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Post by mortsahlfan on Jun 1, 2019 15:26:04 GMT
And if you can give some examples.
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Post by nostromo87 on Jun 1, 2019 15:47:19 GMT
And if you can give some examples. Werner Herzog - self explanatory Gus Van Sant - Elephant, Gerry, My Own Private Idaho, Paranoid Park
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Post by Popeye Doyle on Jun 1, 2019 16:19:14 GMT
Stanley Kubrick - A Clockwork Orange, Full Metal Jacket
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Post by politicidal on Jun 1, 2019 16:28:50 GMT
Michael Bay knew humans were ultimately like magpies. See something shiny they swarm.
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Post by mortsahlfan on Jun 1, 2019 21:28:34 GMT
Vittorio De Sica - he liked to show the best and the worst of us, but he seemed very hopeful that the good would triumph.
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Post by Archelaus on Jun 1, 2019 22:45:31 GMT
Elia Kazan - A Streetcar Named Desire (Characters living in the past), Gentleman's Agreement (Antisemitism), East of Eden (fractured family structure)
Sidney Lumet - 12 Angry Men, corruption in sociopolitical and media world (Serpico, Prince of the City, Network)
Martin Scorsese - Raging Bull, Goodfellas, The Wolf of Wall Street. His films highlight the violence and greed of human nature and the effect it has on people when it all implodes on them.
Steve Spielberg - His films are usually more optimistic of human nature with usually the leading character standing up to a terror plaguing the land (Jaws, Schindler's List, Lincoln, the Indiana Jones films). He regularly touches on fractured parent-child relationships (Catch Me if You Can, A.I. Artificial Intelligence).
Michelangelo Antonioni - Characters live in isolation or in an illusion (Blow-Up)
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Post by CoolJGS☺ on Jun 1, 2019 22:50:19 GMT
Spielberg is a master of the mundane and then weaving a story largely disrupting that.
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Post by mortsahlfan on Jun 2, 2019 0:42:38 GMT
John Cassavetes
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Post by petrolino on Jun 2, 2019 1:00:23 GMT
Spike Lee
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Post by Catman 猫的主人 on Jun 2, 2019 1:12:06 GMT
Yasujirō Ozu  |
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Post by Ass_E9 on Jun 2, 2019 1:12:50 GMT
Akira Kurosawa
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Post by mortsahlfan on Jun 2, 2019 11:52:34 GMT
Robert Bresson
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Post by CoolJGS☺ on Jun 2, 2019 12:52:46 GMT
came in to say this one. Dude has a specific point of view but he knows a lot of other ones and how they interplay with each other.
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Post by Sulla on Jun 2, 2019 13:17:37 GMT
Woody Allen - most, if not all, of his films deal with human behavior.
Annie Hall, Manhattan, Hannah and Her Sisters, Crimes and Misdemeanors and more.
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Post by dirtypillows on Jun 2, 2019 23:26:58 GMT
And if you can give some examples. Wow, that is an exciting question. Luis Bunuel understood that most people are sheep, cannot be bothered to think for themselves and that religion serves as a panacea for many. He really seemed to enjoy skewering the upper middle class particularly, whom he looked upon as simple and simplistic, amoral (not immoral) and hypocritical without much capacity for autonomy. Movies like "The Exterminating Angel", where a large group of upper middle class dinner guests cannot bring themselves to leave the dining room because - what are they going to do as soon as they leave? He makes them look absolutely foolish and beyond petty. They are helpless to good manners, but when push comes to shove, they reveal themselves to be barbaric. "The Discreet Charm Of the Bourgeoisie" - he does the same thing, but inverts the plot. This time, six friends, who are prisoners to civilized good manners, make many attempts, but cannot actually bring themselves to sit down and eat a meal. They are much too precious for that. And ridiculous and clueless and maybe even kind of dumb. "Viridiana" - He makes the religious faith seem like a foolish thing to invest oneself in. The genuinely good (but likely naive) nun, named Viridiana, invites a bunch of beggars into her wealthy and debauched uncle's estate (he drugs his beautiful niece, dresses her in a wedding gown and then has sex with her unconscious body) and takes pity on them and feeds them and pretty much lets them have run of the house. She has good intentions, but the beggars absolutely are shown by Bunuel to be greedy and ungrateful and unsympathetic and untrustworthy, and all of this makes the good intentions of those people, like Viridiana, look rather silly. Bunuel is the least sentimental of all major movie directors that I can think of. He has no illusions about people. And the fact that his movies all have humor in them makes him enormously appealing, as do his surreal flourishes.
