Anatomy of a Scene: Battle of the Sexes

Posted on October 3, 2017 at 8:00 am

I love the “Anatomy of a Scene” series at the New York Times, where filmmakers explain what went into creating a moment in a movie. Here, Valerie Dayton and Jonathan Faris talk about something most filmgoers never consciously notice, the “soundscape” and how that affects our sense of what is happening. I was very intrigued to hear their reference to AMSR because I actually thought of that when I was watching the film.

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Behind the Scenes Directors

Blade Runner 2049

Posted on October 3, 2017 at 1:59 am

A-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, some sexuality, nudity and language
Profanity: Some strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extended and explicit peril and violence, characters injured and killed,
Date Released to Theaters: October 6, 2017

Copyright Warner Brothers 2017
I’ve got a bit of a conundrum here. As has been widely reported, the filmmakers have asked the critics to avoid spoilers (no problem, we are always careful about that), but they have done so with a very specific list of topics/characters/developments they don’t want us to reveal, so exhaustive that it leaves us with little to say beyond: the camerawork is outstanding (please, give Roger Deakins that Oscar already) and the movie is magnificently imagined, stunningly designed, thoughtful and provocative, and one of the best of the year.

I hate to admit it, but I think they’re right. I really do want you to have the same experience I did, including all of the movie’s surprises. So forgive me for being oblique, and after you’ve seen it, come back and we can discuss it in detail, all right?

In the original “Blade Runner,” based on the story “Do Androids Dream of Electric Sheep?” by Philip K. Dick, Harrison Ford played Deckard, a 21st century detective sent to find and terminate four “replicants,” humanoid robots created to perform physical labor but who somehow are evolving to the point where they want to be independent of human control. Replicants are so close to being human in appearance and manner (and, in the future, life is so dystopic that humans have become less feeling, less compassionate) that it is increasingly difficult to figure out who is human and what being human means. Like Deckard, K (Ryan Gosling) is a blade runner, sent by Joshi, his human boss (Robin Wright), to find the older generation of replicants and terminate them. The new generation of replicants is more obedient, or at least that is the way they are programmed. “It’s my job to keep order,” she tells him. She gives him a new assignment and when he hesitates she asks, “Are you saying no?” “I wasn’t aware that was an option.” “Atta boy,” she says approvingly. K has uncovered something that Joshi believes is an extermination-level threat to humanity as what accountants call a going concern.

This film explores ideas of memory, identity, and, yes, humanity. And it does that through a detective story that is grounded in a Raymond Chandler noir world of deception and betrayal, taking place in a gorgeous, brilliantly designed dystopian future of perpetual rain where organic material is barely a memory and huge, Ozymandias-like ruins carry faint reminders of better times and grander ambitions. Most people have never seen a tree, even a dead one, and a crudely carved wooden toy is priceless. A woman creates pleasant childhood memories to be implanted so that replicants will be more stable, more empathetic, and easier to control. The trick about control, though, is that nature will rebel against it, and those who try to maintain control by sending people or replicants or anyone out to investigate and ask questions is going to find that knowledge can dissolve authority.

That’s about all I can say except to add that Gosling and Ford are outstanding and Sylvia Hoeks is a standout as a character I can’t tell you anything more about, while Jared Leto is the movie’s weak spot as another character I can’t tell you anything about. So I’ll end by saying that this is that rare sequel deserving of its original version, not because it replicates — for want of a better word — the first one, but because it pays tribute (note touches like the see-through raincoat) and then finds its own reason for being, and we are lucky enough to come along.

Parents should know that this film includes extended sci-fi/action violence with graphic and disturbing images, characters injured and killed, reference to torture, drinking, smoking, some strong language, sexual references and situations, prostitutes, and nudity.

Family discussion: What elements or concerns about today’s society are the basis for this vision of the future? What rules would you make about replicants? What is the most human aspect of the replicants?

If you like this, try: the original “Blade Runner,” “Terminator 2,” “Total Recall,” “Children of Men,” and the writing of Philip K. Dick

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Action/Adventure Based on a book Drama DVD/Blu-Ray movie review Movies -- format Movies -- Reviews Science-Fiction Series/Sequel Thriller

RT Interview with “American Made” Director Doug Liman

Posted on October 1, 2017 at 4:55 pm

I’m a fan of Doug Liman, director of four “Bourne” movies, “Mr. and Mrs. Smith,” and the neglected gem “Edge of Tomorrow.” I really enjoyed his list of five favorite movies for Rotten Tomatoes (I love “Guess Who’s Coming to Dinner?” too) and his fondness for flawed heroes. Here are his comments on making a feature film based on a true story.

A movie like this, there’s a lot of research that goes into it. It’s a true story, so we want to honor that. But we’re not making the movie because it’s a true story, we’re making the movie because it’s a great story and has great characters in it. But I’ve often found sticking to the truth makes for better movies, at least when I make them. I come up with better scenes when I’m hemmed in by the reality of the situation. Limiting the CIA’s power in Bourne Identity – what they really could do at the time versus, you know, other movies that came up with magical command centers, where the CIA has eyes in the sky that can see everything in real time, and not deal with the reality that a spy satellite that’s low enough to see people on the ground isn’t geo-stationary, but is travelling across the land at a very high rate of speed. And it can be over a site for maybe 30 seconds. I’m interested in those limitations. I think they make the scenes more exciting.

So, making a movie like American Made, I’m interested in the reality of the story, because in my career up to date, the reality of the situation has always made my scenes more entertaining and more dramatic. And here I can always go back to the well, so any time I felt like the screenwriter was taking a shortcut, I’d say, “Well, let’s look at how it really happened.” And inevitably, I’d find a more exciting scene.

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Directors

Trailer: The Leisure Seeker with Donald Sutherland and Helen Mirren

Posted on October 1, 2017 at 2:51 pm

Helen Mirren and Donald Sutherland star in “The Leisure Seeker,” based on the novel by Michael Zadoorian about an elderly couple, she with cancer, he with Alzheimer’s, who go on one last great adventure. It’s coming to theaters in 2018.

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