Well, it's been quite a while since your video went up. I loved the Lynch tribute. Very well conceived. I have to agree that the Welles version wasn't very Welles-like. It does come down to the style of camera angles, which often emphasized an actor's face in the foreground with a wide lens... and also, dialogue was a great emphasis in his movie. Lastly, and most importantly was the editing style he used. It's very reminiscent of Dziga Vertov and Eisenstein.
I appreciate the thoughts, deej. Your critiques are helpful, I see what you mean about the inherent failure in a style exercise, especially when the subjects are such rich thematic filmmakers; merely borrowing the gloss off of their work doesn't do them justice.
Also, I recently I found Blue Velvet's soundtrack for cheap, and were I to make this over again, I would have put 'Mysteries of Love' over the Lynch ending, that would have made it work much better. Also, I'd have probably switched the actor at the door and the actor who shoots the singer, would've fit more I think.
So to answer your question, I'll tell you what rings true in your film to me, you guys are obviously talented, and the simple fact of trying to make something worthwhile is beautiful. Primo.
. Which brings me to 3. Emotions. You know those scenes in Lynch films where all of the sudden everyone is happy, big smiles on their faces, sweet music, angels and so forth.. They're pretty common, they always come at the end, and they're _extremely_ meaningful - at least to lynch, they're like a supadoopahappy end of some sort. Tremendous emotion. Sincerity. True Love and Happiness at last.
. For example, the 50's tune in the 2nd part lacks the subtle overtones of nostalgia, sadness, the 'hollywoodness' that are so tremensously effective in Mullholland dr.: it sounds merely burlesque; the sound effects, chaotic, not freaky or 'deranging'. Sound is emotion, so if you screw that up, it's not good.
Second, the soundtrack doesn't stick. It seems to me the music on the 1st/welles part is oddly enough, closer to Lynch's universe than that of the second part, which very obviously quotes, or parodies lynch ambiances, but carries none of the emotions that are generally associated with it in his movies.
If I can tie myself in the discussion here, I'm no cinema pro though ;-) you ask what it is that doesn't ring true, storyline or style. First, except for the girl, the actors aren't convincing, imo. The way they move, and talk, gives an impression of rehearsal, not real life.
It's no problem, critiques are always welcome. I'd actually be interested to know what it was about the clip that didn't ring true. Was it more the storyline (wherein I'll agree, Welles films don't have the shoot-'em-up violence, but we were trying to have it slightly match the Lynch segment)? Or was it the style it was shot? (the quick cuts at the end are an error on my part, we were rushed while shooting and I wasn't able to cover it in editing)
I've seen Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Othello, Touch of Evil, The Trial, Chimes at Midnight and F for Fake .... So, yes.
My apologies, although you left out The Stranger from the list so one more film for you to see! Sorry to denigrate your work but the Welles half really doesn't strike me as any of his work, the Lynch half is good as I originally said.
Orson Welles? I don't think so. He was a master, you are a peasant.
cagwa 3 years ago
this whole fuckin thing is too dark!!!!!!!
covergeist 3 years ago
I just wanna say that I liked both movies, the welles and lynch inspired version.
In my opinion you've cought the Lynch-feeling perfectly!!! I also liked the song "Devil or Angel" a lot ;)
MartinGro131 3 years ago
Well, it's been quite a while since your video went up. I loved the Lynch tribute. Very well conceived. I have to agree that the Welles version wasn't very Welles-like. It does come down to the style of camera angles, which often emphasized an actor's face in the foreground with a wide lens... and also, dialogue was a great emphasis in his movie. Lastly, and most importantly was the editing style he used. It's very reminiscent of Dziga Vertov and Eisenstein.
KahnBB6 4 years ago
Secundo, you can't 'ring true' if you're gonna
do 'un exercise de style' anyway, think about it. It's necessarily gonna be superficial. Microscopic plancton. You need to catch a big fish.
deej20007 4 years ago
I appreciate the thoughts, deej. Your critiques are helpful, I see what you mean about the inherent failure in a style exercise, especially when the subjects are such rich thematic filmmakers; merely borrowing the gloss off of their work doesn't do them justice.
cardow 4 years ago
Also, I recently I found Blue Velvet's soundtrack for cheap, and were I to make this over again, I would have put 'Mysteries of Love' over the Lynch ending, that would have made it work much better. Also, I'd have probably switched the actor at the door and the actor who shoots the singer, would've fit more I think.
cardow 4 years ago
So to answer your question, I'll tell you what rings true in your film to me, you guys are obviously talented, and the simple fact of trying to make something worthwhile is beautiful. Primo.
deej20007 4 years ago
Now you wanted to put that in your film.. they're all having a big laugh at some point; problem is it's only one big joke. Where's the beef man?
deej20007 4 years ago
. Which brings me to 3. Emotions. You know those scenes in Lynch films where all of the sudden everyone is happy, big smiles on their faces, sweet music, angels and so forth.. They're pretty common, they always come at the end, and they're _extremely_ meaningful - at least to lynch, they're like a supadoopahappy end of some sort. Tremendous emotion. Sincerity. True Love and Happiness at last.
deej20007 4 years ago
. For example, the 50's tune in the 2nd part lacks the subtle overtones of nostalgia, sadness, the 'hollywoodness' that are so tremensously effective in Mullholland dr.: it sounds merely burlesque; the sound effects, chaotic, not freaky or 'deranging'. Sound is emotion, so if you screw that up, it's not good.
deej20007 4 years ago
Second, the soundtrack doesn't stick. It seems to me the music on the 1st/welles part is oddly enough, closer to Lynch's universe than that of the second part, which very obviously quotes, or parodies lynch ambiances, but carries none of the emotions that are generally associated with it in his movies.
deej20007 4 years ago
If I can tie myself in the discussion here, I'm no cinema pro though ;-) you ask what it is that doesn't ring true, storyline or style. First, except for the girl, the actors aren't convincing, imo. The way they move, and talk, gives an impression of rehearsal, not real life.
deej20007 4 years ago
It's no problem, critiques are always welcome. I'd actually be interested to know what it was about the clip that didn't ring true. Was it more the storyline (wherein I'll agree, Welles films don't have the shoot-'em-up violence, but we were trying to have it slightly match the Lynch segment)? Or was it the style it was shot? (the quick cuts at the end are an error on my part, we were rushed while shooting and I wasn't able to cover it in editing)
cardow 5 years ago
the style it was shot
KentAllard 5 years ago
I've seen Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Othello, Touch of Evil, The Trial, Chimes at Midnight and F for Fake .... So, yes.
cardow 5 years ago
My apologies, although you left out The Stranger from the list so one more film for you to see! Sorry to denigrate your work but the Welles half really doesn't strike me as any of his work, the Lynch half is good as I originally said.
KentAllard 5 years ago
well the Lynch half was a good parody/mock/tribute, as for the Welles half...have you actually seen any Orson Welles films?
KentAllard 5 years ago