Re: Han Solo: A Star Wars Story (May 25th, 2018)
A slasher film must be done with this mask.
I want to see.
A slasher film must be done with this mask.
I want to see.
Solo: A Star Wars Story
- Thread starter Johnny Utah
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Re: Han Solo: An SJW Story (May 25th, 2018)
Lol @ thread title
Lol @ thread title
Re: Han Solo: An SJW Story (May 25th, 2018)
Also here because of the thread title
The work of Kara no doubt, that mod of mischief
Also here because of the thread title
The work of Kara no doubt, that mod of mischief
punisher1974
Super Freak
Re: Han Solo: A Star Wars Story (May 25th, 2018)
Imagine a ****o with that mask and Maz. Epic nastiness there
Imagine a ****o with that mask and Maz. Epic nastiness there
Re: Han Solo: An SJW Story (May 25th, 2018)
Interesting theories on how it all went down. To be taken with a grain of salt given all the unnamed sources obviously:
https://www.hollywoodreporter.com/h...ls-behind-phil-lord-chris-miller-exit-1016619
If the crew really broke out into applause when Howard was announced then Lord and Miller sound like they just aren't the right fit for any huge production and should stick to smaller comedies and cartoons. Can't fault Kennedy for taking a chance with them to see how it'd go.
Interesting if they really did only shoot each scene from a couple angles. Was that because they had such a clear vision on exactly how each scene should look or were they trying to force limited options in the editing room? Can't help but wonder.
Interesting theories on how it all went down. To be taken with a grain of salt given all the unnamed sources obviously:
https://www.hollywoodreporter.com/h...ls-behind-phil-lord-chris-miller-exit-1016619
If the crew really broke out into applause when Howard was announced then Lord and Miller sound like they just aren't the right fit for any huge production and should stick to smaller comedies and cartoons. Can't fault Kennedy for taking a chance with them to see how it'd go.
Interesting if they really did only shoot each scene from a couple angles. Was that because they had such a clear vision on exactly how each scene should look or were they trying to force limited options in the editing room? Can't help but wonder.
jye4ever
Broke and happy
Re: Han Solo: An SJW Story (May 25th, 2018)
This is as tame as it gets, only gets worst from here lol
This is as tame as it gets, only gets worst from here lol
Re: Han Solo: An SJW Story (May 25th, 2018)
WTF...?
That should be how they made the new mummy in Tom Cruise's epic.
WTF...?
That should be how they made the new mummy in Tom Cruise's epic.
Ropen
Super Freak
Re: Han Solo: An SJW Story (May 25th, 2018)
Surprisingly the drafthouse played this clip before the mummy LOL
Sent from my iPhone using Tapatalk
WTF...?
That should be how they made the new mummy in Tom Cruise's epic.
Surprisingly the drafthouse played this clip before the mummy LOL
Sent from my iPhone using Tapatalk
EVILFACE
Insufferable S.O.B.
Re: Han Solo: An SJW Story (May 25th, 2018)
MXE Most Extreme Elimination Challenge show is their greatest offering to us. Well that and Microman.
MXE Most Extreme Elimination Challenge show is their greatest offering to us. Well that and Microman.
Re: Han Solo: An SJW Story (May 25th, 2018)
Holy crap.
Game show host: "Oh look she's giving the hand signal that she can no longer breathe!"
*cue audience laughter*
Holy crap.
Game show host: "Oh look she's giving the hand signal that she can no longer breathe!"
*cue audience laughter*
Re: Han Solo: A Star Wars Story (May 25th, 2018)
That's just nasty.
O is it... Mazty?
That's just nasty.
O is it... Mazty?
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Re: Han Solo: An SJW Story (May 25th, 2018)
Most important part of that article was actually just an old quote by Kennedy:
This is classic suit politics. Tell the masses you're treating SW intelligently, get 'em to follow you, then go completely against what you promised.
Most important part of that article was actually just an old quote by Kennedy:
This is classic suit politics. Tell the masses you're treating SW intelligently, get 'em to follow you, then go completely against what you promised.
jye4ever
Broke and happy
Re: Han Solo: An SJW Story (May 25th, 2018)
They need to stick directing cartoons lol
Maybe Flinstones 3.
At least Gareth was smart enough to know walking in that RO was never going to be "his" movie.
Yup that was a better mummy making machine lol.
They need to stick directing cartoons lol
Maybe Flinstones 3.
At least Gareth was smart enough to know walking in that RO was never going to be "his" movie.
WTF...?
That should be how they made the new mummy in Tom Cruise's epic.
Yup that was a better mummy making machine lol.
Re: Han Solo: An SJW Story (May 25th, 2018)
It's word like "suits" and phrases like "tell the masses" that are the reason why I can't take your posts seriously sometimes.
