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Post by finniussnrub on Jan 30, 2024 0:37:01 GMT
Why does the aspect ratio of this keep changing for real tho? and isn't it like a bad thing, for a BP frontunner? Imax and non-Imax shots. I've noticed with this and Dunkirk, this is much more noticeable at home for whatever reason. I don't think that will have any impact on the Oscar race though.
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Post by Joaquim on Jan 30, 2024 0:40:41 GMT
I'll be rewatching this in Imax in a couple hours Not in the front row, I hope! Hahahaha holy shit it’s Gigaheimer
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Post by mhynson27 on Jan 30, 2024 2:07:52 GMT
I'm now morbidly curious to see what the sex scenes would look like at that angle
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rhodoraonline
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Post by rhodoraonline on Feb 22, 2024 16:42:01 GMT
Something I recently noticed very strongly during my second watch on Prime video (it's streaming for free in there) really surprised me especially since I didn't read this anywhere in anyone's review or any pieces on the movie. So I was wondering if more people have noticed this, cuz I have no idea, I didn't happen to catch many writings on the movie out there except this discussion thread, and the few interviews of Nolan's that I caught I didn't hear him mention this despite the topic of use of B&W coming up.
In the first viewing, I was confused about the logic of switching between B&W and color. Because different past and future scenes kept coming in both color and B&W. Similarly, different "hearing/committee" and non-hearing scenes also appeared in both color and b&w at different times. Sometimes the same scene would be revisited switched from color/b&w (whatever came before). So I was really confused on the thread separating the two types of scenes.
But it became very very apparent quite early during my second watch that the color & b&w represented Cillian's and RDJ's perspectives respectively. Of course, the very first B&W scene is RDJ talking about his upcoming senate hearing with Alden's aide.
After that, it's actually very straightforward for the majority of the movie, since whenever RDJ is on-screen, it's in B&W, including his main timeline (the cabinet appointment hearing) and all of his flashbacks that happen when he's describing (or owning up to) what happened.
Some scenes seem to switch from color/b&w to b&w/color only when the movie (& the audience) start catching on to Strauss's involvement in Oppie's security clearance hearing. This happens right after Emily Blunt's scene where she repeats "it's Strauss" even tho' Oppie and his friends are skeptical in the beginning. Then Oppie seems to be revisiting things in his mind and that's when some earlier scenes are reshown IN COLOR.
That's when we first revisit the scene when he was informed by Strauss and the DeHaan character of his security clearance hearing coming up. The angles and shots are very different here. Earlier, from Strauss B&W perspective focus is mostly on DeHaan. Now we catch Oppie's reaction shots and his shock while RDJ sleazily plays innocent and accompanies him to his car outside.
Then we also revisit Oppie's testimony re Strauss' isotopes thingy after Blunt cites that as one of Strauss's sneaky motivations. This time the angles are mostly the same and the scene beats shown are identical as before, but slightly different in zooming maybe. But of course they are in color cuz now it's an Oppie scene.
We also see the AEC back room being prepared for Oppie's security clearance hearing in B&W when RDJ has finally owned up to it and described his decisions.
The final scene revisited is of course the Oppie/Einstein scene when it's finally revealed what he actually said. And that is IN COLOR as well.
It just surprised me that I didn't read about this distinction in anyone else's writing here or elsewhere tho' the pattern seems pretty obvious in retrospect. I'm sure, some of you must have caught on to this in your rewatches, and some pieces (or interviews) might be out there talking about this, but I happened to miss them...
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rhodoraonline
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Post by rhodoraonline on Feb 22, 2024 16:52:39 GMT
I understand that the Russia leaks AEC convening wouldn't exactly fit this pattern cuz Nolan cut to it both when it came up during Strauss/Aide discussions and in Oppie's security clearance investigation. But, that scene WAS primarily a Strauss scene. He was the head, he was conducting and driving that discussion while Oppie was mostly a supporting player in that scene whenever we went there. Also, that scene comes up often in the middle section of the movie, well before the final revelations are meant to play out so there seemed to be no reason for those scenes to switch perspectives to Oppie in color.
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Post by mikediastavrone96 on Feb 22, 2024 18:42:59 GMT
I understand that the Russia leaks AEC convening wouldn't exactly fit this pattern cuz Nolan cut to it both when it came up during Strauss/Aide discussions and in Oppie's security clearance investigation. But, that scene WAS primarily a Strauss scene. He was the head, he was conducting and driving that discussion while Oppie was mostly a supporting player in that scene whenever we went there. Also, that scene comes up often in the middle section of the movie, well before the final revelations are meant to play out so there seemed to be no reason for those scenes to switch perspectives to Oppie in color. We do see some of that scene from Oppie's perspective in color when he's looking at the map and envisioning the blast radiuses (also when he first gets the vision of being on a B-52 and seeing another warplane with a nuclear warhead overhead).
