendship with the writer Bob Gale, who was also a student there. Gale later recalled, "The graduate students at USC had this veneer of intellectualism ... So Bob and I gravitated toward one another because we wanted to make Hollywood movies. We weren't interested in the French New Wave. We were interested in Clint Eastwood and James Bond and Walt Disney, because that's how we grew up."[7] He graduated from USC in 1973.[8]
by SriK » 16 Oct 2012 04:52
by immersedreality » 16 Oct 2012 05:14
by icycalm » 16 Oct 2012 07:24
by icycalm » 16 Oct 2012 07:36
by icycalm » 16 Oct 2012 07:51
by immersedreality » 16 Oct 2012 09:23
by zinger » 16 Oct 2012 11:07
by SriK » 16 Oct 2012 17:36
feelingbetter wrote:However, I can't think of many action movies that have come out since say, Die Hard or Total Recall, that've really had me jumping for joy by the end of them having been fully immersed in the world that the film takes place in.
by immersedreality » 16 Oct 2012 18:40
by SriK » 17 Oct 2012 15:40
by zinger » 17 Oct 2012 16:33
by icycalm » 19 Dec 2012 08:52
In keeping with the tradition Polanski credits to Raymond Chandler, all of the events of the film are seen subjectively through Gittes's eyes; for example, when Gittes is knocked unconscious, the film fades to black and then fades back in when he awakens. Gittes appears in every scene of the film.
by icycalm » 13 Mar 2013 02:15
«Ο Νίκος Παναγιωτόπουλος λέει ότι “το θέατρο είναι ένα ψέμα και δεύτερο ψέμα δεν χωράει”. Πρέπει να το πιστεύεις αυτό το ψέμα και να αναζητάς την αλήθεια του.
by icycalm » 10 Apr 2013 22:41
by Vogel » 28 May 2013 11:17
zinger wrote:I used to rewind and watch Hong Kong movie fight scenes over and over again while not really paying attention to the story or other aspects of the movies
SriK wrote:The reason I liked the movies didn't have much to do with plot for the most part [...] but rather the cinematography, awesome scores, etc.
Leone had Morricone compose the score before shooting started and would play the music in the background for the actors on set.
by SriK » 02 Jun 2013 08:34
icycalm wrote:What should be taken away from this is that, ultimately, the overall level of craftsmanship, and thus our pleasure in it, never really decreases — on the contrary, it is plainly obvious that it continually increases — what decreases is the percentage of craftsmanship PER PERSON (artist/scientist/engineer) involved. Consequently, our gratitude towards the makers of a work is just as great as ever, if not greater, it's only that, as the arts advance, we are obliged to DIVIDE it between an EVER-INCREASING number of individuals. And this is one of the things that can be found at the bottom of all pseudo-intellectual complaints against advanced artforms: that they thwart our natural (and naturally idiotic) propensity to direct all of our gratitude toward a single artist, to worship a single person like a sort of artistic god or demi-god.
icycalm wrote:To create a world alone, on the other hand, truly independently — who could be capable of such a feat? Certainly only a god — and not even any of those our ancestors spoke to us of...
by icycalm » 02 Jun 2013 17:15
by icycalm » 02 Jun 2013 18:08
by zinger » 30 Aug 2013 21:28
zinger wrote:In junior high school I used to rewind and watch Hong Kong movie fight scenes over and over again while not really paying attention to the story or other aspects of the movies (instinctively I suppose, since they were seldom very good). At the time I was a huge fan of the choreographer Yuen Woo-ping, and although he's worked on Hollywood movies since then, the fights never seemed to reach the complexity or ingeniousness of his HK work. This is probably because the American directors were more concerned about the entire movie and its overall form to be as enjoyable as possible (as opposed to Hong Kong action movies where 20% of the movies are enjoyable, while the rest is garbage (a little bit like JRPG "masterpieces")), and so the kung-fu choreography had to suffer a bit.
by icycalm » 26 Sep 2013 23:20
I wrote:For the development process of these archaic cutscenes was by no means as trivial a feat as it would be for us today. It revolved around something called "the video-camera", a machine capable of an early form of video generation used by primitive peoples before computers gave men the power of creating any cutscene they could think of from the comfort of their desks just by hitting a few buttons.