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Post by Xcalatë on Jun 2, 2019 23:39:31 GMT
Rob Zombie
The Devil's Rejects - Study of a dysfunctional and yet loving family.
Halloween - Depicts how loneliness and isolation molds a child into something else.
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Post by mortsahlfan on Jun 3, 2019 10:51:19 GMT
And if you can give some examples. Wow, that is an exciting question. Luis Bunuel understood that most people are sheep, cannot be bothered to think for themselves and that religion serves as a panacea for many. He really seemed to enjoy skewering the upper middle class particularly, whom he looked upon as simple and simplistic, amoral (not immoral) and hypocritical without much capacity for autonomy. Movies like "The Exterminating Angel", where a large group of upper middle class dinner guests cannot bring themselves to leave the dining room because - what are they going to do as soon as they leave? He makes them look absolutely foolish and beyond petty. They are helpless to good manners, but when push comes to shove, they reveal themselves to be barbaric. "The Discreet Charm Of the Bourgeoisie" - he does the same thing, but inverts the plot. This time, six friends, who are prisoners to civilized good manners, make many attempts, but cannot actually bring themselves to sit down and eat a meal. They are much too precious for that. And ridiculous and clueless and maybe even kind of dumb. "Viridiana" - He makes the religious faith seem like a foolish thing to invest oneself in. The genuinely good (but likely naive) nun, named Viridiana, invites a bunch of beggars into her wealthy and debauched uncle's estate (he drugs his beautiful niece, dresses her in a wedding gown and then has sex with her unconscious body) and takes pity on them and feeds them and pretty much lets them have run of the house. She has good intentions, but the beggars absolutely are shown by Bunuel to be greedy and ungrateful and unsympathetic and untrustworthy, and all of this makes the good intentions of those people, like Viridiana, look rather silly. Bunuel is the least sentimental of all major movie directors that I can think of. He has no illusions about people. And the fact that his movies all have humor in them makes him enormously appealing, as do his surreal flourishes. I just saw "Viridiana" and agree.. Seems to be kinda Nietzschean (objective morality, organized values, lack of pity for the beggars).
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Post by dirtypillows on Jun 3, 2019 11:03:46 GMT
John Cassavetes has a precocious, though near talentless, underclassmen's, sophisticated ideas of what drove human nature. He has his characters really respond and react and react some more in really, big, over the top ways in response to colorless, shabby every day events; and this was to endow the scene with entirely misplaced scenes of verisimilitude. His movies have as about to do with how people in the same way that carry on in the daytime soap operas. Cassavetes has very childish notions of how adults speak and act and behave and it is childish and embrassing and, least of all, very pretentious. I am not in thee last bit impressed by John Cassavetes, though I do like his wife, Gena Rowlands, who is so superior, and warmer, to him in almost every conceivable way..
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Post by Toasted Cheese on Jun 3, 2019 11:16:56 GMT
John Cassavetes has a precocious, though near talentless, underclassmen's, sophisticated ideas of what drove human nature. He has his characters really respond and react and react some more in really, big, over the top ways in response to colorless, shabby every day events; and this was to endow the scene with entirely misplaced scenes of verisimilitude. His movies have as about to do with how people in the same way that carry on in the daytime soap operas. Cassavetes has very childish notions of how adults speak and act and behave and it is childish and embrassing and, least of all, very pretentious. I am not in thee last bit impressed by John Cassavetes, though I do like his wife, Gena Rowlands, who is so superior, and warmer, to him in almost every conceivable way.. He liked improvisation. He apparently almost drove Polanski bonkers on Rosemary's Baby. Polanski wanted it as written and as he envisioned it. Not some arrogant ass who thought he knew better.
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Post by mortsahlfan on Jun 3, 2019 13:29:23 GMT
John Cassavetes has a precocious, though near talentless, underclassmen's, sophisticated ideas of what drove human nature. He has his characters really respond and react and react some more in really, big, over the top ways in response to colorless, shabby every day events; and this was to endow the scene with entirely misplaced scenes of verisimilitude. His movies have as about to do with how people in the same way that carry on in the daytime soap operas. Cassavetes has very childish notions of how adults speak and act and behave and it is childish and embrassing and, least of all, very pretentious. I am not in thee last bit impressed by John Cassavetes, though I do like his wife, Gena Rowlands, who is so superior, and warmer, to him in almost every conceivable way.. Life is full of "over-the-top" stuff. Then again, there are two different worlds; some live a tough life, and some live sheltered with no problems at all. He's showing a side I'm more familiar than some middle-class cliched manufactured emotions.
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