It's word like "suits" and phrases like "tell the masses" that are the reason why I can't take your posts seriously sometimes.
Re: Han Solo: An SJW Story (May 25th, 2018)
Sometimes he reminds me of the mailroom guy in "The Secret of My Success" who tells Michael J. Fox not to date Helen Slater.
"She's the most beautiful woman I've ever seen."
"Yeah but she's also a suit."
Sometimes he reminds me of the mailroom guy in "The Secret of My Success" who tells Michael J. Fox not to date Helen Slater.
"She's the most beautiful woman I've ever seen."
"Yeah but she's also a suit."
Last edited:
jye4ever
Broke and happy
Spartan Rex
Super Freak
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Re: Han Solo: An SJW Story (May 25th, 2018)
There was a great disturbance in the Force last week when Lucasfilm announced the departures of directors Phil Lord and Chris Miller from the still-untitled Han Solo Star Wars story. And those millions of voices crying out in shock only grew louder after Ron Howard was officially announced as the well-liked duo’s replacement, a choice that perhaps isn’t particularly surprising when you look back at the Oscar-winning director’s filmography. The choice to eject Lord and Miller from the Millennium Falcon ultimately fell to Kathleen Kennedy, the veteran producer who inherited the keys to the Star Wars franchise after Disney acquired both it and the rest of Lucasfilm from the far, far away galaxy’s original architect, George Lucas.
Not surprisingly, that decision has made Kennedy a target for fan ire, even as many people have also risen to her defense. One person who absolutely understands her position is Kevin Feige, the producing force behind another valuable Disney-owned galaxy: the Marvel Cinematic Universe. “Kathy’s an unbelievable inspiration over the past few years that I’ve been lucky enough to get to know here,” Feige tells Yahoo Movies, while chatting about the latest installment in the ever-expanding MCU, Spider-Man: Homecoming, which opens in theaters on July 7. “All the movies she’s made became the reason that I wanted to make moves. Being on the inside of any movie you understand. You’ve got to oversee the whole thing and take care of the vision of the overarching film. I would trust Kathy with any of the decisions she has to make, because she’s been making them amazingly for 30-plus years.”
It’s worth noting that Feige has overseen several high-profile directorial comings and goings from previous Marvel movies. Wonder Woman director Patty Jenkins was initially slated to helm Thor: The Dark World before stepping away to be replaced by Alan Taylor (who had his own behind-the-scene troubles during production), and Edgar Wright nurtured Ant-Man for years only to part ways with Marvel due to “differences in their vision of the film.” (That’s similar language that Lord and Miller used in their exit statement.) For his part, Feige says that “creative differences” can be a very real obstacle for movies being made on the level of Han Soloor Homecoming. “That’s almost always what it is. Sometimes for the press that doesn’t seem like enough. But when you’re making a movie that requires creative decisions to be made every minute of every hour of every day, that’s what it comes down to.”
With each new report that emerges from the Han Solo set, it does sound as if Lord and Miller’s particular style of filmmaking — which previously resulted in such success stories as 21 Jump Street and The Lego Movie — simply didn’t gel with the producing team behind the film or, perhaps, its star, Alden Ehrenreich. As another young filmmaker who graduated from humble origins (the low-budget 2015 thriller Cop Car) to a pre-existing franchise universe, Homecoming director Jon Watts faced a potentially similar culture clash. But the director calls his time in the MCU “a great experience” that didn’t leave him feeling like an outsider in the creative process.
“I can only talk about my specific experience — I have no idea what happened on that [Han Solo] movie,” Watts emphasizes. “If anything, I was less worried about someone kicking me off the movie as the camera crew coming out from behind the scenes and revealing this was all an elaborate prank! That would make more sense to me than the fact that I was in charge of this huge movie. I tried to be as upfront and transparent as possible from the beginning about how I saw the movie, and what I was trying to do so there would be no miscommunication along the way. If you feel like you can still see some sort of semblance of my style or personality in the movie, than that’s good.”
While press and fan speculation will continue to swirl around the Han Solo film up until its release date, Feige feels that, for general audiences, behind-the-scenes drama ultimately matters less than the drama playing out onscreen. “Really nothing matters until the lights go down on opening day. Speaking for myself, every decision you make as a part of production these films is done thinking about what will the experience be live for the audience who stood in line, bought their ticket and sat down to watch the movie. For the most part, I hope that when the lights go down, the slate is wiped clean and the audience says, ‘Whaddya got?’ If the movie doesn’t work, you try to analyze what happened. And if the movie works, that’s all that matters.” Some Jedi-level producing wisdom, that is.
