I don't think the budget of the sequels will be lower.

Cameron HAS to make the next movie prettier than the second one, that is prettier than the first one.

If the third movie looks as just as good as the second, it will be a failure.

And the whale! I can’t believe nobody’s mentioned the whale in the comments yet!

The MCU special effects look bad because many of the directors do not plan well in advance for what shots they need "we will figure it out in post" and they then rush the VFX artists.

Daniel Brühl's Baron Zemo wanted there to not be superheroes because he felt they were dangerous and unchecked, and also wanted revenge for them causing the accidental death of his family during their heroic shenanigans.

Plenty of the villains are not helllbent on dominating anything. Heck, one of the most recent ones just wants to destroy the gods that do dominate everything, but not to take over for them.

That user just said some blanket nonsense because they don't like MCU, but haven't actually seen the movies so their opinion is based on thin air.

Ender's Game has always been my favorite book, and I was of course very disappointed in the movie.

I wish HBO could get hold of it.

I can’t help but to assume that a bulk of Avatar 2’s budget was developing the tech needed to no-cap the actors in the water. Surely, that would mean the budgets for its sequels won’t be nearly as high, right?

Whenever stuff like this trends I assume some rando tiktok or podcast started it.

The different cuts of Alexander are fascinating. I know some people thought it was ridiculous, but each new cut was making millions of dollars in profit in the home video market of that era. It was the perfect scenario for Oliver Stone to use trial-and-error to find the best cut. And honestly, a film of that size probably needed to be edited for ten years.

It's similar with Apocalypse Now, which was such a huge editing job that Coppola had to try out at least four different cuts (Cannes, theatrical, Redux, Final) before he felt like he had addressed all of the challenges. And Final Cut really feels like he finally found the right balance and smoothed everything out. I think there was an awkward jump cut at one point in every edit until Final Cut, where he finally, decades later, figured out how to fix it.

Maybe most impressive to me is The Godfather Coda: The Death of Michael Corleone, because it's the most extensively revised. It's a complete overhaul of the movie, a complete re-think of the structure and focus of the movie. It doesn't feel as perfectly-honed as Apocalypse Now: Final Cut, but it feels like it works a lot better than the previous cuts. With more skill and more distance, he really addressed the core issues in an editorially insightful way.

Coppola is a very clever editor. So is Stone. Their recuts are fascinating.

With Blade Runner, I think I slightly prefer the work print to the theatrical/international cut, but generally, you can see each cut improving over the last. Final Cut > Director's Cut > Workprint > Theatrical/International. I'm a little surprised that there is any controversy about the Final Cut being the best one. That seems obvious to me. Same with the Final Cut of Apocalypse Now.

Too bad there isn't a bigger market for recuts like in the golden age of DVD. I wish there was more support and incentive for filmmakers to recut their movies if they want to. As long as the original version is available, I say keep remixing and refining all day long.

“A Kiss at the End of the Rainbow” is a legit beautiful song

I didn't see it as him following the girl. As I remember, he's at the cross roads and decides on that direction because of the wings on her car bumper.

Matthew McConaughey in Reign Of Fire. Leaping with an axe in his last ditch effort to kill a Dragon.

The doco shared her traumas and truths. While there were sad moments my outtake isn't that she has/had a sad life. Pamela has such a beautiful and fearless perspective, regardless of what comes her way she seems to be so empathic and full of love.

Rules of threes :( just awful

What Dreams My Come

Jerome Jerome the metronome

> And it only works because it's real: they really do love each other.

Oh Kelly absolutely does love Chuck so it still all fits. Kelly is in pain with pre-crash Chuck's behaviour because she loves him. As adults we learn that love isn't enough for a relationship to work. The theme isn't simply loss but loss of what we have taken for granted. The reason behind the workaholism and the struggling relationship is to establish how he is taking for granted what he loves most.

Some movies just diverge from the themes of the shopped script wholesale but more often scripts state themes explicitly that are treated more subtly in the final movie. The screenwriter communicates by direct dialogue what the final movie shows through performances and direction. Lines that are too on the nose don't make the final cut - directors like ambiguity that tickle a viewer's brain and add depth instead of saying it out loud. They want to puzzle and provoke a viewer.

In the script the message of the story is spelled out explicitly, Chuck's island experience changes him such that he promises to live life better and not be so whipped up in work that he takes people for granted (Kelly). In the movie, there is no grand speech from Chuck about a new enlightened spirit. We can see he is a changed man but it's left up to us to try and understand how. The movie doesn't just paint the message on a sail like the script lol but gives scope for us to find our own meanings.

For me, it's pretty clear it's a similar message as the script. Chuck was living in a self-absorbed bubble and wasn't really connecting with anyone but this bubble is thoroughly popped by his experiences. One particularly nice contrast is how pre-crash Chuck's ebullient ChuckMode attitude misfires with his colleague about his cancer stricken wife (and he doesn't see it) but post-crash, he is more empathetic and connects. The whole Wilson relationship was about the need for connection. The ending is playful mix of Chuck still doing the work (delivering a fedex package) but after he realises who the package is for, stood in the crossroads, I feel confident Chuck is not going to strap on the beeper and chase delivery times again but will now pursue connection.

I couldn’t help myself

James Mason in A Star Is Born (1954)

Brooks was here

Serious answer: Budget goes to a lot more than just the actors and effects. It goes into the logistics of getting everything where it needs to be, liability insurance, permits, ect ect.

Funny answer: Cocaine is a hell of a drug.

• Marilyn Monroe isnt a role model she's an icon. Young women like her because she's sexy, glamorous, and had a relatively large dress size by celeb women standards.

• That wasnt a biopic and you probably have a very distorted idea of who she was and what she's known for irl.

Wakanda Forever Budget: $250 millions.

Avatar 2 Budget: $350-460 millions.

THAT WAS TEN FUCKING YEARS AGO?!

dies of old age

I feel evil dead and phantasm could share the same universe.

It‘s actually nice to see all the differences in everyone‘s opinion. My personal Number One is Porco Rosso, followed by Nausicäa and Castle In The Sky.

My reason for Proco Rosso is it just oozes so much charm and plays in a relatable location (for me as an european). It also adds some nostalgia for me in a way that it reminds me of Tale Spin from my childhood, but (for a lack of better words) more mature.

And if you ask me, where Princess Mononoke stands: Nowhere, because I still need to watch it and I will soon. However, I don’t think I have the guts to Grave Of The Fireflies because of the heavy melancholy the movie carries…