[quote]strungoutboy21 wrote:
[quote]kaisermetal wrote:
[quote]strungoutboy21 wrote:
Did anybody notice in the trailer that the guy out running the field implosion was Hines Ward?[/quote]
and what does that means?[/quote]
It means nothing, just a cool cameo. [/quote]
They did film a portion of the movie in Pittsburgh, and that part was filmed at Heinz Field.
[quote]strungoutboy21 wrote:
Did anybody notice in the trailer that the guy out running the field implosion was Hines Ward?[/quote]
Yes.
[quote]kaisermetal wrote:
[quote]strungoutboy21 wrote:
Did anybody notice in the trailer that the guy out running the field implosion was Hines Ward?[/quote]
and what does that means?[/quote]
Hines Ward is robin!!!
[quote]kevinm1 wrote:
Dark Knight Rises Trailer [/quote]
They played this trailer when I saw Sherlock Holmes 2 last weekend.
They had better do something with Bane’s vocals because in the theaters, all I could understand was “hrmph mrphrm hrmrr ursh lmrdrn, permission to die.”
[quote]Chris Colucci wrote:
[quote]kevinm1 wrote:
Dark Knight Rises Trailer [/quote]
They played this trailer when I saw Sherlock Holmes 2 last weekend.
They had better do something with Bane’s vocals because in the theaters, all I could understand was “hrmph mrphrm hrmrr ursh lmrdrn, permission to die.”[/quote]
I heard in an interview with Nolan that he wasn’t going to change the voice of Bane even though people complained that they couldn’t hear him.
[quote]Chris Colucci wrote:
[quote]kevinm1 wrote:
Dark Knight Rises Trailer [/quote]
They played this trailer when I saw Sherlock Holmes 2 last weekend.
They had better do something with Bane’s vocals because in the theaters, all I could understand was “hrmph mrphrm hrmrr ursh lmrdrn, permission to die.”[/quote]
His voice was actually really clear compared to the IMAX clip. He said when gotham is ashes you have my permission to die.
The trailer is kick-ass.
Went to see M:I 4 and saw the Imax prologue/teaser and it blew me away; Fuck 3-D. Imax is the way to go to make sure you HAVE to see a movie like this in the theatres. The shear scope of it is sense-blowing.
I absolutely love Bane as he’s represented in this. The moment I heard Tom Hardy was going to play him my interest shot up. And from what little we’ve seen so far he delivers. I love his look as well.
This said, I think there’s some valid concern about his voice. Although unlike some, I could understand him fine in the trailer, about half of what he says in the prologue is VERY hard to comprehend. But then again, the pacing of the scene was so fast-paced that it was hard to really understand exactly what was going on and everything that was being said, even from the other actors.
Shit I’m already planning on making a Bane mask for next Halloween. I can’t wait for this.
Not a fan of Nolan’s films. He is a very good director and I don’t think he had ever made a bad film. But he needs to lighten up, put some emotions and spontaneity and fragments of irrationality into his films. Everything in his movies are so finely crafted that I feel like I can’t breath when I’m watching them.
The perfect example is Inception. When we went inside the deepest level of subconsciousness, it looks nothing like what dreams in their deepest sense should look and feel like. Everything is rational and perfectly calculated. People look and talk the same way as in the waking world. Everything looks like they should look… Where’s the big penis that runs through the tunnel like a train? Where is the giant fly that got stuck inside a clock painting?
to put it simply. He directs with his left brain. And it’s time to let loose some right brain demons and just let go (in places when he needs to).
[quote]digitalairair wrote:
Not a fan of Nolan’s films. He is a very good director and I don’t think he had ever made a bad film. But he needs to lighten up, put some emotions and spontaneity and fragments of irrationality into his films. Everything in his movies are so finely crafted that I feel like I can’t breath when I’m watching them.