There was a great disturbance in the Force last week when Lucasfilm announced the departures of directors Phil Lord and Chris Miller from the still-untitled Han Solo Star Wars story. And those millions of voices crying out in shock only grew louder after Ron Howard was officially announced as the well-liked duo’s replacement, a choice that perhaps isn’t particularly surprising when you look back at the Oscar-winning director’s filmography. The choice to eject Lord and Miller from the Millennium Falcon ultimately fell to Kathleen Kennedy, the veteran producer who inherited the keys to the Star Wars franchise after Disney acquired both it and the rest of Lucasfilm from the far, far away galaxy’s original architect, George Lucas.
Not surprisingly, that decision has made Kennedy a target for fan ire, even as many people have also risen to her defense. One person who absolutely understands her position is Kevin Feige, the producing force behind another valuable Disney-owned galaxy: the Marvel Cinematic Universe. “Kathy’s an unbelievable inspiration over the past few years that I’ve been lucky enough to get to know here,” Feige tells Yahoo Movies, while chatting about the latest installment in the ever-expanding MCU, Spider-Man: Homecoming, which opens in theaters on July 7. “All the movies she’s made became the reason that I wanted to make moves. Being on the inside of any movie you understand. You’ve got to oversee the whole thing and take care of the vision of the overarching film. I would trust Kathy with any of the decisions she has to make, because she’s been making them amazingly for 30-plus years.”
It’s worth noting that Feige has overseen several high-profile directorial comings and goings from previous Marvel movies. Wonder Woman director Patty Jenkins was initially slated to helm Thor: The Dark World before stepping away to be replaced by Alan Taylor (who had his own behind-the-scene troubles during production), and Edgar Wright nurtured Ant-Man for years only to part ways with Marvel due to “differences in their vision of the film.” (That’s similar language that Lord and Miller used in their exit statement.) For his part, Feige says that “creative differences” can be a very real obstacle for movies being made on the level of Han Soloor Homecoming. “That’s almost always what it is. Sometimes for the press that doesn’t seem like enough. But when you’re making a movie that requires creative decisions to be made every minute of every hour of every day, that’s what it comes down to.”
With each new report that emerges from the Han Solo set, it does sound as if Lord and Miller’s particular style of filmmaking — which previously resulted in such success stories as 21 Jump Street and The Lego Movie — simply didn’t gel with the producing team behind the film or, perhaps, its star, Alden Ehrenreich. As another young filmmaker who graduated from humble origins (the low-budget 2015 thriller Cop Car) to a pre-existing franchise universe, Homecoming director Jon Watts faced a potentially similar culture clash. But the director calls his time in the MCU “a great experience” that didn’t leave him feeling like an outsider in the creative process.
“I can only talk about my specific experience — I have no idea what happened on that [Han Solo] movie,” Watts emphasizes. “If anything, I was less worried about someone kicking me off the movie as the camera crew coming out from behind the scenes and revealing this was all an elaborate prank! That would make more sense to me than the fact that I was in charge of this huge movie. I tried to be as upfront and transparent as possible from the beginning about how I saw the movie, and what I was trying to do so there would be no miscommunication along the way. If you feel like you can still see some sort of semblance of my style or personality in the movie, than that’s good.”
While press and fan speculation will continue to swirl around the Han Solo film up until its release date, Feige feels that, for general audiences, behind-the-scenes drama ultimately matters less than the drama playing out onscreen. “Really nothing matters until the lights go down on opening day. Speaking for myself, every decision you make as a part of production these films is done thinking about what will the experience be live for the audience who stood in line, bought their ticket and sat down to watch the movie. For the most part, I hope that when the lights go down, the slate is wiped clean and the audience says, ‘Whaddya got?’ If the movie doesn’t work, you try to analyze what happened. And if the movie works, that’s all that matters.” Some Jedi-level producing wisdom, that is.
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noisetrigger
Super Freak
Han Solo: An SJW Story (May 25th, 2018)
It is indeed common for directors to shoot only what they need in a specific way so that it has to be cut their way.
This reminds me of a HK director (who fancies himself an auteur) that I worked with before. He was part of a 24 episodes TV series that includes two other directors (each one taking 8 episodes).
Although the production uses 3 different directors, there was only one technical team so I had the chance to work with all three directors on the project.
As things are not shot in order, the directors will come and go throughout the week to direct their respective scenes for that location. Sometimes we can have all three directors on the same day taking turns directing their scenes for that particular location.
This HK director stood out particularly because he has a totally different directing styles than the other two (who are studio veterans). They prefer the classic method of doing the master shot and then moving in for the close ups. They will also shoot additional angles after that for flexibility in editing (on TV this is mainly done for time. With more shots it is easier to trim the scenes to fit into the 40 minutes constraint).
