Luke Ryan

The Beautiful Frames of Star Wars: The Last Jedi (2017) Let's see how long I can keep this thread rolling! #1

@TerrelleGraham It just doesn't fit, they should've done some makeup tests and been like, yeah, let's not do that. And all of the music just feels lesser than too.

Kids won’t care but this looks worse than a parody 😂

@LukeBarnett Maddeningly, it'll probably make billions.

The pitch: take a big, fun, incredibly successful animated movie that came out a few years ago, and redo it, but this time, realistic and bland.

Lollllll

Always fascinated how people in the middle ages for hundreds of years just lived amongst the ever decrepitating Roman ruins. It was just a part of daily life for them.

I don’t use half star ratings.

@tvaziri @AnishA_Moonka And nearly 5M people see that and most will take it as fact. Sigh.

@AnishA_Moonka You wrote: “Then there's Rocky. He's the alien co-lead, and he's not CGI.” That is not accurate. “Half of Rocky’s performance is CG animation.” Director Phil Lord.

You're watching a $248 million film and not a single green or blue screen was used. The alien is a handmade puppet. The cockpit physically rotates to simulate gravity. I looked at the production tech behind this 95% score, and the engineering is wild. Phil Lord and Chris Miller, directing their first live-action movie in 12 years, built the entire Hail Mary spacecraft as a real set at Shepperton Studios in England. Not a miniature. Not a digital model. A full-size ship interior you can walk through. Production designer Charlie Wood studied the International Space Station, Russia's Mir station, and the Boeing 747 cockpit to get the look right. He deliberately made the panels mismatched, because real spacecraft are assembled from parts made by different companies. Nothing matches perfectly. That's what makes it feel real. The cockpit is only about 8 feet wide. It sits on a mechanical platform that can tilt, spin, and shake, so when the ship changes direction or enters different gravity conditions, the whole set moves. Chairs end up on walls. Ladders flip direction. Gosling was suspended inside a spinning ring so he could float and move through the ship for real, reacting to actual hardware around him. No guessing where a wall might be added later. Then there's Rocky. He's the alien co-lead, and he's not CGI. Neal Scanlan, the creature designer who built the Porgs for Star Wars, spent a full year on this character. Over 300 designs before they landed on the final look. Rocky is a thin, hollow shell, 3D-printed from a digital sculpture, then hand-painted in see-through layers so light passes through him like skin. His arms pop off and swap out depending on the scene: one set has a closed fist for walking, another has tiny motorized fingers strong enough to pick up objects. Five puppeteers (nicknamed the "Rockyteers") operated him in every scene. James Ortiz, an award-winning puppet designer from New York theater, voiced Rocky and controlled him on set. When Scanlan met him, he told Ortiz, "You're Frank Oz, and I'm making Yoda for you." Every reaction Gosling gives to the alien is to something physically in front of him. Greig Fraser, who won the Oscar for shooting Dune, filmed the space scenes in the larger IMAX format (that taller image you see in IMAX theaters) and the Earth flashbacks in regular widescreen. Then the team did something unusual: they took the digital footage and printed it onto real film strips, twice, using two different types of film stock. Then they scanned those strips back into digital. It sounds redundant, but it adds a texture and warmth that you can only get from physical film. Fraser used the same technique on Dune and The Batman. Drew Goddard spent six years writing this screenplay. His last adaptation of Andy Weir's novel, The Martian, earned him an Oscar nomination. He described the challenge this way: a screenplay gets about 5% of a novel's word count. The lead is alone for most of the runtime. When he finally gets a co-star, that co-star doesn't speak English, communicates through sounds closer to whale song, and has no face. Goddard called it a screenwriter's nightmare, then said that difficulty was the whole point. He and the directors fought studio pushback to keep Weir's original ending intact. 95% from 212 critics. 98% from over 2,500 audience ratings. And the lead isn't a superhero, a cop, or a soldier. He's just an ordinary middle school science teacher.

Nahhh, Chuck Norris didn't die, he just scared Death into letting him through to afterlife so he could kick everyone's ass all over again.

@RasberryRazz HAHAHA

Is it though...?

@TerrelleGraham The electric feeling in the cinema during the final fight in Part 2 was something I've only felt during AOTC in 02 and TLJ in 17, just proper palpable edge of the seat investment flowing through the whole room. But then Part 1 was just so overwhelming visually too. Hard choice!

Dune > Dune Part Two Both exceptional though.

Not as funny as if Criterion had released it, but still pretty funny.

@JFrankensteiner @BenStiller Even though I have him blocked, every 6 months or so I'm reminded of his antics and get unreasonably irritated that he's created a revenue stream out of just farming other people's art.

100 percent disagree. One of the great film making achievements. Warren Beatty is one of the best directors of the last 50 years. This is a beautifully made film on every level with one of the great Diane Keaton performances. Any person wanting to make a love story that is both small and epic should watch this. In this era of shorter attention spans REDS stands out as what long form storytelling used to be. This used to be what a big screen movie was with our IMAX or special effects - and it is breathtaking. The witnesses alone - real people from the era telling the story interspersed with the films scenes give of a depth and authenticity we never see anymore in studio movies. See REDS!!

@TerrelleGraham HAHAHAHA... I just read this. "Disgruntled film fan Luke Ryan." Fucking love it.

@RazorwireRyan I was just reading about it and your tweet is quoted in this article😂 petapixel.com/2024/04/17/old…

This is a major problem. They cant be slapping generative filters on top of video games. This completely disregards the work of the artists and developers who work on these games. Art direction, character designs and everything else is incredibly important. It’s anti-art to overwrite their work with generative imagery.

@TerrelleGraham I've been borderline campaigning against it for years haha. What gripes me the most is when it's done to stuff that has 35mm film sources that are so high quality there's no need to ever use generative AI to enhance it.. and yet.. it keeps happening over and over.

@TerrelleGraham Either he's lying or he doesn't realise what Park Road Post specialises in..

Baz claimed there was no AI used with that doc but my eyes were telling me otherwise. I found it very distracting because it was obvious that some form of AI upscaling or enhancement was being used. There was footage from the 60’s and 70’s that was looking way too sharp, especially on the faces of people in the background of the shots.

I can now say that the video essay I've made for this is almost an hour long and while I'm a raging perfectionist, I'm very proud of it and hope people enjoy an extensive journey through Keaton's relationship with trains on screen. Very grateful I got to do it!

@DaftLimmy I see you as a forehead with a face.

I see myself as a bald man with hair.

@TerrelleGraham He's now up there with Scott and Cameron for legendary runs of sci-fi masterpieces really

GOD TIER EPIC FILMMAKING.

@TerrelleGraham I think it was IRON MAN 3 that started the dumb trailer for the trailer shit... have we not moved on from such bizarre promotion tactics? 😆

1. It seems like Marvel is intentionally trying to mute Dune’s hype cycle with their trailer release one day after. 2. Just drop the trailer. I’m not interested in getting multiple clips from it first.