The perfect example is Inception. When we went inside the deepest level of subconsciousness, it looks nothing like what dreams in their deepest sense should look and feel like. Everything is rational and perfectly calculated. People look and talk the same way as in the waking world. Everything looks like they should look… Where’s the big penis that runs through the tunnel like a train? Where is the giant fly that got stuck inside a clock painting?
to put it simply. He directs with his left brain. And it’s time to let loose some right brain demons and just let go (in places when he needs to).[/quote]
Actually, if dreams are as right-brain dominated as you claim they are, (a point I won’t argue with since I had a dream about rescuing two 10 year-old boys from the backseat of a taxi driven by my brother and my long-dead grandfather on their way to rob a bank at the top of the Space Needle in Seattle, which was situated directly across from the train tracks behind the Grassy Knoll in Dealey Plaza last night) then Nolan has indeed gone against the grain you demand he goes against.
The rigidity and attention to detail that Nolan presents us with in the deeper dream levels actually IS a result of his right brain. By trying to strive for realism in something that couldn’t be further from it he has actually rejected conformity. If spontaneity and irrationality are the domain of our deep dream state, then by adhering to rationality and calculation he has gone the atypical route.
How many movies have we seen where there is a cold, unwavering dedication to rationality and uniformity in dream sequences? Rarely, if ever. Fellini’s 8 1/2 and Hitchcock’s Spellbound and Vertigo are perfect examples of this. Nolan has used his right brain to painstakingly craft a scenario in which dreams are rational and develop with a certain sense of logic, which is completely antithetical to everything we know or think we know or assume about dream states.
By not allowing room to breathe and by giving excruciating attention to detail to every last aspect of the dreams in Inception, he has essentially rejected the conventional thinking you assign to him. I thought it was refreshing.
I love your work, by the way.
Might be a repost; I’m late to the thread. Funny article that makes a lot of sense.
Been thinking about this for a bit now just haven’t said anything, but here goes: I REALLY hope that Nolan doesn’t go the cheesey route and make the residents of Gotham the heroes by standing united and collectively defeating Bane (or whoever) in Batman’s absence. I don’t want to see some great lesson about the human condition if it means Batman has to go. I have unbelievably high hopes for this but am admittedly nervous. It’s not gonna be TDK, it’s just not gonna happen. But, if it’s Batman Begins then we’re looking at the best trilogy of all time.
[quote]DBCooper wrote:
[quote]digitalairair wrote:
Not a fan of Nolan’s films. He is a very good director and I don’t think he had ever made a bad film. But he needs to lighten up, put some emotions and spontaneity and fragments of irrationality into his films. Everything in his movies are so finely crafted that I feel like I can’t breath when I’m watching them.
The perfect example is Inception. When we went inside the deepest level of subconsciousness, it looks nothing like what dreams in their deepest sense should look and feel like. Everything is rational and perfectly calculated. People look and talk the same way as in the waking world. Everything looks like they should look… Where’s the big penis that runs through the tunnel like a train? Where is the giant fly that got stuck inside a clock painting?
to put it simply. He directs with his left brain. And it’s time to let loose some right brain demons and just let go (in places when he needs to).[/quote]
Actually, if dreams are as right-brain dominated as you claim they are, (a point I won’t argue with since I had a dream about rescuing two 10 year-old boys from the backseat of a taxi driven by my brother and my long-dead grandfather on their way to rob a bank at the top of the Space Needle in Seattle, which was situated directly across from the train tracks behind the Grassy Knoll in Dealey Plaza last night) then Nolan has indeed gone against the grain you demand he goes against.
The rigidity and attention to detail that Nolan presents us with in the deeper dream levels actually IS a result of his right brain. By trying to strive for realism in something that couldn’t be further from it he has actually rejected conformity. If spontaneity and irrationality are the domain of our deep dream state, then by adhering to rationality and calculation he has gone the atypical route.
How many movies have we seen where there is a cold, unwavering dedication to rationality and uniformity in dream sequences? Rarely, if ever. Fellini’s 8 1/2 and Hitchcock’s Spellbound and Vertigo are perfect examples of this. Nolan has used his right brain to painstakingly craft a scenario in which dreams are rational and develop with a certain sense of logic, which is completely antithetical to everything we know or think we know or assume about dream states.
By not allowing room to breathe and by giving excruciating attention to detail to every last aspect of the dreams in Inception, he has essentially rejected the conventional thinking you assign to him. I thought it was refreshing.
I love your work, by the way.[/quote]
Woah. You got me thinking there with the counter-irrationality of subconscious with rationality. Very Socratic way of stuffing my arguments back into my face.