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rhodoraonline
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Post by rhodoraonline on Feb 27, 2024 17:10:54 GMT
I understand that the Russia leaks AEC convening wouldn't exactly fit this pattern cuz Nolan cut to it both when it came up during Strauss/Aide discussions and in Oppie's security clearance investigation. But, that scene WAS primarily a Strauss scene. He was the head, he was conducting and driving that discussion while Oppie was mostly a supporting player in that scene whenever we went there. Also, that scene comes up often in the middle section of the movie, well before the final revelations are meant to play out so there seemed to be no reason for those scenes to switch perspectives to Oppie in color. We do see some of that scene from Oppie's perspective in color when he's looking at the map and envisioning the blast radiuses (also when he first gets the vision of being on a B-52 and seeing another warplane with a nuclear warhead overhead). Oh. I guess those escaped my notice. There are too many quick sequences in this movie. Unfortunately, this stayed on Prime for like 7-10 days. Hopefully, Netflix or Prime again snags it post Oscars as they usually do so I can rewatch again to notice where these ones fit in this Oppie vs Strauss color contrast theme I'm noticing. thanks for pointing out if you guys know of any online discussion/analysis of this topic please let me know.
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Post by mikediastavrone96 on Feb 27, 2024 18:33:37 GMT
We do see some of that scene from Oppie's perspective in color when he's looking at the map and envisioning the blast radiuses (also when he first gets the vision of being on a B-52 and seeing another warplane with a nuclear warhead overhead). Oh. I guess those escaped my notice. There are too many quick sequences in this movie. Unfortunately, this stayed on Prime for like 7-10 days. Hopefully, Netflix or Prime again snags it post Oscars as they usually do so I can rewatch again to notice where these ones fit in this Oppie vs Strauss color contrast theme I'm noticing. thanks for pointing out if you guys know of any online discussion/analysis of this topic please let me know. Nolan in interviews has been open in saying the color/black-and-white demarcation is meant to represent Oppenheimer's and Strauss's perspectives.
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Nikan
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Post by Nikan on Mar 12, 2024 11:38:10 GMT
30 secs in and I HAD to share this
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Barbie
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Post by Barbie on Mar 12, 2024 15:16:01 GMT
Not in the front row, I hope! Hahahaha holy shit it’s Gigaheimer This picture
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Barbie
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Post by Barbie on Mar 12, 2024 15:20:29 GMT
In the scene where Kitty refuses to shake Teller's hand, Blunt does this weird thing with her mouth and I'm just now realizing that it's because earlier in the film she said she would have "spat in his face" when she's admonishing Oppenheimer for shaking his hand. Oh wow that's a good catch. If only Emily was that good throughout the entire movie instead of just the last scene.
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Post by countjohn on Mar 12, 2024 18:10:24 GMT
Why do people hate Nolan? Barely watched him talk but he's such a classy wholesome guy.
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Pasquale
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Post by Pasquale on Mar 12, 2024 18:36:02 GMT
Why do people hate Nolan? Barely watched him talk but he's such a classy wholesome guy. I think, you are answering your own question.
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Nikan
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Post by Nikan on Mar 12, 2024 22:17:10 GMT
Why do people hate Nolan? Barely watched him talk but he's such a classy wholesome guy. I think that era is behind us honestly. I suppose even his haters are now "used to" him, and have not much new to say themselves.
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Post by stabcaesar on Mar 13, 2024 2:07:16 GMT
Why do people hate Nolan? Barely watched him talk but he's such a classy wholesome guy. I don’t see anyone say they hate him specifically. They might hate his work or his fanboys though.
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wonky
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Post by wonky on Mar 13, 2024 3:04:20 GMT
I was always intrigued by Nolan as he was growing in esteem and demonstrating he was the real deal, culminating in The Dark Knight which I loved and I was all for its success.
I think with Inception's release and anticipation of The Dark Knight Rises, though, his cult quickly blew up way beyond my estimation of him (or virtually anybody) as a filmmaker and that period on IMDb seeing "NOLAN" everywhere got on my nerves. I also kinda resented his more pervasive influence on genre movies in those years.
It felt like his hype settled down to something more tolerable once Batman was behind him and I was a bigger fan of Interstellar than the previous two. I remember around that time feeling like he was really wearing the role of "industry giant" well. Pleasant, confident, intelligent. On the Hollywood Reporter Director's roundtable that year, he wasn't as self-serious as my impression had been.
Ever since then I've been VERY pro Nolan as a film personality and admiring of his filmography. More than anything it's been gratifying to see him stick to his guns and emerge as an event filmmaker on his own terms. I admit the NOLANites picked a good one.
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