Rajamouli has a nearly god status in India. Every one of the films I saw from him ( I didn't see all of them yet ) are good films. Though as you might expect from Indian cinema, they are all over the top action movies. Watching RRR recently I noticed that Rajamouli actively employs some Spielbergian techniques. Such as shooting through objects, shooting through mirrors and staging complex long shots which have a lot of layers of movement. But on the whole, his style resembles more John Woo than Spielberg. The action is so intense and so over the top that it's at times comical. But it is awesome to look at.
Directing-wise the movie had even less money than Call Me By Your Name, so the camera moves even less. There is one nice camera move toward the end. And some nice steady-cam work in the scene where they are running around the school. I know it sounds very terrible. But oh my god!!! Somehow it works. John Hughes being both writer and director is a magician and I really want to know the tricks up his sleeve.
1941 was not received very well in 1979 when it was released. It was supposed to be a comedy. But it was a not very funny parody on World War II together with being perhaps the loudest movie ever made ( until Christopher Nolan said "Hold my beer" ). Being written by Robert Zemekys ( who would later direct such classics like Back To The Future and Forest Gump ) and Bob Gale the script was what the producer John Milius describes as "social irresponsibility". And what attracted Steven Spielberg to it was the fact that he could blow, break and destroy in multiple ways a bunch of stuff.
Being a ghost story horror film this movie is so high quality it is insane. There is no bad acting or stupid decisions of the main leads. Quite the opposite. The actors Michelle Pfeiffer and Harrison Ford act their asses off. The directing of Zemeckis is so good it is hard to explain. This movie has a lot of impossible shots in it. It is showy, but that is kind of the point. For example, the camera might be looking at people from beneath objects, through stuff that should be solid. In one shot the camera clips through the floor and looks at the actors from under the floor. While they have a wooden floor. This was a hard visual effects shot with CGI floor. I mean Zemeckis went insane.
Also while we know John David is good, because it's not his first big film, it's Madeleine's first movie. Like literally, if you look for her online, all you find is pictures of her as the robot child in The Creator. And damn she a good actress. Like holly shit!
The music for the film is made by the legendary Michael Giacchino who also got a cameo in the movie as one of the police officers. At some point John Williams was brought as a guest to help Giacchino conduct. Giacchino admitted trying to sound like John Williams for this movie. Because frankly, J.J. Abrams was trying to shoot the movie like Spielberg would do. Though he added enough of his own touches, such as a dutch angle to make it feel more unique.
The film has a rather large cast of characters, most notably John Goodman as Pops. I paid homage to this character in my film Moria's Race where the father of the racer is referred to as "Paps" ( almost the same as Pops ) and he is kind of fat like John Goodman. But almost every character in Moria's Race is a homage to some real or fake movie person. Can you spot all of them? Pops in Speed Racer is very much like Mario. He is fat, has mustaches and wears a hilarious red top. The original version of this character was in a Japanese TV show from the 60s. So it seems like it could be that Nintendo took the same inspiration as myself for their Mario character.
Dune and Star Wars both successfully pulled of an interesting combination of low tech and high tech. Especially in Dune, where thinking machines are banned, so the technology is very interestingly minimalistic for a sci-fi setting. It is more of a ancient setting than sci-fi, but it has a fair share of sci-fi elements in it, to make everything interesting. Rebel Moon is shooting for the same aesthetic. We have a farm of people who make food by hand. They utilize a horse-like creature to make trenches for seed. They live in wooden houses. They wear huge beards. They have nasty smelly clothes on them. Like if it was a viking era film. But there are also energy beam guns and space Nazis. And stuff like that.
The other girl from school is a daughter of an ex-mafia member. He is trying to hide himself and his daughter by disguising themselves as religious Jews. But this doesn't go well. The father gets killed and the girl escapes by a miracle. Until the girl brings the mafia after her into the woods where by chance they meet the first girl and the alien.
Today I grew to appreciate competition. I know that I will not make the best movie ever, probably ever. There is a chance. But I don't even have a smallest chance of knowing how small the chance is. I know, though, that I can learn on my previous attempts to make my next attempts closer to the best movie ever. I'm Not Even Human was wooden and badly animated. Moria's Race is far more alive and I take far more care with animation on it. But it's still has it's challenges, that I had not though about, could exist. For example, even though the hand rigs of Moria's Race's characters are endlessly more usable than the crap I had to use in I'm Not Even Human, the hand rigs in Moria's Race are shit regardless. If I
Sheiny read a little bit of the text. There was a quote of some person named John Stuart Mill. It went:
To obtain it you need to fill up a form in which they ask you your name, email, phone number, country, city and street where you live. I put John Doe everywhere and it let me see the next step, which is a huge License agreement that nobody reads. Shall we read it then?
Mendel: Well, I work at a wood factory. And they are planning to use more machinery to replace some more tedious jobs. Well. I was kind of afraid of that for some time. But I think I know the answer. Decorative jobs would still exist.