+1EctoCooler31 wrote:disagree completely, i like Bane's original voice far more because it feels real
The 2012 superhero epic about Batman's struggle to overcome the terrorist leader Bane, as well as his own inner demons.
I agree. I could hardly understand the original voice without the script. Though the final voice was loud and magnified as hell, I was able to very clearly understand it. And the way he says "they expect one of us in the wreckage brother" in the original voice was downright silly. Sounded like a girl.Cilogy wrote:Retrospectively, I'm glad Bane's voice was changed. The prologue voice sounds very muffled.
So, is there no edition where the montage at the end of the prologue has been released in HD ? I remember there are some differences in some shots compared to what's in the film. The batpod shot is little extended, the bat doesn't fire and bale picks up the EMP gun in a different way. Its not even in the ultimate collector's edition i suppose. Correct me if otherwise.
My problem with the prologue change is not so much the audio clarity as it is the delivery. If they could have kept Tom Hardy's original delivery and cadence of the lines and just amplified it, I would have been happy. But even though the dialogue in the original prologue is harder to understand I prefer it, because Tom Hardy's delivery was 10x better for almost every line.
http://blogs.indiewire.com/theplaylist/ ... s-20150421While the mechanics of Christopher Nolan's films can be divisive, there's no denying that he's is one of the best at enacting spectacle on the big screen —his achievements as such include the docking sequence in his most recent "Interstellar" to the sleight-of-hand in "The Prestige" to the tilted hallway fight of the mind-bending "Inception." During a talk last night at the Tribeca Film Festival hosted by Bennett Miller, Nolan was asked to choose which of his blockbuster sequences was his favorite. And he selected the pretty terrific opening airplane kidnapping scene from "The Dark Knight Rises."
“It took us about two days in Scotland," he explained about the sequence, which you can watch below. "And it was an incredible sort of coming together of months and months of planning by a lot of different members of the team who worked for months rehearsing these parachute jumps and wind walking, all these different things… The visual effects work in the sequence is very minimal… I was really amazed by what the team we had put together had achieved using very sort of old-fashioned methods, in a way. I was very proud of the way that came together.”
If there's something clinical in Nolan's answer, it shouldn't be surprising given how he describes his screenwriting process. “I don’t write a story outline. I work intuitively, but I draw a lot of diagrams when I work," he said. "I do a lot of thinking about etchings by Escher, for instance. That frees me, finding a mathematical model or a scientific model. I’ll draw pictures and diagrams that illustrate the movement or the rhythm that I’m after.”
And that spirit carries over into the editing process: “I’ve always edited in a huge hurry," he said, "trying to catch that lightning in a bottle, just so the energy is there. I always think of editing as instinctive or impressionist. Not to think too much, in a way, and feel it more.”
Yet Nolan is still operating in a very mainstream business, one that requires success of the four quadrant variety —which Nolan attributes to an "enormous amount of luck"— to be afforded the kind of creative latitude he enjoys. It's a process that requires dealing with studios too, but Nolan has figured out how to deal with execuitves from one of his earliest supporters. “I learned how to accept notes from the studio while still pursuing your own vision from Steven Soderbergh, my mentor. You have to get out there and find a place for yourself. You have to make your own rules. You have to figure out what’s going to work for you… He taught me that you’re on your own and you have to get out there and make it work.”
Indeed, Nolan has been making it work quite well, but game recognizes game, and the director tipped his hat to one 2014 movie in particular. “I really loved 'Whiplash' last year. I thought that was an incredible piece of work. That was the kind of film where when you see it, it’s very precisely put together and you’re very jealous,” he said.
Of course, the Q&A at Tribeca included the inevitable question about the ending of "Inception," but Miller fielded that one. “I asked him that same question backstage, and he said the answer is not for public consumption,” he said. But Nolan shared the advice his brother Jonathan gave him about keeping the ending secret: “Nobody will be able to look past what you’ve said.”