30 Greatest Star Wars characters
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I had a great time with the list, thanks for the link.
I can agree with #1, but there were some other ones that I felt should have been higher than they were.
And I like looking in on a fandom that's more fanatical than Transformer fans.
Having gone through Transformers The Movie ourselves, I think we've all gained a better appreciation for what they had to go through with The Phantom Menace.
I can agree with #1, but there were some other ones that I felt should have been higher than they were.
And I like looking in on a fandom that's more fanatical than Transformer fans.
Having gone through Transformers The Movie ourselves, I think we've all gained a better appreciation for what they had to go through with The Phantom Menace.
Best First wrote:I thought we could just meander between making well thought out points, being needlessly immature, provocative and generalist, then veer into caring about constructive debate and make a few valid points, act civil for a bit, then lower the tone again, then act offended when we get called on it, then dictate what it is and isn't worth debating, reinterpret a few of my own posts through a less offensive lens, then jaunt down whatever other path our seemingly volatile mood took us in.
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Portman can act.Legion wrote:Of course, it helps that both Ford and Fisher can act...
I think it helped that Ford and Fisher filmed their scenes on actual sets, where they had awareness of the surroundings and some form of context.
Even the best actor in the world would struggle with "right, ignore all the green - imagine you're in a really imposing room... don't worry, we'll decide what it looks like later. Now, use this tennis ball for your eyeline... we'll draw the character in later... deliver the line!"
Grrr. Argh.
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Hmmm... she didn't do a good job of it in StarWars then...Brendocon wrote:Portman can act.Legion wrote:Of course, it helps that both Ford and Fisher can act...
Of course, the poor script probably didn't help...
That is true, although the 'tennis ball for eye-line' routine has been around for many, many years now and has worked perfectly fine in other special effects films, not even having a set around them must be disconcerting for an actor.Brendocon wrote: I think it helped that Ford and Fisher filmed their scenes on actual sets, where they had awareness of the surroundings and some form of context.
Even the best actor in the world would struggle with "right, ignore all the green - imagine you're in a really imposing room... don't worry, we'll decide what it looks like later. Now, use this tennis ball for your eyeline... we'll draw the character in later... deliver the line!"
Yeah, it's a spacial awareness thing, I think. Spatial? Bugger it.
When you're in a room, you've got things around you... you know where they are, you position yourself in relation to them and move around them. Put your hand on a table, glance down at things... interact with the environment. Makes it feel real.
Stood in front of a green screen, all you can really do is... well... stand there. It's unnatural.
When you're in a room, you've got things around you... you know where they are, you position yourself in relation to them and move around them. Put your hand on a table, glance down at things... interact with the environment. Makes it feel real.
Stood in front of a green screen, all you can really do is... well... stand there. It's unnatural.
Grrr. Argh.
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Indeed. The love scenes in Empire were written by the same woman who wrote The Big Sleep and Rio Bravo. A cut above I guess.Legion wrote:Hmmm... she didn't do a good job of it in StarWars then...Brendocon wrote:Portman can act.Legion wrote:Of course, it helps that both Ford and Fisher can act...
Of course, the poor script probably didn't help...
Portman either seems to be good or bad and never in the middle. Good in Closer and Garden State. But a weak point in Star Wars and V For Vendetta.
The actors in Sin City did a good job I felt. Lucas's script and direction could be the main problem.Brendocon wrote:
Stood in front of a green screen, all you can really do is... well... stand there. It's unnatural.
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Yup, that's definitely a big 'could' if you ask mespiderfrommars wrote: Lucas's script and direction could be the main problem.
on the other hand, we always have this version to fall back on:
http://winterson.com/2005/06/episode-ii ... -west.html
Having an actual director probably helps. I still remember hearing tales of Lucas's directing on the original SW "Okay, again - but better".spiderfrommars wrote:The actors in Sin City did a good job I felt.
Sin City knew its limits and didn't try to be flashy just for the sake of being flashy. A lot of the CG in the new SW films is there for its own sake and detracts from it. When something's got a practical set you watch and think "oh, I wonder how they're going to get out of this" - when the background is CG the instinctive reaction is "oooh, pretty."
The b&w style of Sin City immediately takes you out of the realism... paradoxically making it more real, if sort of dreamlike. Because it's not all CG, but it being monotone makes the CG less noticeable - there's no contrast. The comic-book style helps, too. The entire thing is sort of dreamlike... and I don't think the acting's anything brilliant, personally... but it works given the overall feel of the film.
Grrr. Argh.
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My problems with 300 lie in the fact that it's [seemingly] standard Frank Miller "portentious dialogue and lots of violence will cover up the lack of subtext" stuff. I try not to give the film too much thought, as I enjoyed it immensely at the time, but had this nagging feeling that it would all fall apart the moment I start to think it through. Very faux-deep... utter style over substance.spiderfrommars wrote:That said, I couldn't connect with 300 at all. Again, possibly the actors and director just stank.
Would it have worked better in a disassociating black and white? I think Miller said it's the last of his work he won't direct himself. If it is Snyder's fault, it's worrying... he's in charge of Watchmen.
Grrr. Argh.
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