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The Cameo
Jan 20, 2005


She has flipped between doing indie movies - usually with Sofia Coppola, surprising no one - and doing whatever midbudget studio pics get made. It’s not exactly fun to be in gigantic blockbuster movies, and she cashed in good on the Spider-Man films so it’s not like she needs the work.

She paused her career to have and raise a kid with Jesse Plemons after doing Midnight Special and Hidden Figures, though. That’s why she’s been gone recently.

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The Cameo
Jan 20, 2005


Skwirl posted:

Probably Sandler, though I doubt in real life Buscemi has any trouble pulling.

Former actual firefighter, recognizable character actor, comfortably rich? Yeah I’d be shocked if he had trouble. But he got married in ‘87 and stuck with the same woman for 32 years and her death, so he probably wasn’t trying.

The Cameo
Jan 20, 2005


Ghost Leviathan posted:

'Selling out' is a really loving funny idea in retrospect given millennials got stiffed on the pay for it, and younger generations don't even have the option. Boomers bought into the system designed to give them material comfort and immediately voted to let billionaires strip it for crack money.

It can be summed up by this fictional conversation between a Gen Xer and a Millennial:

Gen X: Oh, my job is a soul-draining hellhole, for forty hours a week I have to go in and swallow my pride and self-worth for this paycheck. And the rest of my life will be like this! I’m gonna retire having done nothing with my life, just some guy with a house and wife and a couple kids and a couple cars and all these “markers” of “making it”. But it’s all hollow, man, all hollow!
Millennial: lol sounds pretty sweet can I have your job then
Gen X: ... no. Not until I get the old guy above me’s job, anyway. Fucker’s 73 and still going!
Boomer: please let me die

The Cameo
Jan 20, 2005


therattle posted:

It’s been ages so it’s entirely possible!

I think they’re referring to “punching down” against “punching up”. You got them flipped so it sounds like you think it’s holding up because he’s knocking poor people

The Cameo
Jan 20, 2005


Baron von Eevl posted:

In all fairness he kind of is punching down, like he's a movie star and he's dragging some frat boys and other schmucks.

When Borat came out Sacha was only known to people who tuned into HBO to watch British comedy imports. His Hollywood film work prior to the movie was Madagascar in 2005 (and he was just the lemur king, so like the third tier of stars behind the main cast and the penguins), and being the rival in Talladega Nights three months before Borat came out.

Borat made Sacha Baron Cohen into a movie star. It’s also why he was able to pull off the whole thing so well, 99% of America had no clue who the character or Sacha was (despite him having won an Emmy with his writing staff - including Seth Rogen - for Da Ali G Show in 2005, which of course featured both Borat and Brüno in segments).

The Cameo
Jan 20, 2005


Roth posted:

I am so beyond tired of "Save Mothra" jokes about GvK.

Feels like it's been ran completly into the ground.

They could at least go for a "Gamera's Peach Tea" joke or something

The Cameo
Jan 20, 2005


That’s maybe a little worse than this, where this person is essentially admitting they’ve never watched a movie made before the end of the 60s

The Cameo
Jan 20, 2005


https://twitter.com/theepicdept/status/1362480950349807618?s=21

She’s got a bad case of bluecheck brain

The Cameo
Jan 20, 2005


https://twitter.com/gknout/status/1397298059260964865?s=20

The Cameo
Jan 20, 2005


It’s their current alternative, but in the next few years they’re gonna start pushing micro LED, which is a technology that actually can compete with OLED - has the same per-diode control that OLED TVs have, but can go much brighter and don’t potentially decay over time the way OLED diodes can.

LED TV manufacturers are probably gonna switch over to mini LED over the next couple of years, which will improve on the current capabilities of TVs a bit but still put them behind OLED in terms of contrast and color reproduction, while surpassing them in brightness overall as OLED seems to top out at like 1000 nits. I can see like a 2023 CES from Samsung where QLED becomes the low end tech for kitchen TVs and cheap 40-50 inch screens that are like $500, mini LED is the midrange stuff that covers the TVs from like $500-$1500, and the stupidly expensive premium TVs use micro LED.

