X-Men: Apocalypse - May 27, 2016

[SNIKT1950]

So disappointed, I was so excited to read these vocalizations from all these directors who have had such negative experience with Marvel Studios (evil FEIGE).

I hoped it was worse than Joss Whedon's "I created the narrative...‘Well it’s OK, it could be better, but it’s not Joss’ fault’ and I think that did a disservice to the movie, and to the studio and to myself. " and Alan Taylor's "I’ve learned that you don’t make a $170 million movie with someone else’s money and not have to collaborate a lot." Thankfully he got a lot more freedom on his masterpiece, Terminator:Genisys.

I was especially excited to hear from Ava Duvernay who never worked on anything officially and stated "Marvel has a certain way of doing things and I think they’re fantastic and a lot of people love what they do. I loved that they reached out to me."

But you were just making stuff up again. Bummer.

Look, there's nothing wrong with being blind. But to choose blindness...

But hey, don't let me keep you from living in your fantasy world where Feige is worth every auteur in the business and every turd he ****s out you pay five times to see. Its your money, man.

 

[YoNoSe]

Look, there's nothing wrong with being blind. But to choose blindness...

But hey, don't let me keep you from living in your fantasy world where Feige is worth every auteur in the business and every turd he ****s out you pay five times to see. Its your money, man.

Nobody is saying any of that. Not even anything close. Do you really not see it?

You have to keep digging deeper into your hyperbolic projections for your logic to work.

Just like what you like. The other guy doesn't have to be a supervillain.

 

[SNIKT1950]

Nobody is saying any of that.

You have to keep digging deeper into your hyperbolic projections for your logic to work.

Just like what you like. The other guy doesn't have to be a supervillain.

Supervillain? Nah. Just Lauren Donner's former assistant who is now running the biggest film franchise in the business and severely affecting the quality of its films by micromanaging directors into submission (Whedon, Favreau, Branagh) or just blatantly locking them out of the editing room (Leterrier, Taylor).

I guess the stuff with Wright would be a supervillain move. You rewrite a man's script a few weeks into pre-pro and expect him to stick around and take it up the ass. Pretty gruesome.

Again, more power to you for turning a blind eye to what happens behind the scenes, even after five filmmakers have walked away from millions of dollars in an attempt to retain artistic integrity.

 

[jye4ever]

Fact: the studio system sucks. As a fan of cinema you should always side with the auteur, not the suits.

If you think that's "drivel" then more power to you.

I envy people who honestly don't care about the quality of these films and want nothing more than a fun two hours at the movies.

You are not living in reality here.

What good is an auteur if they don't have between 25 to 250 million to create their perfect movie?

I've got news for you, what you consider to be the best "films" would not exist if not for the evil studios.

Auteur's are the first to applaud the studio system, they understand that compromises are required and appreciate the fact that there is an army of artist ready to work with them.

You need to step down from that very high auteur soap box of yours because the thin air is not allowing you to fully comprehend what it really takes to create a theatrical "movie", art is as much a collabrative effort as it is a personal journey for the auteur.

Do you really believe for a second that FC and DOFP were great just because an auteur did it all on his own?

If not for the evil studio system there would be no movies!

 

[YoNoSe]

Supervillain? Nah. Just Lauren Donner's former assistant who is now running the biggest film franchise in the business and severely affecting the quality of its films by micromanaging directors into submission (Whedon, Favreau, Branagh) or just blatantly locking them out of the editing room (Leterrier, Taylor).

I guess the stuff with Wright would be a supervillain move. You rewrite a man's script a few weeks into pre-pro and expect him to stick around and take it up the ass. Pretty gruesome.

Again, more power to you for turning a blind eye to what happens behind the scenes, even after five filmmakers have walked away from millions of dollars in an attempt to retain artistic integrity.

You keep citing "facts" you have no way of confirming and sidestepping any challenge, but accuse me of living in a fantasy world of ideas you're projecting. You'll keep telling me I don't care about artistic integrity and you envy my simple nature.

I keep forgetting that for some people the hobby IS this sort of nonsense.

 

[SNIKT1950]

You are not living in reality here.

What good is an auteur if they don't have between 25 to 250 million to create their perfect movie?

I've got news for you, what you consider to be the best "films" would not exist if not for the evil studios.

Auteur's are the first to applaud the studio system, they understand that compromises are required and appreciate the fact tha there is an army of artist ready to work with them.

You need to step down from that very high auteur soap box because the thin air is not allowing you to fully comprehend what it really takes to create a theatrical "movie", art is as much a collabrative effort as it is a personal journey.

Do you really believe for a second that FC and DOFP were great just because an auteur did it all on his own?

If not for the evil studio system there would be no movies!

FIRST CLASS & DOFP were great because there was no studio interference. They're examples of the suits playing their cards right and trusting their investment.

The Studio System only works when it allows the artist to do his job. When it gets in the way of the filmmaker and treats him like an employee rather than a partner, you get films like TIH, IM2, THOR 2 & Fantastic Four (2015). Films that could have been great had the studio behaved the way they agreed to behave when the contracts were signed (Leterrier, Favreau, Taylor & Whedon had final cut in their respective contracts yet Feige interfered).

So again, if you love cinema, champion the artist, not the suit.

 

[YoNoSe]

You are not living in reality here.

What good is an auteur if they don't have between 25 to 250 million to create their perfect movie?

I've got news for you, what you consider to be the best "films" would not exist if not for the evil studios.

Auteur's are the first to applaud the studio system, they understand that compromises are required and appreciate the fact tha there is an army of artist ready to work with them.

You need to step down from that very high auteur soap box of yours because the thin air is not allowing you to fully comprehend what it really takes to create a theatrical "movie", art is as much a collabrative effort as it is a personal journey for the auteur.