"OVER THE NEXT DECADE video game engines will be used in film-making, with the two disciplines combining to eliminate the movie post-production process."
by icycalm » 14 Feb 2014 14:14
Joseph Nechvatal wrote:So for me, post-relational art is that contemporary art that builds upon the legacy of relational aesthetics, but where off-line non-relational digital processes take precedence over traditional relational aesthetic concerns. So this is art now, more often than not, connected to digital art production where the computer code sets the conceptual rules for a physical production. I have identified this post-convergent and post-relational trend in 1999 as one of viractuality. [23][24]
by El Chaos » 20 Jul 2014 14:15
Film Producer Avi Arad (Spider-Man, X-Men)
"Metal Gear Solid V: The Phantom Pain is a stunning presentation. The trailer is full of symbolism and philosophy that we come to expect from Mr. Kojima. Although cleverly disguising the story and therefore making the trailer enticing, Mr. Kojima makes sure to include enough visuals to make us comfortable that we are in for a new Metal Gear experience. For me, the sight of the Diamond Dogs and Snake putting the ashes on his face with multiple urns make me believe that a lot of history is going to be dealt with. If one listens carefully to the amazing song, Nuclear by Mike Oldfield, it is fantastic story telling that gives us enough of a window to know we are about to embark on another emotional masterpiece by Mr. Kojima. Kiefer Sutherland as the voice of Snake is just fantastic while raising the drama, and makes us long to play the game."
Director Nicolas Winding Refn (Drive, Only God Forgives)
"Watching the trailers for MGSV makes you wonder if the spirits of Dostoyevsky, Stanley Kubrick, and Caravaggio entered Hideo Kojima's body because, using the art of gaming as his canvas, he boldly goes where no one has gone before.
The trailers for Metal Gear Solid V, prove once again that Hideo Kojima is a master at portraying a wider and more complex view of human nature combined with breathtaking action sequences. A daring and bold move from one of the founders of the future of technology. With Metal Gear Solid V, Hideo Kojima has created the perfect marriage of cinematic storytelling and cutting edge gaming technology. For me, it all culminates into one word: Genius."
Director Guillermo del Toro (Pan's Labyrinth, Pacific Rim)
"Kojima-San remains a massive inspiration for me and METAL GEAR continues to deliver the edgy, vital, jaw-dropping world and feel that we have come to expect but it pushes the envelope every single time. It is a window into the future of the medium and its breathless narrative and artistic expansion. Amazing!"
Director Park Chan-wook (Old Boy, Stoker)
"I have always been thinking that I want to see a film directed by Mr. Kojima, but after seeing the latest trailers for Metal Gear Solid V, I realised I was wrong. He has actually been making films in his own way already. Metal Gear Solid games are already films, the films of the future."
Director Shinya Tsukamoto (Tetsuo: The Iron Man, Vital, Nightmare Detective)
"Intense, crazy, deep Kojima world. By the time you finish this game, you should be changed into a completely new person."
Actor Norman Reedus (The Walking Dead, The Boondock Saints)
"Wow! That is AMAZING! So beautiful … So well done. You guys created such an incredible piece of art."
by icycalm » 23 Oct 2014 00:23
I wrote:Cars are not works of art. They are vehicles. I have written an entire book on what art is. Can't link it here because too much vulgarity in it, but I'll give you the definition: "the craft of illusion". Cars are not illusory, ergo not art.
The only reason some older stuff costs more than newer stuff is the economics of collection/scarcity, i.e. something that has almost nothing to do with quality.
As for the rest of your comments: you are preaching to the choir here. I have reviews on my site of games from the '80s. I am the only person in the world to have written a review of Spacewar (1962).
None of this changes the fact that the very point of progress is to overcome the old to such a degree, that the new will obliterate it. And in the best of cases, it does. In the rest of the cases, you keep hammering at it until it does.
Whoever prefers a 1960 Ferrari to a 2014 one is not a true car lover (he is an old fart who's going the way of the dodo together with his precious car). And the same is true of all the other crafts.