The Cameo
Jan 20, 2005


Magic Hate Ball posted:

This reminds me of Dahl’s bonkers sequel to Charlie and the Chocolate Factory, where they visit a space station that’s under attack by aliens, and then his grandparents drink too much de-aging liquid, making the them negative years old.

This is how you can tell Hollywood is full of cowards, when they’re provided that insanity for a sequel they go “but what if we do a prequel instead”

The Cameo
Jan 20, 2005


CPL593H posted:

The production budget doesn't include what they spent on promotion so the profit margins were probably slimmer than that and Hollywood as a tendency to dismiss anything that doesn't make a fuckton of money. Especially now. I remember Superman Returns was considered a flop when it made 400 million domestic, granted the production budget was 200 mil but it's still a little silly.

Superman Returns did $200 million domestic. $200 million overseas.

Pirates 2 did $400+ million domestic, and $600+ million overseas.

Perception is everything! The movie came out, had a good first weekend, and then Jack Sparrow steamrolled it like a rolling pin crushing a gnat. Returns also having to drag its rear end through September to hit that $200 million domestic didn’t help matters.

The Cameo
Jan 20, 2005


It’s a sitcom about a butler

The Cameo
Jan 20, 2005


FreudianSlippers posted:

How prominent was his scrotum in the series?

Well, he did take the daughter of the family to homecoming, so...

The Cameo
Jan 20, 2005


Lynch is famously nice and funny, Tarantino and Spielberg are always very excited about movies and are infectious about it, Snyder is nice and learns seemingly every single person’s name on set from every extra all the way up, The Coens are nice but anal-retentive about their scripts to the point where - I forget who told this story - they walked up to one of the actors during a shoot and was like “you said this line with a comma in the middle, it’s actually two sentences and should be said that way.”
Actor responds, “Oh, I thought it was a typo.”
We don’t have typos.” And the Coen walked away.

Guillermo is a guy people love, too. I think it was John Hurt who described as “he has to be such a large man because it’s the only size that could fit the amount of love he has.” And the actress playing little girl Mako deciding she’d call him Totoro because she couldn’t say Guillermo and him just being over the moon about it.

Cronenberg is another nice guy. But he’s Canadian, so you expect it.

And there aren’t any real stories out there, but it seems pretty obvious that Justin Lin is loved by the Fast cast since he’ll have done half or more than half the drat franchise by the time they wrap up the Toretto Saga.

The Cameo
Jan 20, 2005


caligulamprey posted:



...the fuzziest people alive?

Copy editor probably thought “scuzziest” was a misspelling or something

The Cameo
Jan 20, 2005


Skwirl posted:

Yeah, plus a bunch of footage for a videogame no one played

It sold five million units, plenty of people played it

Matrix Online never really took off like SEGA hoped it would, though, and I don't think Path of Neo sold especially well. But the bloom was well off the rose by that point.

The Reloaded/Revolutions production was also the seed of the idea of doing single production two-parters again for the first time in decades, which Warners would swing back around to trying after Revolutions flopped with the last Harry Potter movies (as well as Summit and Lionsgate doing the same with Twilight and Hunger Games), only with a longer period between Pts. 1 and 2 (one year). And one could argue the "just shoot a bunch of stuff for several things at once" - Jada Pinkett-Smith has talked about shooting her scenes on that production, asking "what is this for, the game or the movie?" and being told by Lily and/or Lana to not worry about it - that is now standard to the MCU machine kicked off there.

Those movies ended up being influential, just maybe not to the betterment of the art.

The Cameo
Jan 20, 2005


Coaaab posted:

One thing I'll say about the Snyder cut is that you can pretend the movie's over once the Epilogue title card comes up

Nah, a chunk of the epilogue is definitely still part of the film proper and closes it off nicely with a nice Joe Morton monologue; you can click off a little bit of a way into it, though. Pretty much after the line “his name is Bruce Wayne” happens and the cut to black following it, that feels like where the actual movie ends, with that, in an alternate universe where he put his movie out in 2017, being the mid-credit stinger. Everything after that is “gently caress it I’m never making another one of these, it’s a goddamn miracle I’m doing this” thing of “well I wanted to play with these toys.”