The HK director however likes to shoot the scenes in pieces. He rarely does a master shot, instead preferring to capture the scene as how it would be edited in his head. This creates a few problem. Firstly, the actors do not get a good feel of the scene as they never had the chance to go through the whole scene in a master shot. Secondly, he pisses us off a lot because he is moving the camera back and forth (instead of capturing everything he need from that angle first) and each time he does a 180 flip, we have to reset all the lights. Thirdly, because he refuses to shoot all he needs from one angle first (which is the norm) he kept on forgetting shots and we have to re-setup the lights again and again just so he could get that one shot he missed. If he actually did a master shot, he probably wouldn't need to get that missed shot since it would most likely be covered already on the master. And lastly, he is taking way too long for each scene (he likes improvising too) and he ended up overrunning everyday.
And this went on for about a month (of three months shooting) before we actually have enough materials to start putting together a few episodes and that is when **** starts to hit the fan. This HK director episodes might as well be a different show altogether due to the different tone and editing. Due to the way it was shot, the editor has no choice but to cut it his way and it ends up looking more like a music video with constant cutaways and angle changes. Actors rarely ever finish a whole sentence in a single shot before he cut away to another shot.
The producer which has been pretty much hands off notably wasn't pleased and the director was given a stern warning. Unlike Hollywood, we don't have the luxury of reshoots and it was decided that moving forward he has to constrain to the style of the other two (which he followed to a limited degree). The end product was mixed. As the HK director handled the first eight episodes, the early episodes were tonally different than the later episodes. This was even noted in reviews when the episodes finally aired. And as expected he was blacklisted from the studio after the shoot was completed
Funnily I heard later on that he was blacklisted from HK for the exact same reason and the next studio he worked for after us actually fired him mid production for the exact same reason. He just couldn't play ball with the studio and clashes with producers every step of the way. Suffice to say he eventually could not get a job here anymore (all reputable studios blacklisted him) and have to move to another country for jobs.
It is indeed common for directors to shoot only what they need in a specific way so that it has to be cut their way.
This reminds me of a HK director (who fancies himself an auteur) that I worked with before. He was part of a 24 episodes TV series that includes two other directors (each one taking 8 episodes).
Although the production uses 3 different directors, there was only one technical team so I had the chance to work with all three directors on the project.
As things are not shot in order, the directors will come and go throughout the week to direct their respective scenes for that location. Sometimes we can have all three directors on the same day taking turns directing their scenes for that particular location.
This HK director stood out particularly because he has a totally different directing styles than the other two (who are studio veterans). They prefer the classic method of doing the master shot and then moving in for the close ups. They will also shoot additional angles after that for flexibility in editing (on TV this is mainly done for time. With more shots it is easier to trim the scenes to fit into the 40 minutes constraint).
The HK director however likes to shoot the scenes in pieces. He rarely does a master shot, instead preferring to capture the scene as how it would be edited in his head. This creates a few problem. Firstly, the actors do not get a good feel of the scene as they never had the chance to go through the whole scene in a master shot. Secondly, he pisses us off a lot because he is moving the camera back and forth (instead of capturing everything he need from that angle first) and each time he does a 180 flip, we have to reset all the lights. Thirdly, because he refuses to shoot all he needs from one angle first (which is the norm) he kept on forgetting shots and we have to re-setup the lights again and again just so he could get that one shot he missed. If he actually did a master shot, he probably wouldn't need to get that missed shot since it would most likely be covered already on the master. And lastly, he is taking way too long for each scene (he likes improvising too) and he ended up overrunning everyday.
And this went on for about a month (of three months shooting) before we actually have enough materials to start putting together a few episodes and that is when **** starts to hit the fan. This HK director episodes might as well be a different show altogether due to the different tone and editing. Due to the way it was shot, the editor has no choice but to cut it his way and it ends up looking more like a music video with constant cutaways and angle changes. Actors rarely ever finish a whole sentence in a single shot before he cut away to another shot.
The producer which has been pretty much hands off notably wasn't pleased and the director was given a stern warning. Unlike Hollywood, we don't have the luxury of reshoots and it was decided that moving forward he has to constrain to the style of the other two (which he followed to a limited degree). The end product was mixed. As the HK director handled the first eight episodes, the early episodes were tonally different than the later episodes. This was even noted in reviews when the episodes finally aired. And as expected he was blacklisted from the studio after the shoot was completed
Funnily I heard later on that he was blacklisted from HK for the exact same reason and the next studio he worked for after us actually fired him mid production for the exact same reason. He just couldn't play ball with the studio and clashes with producers every step of the way. Suffice to say he eventually could not get a job here anymore (all reputable studios blacklisted him) and have to move to another country for jobs.
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