Not exact matches
More interesting than the
actual film is the timing
of the
film just before the
start of the Second World War.
He buys cameras instead
of renting them, creates a set
of an alley way instead
of just shooting in an alley,
films on both 35 mm and HD at the same time, and that's before they even
start actual production.
It's not as fun as other comic book
films, but we get a better sense
of the man in front
of the cape and an
actual Superman movie throwdown that sets the stage for an exciting new chapter
of DC
films as we
start the countdown for «Batman vs. Superman.»
I mentioned this in my rave review: «One
of my favorite parts
of this documentary is when the
film finally
starts, instead
of showing
actual footage
of people watching, they switch over to these amazing photographs.
Given that this
film starts right away on a note that combines the macabre with the impish, in a scene where Ed Gein — the inspiration for Norman Bates — kills his brother while Hitchcock (who was not present at the
actual crime scene) looks on, it is clear that the filmmaker is out to give us a good ride rather than to actually probe the depths
of the great director's psyche.
That relationship really carries the first half
of the
film, and then the
film bounces to more
of a straightforward comedy when it
starts showing the
actual production
of The Room, which is when the all - star cast shines.
The movie
starts with the
actual cameraphone footage
of Grant's shooting, so the sense
of dread builds throughout the
film: as we watch Grant go throughout his day — play with his young daughter, celebrate his mother's birthday, revisit his time in jail, interact with strangers — we know that this day is his last, and so his death comes as a particularly emotional gut punch.
Instead
of creating his own imagery, John Baldessari took
actual film stills as the
starting point for some
of his works: cutting them, hand - painting dots over figures» identifying features, and otherwise altering them.