The Cameo
Jan 20, 2005


The Matrix sequels are what happens when you craft a perfect story, and then the people that you sold the story to back a dumptruck of money to your house and say "make more of it, please, finish the story, you can do whatever you want". Your mind races, because oh god you didn't ever intend on following up on it, you made the main character God, the dramatic arc was complete! Where can you possibly go from there? The whole thing was a metaphor for revolutionary struggle - now they want an ending to a thing that, in reality, never ends?

So the Wachowskis said screw it and indulged themselves. More kung-fu fights! More philosophy! Let's do a car chase that's also a kung-fu fight! What if we really screw around with Eastern religious iconography? Hey, how about if stuff like mythological monsters are just glitches from some previous version of the Matrix? What if we had Neo talk to, like, an even higher God? What if we make the whole thing be a recursive loop that needs to be broken? Oh my god we could do mech stuff! There's a real sense of the two of them writing down everything they wanted to do and then tried to reverse engineer an actual plot from it that would allow them to do all of it. This makes for interesting and provoking, if not strictly speaking fulfilling, movies. There are avenues they could have taken that were more, strictly speaking, audience pleasing - finding a way to just tell the same story again, with a twist, for example - but they figured this was their one shot to never have to compromise, so pour until the pitcher's empty, even if the glass can't contain half of it.

The Cameo
Jan 20, 2005


Gatts posted:

It appears my idea of buying all the lobsters at my grocery store and restaurants and releasing them into Lake Erie is not the best idea. I will have to replan...the revolution will have to wait.

Anytime I hear the name Lake Erie, all I can think of is the SNL commercial for Swill:

https://www.metacafe.com/watch/5378456/bill_murray_snl_classic_commercial/

The Cameo
Jan 20, 2005


It’s an absolute pisser to find any parking in Boston half the time, loving streets are an absolute nightmare on a good day

The Cameo
Jan 20, 2005


Yes.

The Cameo
Jan 20, 2005


Escobarbarian posted:

It would have been more interesting but if the writing/execution would have been similar to the one tease we got in the Snyder Cut it’s probably for the best that it never happened

I'm sure the execution would be the exact same as something shot on Zack's driveway over a weekend because "hey, why the gently caress not, they're never letting me near these characters ever again" (and hell, now he's got no reason to ever go back, Netflix is just gonna throw money at him to make big tentpole streaming releases out of the stuff he pitched and never could get a studio to take a risk on)

LesterGroans posted:

I mean, it absolutely might have ended up as garbage, but it's wild that they turned down something that followed LOTR and Fury Road and instead just chased Marvel's coattails.

To be fair, within Warner Bros. they hear a reference to those two titles and they don't hear "multiple Oscar winners, nicely financially successful films", they hear "movies that led to the makers suing us because we hid profits so we wouldn't have to pay people extra money they were owed, big big headaches"

The Cameo
Jan 20, 2005


PeterCat posted:

I didn't hear this? What do you mean they jumped all the profits?

They unloaded a share of their profit participation to outside investors to recoup the costs they had put into the film, believing that the movie would fail horribly and not even scratch the outside shell of profitability.

Then it made a billion dollars. WB made money off of it, of course - they still had some investment in the project and were still the distributor - but they basically gave up hundreds of millions of more dollars because they believed the movie would have been a write-off.

The Cameo
Jan 20, 2005


Eh, it was about two weeks before Jurassic Park (May 28th and June 9th). The movie was dead to the world by the time the dinos arrived.

The movie that got real burned was Last Action Hero, which hit nine days after. It never stood a chance.

The Cameo
Jan 20, 2005



Note to self: this news sucks!

The Cameo
Jan 20, 2005


Nor did you write an unfunny show about a comedy sketch program that got destroyed by Tina Fey doing the same thing but understanding the basics of things like “jokes”.

The Cameo
Jan 20, 2005


When Forrest loving Gump has a more true to life version of the dude than the movie you make in which he’s the central figure, you done hosed up.

The Cameo
Jan 20, 2005


AceOfFlames posted:

Have you seen Baby's Day Out? It's basically Home Alone except with a baby utterly clowning on these supposed hardened criminals by sheer accident. Frank Castle has nothing on Baby Bink.

