h a l f b a k e r y"Not baked goods, Professor; baked bads!" -- The Tick
add, search, annotate, link, view, overview, recent, by name, random
news, help, about, links, report a problem
browse anonymously,
or get an account
and write.
register,
|
|
|
I would like to see full length, (or nearly so) feature films of popular movies made entirely from sound and lighting check cutting room clips.
The scenes would adhere as closely to the box office version as possible but the actors would keep changing as different extras read their dead-pan lines.
[link]
|
| |
But the sound and light checks would be just the beginnings of the scenes. They don't shoot the whole scene, check the sound, then re-shoot it all. |
|
| |
That IS a shame. So, no human Gollum in his ping pong ball/computer animation suit then? |
|
| |
Except those outtakes they've started including with animated films, where the character's hair is replaced by a blue blob. That might have seemed funny after a long session at the computer, but just isn't. |
|
| |
What I would like to see is all those scenes with characters who were completely cut out of the original film. + |
|
| |
Didn't Ed Wood work along this idea?
Or most videos from Van Nuys? + |
|
| |
It would be interesting to watch *all* unfeatured footage from production. I imagine trying to do this with some modern films could take a while. |
|
| |
out takes from Shaun of the Dead were hilarious |
|
| |
as were the explanations of the plot holes. |
|
| |
Is this like casting couched? |
|
| |
Heh, now that would be good. A movie made entirely from auditions of every scene. |
|
| |
I'm watching "The X-Factor" at the mo (think American Idol etc.). The early auditions are fantastic to watch, but after they weed out the terrible, deluded and just plain old mad it gets fairly tedious. |
|
| |
There are no //sound and lighting
check cutting room clips.// Where you
describe //extras reading their dead
pan lines// you really mean 'stand-ins,'
actors of similar size and coloring to
the principals. Camera and lighting use
the "b-team" stand-ins to set-up the
shots, but they rarely run the lines and
almost never roll film. Finding even a
single clip as described here would be
lucky. |
|
| |
Extras appear on film in the background
and change often. Stand-ins can work
the whole show; many big stars use the
same person for all their movies. My
girlfriend was Rene Russo's stand-in on
"Buddy" and the only time she was
photographed showed only the back of
her head. |
|
| |
During the production of "Dracula" in
1933, after Tod Browning and Bela
Lugosi went home for the night,
another cast and crew came in and shot
a Spanish language version with the
same sets and costumes. It remains a
curious rarity. In a film school directing
class, my friend Grover put together a
scene from 'Deliverence' using takes of
different actors auditioning for the
same parts. The results were even
worse than just plain bad. |
|
| |
There are probably ugly and embarassing things that take place in the filming of any movie that would give the production studio a very bad image. As with most companies, there is an ugly side to the business that they would rather the customer didn't see. I think that the same applies for movies.. say if the director was really irate that day and he stormed on the set and punched one of the actors and then his girlfriend jumped in and it eventually became a movie set brawl simply because the guy forgot his lines. Even though the outakes on DVD are sometimes comical or interesting, they are still carefully selected. |
|
| |
If you would enjoy seeing the previous annotation acted out, I recommend "Living in Oblivion", a wonderful, funny movie about making independent movies. With Steve Buscemi and Catherine Keener. |
|
| |
Thanks for setting us straight, [Cube]. |
|
| |
I thought this would simply be a remake of the movie made out of takes that didn't get chosen. Same actors as the real movie, but just slightly ... off. The way it feels to hear a live verson, or a different live version, of a track you've listened to a thousand times. |
|
| |
In the early days of cinema, if a film was
imported to the US from Europe,
distributors were forced to pay duties on
every print that was sent to the states.
Some moviemakers at the time actually
shot extra takes during production so they
could assemble a unique film negative to
ship to America and strike prints from that
master, paying the fee only once. |
|
| |