But even though I don’t like cutting brains in half, I would argue that Nolan’s “rigidity and attention to detail” and “carefully constructed realism” are still the result of his right brain. But he is turning the right brain to the left (and maybe vice versa?). If the right brain and the subconscious become rational and logical with fine details and linearity, then it almost reverses back to the left/consciousness.
So then where is the subconscious and the illogical? Is he simply replacing it? Pushing it out? Or are the two sides reversed? A mind that is ENTIRELY logical, where every decision that we make in our lives are conscious and deliberate is a fascinating idea, to say the least. Maybe we can imagine a creature where the outer layer of the brain is less logical, and the deeper we can into the subconscious, the more logical and conscious.
Was that Nolan’s intention? Did he go, Ok, everyone thinks dreams and subconscious are illogical and weird… let me make it normal and real. Maybe he wanted to make up crazy dreams like Fellini but couldn’t think up enough creative images? It is one thing to be logical and tune everything up accordingly. It is another skill to just open up your subconscious mind and let the juices flow without boundaries.
Just as someone might look at David Lynch’s work and think that he is some kind of post-modernist intellectual and that all his images were thought out and could be deciphered…but when you really ask him what’s going on, he has no idea. (not to say that it’s a bad thing. A lot of artists pure out their subconscious onto the film/paper but cannot come up with logical explanations for them, but that’s how some of the best work were made)
[quote]digitalairair wrote:
[quote]DBCooper wrote:
[quote]digitalairair wrote:
Not a fan of Nolan’s films. He is a very good director and I don’t think he had ever made a bad film. But he needs to lighten up, put some emotions and spontaneity and fragments of irrationality into his films. Everything in his movies are so finely crafted that I feel like I can’t breath when I’m watching them.
The perfect example is Inception. When we went inside the deepest level of subconsciousness, it looks nothing like what dreams in their deepest sense should look and feel like. Everything is rational and perfectly calculated. People look and talk the same way as in the waking world. Everything looks like they should look… Where’s the big penis that runs through the tunnel like a train? Where is the giant fly that got stuck inside a clock painting?
to put it simply. He directs with his left brain. And it’s time to let loose some right brain demons and just let go (in places when he needs to).[/quote]
Actually, if dreams are as right-brain dominated as you claim they are, (a point I won’t argue with since I had a dream about rescuing two 10 year-old boys from the backseat of a taxi driven by my brother and my long-dead grandfather on their way to rob a bank at the top of the Space Needle in Seattle, which was situated directly across from the train tracks behind the Grassy Knoll in Dealey Plaza last night) then Nolan has indeed gone against the grain you demand he goes against.
The rigidity and attention to detail that Nolan presents us with in the deeper dream levels actually IS a result of his right brain. By trying to strive for realism in something that couldn’t be further from it he has actually rejected conformity. If spontaneity and irrationality are the domain of our deep dream state, then by adhering to rationality and calculation he has gone the atypical route.
How many movies have we seen where there is a cold, unwavering dedication to rationality and uniformity in dream sequences? Rarely, if ever. Fellini’s 8 1/2 and Hitchcock’s Spellbound and Vertigo are perfect examples of this. Nolan has used his right brain to painstakingly craft a scenario in which dreams are rational and develop with a certain sense of logic, which is completely antithetical to everything we know or think we know or assume about dream states.
By not allowing room to breathe and by giving excruciating attention to detail to every last aspect of the dreams in Inception, he has essentially rejected the conventional thinking you assign to him. I thought it was refreshing.
I love your work, by the way.[/quote]
Woah. You got me thinking there with the counter-irrationality of subconscious with rationality. Very Socratic way of stuffing my arguments back into my face.
But even though I don’t like cutting brains in half, I would argue that Nolan’s “rigidity and attention to detail” and “carefully constructed realism” are still the result of his LEFT brain. But he is turning the right brain to the left (and maybe vice versa?). If the right brain and the subconscious becomes rational and logical with fine details and linearity, then it almost reverses back to the left/consciousness. So then where is the subconscious and the illogical? Is he simply replacing it? Pushing it out? Or are the two sides reversed? A mind that is ENTIRELY logical, where every decision that we make in our lives are conscious and deliberate is a fascinating idea, to say the least. Maybe we can imagine a creature where the outer layer of the brain is less logical, and the deeper we can into the subconscious, the more logical and conscious.
