Matthew Clive

455 posts

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Matthew Clive

Matthew Clive

@MatthewClive4

film student | don't be an asshole

Katılım Mayıs 2016
174 Takip Edilen26 Takipçiler
Matthew Clive retweetledi
Mike Harlow
Mike Harlow@NotMikeHarlow·
A 30 day shoot so they paid her 9k. They had 45 people on the crew. Assuming they pay everyone that amount, that’s $400,000. More than half the budget. That’s not considering actors, locations, effects, or post. These people have no idea how money or reality works! 🤦🏻‍♂️
Alicia (Lee) McClendon@QTarantino_

The Art Director of Obsession was paid $300/day out of a $700,000 budget movie? That’s what I pay for a short film. Whoa. I feel bad for her.

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Matthew Clive
Matthew Clive@MatthewClive4·
@StephyBx_ that's kind of just how low budget projects are. this really could have been an opportunity to leverage more roles, especially with their limited experience beforehand
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bolaji
bolaji@StephyBx_·
I’m going to THROW UP I dislike film as an industry so so much. $300 a DAY?? With A $750k budget is disgusting I’m sorry. I’m so mad for her 😔😔 I can’t even accept £300 a day as it stands and I’m only a year and a half into my career. I feel so bad for her omg🥺
Josh Raby@JoshRaby

Read:

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James McDonald
James McDonald@IrishFilmCritic·
🚨GIVEAWAY🚨 Win a copy of the upcoming 4K Ultra HD™ release of the “Steven Spielberg: The Spotlight Collection - Limited Edition Steelbook Library Case.” To Enter: ✍️ Like and Retweet this post! 🫵 Follow @IrishFilmCritic! Ends: Friday, June 5th
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Matthew Clive
Matthew Clive@MatthewClive4·
Went to my local theater to rewatch Obsession. Both Obsession and Backrooms are completely sold out. Mandalorian and Grogu has sold 3 seats.
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Aidan al Gaib 🎥🎨
Aidan al Gaib 🎥🎨@akeltheartist·
Disclosure Day reviews calling it Spielberg’s best in 20 years when his last two films have already been some of his best ever…
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maël
maël@maelsauce_·
criticism is one thing, but just being constantly negative about movies is fucking boring
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DiscussingFilm
DiscussingFilm@DiscussingFilm·
Conan O'Brien will officially return to host the Oscars next year.
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greta ✿
greta ✿@n93dy·
YALL drop your letterboxd and let’s be mutuals
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eric is dead
eric is dead@leonVSevildead·
Hokum is a pretty scary horror movie but outside of the scare factor, it’s a pretty incredible movie about trauma and moving on through art and perseverance. It’s one of the best movies I’ve seen this year.
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Matthew Clive
Matthew Clive@MatthewClive4·
@trygraptor Gareth Edwards usually has great visuals. He didn't get enough time to prepare on Rebirth. I actually don't mind he movie as much as a lot of other people.
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Paul Muad’Dib
Paul Muad’Dib@trygraptor·
it’s honestly wild Jurassic World: Rebirth was nominated for Best VFX like what is this green screen?
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Scott Menzel
Scott Menzel@ScottDMenzel·
I’ve been reading the discourse around Michael, and even without seeing it yet, I have a pretty good sense of what the issue is. A lot of critics seem to want the film to be something it’s not. They’re looking for a deeper exploration of the backstory and the controversy, rather than a more streamlined, accessible version of the story. On the flip side, general audiences often just want to hear the music, watch the performances, and have a good time. I don’t think either perspective is wrong, but that disconnect between expectations is where the divide comes from. More broadly, I think it’s a real issue that many people in my field struggle to engage with a film on its own terms, instead of judging it against what they think it should be, especially when it comes to movies that are centered around real people. I remember the same debate around The Greatest Showman, which I personally love. A common criticism was that P.T. Barnum was a terrible person and that the film glossed over that reality. But that was never the point of the movie. It wasn’t trying to be a historically accurate portrait. Instead, it was a musical about dreams, identity, and embracing what makes you different. I think this kind of mismatch in expectations is a big reason why there’s such a growing divide between critics and general audiences. At the same time, it goes both ways. Critics often champion more awards-driven films that can be inaccessible, and general audiences sometimes go in expecting something different and come away disappointed. The disconnect isn’t one-sided. This is happening across both groups.
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