“Basically Home Alone but with a baby” is literally what the pitch was.

It got greenlit because at the time, not only was Home Alone one of the biggest hits ever, but Three Men and A Baby, and Look Who’s Talking had also been gigantic so it seemed like a no-brainer.

Now, how the movie ended up costing almost $50 million to make…

Although it did give us James Bond.

The Cameo
Jan 20, 2005


Babysitter Super Sleuth posted:

I feel like you have to have a lot of trust in the lupin Brand to approach mystery of mamo

Even as a Lupin fan, around the time the rocket ship with a giant brain inside shows up at the end I’m always like “so how the gently caress did we get here?”

The Cameo
Jan 20, 2005


Grendels Dad posted:

I also confuse this conversation with the Greenlighted thread where people argue that Inglorious Basterds is somehow wrong for killing Nazis, or doesn't punish them quite the right way or whatever. It's been an oddly political day.

… I honest to god had the same arguments thirteen years ago in the movie’s thread. And it’s not like history or the movie itself is unclear about a lot of things! How the gently caress is this still coming up over a decade later?

The Cameo
Jan 20, 2005


https://twitter.com/jonathan_kramer/status/1490398144391221249?s=21

I’ve never seen someone get so close to understanding a movie like Starship Troopers and then veer completely into not getting it

The Cameo
Jan 20, 2005


Yeah, the tweet I posted is a weird little sidebar that has cropped up following that, I think the OP of the copaganda tweet and him got into a talk about how ST as a movie is bad and it’s like “so this is what actual media illiteracy looks like”.

This guy’s argument about ST is that “well Heinlein wasn’t actually advocating for a fascist government!” which is loving :lol: because I’m pretty sure the two tiers of citizenship that is separated entirely by service in the military is directly taken from the book and that should have set anyone’s goddamn fash alarms off

The Cameo
Jan 20, 2005


I mean the original original tweet that has led to a zillion people coming out of nowhere to misunderstand things is the screenshotted one here:

https://twitter.com/not_a_heather/status/1490263019393269762?s=21

As for Heinlein, sure, he wasn’t particularly fascist in and of himself, but one has to remember that art is reflective of the time and place it is created in, and Starship Troopers is written in a period of great escalation of the military industrial complex following Eisenhower greatly empowering those elements before going “oh yeah maybe don’t let them navigate the country’s future” and bouncing out at the end of his term, in a post Korean War period and while things are escalating in Vietnam - sure ground troops wouldn’t touch down in South Vietnam until 1965, but we would be increasingly dipping our toes into that conflict since 1960 (and most likely earlier through more clandestine means) and the political changes occurring in the region had been watched closely by the Eisenhower administration for like the entirety of its second term. Heinlein at the time even believed the US was too conciliatory towards the Soviet Union, a slightly insane belief in the middle of the second Red Scare. On top of this one of the most feted people in US scientific circles in the time Heinlein wrote the book was a loving Nazi rocket scientist. A lot of aspects of fascist culture were rooting themselves into American society, and so they ended up threaded into the concepts Heinlein explores in Troopers. Was he aware of them? Probably not, but lots of them slip into the cracks nevertheless.

Which is why, of course, when Veorhoven was offered the movie as a way to pull himself back into Hollywood’s good graces after Showgirls bombed, and he, having been direct witness to fascism, living in The Hague, went “oh yeah, all of this is fascism” upon reading the book and instantly had the idea of making the movie a propaganda film, which had the extra bonus to him of being able to make fun of blockbuster cinema of the time.

As for Stranger In A Strange Land, it always felt to me more like Heinlein reacting to the Beat Generation, fascinated by the concepts espoused in the writing from that particular group that would be adopted more formally within the incoming Hippie movement.

There is also the Nuclear Test Ban Treaty stuff and Heinlein becoming a Goldwater Republican, as this tweeter nicely points out, so maybe he was more aware of the leanings he was describing in ST than one would be led to believe:

https://twitter.com/sappo7/status/1490402062571556871?s=21

The Cameo fucked around with this message at 00:05 on Feb 7, 2022

The Cameo
Jan 20, 2005


FreudianSlippers posted:

Heinlein was mostly just really horny

This was a given, he wrote science fiction

The Cameo
Jan 20, 2005


X-Ray Pecs posted:

I just hate the name The Devil All The Time.

