Lucas Smith

@ev1lzaso Proud to say my twin brother Lincoln is the visfx supervisor on this one!

put on a random indie movie I found last night and was genuinely taken aback by how good some of the cinematography was

@Ollie_Film @Eternal11th this is the set.

@LSMITHCINE @Eternal11th I find that hard to believe, even to build the part that appears in this frame that’s a 30ft high and 30ft wide half-dome. That is functionally useless since actors can’t interact with most of it . They’d be crazy to have built it. Notwithstanding the fact it doesn’t look real.

This singular frame mogs the entire odyssey trailer be fr

@ToddGac53389476 @LarryTheSir @GangsterCinema despite their polished appearance, they are all fuck ups in their own way — living on the margins, antisocial, addicts. heat 2 goes into this a bit more.

@LarryTheSir @GangsterCinema Excellent point. I love Heat but the entire Waingro storyline is inconsistent with the nature of this supposedly tight, professional, disciplined crew. Why did they hire such a fuckup/cowboy if that's the case?

Tom Sizemore's menacing glare in the coffee shop scene in Heat was brought about through his extensive training in lethal force. Michael Mann explains "Right here, Sizemore does something very interesting. He had the cold look in his eye, which anybody encountering, communicates without any words or histrionics - lethal potential. It’s a belief in himself as his character, Cheritto, that Sizemore got from the work we did in pre-production. You have to do the work, feel you have the aptitude and the capability of being that lethal, and then the moment's there." Michael Mann’s quote comes from the director’s commentary track on the Heat DVD.

@castcredits check out khrustalyov, my car! his earlier film. watching khrustalyov did a lot to unlock hard to be a god.

This is a film you only need to see one time.

@Ollie_Film @Eternal11th i think there has been photographic proof that this specific part of the set was actually built.

@Eternal11th Imagine thinking a 90% CGI frame mogs anything at all.

@Nino_Knows @frootscupid music.apple.com/ca/artist/the-…

@frootscupid Fantastic! Who is this?

Good lord

@cinemafrances it's great in concept, but technically kind of dodgy.

Não intencionalmente, quando assisti pela primeira vez Lady Vengeance, foi numa edição especial que o filme gradualmente vai se tornando preto e branco. E caralho, que ideia genial do Chan-wook. O filme se torna MUITO MAIS potente e devastador.

@bucephalus424 please check out his novel "Extinction" next

So this is the guy everyone has been imitating the last 45 years

@prairie_oysters i liked when films had imperfect camera moves like that, i want to feel the crane fighting against the wind... fuck AI though.

@ailantd @Eternal11th @GioDelNope ridley scott has openly talked about how alien's set design aesthetic riffs on star wars a new hope.

@Eternal11th @GioDelNope It created that aesthetic that you call "just sci-fi". Everyone else is just copyng that since then.

I just realized something pretty cool, other than Star Wars back in the 70s, dune is the only IP that has completely invented its own visual language, it’s the first time in decades we got a truly alien franchise

@okylotl @thamosdeaf i suggest Mamet's Homicide, in addition to this. Homicide is probably Mamet's most beautiful looking film, too, with cinematography by Roger Deakins.

@thamosdeaf have u seen the David Mamet film ‘Spartan’?

Looking for recommendations for a slow burn tightly-wound crime flick off the beaten path to scratch the itch left behind from revisiting Dragged Across Concrete.

@superpunchy @LookAroundCafe you...wouldn't be able to see his silhouette if it weren't there.

So what’s that behind the window?

It's for me.

@BilgeEbiri he's the closest we've got to Anatoly Solonitsyn in English.

An ode to Joel Edgerton. vulture.com/article/joel-e…

@VyceVictus i honestly assumed you'd seen this. but i'm so glad you finally watched it. one of my favourite films. the dialogue is so ahead of the curve it's bewildering.

Finally saw David Mamet’s SPARTAN, what a fascinating film. It somehow feels as unwieldy & reactionary as it is ruthlessly intense, darkly cynical, and in some ways ahead of its time. A curio of the transition point from classic Hollywood thrillers to post 9/11 American madness

@dessiechad @EndlessYummy this is, itself, a modern restoration. previous versions that were also officially released hew closer to the criterion version.

@dessiechad no, what you're seeing on the left was itself the result of a basic hd restoration by mosfilm uploaded to youtube. if you have access to the early dvds and vhs of the film, you'll see that the sepia tone is deliberate.

@realJaredGilman @VyceVictus we hear for you.

@VyceVictus Thank you so much dude, ur fucking awesome

Why were yall harassing lil homeboy from Moonrise Kingdom he don’t never bother nobody man

@quinncroft97 @strangeharbors it's the easy money and the knowledge that your career is over.

@strangeharbors Why does streaming just kill 95% of directors visually? It can’t just be distribution or cameras?

Convinced this actually would have killed if it looked anything like a real movie

@bernardtjoy Cormac McCarthy's last work was incredible though.

William Faulkner's work was poorer after 1950. He was 53 then. Don DeLillo's work was poorer after 2000. He was 64 then. Thomas Pynchon's work was poorer after 2000 (maybe 2006). He was 63 then. Probably simply proves that after a lifetime of writing a tiredness sets in.