Film Score Monthly
Search Terms: 
Search Within:   search tips 
You must log in or register to post.
  Go to page:    
 Posted:   Sep 23, 2022 - 1:47 PM   
 By:   Thor   (Member)

Hence why we can't argue that Richard Donner – a talented man who didn't journey with a single composer but DID imbue most of his films with a specific heart, point of view, recurring themes, camera and cutting style – wouldn't be admissible to this club.

I haven't really noticed any such features in his movies, but I'm ready to be educated if you have any specifics here.

I agree, however, that it's a "grey scale" (and we're really venturing outside the original topic now), but it relies on several things. One is the observations that can be made by most film-savvy people merely by observing and analyzing the filmograpy of a director. The second, just as important, is to investigate analyses, theses and observations made by others, often critics and academics -- and how much of a foothold it has (easier with older directors, usually more divisive with current). After all, that is how the whole thing started with the Cahiers de Cinema directors/writers looking back at the Hollywood icons that preceded them.

To deny authorship in filmmaking is a very sad thing, IMO. It basically means everything is in flux. One of the best things about being a cineaste or film buff or whatever you want to call it, is recognizing recurring themes and traits in a director's work.

Any of one's favourite filmmakers who've made their careers on the basis of publicizing themselves as auteurs (or allowing those to brand them as such) know this privately.

I'm not aware of any director who proclaims him or herself an auteur. It's usually something attributed to them by others.

 Posted:   Sep 23, 2022 - 2:07 PM   
 By:   digitalfreaknyc   (Member)

This thread is pointless and without basis. Shouldn’t have been created in the first place

 Posted:   Sep 24, 2022 - 5:06 AM   
 By:   MikeP   (Member)

It'll probably never happen, and hopefully it won't. Criterion is overpriced and over-hyped. For me it's great they did release Blu Rays for DePalma's Blow Out and Zemeckis' I Wanna Hold Your Hand, their Albert Brooks titles, Heaven's Gate, The In Laws and others. But they absolutely screwed the pooch with Michael Mann's Thief. That green dye job is horrendous, I saw it in theaters and it wasn't green ( 1981 is a long time ago, but back then movies were in color - more than one color big grin and I don't remember this one being green razz ) And they took the sun-baked Flight Of The Phoenix and made it look like a brutal Siberian winter roll eyes

I have no faith they'd do anything on Superman others couldn't do.

 Posted:   Sep 24, 2022 - 8:22 AM   
 By:   nuts_score   (Member)

Michael Mann should share a big portion of the blame for Thief's transfer as well. He is incessantly tinkering with the grading of his films. And Criterion has been slavishly devoted to ensuring those artists get their wishes. Just look at the Wong Kar-Wai set: it's as if we now have to watch all of those fantastic movies through WKW's sunglasses. As this point, it seems almost in the movie's favor if a perfectionist filmmaker is either dead or far away from the next home video release as far as if you want it to be the way you saw it in a theater decades ago.

You must log in or register to post.
  Go to page:    
© 2022 Film Score Monthly. All Rights Reserved.
Website maintained and powered by Veraprise and Matrimont.