But I’m not sure if that is the case. Maybe he wanted to make up crazy dreams like Fellini but couldn’t think up enough creative images? It is one thing to be logical and tune everything up accordingly. It is another skill to just open up your subconscious mind and let the juices flow without boundaries.
Just as someone might look at David Lynch’s work and think that he is some kind of post-modernist intellectual and that all his images were thought out and could be deciphered…but when you really ask him what’s going on, he has no idea. (not to say that it’s a bad thing. A lot of artists pure out their subconscious onto the film/paper but cannot come up with logical explanations for them, but that’s how some of the best work were made)[/quote]
That’s the real beauty of Inception. What’s up is down and down is up. Nolan knows that the stuff of dreams is pure right brain irrationality. But he’s also clearly a perfectionist with an obsessive attention to the most minute of details. He’s the new Stanley Kubrick in this sense, but will probably end up being a much more prodigious filmmaker than Kubrick (Kubrick only made 12 feature-length films, all of which were masterpieces) and this arouses me, both intellectually and sexually.
So by going as far as the limits of his right brain will allow in regards to the dreams in Inception, he has forced himself to think entirely outside the box, right? Well, how much further outside of that framework can one get than applying the left brain thought process to a concept that is pure right brain-driven and still produce something worth watching?
And Nolan’s attention to detail, his Kubrick-esque approach to his craft, fits into this perfectly. Someone like David Lynch would be the polar opposite in this respect. Lynch would have to assign sheer irrationality to a scenario that calls for conformity and logic, and still produce something sensible, to do what Nolan has done in Inception.
But here’s the kicker: rather than inverting or switching the two sides of his brain by applying the use of each side to endeavors opposite of what anyone else would naturally do (basically using rationality in a purely irrational setting and producing a rational plot within what would seem to be a purely irrational scenario) he has actually rid himself of the burden of having two sides to his brain acting in contradiction with one another and vainly hoping for some sort of gridlock-inspired uniformity. Nolan is without sides to his brain. The entire thing works as one unit. There is no bipartisanship in his skull, only pure, unadulterated totalitarianism, and it’s a beautiful thing.
You know as well as anyone that true artists strive for a removal of any and all limitations placed on their art and what inspires it. I mentioned this in another thread and I’ll mention it here as well. True wit is measured in audacity. However, when do we really see any great artists audacious enough to embrace a philosophy as rigid as one associated with totalitarianism and still produce something intellectual? I hate to resort to something as mundane as stereotypes, but in the art world I think it’s safe to say that totalitarianism or the acceptance of dictators in a Machiavellian pursuit of power is rejected, and in many ways this rejection serves as inspiration. “Guernica” by Picasso comes to mind.
But how often do we see artists truly push boundaries? Never, because no matter how far any artist tries to go, they are always bound by the restriction of having to find some sort of balance between the two halves of their brain. Lynch, for all his uniqueness, comes across as a schizophrenic with a firm grip on both sides of brain, but a firm grip in the same sense that someone holding two rabid possums trying to attack each other in his hands, held apart to prevent fighting, but with the knowledge that the situation is on the verge of calamity and any lessening of the grip would lead to sheer disaster.
Lynch has done a masterful job in some of his movies of coming to terms with these two sides, but he has not rid himself of the dangers of those two sides warring with one another. He’s only holding them apart, and any inability to explain the bizarrities of his films is only a betrayal of his tenuous grip on the two sides of his brain.
But Nolan has done just this. He has literally accepted totalitarianism within his own fucking skull! He has some third side, or maybe some totally separate entity within his subconscious, that has taken over his brain and it is THIS that drives the thought process behind his scripts. There is no room for compromise between the right and left.
It would be revolutionary and controversial enough if he were to create a movie that embraced totalitarianism and rejected all notions of compromise in a more traditional sense, such as a sincere, serious attempt at a movie extolling all the virtues of a monster like Mao or Hitler. But he’s gone even further than that. His own brain has become the proving ground for this extreme shift in thinking, and Inception is merely the by-product of this shift.
