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 What do you think of Christopher Nolan?, In this aspect...

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Makakeke
post Apr 29 2008, 05:49 PM

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Spielberg is seasoned while Nolan is not. Give him a few more years and I'm sure he'll do a better job. He's only in the business for about a decade.

As for me, I don't think his movies are visually clumsy. How can Memento for one possesses bad editing and cameraworks? Batman Begins, albeit was an intelligent action flick, could have been better in cinematography which I think is an integral part of the genre. Other than that, no complaints.

BTW, I thought this was one of your RIP threads again, scared the hell outta me.

This post has been edited by Makakeke: Apr 29 2008, 05:50 PM
Makakeke
post Apr 29 2008, 06:16 PM

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QUOTE(BurgaFlippinMan @ Apr 29 2008, 06:04 PM)
Not true. At about the same point in his career, Spielberg had already made Jaws, Close Encounters, Raiders of the Lost Ark, E.T. and Temple of Doom. Not one of Nolan's films up till now come close to those. Not as films, and neither in terms of the aspect we are talking about here.
I'm not talking about individual shots and moments, its the overall feel of the film made up of those elements mentioned. Nolan's films have a laborious and clunky feel to them (in a not good way), Spielberg's (for the sake of this comparison) glide along with a distinctive silky smoothness.
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Well I guess there can only be one Spielberg then laugh.gif but Nolan does have the talent, i believe he'll do wonders in the future.

I also think it has gotta do with the technical team. Nolan so far has not assembled a strong team with him and that probably contributes to your question. I'm happy with Nolan's works so far, all of em', including Insomnia and Following.

It's weird now cz it's like a Spielberg vs Nolan thread laugh.gif


Makakeke
post Apr 29 2008, 08:30 PM

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QUOTE(BurgaFlippinMan @ Apr 29 2008, 08:11 PM)
I think Nolan is a talented actors director, but a poor visual director. In a way, Nolan is something of the reverse of post-American Graffiti George Lucas. I doubt its got anything to do with the technical team, it does seem to be more of an innate thing. Its the command of the film language as a medium, the intangible quality which makes a film filmic. Sergio Leone was probably the greatest exponent of this quality. All the great directors possess this x-factor (but not all directors who have this x-factor are great) and its always clear to see no matter the circumstances.
I also think that Nolan is an average action director. Take Batman Begins for example. It is a fine film overall, a great acting showcase, a great exploration of the Bruce Wayne character but has rather poor action sequences. There was nothing wrong with the setup of the dynamics of the scene, but the execution was just rubbishly cackhanded
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I agree with the Leone comment. His films has a very clear, distinct visual feel to it, much like Stanley Kubrick.

Also agree with Nolan being an average action director, but what he did with Batman Begins I feel has done the superhero genre justice considering the craps like Spiderman, Hulk, etc...

This post has been edited by Makakeke: Apr 29 2008, 08:34 PM
Makakeke
post Apr 30 2008, 03:31 PM

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QUOTE(BurgaFlippinMan @ Apr 30 2008, 01:36 PM)
I don't see what the big deal is about The Prestige. It suffers from the same thing The Usual Suspects does, there isn't much meat to the whole movie. Its hollow. Yes, like Usual Suspects, the male leads turn in magnetic performances and like Usual Suspects, it never gets boring. That alone makes it worth one viewing for entertainment. But beyond that, there's nothing more to it. The characters aren't really developed, and the actors are doing what they can with sparse material. It starts off interesting in the way that the whole movie is an illusion, but Ebert got it right with his critique, its a cheat. Its like going to a magic trick where "the whole woman produced on the stage were not the same one so unfortunately cut in two." This brings me to another chink in Nolan's armor, his seeming inability to give us characters we can empathize with. He always gives us interesting characters no doubt, but they are always distant and cold to the audience, making it difficult to connect emotionally with his films.

Now, this isn't a bash Nolan thread, I look forward to his films but there are just aspects of his films which always leave me slightly disappointed.
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I think in a way you've nailed it partially right. The problem I find with Memento and The Prestige is that the 2nd viewing doesn't feel more superior than the 1st, which in my standards is not a great film, BUT the 1st time experience was truly magical (no one can deny that).

I've always been a believer that good movies grows in you, e.g The Godfather and even films like Fight Club, Mulholland Dr (of the mindf*ck genre). Nolan's films on the other hand, are less impressive on successive viewings. His only movie that'll continue to mesmerize is in fact his lesser known debut Following, which is an awesome flick with the most shoe string budget. It's original, tight and concise. You should watch it if you haven't.

I actually like The Prestige very much. The entire trickery/illusion/cheat whatever you may call, it was superb. You could see a twist coming but it still gets you. I think for a young man like Nolan to have produced films like The Prestige and Memento, already makes him one of the best directors TODAY. There're ain't many films that astound you with the first serving but Nolan's did, and very well too. Whatever the man may lack, I'm sure he'll get it right in the future.

Seriously, cut him some slack.
Makakeke
post May 1 2008, 02:16 PM

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Hey, you know what they always say - rules are meant to be broken laugh.gif The fact The Prestige broke its what you called "internal logic" wasn't uncool really, I felt it was the perfect ending.
Makakeke
post May 1 2008, 02:58 PM

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QUOTE(noisetrigger @ May 1 2008, 02:29 PM)
I predict Nolan with change the industry soon, like how Orsan Welles changed the industry with Citizen Kane.

ps-it will be also be crazy to Nolan to Spielberg and Welles success relative to their age because the industry just doesn't work that way anymore today.

For the few movies (six so far) that Nolan has made so far, he is definitely showing tremendous improvement each time.
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Welles' debut is probably the best in cinematic history. Sadly, he didn't emulate what he did with Kane in his later years though. I hope it doesn't happen with Nolan, cz he's been improving, although slowly.


Comparing Nolan and Welles has now brought this thread from New York to the moon tongue.gif

This post has been edited by Makakeke: May 1 2008, 02:59 PM
Makakeke
post May 1 2008, 06:42 PM

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You guys are so sad, it's a public holiday and and you all are perpetually reloading this page tongue.gif at least I have a test tomorrow rolleyes.gif

This post has been edited by Makakeke: May 1 2008, 06:43 PM
Makakeke
post May 6 2008, 09:47 PM

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QUOTE(BurgaFlippinMan @ May 6 2008, 08:04 PM)
Its very average for a guy who gets so much praise. Coincidentally, I just watched it a few days ago too (fourth time). Its not a movie (like many of Nolan's films) that grows on me admittedly. I was loved it the first time around, but it gets worse on repeated viewings (though not by much).

Burga - who now ranks it 4th behind Spider-Man 2 in his superhero movies list.

Burga 2 - who has watched Duel twice in two days and is astounded by the abundant apparent talent.
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I envy you who have so much time sad.gif
Makakeke
post May 6 2008, 10:08 PM

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QUOTE(BurgaFlippinMan @ May 6 2008, 09:58 PM)
When you finish your STPM in december and school starts in the fall season of the following year, you are bound to have that much time. Thank God for Saints Row, GTA IV and Oblivion. tongue.gif
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When I had my STPM break, I WORKED!!! sad.gif

back on topic - today was an exception, had a half day vacant and I managed to finish 2 lengthy films, Kurosawa's Ran and Fellini's 8 1/2 and since we're already in the topic of a good visual storyteller, i surely think Kurosawa especially, is one of the best virtuosos in this aspect. The way he mashes the grand settings, colors, and camera movement together puts many many pretentious artistic directors today to shame.

 

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