love these 2 films steve, and i watch them a lot. keeps me human lolQuote:
Originally Posted by Pigmy Pony
i dont see folk much so it helps:D
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love these 2 films steve, and i watch them a lot. keeps me human lolQuote:
Originally Posted by Pigmy Pony
i dont see folk much so it helps:D
not many folks idea of a good film but i like it, and not just because Olivia Wilde is in it...:eyebrows:
Cowboys & Aliens, 2011...
https://encrypted-tbn0.gstatic.com/i...59jlHG-d2yXVcn
The Terminator, 1984. Defying low pre-release expectations, The Terminator topped the United States box office for two weeks, eventually grossing $78.3 million against a modest $6.4 million budget.
https://encrypted-tbn1.gstatic.com/i...ElvJi7qsHXkUkJ
I'd even watch a Chuck Norris film if Olivia was in it. She's very nice.Quote:
Originally Posted by struth
The Pure Hell of St Trinian's, 1960.. Directed by Frank Launder and written by him and Sidney Gilliat, it was the third in a series of four films.
great fun...:D
https://encrypted-tbn0.gstatic.com/i...b-ngCT1OlZh0sQ
The Smallest Show on Earth, 1957.. bluray.
https://encrypted-tbn2.gstatic.com/i...Xj-8pOD3w2gxjC
(Called Big Time Operators in USA).
"In praise of fleapits everywhere, this charming comedy will bring back happy memories for anyone who pines for the days when going to the pictures meant something more than being conveyor-belted in and out of a soulless multiplex... The cast alone makes the movie a must-see, and the sequence in which projectionist Peter Sellers, pianist Margaret Rutherford and doorman Bernard Miles relive the glories of the silent era is adorable."
The exterior of the Bijou Cinema was a façade built for this movie between two railway bridges on Christchurch Avenue in Kilburn, next to Kilburn Underground station.
The scenes of Comin' Thro' the Rye (1923) the silent movie shown, with Dame Margaret Rutherford at the piano show Alma Taylor and Shayle Gardner. The movie was directed by Cecil M. Hepworth and still exists.
In the opening credits of "Killer Riders of Wyoming" (one of the films shown, that was made for the film)the director of photography is listed as Hector Crome. If his name is pronounced in a cockney accent, it sounds like Ektachrome, the brand name for a make of Kodak reversal colour film that had wide application in movies and still photography.
I know that location - it's not that far from where my partner lives.Quote:
Originally Posted by struth
amazing coincidence barry :)Quote:
Originally Posted by Barry
Starman, 1984.
https://encrypted-tbn3.gstatic.com/i...V9bxQzoiWUDFc3
Starman spent five years in development at Columbia. The original script by Bruce A. Evans and Raynold Gideon was purchased by the studio at the urging of executive producer Michael Douglas, shortly before it optioned Steven Spielberg's Night Skies. Screenwriter Dean Riesner came onto the project in late 1981 after director Mark Rydell left the project due to artistic differences with Douglas. Riesner worked on seven rewrites of Starman with six different directors, but did not receive screen credit because, according to him, "the Writers Guild, in their infinite wisdom, decided I didn't contribute 50 percent of the screenplay." Other uncredited writers who worked on the script were Edward Zwick and Diane Thomas. Columbia abandoned Night Skies, with a similar plot to Starman, on the grounds that it is a more Disney-like story aimed at children, whereas Starman was for a more mature audience. Night Skies was eventually retitled E.T. the Extra-Terrestrial,[3] which became the highest-grossing film of its time,[4][5] upon which Riesner commented, "Goes to show how wrong you can be in this business."
The Thing, 1982..
https://upload.wikimedia.org/wikiped...82_film%29.png
It has become a tradition in British Antarctic research stations to watch The Thing (1982) as part of their Midwinter feast and celebration held every June 21.
Unused music composed for this film was later used by Ennio Morricone in Quentin Tarantino's The Hateful Eight (2015). Ironically, Morricone's Thing score was nominated for a Razzie for worst score, while his score for Hateful Eight won him an Oscar.
A diopter split-focus lens was used in several shots of the scene with MacReady and Fuchs in the lab. MacReady, standing in the doorway in the background, and Fuchs, sitting at the desk in the foreground, are both in sharp focus. This would be impossible to do in-camera without a split-focus lens. Brian De Palma often uses this technique in his films.