I just hear Eddie Murphy singing devil all the time, devil all the time in my head when I read it

The Cameo
Jan 20, 2005


Gaius Marius posted:

Lmao Chris Nolan changed his line to "written for the screen and directed by Christopher Nolan" for Oppenheimer

That’s probably less a “he changed it” and more a “so much material is taken from American Prometheus that the WGA arbitrated that the credit needed to be that”. I’m pretty sure “written for the screen by” has replaced “Adaptation By” which used to be the common phrasing for it.

The Cameo
Jan 20, 2005


Mister Speaker posted:

What's the deal with A Few Good Men? I've not seen the whole film but I understand the gist of it, and I've seen the iconic courtroom climax with Nicholson's outburst of a monologue. It seems to me that his whole thing is an endorsement of fascism - "my boys should be able to get away with murder because we protect you, the weak, and also the guy they killed was weak."

Often times when the monologue it's referenced it's by some CHUD. This is one of those 'you missed the point' things, right? He's definitely a villain who receives some sort of comeuppance in the end? Or was this part of the play/film originally written as an endorsement of that 'thin red line' mentality, and his speech a moment to underscore the ethical nuance of giving men the power to kill?

He follows up that monologue by lurching at the prosecutor and saying he will rip his eyes out and piss into his skull, Nicholson is playing him as a hair-trigger tempered psychopath whose own defense attorney abandons him once Cruise gets him to say the monologue and admit that he ordered what was, essentially, pre-meditated murder. He’s a mob boss ordering a hit, not a man making “tough decisions”, and the context of him overseeing Guantanamo Bay, especially decades on, really pries open the sort of lie an rear end in a top hat of his stature is deluding himself into believing.

Like, literally, he says the monologue, he admits he ordered the Code Red, and then:

https://www.youtube.com/watch?v=iRdTetA_Dqo

Which is then followed up with the sentencing of the Marines that are being court-martialed in the first place, which triple underlines the moral you’re supposed to take from this whole movie:

https://www.youtube.com/watch?v=1EQQYeRAT3o

It’s very maudlin, but it’s Rob Reiner doing straightforward drama, he tends to, in his clumsy way, attempt Spielbergian moral exposition in his dramas. And Sorkin is absolutely waist-deep up his own rear end with the Righteous Values of America, as one may realize watching something like The West Wing or Trial of The Chicago 7. Man literally believes that up until Trump, if we world policed ourselves into another country, the population would say “thank God, the Americans are here”. :jerry:

The Cameo
Jan 20, 2005


Steve Yun posted:

Trying to crack the code on this guy. Is he only good at writing when everyone is a scoundrel

Someone I know once referred to him as “a queasy neoliberal David Mamet” and it was like Cinderella putting on her lost slipper.

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The Cameo
Jan 20, 2005


Carly Gay Dead Son posted:

Been meaning to watch this for some time and this got me to finally do it, and boy you ain't kidding. Incredible movie. Sickening. Maybe the most mercilessly truthful horror film I've ever seen. Regarding the pseudoscience, I think it's supposed to be unconvincing. The whole thing is an exposition of the inability of modern institutions to actually help women. Barbara Hershey's performance is astounding. We'll probably never witness that level of fearlessness in cinema again.

That music will stick with me. Evocative of Norman Bates' screeching violins, but hits in a different, more visceral place. In many ways this movie feels like the inverse of Psycho, in ways I'll have to think on some more.

Great rec!

I hunted it down years ago after hearing the "Bath Attack" cue in Inglourious Basterds and seeing it show up on Scorsese's list of his favorite horror movies ahead of Shutter Island's release, and, yeah, multiple scenes in that movie are never going to leave me, nearly a decade on from my first viewing.

The fact that the movie makes this shot:



Something that fills you with both abject terror and a deep, haunting dread is a real testament to how good it is. And, god, that inhuman voice. "Welllllllcooooome hoooooome... cuuuunt." :gonk:

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