they’ll never do a nomad adaptation, the patriotism comittee wouldn’t allow it
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what movie is this for again
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Brawl in Cell Block 99
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not even peter capaldi can make james gunn interesting
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just remembered i had a dream that i saw the shang-chi movie and it sucked,* so i guess you can call me nostradamus
*the main bad detail that i remember is that tony leung’s role had been reduced to basically a cameo at the very end of the movie
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the excitement and surrounding media glow for the return of the abomination from the incredible hulk (2008) in shang chi is so funny to me. i’m not pretending that I of all people am above the simple pleasures of “hey it’s that guy” universe connecting but damn lol. they really successfully comic brained normal people
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hey everyone look! it’s the gross slimey man from the movie you hate!
between this and the she-hulk tv show all the psychic dividends from watching that movie are finally paying off, baby! my neurons are hitting the pattern recognition jackpot!
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i will not be satisfied until we get an iron man 1 / 2 interquel explaining why rhodes got plastic surgery to make himself unrecognizable
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The multiverse plot started from Iron Man 2.
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Latest ep of Loki was a good’n, particularly everything with Sylvie. As usual, the best stuff is just Loki in a room talking to people.
Two more left, hope they keep it up.
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Ohhhhhhhhhhh
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I don’t think it is that simple
It’s overstating the case to say it’s the cause, but surely a factor at one point, no?
Certainly, and there’s malice and deliberation in how the VFX studios have been nuked from orbit and scattered to the winds.
My life that keeps pushing me into the squashed leadership position between directors and implementers has warped my personality to be averse to simple answers, because there’s always ten reasons for anything to happen and ten tens of stakeholders who want their concerns heard. And it’s always my responsibility to tell people it’s not that easy…
For movies, I’ve heard of the terror of the finality of shoots and getting tech to change it up later has been a driver for decades; “we’ll change it in post” is a dream of the ill-prepared and late-editing and tie-in-obsessed.
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My armchair sense is that for Lucas it was truly artistic frustration but the industry-wide adoption happened just past the tipping point for budgets
I find it hard to fault labor as the heuristic du jour because it tends to make people more sympathetic to the work and people working on it and scales up/down for the resources involved. I play Destiny 2, though.
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I think a lot of the overspend or early-spend on VFX can be attributed to the blockbuster model, driven by a confused middle-aged sense of what’s New! The Thing To Do! in an attempt to appeal to children to whom everyone is new and old and passe simultaneously. Seriously so much of the accessibility push in games is, like earlier representation pushes, driven as a faddish thing everyone can work at, present at conferences, write papers on, and twin naturally with the niche-exploiting and moat-creating side of capitalism (moat-creating as in, it’s something big studios can standardize by spending money in a way that’s difficult for small studios to replicate). We’re lucky in this case accessibility affordances fall on the good side of cost-benefit.
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I always think of Ridley Scott during the press tour for Prometheus telling junketeers that he saved studio money and time (and thus more money) by insisting on those Big Practical Sets and Big Men in Bigger Man Suits, as much as possible, that Figure It Out In Post was born of fear/inability to make/commit to decisions.
I figure that more and more you really have to be a Ridley Scott (old, established, unerringly confident white guy with a Producer credit on everything he makes and a (sometimes unfortunate) hand in every level of the process) to be able to insist on these decisions being pinned down before shooting and getting them in-camera instead of Whenever.
Some jobber hired off a 7-episode amazon series about competitive bubblegum ranching to direct The Ballad of Beta Ray Bill isn’t going to sell The Mouse on the necessity of a fully articulated practical horseman suit, Ridley!
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i always wonder how much of this is just a kind of, not even financially sensible but almost psychic managerial yearning to just have the actual work of creating these things just become as close to a black boxed slurry process as possible - totally immaterial and out of sight, just interchangeable lathe of heaven dream slime that exists purely to be wrangled and is protected from petty physical considerations like “what’s the weather like” “how could we actually make this thing” “wait, isn’t this actress dead”. maybe that’s the distinction between how unlikely these movies sound on paper (batroc the leaper! ego, the living planet!) with how relentlessly plausible they always feel in practice. whatever possibilities the material throws up have already been squared away and accounted for somewhere in the production chain.
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