^^^ Ya’ll two sound like the pretentious posers at an art gallery who brag about seeing the strokes the artist DIDN’T paint.
I read the article from Cracked, re: death o’ Wayne. I disagree, and in fact make two assertions:
Lazarus Pit, is what I’m saying.
Also, I don’t think Alfred comes out of this alive.
[quote]WhiteFlash wrote:
^^^ Ya’ll two sound like the pretentious posers at an art gallery who brag about seeing the strokes the artist DIDN’T paint.[/quote]
In the words of Richard Burton, I’m merely walking what’s left of my wits about. You should try it sometime. You’re more than welcome to participate. You’ve never struck me as someone short on intellect. Besides, I like Mr. Yang’s work and I want to continue to engage him.
I like how his mind works, even if some of his artwork on YouTube does seem to be a bit self-serving, and also bizarre for bizarrity’s sake. But it’s abnormal nonetheless, and abnormality is going to be IN this coming year. I just want to be at the forefront of cutting edge trends.
Your posts are nothing if not entertaining DB.
[quote]DBCooper wrote:
[quote]digitalairair wrote:
[quote]DBCooper wrote:
[quote]digitalairair wrote:
Not a fan of Nolan’s films. He is a very good director and I don’t think he had ever made a bad film. But he needs to lighten up, put some emotions and spontaneity and fragments of irrationality into his films. Everything in his movies are so finely crafted that I feel like I can’t breath when I’m watching them.
The perfect example is Inception. When we went inside the deepest level of subconsciousness, it looks nothing like what dreams in their deepest sense should look and feel like. Everything is rational and perfectly calculated. People look and talk the same way as in the waking world. Everything looks like they should look… Where’s the big penis that runs through the tunnel like a train? Where is the giant fly that got stuck inside a clock painting?
to put it simply. He directs with his left brain. And it’s time to let loose some right brain demons and just let go (in places when he needs to).[/quote]
Actually, if dreams are as right-brain dominated as you claim they are, (a point I won’t argue with since I had a dream about rescuing two 10 year-old boys from the backseat of a taxi driven by my brother and my long-dead grandfather on their way to rob a bank at the top of the Space Needle in Seattle, which was situated directly across from the train tracks behind the Grassy Knoll in Dealey Plaza last night) then Nolan has indeed gone against the grain you demand he goes against.
The rigidity and attention to detail that Nolan presents us with in the deeper dream levels actually IS a result of his right brain. By trying to strive for realism in something that couldn’t be further from it he has actually rejected conformity. If spontaneity and irrationality are the domain of our deep dream state, then by adhering to rationality and calculation he has gone the atypical route.
How many movies have we seen where there is a cold, unwavering dedication to rationality and uniformity in dream sequences? Rarely, if ever. Fellini’s 8 1/2 and Hitchcock’s Spellbound and Vertigo are perfect examples of this. Nolan has used his right brain to painstakingly craft a scenario in which dreams are rational and develop with a certain sense of logic, which is completely antithetical to everything we know or think we know or assume about dream states.
By not allowing room to breathe and by giving excruciating attention to detail to every last aspect of the dreams in Inception, he has essentially rejected the conventional thinking you assign to him. I thought it was refreshing.
I love your work, by the way.[/quote]
Woah. You got me thinking there with the counter-irrationality of subconscious with rationality. Very Socratic way of stuffing my arguments back into my face.
But even though I don’t like cutting brains in half, I would argue that Nolan’s “rigidity and attention to detail” and “carefully constructed realism” are still the result of his LEFT brain. But he is turning the right brain to the left (and maybe vice versa?). If the right brain and the subconscious becomes rational and logical with fine details and linearity, then it almost reverses back to the left/consciousness.
So then where is the subconscious and the illogical? Is he simply replacing it? Pushing it out? Or are the two sides reversed? A mind that is ENTIRELY logical, where every decision that we make in our lives are conscious and deliberate is a fascinating idea, to say the least. Maybe we can imagine a creature where the outer layer of the brain is less logical, and the deeper we can into the subconscious, the more logical and conscious.
But I’m not sure if that is the case. Maybe he wanted to make up crazy dreams like Fellini but couldn’t think up enough creative images? It is one thing to be logical and tune everything up accordingly. It is another skill to just open up your subconscious mind and let the juices flow without boundaries.
