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IMAX Prologue
PM me too, of course.
Lurking here fo past 5 years..made an account 3 years ago just for interstellar's trailer bootleg. So, greedy me is back again for another recording. Please PM me as well and thanks in advance. ( no prologue in my country as well)
Count me in as well for a PM! 
PM me too.
Posts: 4193
Joined:
June 2010
Me as welldormouse7 wrote:PM me too.
Wait, you peeps are asking for bootlegged trailer and watch it on your computer/phone?
PM me as well...thanks!
Saw the Dunkirk Prologue in IMAX Laser 1.43 last night.
Note: It was smack dab right in the middle of like 20 minutes of previews, so that was jarring.
Holy shit was this great. The editing, pace, and intensity clarified the whole movie's shape and style for me in a way that accelerated my excitement a hundredfold. And I thought the Dunkirk trailer was trash. We start in medias res and the editing is so tight and so smart and gives you a dynamic sense of geography and mometum and speed. Zimmer's ticking score supplements that feeling, but it also feels distinctly human in how he builds Hitchcockian suspense around how individuals,, people, are responding and reacting to the terrifying stimuli around them. While the prologue does have "action" and it's innovative and brings the techniques he's been playing with in TDKR and Interstellar full circle in a really exciting way (if this is just the prologue, imagine what he has in store for the rest of the movie), the crux of the prologue's intensity is just dudes trying to complete basic tasks in a war zone and the innate horror they confront in that situation. It's smart, and draws us in empathetically. That's important to note, because it's essentially NEW for Nolan in that us often has plot/spectacle drive momentum and tension. Here it's reversed, and foiled by the action.
I'm really intrigued by the overall structure of the movie in I wonder if it's going to be two hours + of this rhythm, sort of a Mad Max style of pacing in that it's constant with slight peaks and valleys in how tightly wound the pace is but it's always going forward. The ticking score alone implies this will be the case, as do Rylance's comments. ALSO: Like the trailer does (sorta), the prologue really sells this as an ensamble piece. Whether that continues to be true or not of course remains to be seen. Last thought: the prologue, for those who haven't seen it, is not self enclosed like TDK/TDKR. It appears to be a (possibly ccondensed) version of the first five minutes fo the movie that cuts mid-scene, but it's building up multiple plot lines that are cleverly hard-stopped at the moment for peak suspense from now into July. So this is a glimpse into a seemingly much longer sequence.
Why the trailer is butchered garbage I don't know, but for me, my friends who saw it with me, and most of all for the mass audience who, my sold out theater freaked the fuck out during it, Dunkirk's prologue is a promise of greatness to come with a unique voice and style in the WWII that really sells the "Epic Action Thriller" premise.
HYPED.
-Vader
Note: It was smack dab right in the middle of like 20 minutes of previews, so that was jarring.
Holy shit was this great. The editing, pace, and intensity clarified the whole movie's shape and style for me in a way that accelerated my excitement a hundredfold. And I thought the Dunkirk trailer was trash. We start in medias res and the editing is so tight and so smart and gives you a dynamic sense of geography and mometum and speed. Zimmer's ticking score supplements that feeling, but it also feels distinctly human in how he builds Hitchcockian suspense around how individuals,, people, are responding and reacting to the terrifying stimuli around them. While the prologue does have "action" and it's innovative and brings the techniques he's been playing with in TDKR and Interstellar full circle in a really exciting way (if this is just the prologue, imagine what he has in store for the rest of the movie), the crux of the prologue's intensity is just dudes trying to complete basic tasks in a war zone and the innate horror they confront in that situation. It's smart, and draws us in empathetically. That's important to note, because it's essentially NEW for Nolan in that us often has plot/spectacle drive momentum and tension. Here it's reversed, and foiled by the action.
I'm really intrigued by the overall structure of the movie in I wonder if it's going to be two hours + of this rhythm, sort of a Mad Max style of pacing in that it's constant with slight peaks and valleys in how tightly wound the pace is but it's always going forward. The ticking score alone implies this will be the case, as do Rylance's comments. ALSO: Like the trailer does (sorta), the prologue really sells this as an ensamble piece. Whether that continues to be true or not of course remains to be seen. Last thought: the prologue, for those who haven't seen it, is not self enclosed like TDK/TDKR. It appears to be a (possibly ccondensed) version of the first five minutes fo the movie that cuts mid-scene, but it's building up multiple plot lines that are cleverly hard-stopped at the moment for peak suspense from now into July. So this is a glimpse into a seemingly much longer sequence.
Why the trailer is butchered garbage I don't know, but for me, my friends who saw it with me, and most of all for the mass audience who, my sold out theater freaked the fuck out during it, Dunkirk's prologue is a promise of greatness to come with a unique voice and style in the WWII that really sells the "Epic Action Thriller" premise.
HYPED.
-Vader
Last edited by Vader182 on December 16th, 2016, 1:07 pm, edited 1 time in total.
I see how it is.the_red_ninja wrote:Same. And idk why but I'm starting with Bacon yo.Panapaok wrote:If I don't find it in my PMs you people are getting banned. Proceed accordingly.
