Really? I know i would have minded it..Maverick721 wrote:http://www.slashfilm.com/interstellar-s ... fferences/
So is there anything from Spielberg Version that you wish Nolan had kept in?
I think evil Chinese Robots would have been more fun than evil Matt Damon. I also wouldn't had mind some romance between Amelia and Cooper.
Interstellar General Film Discussion Thread
Bit too Bond related...
Does anybody know who plays the voice of the mission controller in the opening scene (Dreaming of the Crash)? I am curious.
Neither one of those things would have made the film any better. The first one sounds especially silly. I'm really glad Spielbwrg abandoned the projectMaverick721 wrote:http://www.slashfilm.com/interstellar-s ... fferences/
So is there anything from Spielberg Version that you wish Nolan had kept in?
I think evil Chinese Robots would have been more fun than evil Matt Damon. I also wouldn't had mind some romance between Amelia and Cooper.
I've lost count of how many times I've seen Interstellar (I know it's at least 10+ by now), but I still don't get tired of it. Watched it again today, and this particular shot stood out to me. It could just be Nolan & Hoyte being playful with the camera, but perhaps there was a reason for this peculiar framing.
I could be totally reaching, but here's my personal interpretation:
The framing, not just the blackness of the doorway on the sides, but the black matte at the top & bottom because of the aspect ratio, forces us to view Murph & Cooper through a square. I think this emulates future-Cooper's view in the tesseract as he's watching his daughter's past moments through gaps in the bookshelf.
It's possible they framed that shot as a nod to people who have seen the film a second or subsequent time. We've seen the movie, and we, the audience, know what happens in their story. In a sense, we are from the future, looking at Murph & Cooper's past moment through a (figurative) gap in the bookshelf. Maybe we, the audience, are a bunch of 5-dimensional human beings from the future, watching our history (and the movie did start off with a documentary format...)
Or I just have an overactive imagination
I could be totally reaching, but here's my personal interpretation:
The framing, not just the blackness of the doorway on the sides, but the black matte at the top & bottom because of the aspect ratio, forces us to view Murph & Cooper through a square. I think this emulates future-Cooper's view in the tesseract as he's watching his daughter's past moments through gaps in the bookshelf.
It's possible they framed that shot as a nod to people who have seen the film a second or subsequent time. We've seen the movie, and we, the audience, know what happens in their story. In a sense, we are from the future, looking at Murph & Cooper's past moment through a (figurative) gap in the bookshelf. Maybe we, the audience, are a bunch of 5-dimensional human beings from the future, watching our history (and the movie did start off with a documentary format...)
Or I just have an overactive imagination
Nope this is correct! It follows in line with the meta aspects of The Prestige and Inception in which the audience is participating (unknowingly) in some aspect. The Prestige plays a magic trick on the audience which is only apparent on repeated viewings and Nolan is quite literally talking to us throughout. Inception performs Inception on the audience which is probably his greatest sleight of hand ever. With Interstellar the audience IS the fifth dimensional beings. We're viewing a 2d image and slowly the films sense of time morphs and becomes all over the place (note how straightforward it initially is). My favorite visual image of this is when earth and mann's planet start cross cutting and we get a shot of the two ice glaciers moving towards each other. Us as the 5th dimension is a comment on the viewing of a film for audiences and it relates it to what a higher dimensional being might view us like.hotsauce32 wrote:I've lost count of how many times I've seen Interstellar (I know it's at least 10+ by now), but I still don't get tired of it. Watched it again today, and this particular shot stood out to me. It could just be Nolan & Hoyte being playful with the camera, but perhaps there was a reason for this peculiar framing.
I could be totally reaching, but here's my personal interpretation:
The framing, not just the blackness of the doorway on the sides, but the black matte at the top & bottom because of the aspect ratio, forces us to view Murph & Cooper through a square. I think this emulates future-Cooper's view in the tesseract as he's watching his daughter's past moments through gaps in the bookshelf.
It's possible they framed that shot as a nod to people who have seen the film a second or subsequent time. We've seen the movie, and we, the audience, know what happens in their story. In a sense, we are from the future, looking at Murph & Cooper's past moment through a (figurative) gap in the bookshelf. Maybe we, the audience, are a bunch of 5-dimensional human beings from the future, watching our history (and the movie did start off with a documentary format...)
Or I just have an overactive imagination
That's a really cool remark hotsauce32 .
I still haven't seen the movie in the comfort of my home (can't spend that much on a blu) but im eager to rewatch it just so i can notice new stuff.
I still haven't seen the movie in the comfort of my home (can't spend that much on a blu) but im eager to rewatch it just so i can notice new stuff.
Very interesting suff, good posthotsauce32 wrote:I've lost count of how many times I've seen Interstellar (I know it's at least 10+ by now), but I still don't get tired of it. Watched it again today, and this particular shot stood out to me. It could just be Nolan & Hoyte being playful with the camera, but perhaps there was a reason for this peculiar framing.
I could be totally reaching, but here's my personal interpretation:
The framing, not just the blackness of the doorway on the sides, but the black matte at the top & bottom because of the aspect ratio, forces us to view Murph & Cooper through a square. I think this emulates future-Cooper's view in the tesseract as he's watching his daughter's past moments through gaps in the bookshelf.
It's possible they framed that shot as a nod to people who have seen the film a second or subsequent time. We've seen the movie, and we, the audience, know what happens in their story. In a sense, we are from the future, looking at Murph & Cooper's past moment through a (figurative) gap in the bookshelf. Maybe we, the audience, are a bunch of 5-dimensional human beings from the future, watching our history (and the movie did start off with a documentary format...)
Or I just have an overactive imagination
I dig man.hotsauce32 wrote:I've lost count of how many times I've seen Interstellar (I know it's at least 10+ by now), but I still don't get tired of it. Watched it again today, and this particular shot stood out to me. It could just be Nolan & Hoyte being playful with the camera, but perhaps there was a reason for this peculiar framing.
I could be totally reaching, but here's my personal interpretation:
The framing, not just the blackness of the doorway on the sides, but the black matte at the top & bottom because of the aspect ratio, forces us to view Murph & Cooper through a square. I think this emulates future-Cooper's view in the tesseract as he's watching his daughter's past moments through gaps in the bookshelf.
It's possible they framed that shot as a nod to people who have seen the film a second or subsequent time. We've seen the movie, and we, the audience, know what happens in their story. In a sense, we are from the future, looking at Murph & Cooper's past moment through a (figurative) gap in the bookshelf. Maybe we, the audience, are a bunch of 5-dimensional human beings from the future, watching our history (and the movie did start off with a documentary format...)
Or I just have an overactive imagination
Yet another thing I love about this film's cinematography.
Every time I watch this movie, I become more and more enthralled with Ellen Burstyn's performance.