Do you really believe for a second that FC and DOFP were great just because an auteur did it all on his own?

If not for the evil studio system there would be no movies!

We're ice-skating uphill, man. You can't argue with an uncanny delusional.

 

[SNIKT1950]

We're ice-skating uphill, man. You can't argue with an uncanny delusional.

I stopped arguing with you an hour ago lol

You're the kind of person that wouldn't bat an eye at Feige or Marvel/Disney if tomorrow The Russos quit Infinity Wars "over creative differences."

You're one of those people who actually believes Joss Whedon walked away from Infinity Wars because of "Physical Exhaustion."

That looks at that picture of Buster Keaton from Wright's Twitter & is completely clueless and indifferent about it.

I'm truly fascinated by your naive nature.

 

[jye4ever]

FIRST CLASS & DOFP were great because there was no studio interference. They're examples of the suits playing their cards right and trusting their investment.

The Studio System only works when it allows the artist to do his job. When it gets in the way of the filmmaker and treats him like an employee rather than a partner, you get films like TIH, IM2, THOR 2 & Fantastic Four (2015). Films that could have been great had the studio behaved the way they agreed to behave when the contracts were signed (Leterrier, Favreau, Taylor & Whedon had final cut in their respective contracts yet Feige interfered).

So again, if you love cinema, champion the artist, not the suit.

If you say so.

 

[YoNoSe]

I stopped arguing with you an hour ago lol

You're the kind of person that wouldn't bat an eye at Feige or Marvel/Disney if tomorrow The Russos quit Infinity Wars "over creative differences."

You're one of those people who actually believes Joss Whedon walked away from Infinity Wars because of "Physical Exhaustion."

That looks at that picture of Buster Keaton from Wright's Twitter & is completely clueless and indifferent about it.

I'm truly fascinated by your naive nature.

You keep inventing all these things to rail against.

 

[SNIKT1950]

You keep inventing all these things to rail against.

The future:

Variety: "How do you feel about the way Thor was handled when you were playing him in the Marvel Cinematic Universe?"
Hemsworth: "Terribly. Kevin Feige butchered those films and never gave the directors room to breathe. That's why Branagh didn't come back. That's why Taylor didn't come back. That's why Joss didn't do Avengers 3."

Your reaction:

That's just his opinion. Nothing concrete. No facts. Nothing confirmed.

The End

 

[YoNoSe]

The future:

Variety: "How do you feel about the way Thor was handled when you were playing him in the Marvel Cinematic Universe?"
Hemsworth: "Terribly. Kevin Feige butchered those films and never gave the directors room to breathe. That's why Branagh didn't come back. That's why Taylor didn't come back. That's why Joss didn't do Avengers 3."

Your reaction:



The End

Okey dokey. Can't argue with that logic. You sure showed me.

You enjoy your imaginary past, present and future.

 

[Khev]

So again, if you love cinema, champion the artist, not the suit.

Hmm, meddling suits: Civil War.

No input from suits: Attack of the Clones.

Thank you for showing us all the secret to great cinema.

 

[EVILFACE]

Michael Cimino fresh off of the amazing Deer Hunter was given all he wanted to fulfill his vision and make Heaven's Gate. It failed and put United Artist out of business.

Those who lay out the cash will always have a say.

 

[jye4ever]

Yup,

khev came
khev conquered

I wouldn't expect any less from a Cimmerian.

 

[jye4ever]

Michael Cimino fresh off of the amazing Deer Hunter was given all he wanted to fulfill his vision and make Heaven's Gate. It failed and put United Artist out of business.

Those who lay out the cash will always have a say.

School is now in session!

 

[SNIKT1950]

Hmm, meddling suits: Civil War.

No input from suits: Attack of the Clones.

Thank you for showing us all the secret to great cinema.

I'll give you that one. Filmmakers aren't infallible.

But for the most part, when those contracts are signed, the suits know what they're signing up for when hiring someone to helm a picture. That's why the notion of said helmer being micromanaged by them is absurd.

Its like any other business investment. You set the terms, draw up the contracts and sign. To backtrack once the wheels are in motion is foolish.

Directors for the most part are smart and jump ship before production if they get the feeling the suits will be a problem (Vaughn on X3, Darabont on Indy IV, Vaughn on Thor, Aronofsky on The Wolverine to name a few).

Leterrier, Branagh, Favreau, Whedon & Taylor got screwed.

 

[Khev]

I'll give you that one. Filmmakers aren't infallible.

Correct. No one is. Which is why film will always be collaborative. And as William Goldman famously said:

“Nobody knows anything...... Not one person in the entire motion picture field knows for a certainty what's going to work. Every time out it's a guess and, if you're lucky, an educated one.”

If there was some magic formula for making great films studios would do it! But *no one* knows that secret balance of give and take from anyone. Sometimes genius comes from the director, sometimes from a composer, sometimes a writer (or writers) or brilliant ad libs on set, sometimes classic films are literally born in the editing room where for instance the original Star Wars almost died a premature death. Sometimes what we call genius like Spielberg hiding the shark for the first half of JAWS are simply happy accidents and blind luck. It's a guessing game and all everyone can do is hope that the right people calling the shots (whether it be on the creative side or studio side) make the right call at any given time. At the end of the day people come together and make what they make and we as the audience watch the end product and pick what we like. Simple as that.

 

[RIDDICK]

j/k

 

[jye4ever]

SNIKT, just so you know no one is here wanting to give you a hard time, you obviously are invested in all these movies and comic origins as much as everyone else that loiters in these movie threads.

There have been great superhero offerings from Marvel, Fox and Sony, we can all agree on that.

There is no shame in kissing the Disney/MCU/Feige/Russo/Cap Trilogy ring.