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Posted: |
Sep 13, 2012 - 3:58 AM
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By: |
Tester
(Member)
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I don´t see what´s wrong and it never bothered me. Marsalis is a virtuoso and a central element of the score. Also, at the time of "Sneakers"´ release he was very famous, due to his work on Sting´s "Nothing like the Sun", therefore an additional magnet for potential buyers.
Well, but... you know, he's just another musician in the score... anyway, I will not discuss if he deserves or not a mention in the cover (from a marketing point of view, at that time, it was probably a good idea), but a photo? It would be like putting the driver license photo of Lisa Gerrard in the cover of Gladiator or Madonna's one in Die another day; it would look ugly and ridiculous, no matter how famous they are.
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Posted: |
Sep 15, 2012 - 6:22 PM
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By: |
Trekfan
(Member)
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I don´t see what´s wrong and it never bothered me.
Well, I'll give you that it would've looked even sillier if they'd attempt to cut-and-paste (this film being pre-Photoshop?) him into the same area as the cast members' faces.  But my reaction to it was that it always looked ridiculous. And if I wanted to analyze it deeper, it'd be this: It's incongruent from a visual and graphic design perspective. A great poster art concept was created with our cast peeking out from a partially curled white paper, then all of a sudden you have this arbitrary photo slapped on top of it from a different time, place, of a different sizing, different lighting, etc. It has no artistic relation to the design of the graphic, which bugs me, and was clearly motivated by a marketing executive and "face-recognition" factor.
Which, Sony is in the business to sell product, so I can understand a marketing decision that could only benefit sales, but there would have been a variety of ways that any decent graphic designer could've found to creatively and effectively integrate mention of Marsalis into the piece. It's why I mentioned they could've done something cool textually - the same font emphasizing "Brandford Marsalis" in a different color (let's say blue, perhaps) or a little larger than the surrounding text. If the use of his picture was a mandated "must", they could've done something more interesting like a photo of Marsalis in mid-stride on a busy street and a bus shelter ad is in the extreme foreground and it's an image of the film's movie poster. Anything.
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Hopefully it's a fresher master.
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I saw this film at the London Film Festival in 1992. Really enjoyed it. Anyway I'm looking to fill a few gaps in my Horner collection and the positive comments on this thread persuaded me to buy a copy.
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Posted: |
Nov 24, 2020 - 1:30 PM
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By: |
Thor
(Member)
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So I rewatched this tonight, for the second time (and the first since the 90s). Except for the absolute and utter silliness of the last act, it's actually a pretty decent film. Robinson really gets to work out his visual skill -- dynamic pans, colours, mist, rain, moody lights. Plenty to like. And for the first two acts, the comedy/thriller/heist tone works quite well.
Great hearing the Horner score in context again. Such a benchmark for his subsequent thriller writing, of course, although it also points back to things like ALIENS.
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Posted: |
Nov 25, 2020 - 5:55 PM
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By: |
Tom Maguire
(Member)
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So I rewatched this tonight, for the second time (and the first since the 90s). Except for the absolute and utter silliness of the last act, it's actually a pretty decent film. Robinson really gets to work out his visual skill -- dynamic pans, colours, mist, rain, moody lights. Plenty to like. And for the first two acts, the comedy/thriller/heist tone works quite well.
Great hearing the Horner score in context again. Such a benchmark for his subsequent thriller writing, of course, although it also points back to things like ALIENS.
It really does fall apart in the last act but the rest of the movie is so strong and the cast so talented and watchable that it still coasts to the end, even if the tank is running on fumes.
Horner's score never stops being great though.
This is one of my top three go-to discs for sitting down to do some writing. Never gets old.
Also, my head cannon is that this movie takes place in a Walter Parks / Lawrence Lasker Universe and Redford's character is secretly Mathew Broderick's David Lightman from WarGames all grown up.
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