Just as someone might look at David Lynch’s work and think that he is some kind of post-modernist intellectual and that all his images were thought out and could be deciphered…but when you really ask him what’s going on, he has no idea. (not to say that it’s a bad thing. A lot of artists pure out their subconscious onto the film/paper but cannot come up with logical explanations for them, but that’s how some of the best work were made)[/quote]
That’s the real beauty of Inception. What’s up is down and down is up. Nolan knows that the stuff of dreams is pure right brain irrationality. But he’s also clearly a perfectionist with an obsessive attention to the most minute of details. He’s the new Stanley Kubrick in this sense, but will probably end up being a much more prodigious filmmaker than Kubrick (Kubrick only made 12 feature-length films, all of which were masterpieces) and this arouses me, both intellectually and sexually.
So by going as far as the limits of his right brain will allow in regards to the dreams in Inception, he has forced himself to think entirely outside the box, right? Well, how much further outside of that framework can one get than applying the left brain thought process to a concept that is pure right brain-driven and still produce something worth watching?
And Nolan’s attention to detail, his Kubrick-esque approach to his craft, fits into this perfectly. Someone like David Lynch would be the polar opposite in this respect. Lynch would have to assign sheer irrationality to a scenario that calls for conformity and logic, and still produce something sensible, to do what Nolan has done in Inception.
But here’s the kicker: rather than inverting or switching the two sides of his brain by applying the use of each side to endeavors opposite of what anyone else would naturally do (basically using rationality in a purely irrational setting and producing a rational plot within what would seem to be a purely irrational scenario) he has actually rid himself of the burden of having two sides to his brain acting in contradiction with one another and vainly hoping for some sort of gridlock-inspired uniformity. Nolan is without sides to his brain. The entire thing works as one unit. There is no bipartisanship in his skull, only pure, unadulterated totalitarianism, and it’s a beautiful thing.
You know as well as anyone that true artists strive for a removal of any and all limitations placed on their art and what inspires it. I mentioned this in another thread and I’ll mention it here as well. True wit is measured in audacity. However, when do we really see any great artists audacious enough to embrace a philosophy as rigid as one associated with totalitarianism and still produce something intellectual? I hate to resort to something as mundane as stereotypes, but in the art world I think it’s safe to say that totalitarianism or the acceptance of dictators in a Machiavellian pursuit of power is rejected, and in many ways this rejection serves as inspiration. “Guernica” by Picasso comes to mind.
But how often do we see artists truly push boundaries? Never, because no matter how far any artist tries to go, they are always bound by the restriction of having to find some sort of balance between the two halves of their brain. Lynch, for all his uniqueness, comes across as a schizophrenic with a firm grip on both sides of brain, but a firm grip in the same sense that someone holding two rabid possums trying to attack each other in his hands, held apart to prevent fighting, but with the knowledge that the situation is on the verge of calamity and any lessening of the grip would lead to sheer disaster.
Lynch has done a masterful job in some of his movies of coming to terms with these two sides, but he has not rid himself of the dangers of those two sides warring with one another. He’s only holding them apart, and any inability to explain the bizarrities of his films is only a betrayal of his tenuous grip on the two sides of his brain.
But Nolan has done just this. He has literally accepted totalitarianism within his own fucking skull! He has some third side, or maybe some totally separate entity within his subconscious, that has taken over his brain and it is THIS that drives the thought process behind his scripts. There is no room for compromise between the right and left.
It would be revolutionary and controversial enough if he were to create a movie that embraced totalitarianism and rejected all notions of compromise in a more traditional sense, such as a sincere, serious attempt at a movie extolling all the virtues of a monster like Mao or Hitler. But he’s gone even further than that. His own brain has become the proving ground for this extreme shift in thinking, and Inception is merely the by-product of this shift.[/quote]
thank you for this post. It was a great read. I have to go run some errands now… but I will say this : I didn’t like it the first time I saw Inception in the theater, and I had avoided re-watching Inception ever since it came out on DVD. After having this short exchange with you, I had finally decided to rent to last night. I’m half way through the movie and I liked it a lot better now. Thanks.
