Tim Partridge

My latest video is finally here, a 90 minute look at Batman Forever! Many thanks to @danieldmoses @storyjerk @TheManFrowns @Mark0Connell @Marc_V_Price @moneyintolight @vegitojedi & of course @OllieH82 ! youtu.be/9xA4QmZDWx8?si…

@Tim_Partridge_ Me when someone talks in the theater.

This tone should be taken with anyone using their phone or having a conversation during a cinema screening.

NEW VIDEO: My thoughts on Project Hail Mary! youtu.be/UcfZjGxXV60

@menonfilmpod The sax at the end of this clip sounds so much like Tim Cappello (the sax guy from The Lost Boys and Tina Turner). I have not seen the film, but according to imdb that is Cappello on sax.

Look, it's hard to keep finding great clips. Sometimes the clips will be terrible. Quiet Cool (1986) starring James Remar

Jerry Goldsmith, everyone! Leviathan - Movie Soundtrack (01 Main Titles/Underwater Camp) youtu.be/eU8XFzkn2N8?si…

@CutSchumacher Error in my previous post: I said four, but I meant six of the shots are VFX!

The one it deserved at least a nomination for was Best Visual Effects. Countless innovations that have lasted to this day, mixed with some traditional trickery. Some very obvious & spectacular, & some would still fool professional eyes. Four of the attached images were VFX.

Does anyone know who directed, edited and photographed this segment?

@TomSpinaDesigns The consoles both look very much like the work of Harry Lange, who worked on the productions of both Star Wars and Superman.

Some repurposed #StarWars sets (Death Star control room) and props (Obi-wan's storage chest) that you'll see in 1978's #Superman: The Movie. Both were filmed around the same time in England with production designer John Barry in common.

The background plate of this image was photographed from a Learjet in the USA. The foreground live action was filmed in front of a blue screen in Munich. The two elements were composited together by Industrial Light and Magic (ILM).

これ考えた人天才 #スーパー戦隊

I love this song by YES, cowritten by @trevorrabin. The uplifting chorus especially sounds like it was pointing towards the themes he would go on to write for several Jerry Bruckheimer action movies. Talk is a great album. youtube.com/watch?v=S9o6Uh…

Today marks 70 years since John Ford’s masterpiece 'The Searchers' was released. A landmark Western that redefined the genre, with John Wayne as the haunted Ethan Edwards, a complex antihero on a relentless quest through the American frontier. Crowned by this magnificent final sequence, one of the most beautiful in film history.

@MuseZack @joshua_izzo Believe it or not, I wrote Miles, but it was autocorrected as Moles!

@MuseZack @joshua_izzo I’ve never heard it in isolation. It begins at 5:30 here. It reminds me of Tangerine Dreams Love On A Real Train (Risky Business), if it were a sad lullaby. It delicately bookends the Moles & Edgar bond, contributing to the sense of humanity between them. youtu.be/Cl_-_1_SFmU?si…

I'm watching the mostly forgotten '80s gem Electric Dreams for the first time in ages and realizing that Lenny Von Dohlen's Miles was kind of the visual template for the Disney animation "sexy nerd" archetype from Atlantis' Milo on down...

@joshua_izzo @MuseZack There’s a really melancholic instrumental score track that plays twice in the movie, the second being before Edgar explodes. I think that’s Moroders best score track of all time. Unbelievably, it’s never been officially released.

@MuseZack An absolutely perfect film. 1000/10. Banger of a soundtrack, too. Giorgio Moroder was on fire.

@HappyHarryToons You may know this already, but I've just discovered this commercial was actually directed by Russell Mulcahy. Obviously looking back, it's very similar to the sign set-piece from Highlander, but with the noir-ish style and art direction of The Shadow.

This is my favourite aesthetic for superhero films. Russell Mulcahy/Joel Schumacher/Warren Beatty's Dick Tracy etc. It's monkey's paw logic that now superhero movies are everywhere yet none of them like this.

#ValerieHobson #BOTD #JohnHowardDavies THE ROCKING HORSE WINNER (1949)

@agraphafx Filmed against black velvet with camera doing slight, manual track/pan/rise around it, for movement. Stars put in afterwards. I think Alien benefited from both that & Ridley Scott filming everything without fill light, so huge amounts of the screen are just solid black shadow.

Not to mention the tell-tale Derek Meddings methods Brian Johnson carried over into Space 1999 -- do not let elements cross too much. Likely this went through their process of gridding off the action, and exposing layers in a bit at a time. First generation composite. Beautiful.

I love the movement of the booster push off at 0:22; it looks so real. It's quite incredible that no motion control was used in the making of the miniature sequences.