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Chen G.

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Chen G. last won the day on October 20

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  1. If they try and do ones with 4K projection (which would be beneficial on some of the larger venues), then very likely, yes.
  2. In many ways, yeah. Not to mention all the blatant lies: "I wrote a really long screenplay and then I split it into two parts, and split each part into three and there I had it: six Star Wars films". At one point, he even committed outright forgery in presenting a "copy" of a 1976 version of the script that read "Episode IV: A New Hope". Could be judicious use of sharpening tools all the same.
  3. Oh, that's good. That always seemed to belong - certainly, musically it does.
  4. I should have said "itself doesn't resolve to true native 4K". Daytime footage of slow, Super-35mm film resolves at around 3.2K: that's the resolution at which all of the information on negative, including grain, is fully captured, digitally. For technical reasons, you have to overscan the negative at anywhere from 4K to 8K, but the actual amount of detail never reaches a full 4K and certainly not 5K or 8K, not accounting for percieved, temporal resolution and so forth. All 35mm 4K releases are actually 3K-odd, in terms of actual detail.
  5. But if they scanned the original camera negative (which itself isn’t true native 4K, but that’s besides the point) then they’d have no problem reverting these changes, and yet they clearly didn’t. I don’t know. Not that it matters all that much: a good upscale can look very good indeed. Most of the time, going from 2K to 4K you’re not adding detail whole-cloth, you’re adding resolution to details which are already present.
  6. It’s the special edition, which in and of itself makes me suspect it’s an upscale: https://www.google.com/amp/s/www.theverge.com/platform/amp/2019/11/12/20960910/star-wars-trilogy-4k-disney-plus-available
  7. That’s not Leia using the Force. That’s Luke using it to communicate to a non-Force-using person. In earlier drafts, Obi Wan appeared to Leia and told her to get Luke.
  8. THE best, says I. That father-son dynamic is so relatable, so entertaining, so fulfilling (at the end), and so quintessentially Spielberg. Delightful.
  9. I mean, even grim movies need lighter passages and small triumphs along the way, but I do think a grim atmosphere and general escalation to the detriment of the characters' endeavor are both beneficial for drama; and drama is defined by its ending. If its all light fluff, that's just escapism and while it has its place, I for the most part expect people to be able to face reality for themselves. The point of escapism, for me, is as the occasional palette cleanser: not as a steady diet.
  10. I didn't say mature works of art are pessimistic. Rather, they are ones who present triumph over such tragedies, a rising over an ugly reality. The uglier the reality and the deeper the tragedy, the greater the triumph. If its all just light fluff to begin with, its just isn't as much of a victory. Even those works that end in tragedy aren't meant to be purely pessimistic. Robert Bolt used to say that the point of tragedies is that "if nothing else, life is always worth living."
  11. Yes, because who wants one's cinema to actually look the bad aspects of human existence in the eye like a mature work of art should? Surely, its better to have sanitized, cloying pieces of jouvenile escapism?
  12. It’s kind of astonishing that people would flock and pay money to essentially be abused for two hours. Film’s absolutely soul-crushing, I thought, but exquisitely well put together.
  13. Broadbent is really good in the film in general. I also love the aftermath of the reveal, with Dumbeldore and that stinger near the end. Very effective buildup by Yates.
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