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Talk about the Watchmen comic book mini-series and film
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PostPosted: Tue Dec 21, 2010 9:11 am 
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So, um...

Dave Gibbons wrote:
Just a note to thank you for sending the copy of the Watchmen WCM cut.

I'll certainly find the time to watch it over the Holidays but wanted to say in advance how grateful I am to the members of WCM for taking the trouble to compile this and for all the enthusiasm and support they've given Watchmen over the past few years.

I looked in at the site most days in 2009 and followed the discussions with interest and, often, amusement. I have to admit that I did post very occasionally under a nom-de-keyboard. In the spirit of disclosure which is, after all, the final note of the story, I now take off my mask and reveal myself as...

Moe Vernon.

Actually, not so much a mask as a pair of rubber breasts, but you know what I mean.

Thanks again to all, and especially those whose notes accompanied the DVDs. Your kind words are greatly appreciated.


Best

-- Dave

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it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Tue Dec 21, 2010 9:28 am 
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hah cool :)

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PostPosted: Tue Dec 21, 2010 9:39 am 
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What a guy, huh?
Here's his profile.
Some gold there. First, how did we not realise that he was Dave?!
Then there's the embarrassment of being a bit rude debating with him... and ultimately (somehow!) winning.

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Dr. Brooklyn wrote:
it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Tue Dec 21, 2010 9:56 am 
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AYBGerrardo wrote:
First, how did we not realise that he was Dave?!


I think the fake boobs could've deceived most of us.

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PostPosted: Tue Dec 21, 2010 10:00 am 
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Still, there's a couple of moments where DDC is, like, "How could you know that?!"
I wonder if DDC figured it out after Dave originally told me he was a member...

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it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Tue Dec 21, 2010 10:05 am 
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I love how Kingmob even managed to unknowingly insult Gibbons. That's skill! :lol:

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PostPosted: Tue Dec 21, 2010 11:06 am 
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Oh Kingmob, that rascal...

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Dr. Brooklyn wrote:
it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Tue Dec 21, 2010 11:53 am 
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t3cii wrote:
I love how Kingmob even managed to unknowingly insult Gibbons. That's skill! :lol:


I have a horrible feeling that on his death bed alan Moore will have someone send Curi an Email explaining how he was Kingmob.

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PostPosted: Tue Dec 21, 2010 3:00 pm 
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i'm watching the cut now! very good so far.

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PostPosted: Thu Sep 15, 2011 9:33 pm 
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*bump*

If you're facebook pals with me you'll have seen I'm going to Budapest soon. What most of you don't know is I'm going there to hang out with Larry Fong - Watchmen's cinematographer, if you don't remember. He was also behind the camera for Lost season 1, 300, Sucker Punch and Super 8.

I'm going to throw together a copy of the WCM Cut for him, and thought it'd be cool to write some quotes on the cover again. Obviously Larry isn't as much a household name around here as the man who called himself 'Moe Vernon', but if you're willing I think he'd get a kick out of this:

What is your favourite single shot from the film?

Incidentally, I can reveal (ahead of the gifting this time!) that he actually secretly contributed to the site. Not as a member as far as I know, but he told me he visited the site nearly every day during production and that the miniatures on the main site, and the pictures, are his! I'm curious as to whether DDC knew!

Anywho. Shots. Any come to mind? (Preferably not the alcoholic or LMFAO kind?)

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it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Thu Sep 15, 2011 9:47 pm 
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Big Figure's death, hands down.

Be sure to send him our regards, and thank him for supporting the site.

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PostPosted: Thu Sep 15, 2011 9:50 pm 
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Just to clarify: swinging door?

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it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Thu Sep 15, 2011 9:51 pm 
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I'd have to say pretty much any shot of Rorschach.

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I get a very Blade Runner-esque feeling when I see those shots.


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PostPosted: Thu Sep 15, 2011 10:05 pm 
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AYBGerrardo wrote:
Just to clarify: swinging door?

Yeah, the swinging door.

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PostPosted: Fri Sep 16, 2011 2:26 am 
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i am very fond of the funeral sequence, where the camera flies through the arch of the gates,

also Hollis' death, obviously,

big figure's death already mentioned,

it's hard to say which shots are good because so many were taken directly from the book, to compliment Fong on things he took wholesale might be an insult :D also i never quite know where a director's job ends and a cinematographer's begins, not to mention some of the shots i love of the movie are entirely VFX, particularly the Mars sequence, do you think Fong would have had as much input into that as he did the live action shooting?

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PostPosted: Fri Sep 16, 2011 3:01 am 
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AvatarIII wrote:
i am very fond of the funeral sequence, where the camera flies through the arch of the gates,

The Kane shot!

AvatarIII wrote:
i never quite know where a director's job ends and a cinematographer's begins

It's about how the shot looks. Lighting, colour, lenses and camera movement mainly. But any shot is valid, even those similar to the comic, because they all take skill to set up!

AvatarIII wrote:
not to mention some of the shots i love of the movie are entirely VFX, particularly the Mars sequence, do you think Fong would have had as much input into that as he did the live action shooting?

He's never said it, but I think part of what he's become known for is the ability to integrate his photography with digital effects. In 300, for instance, he and Snyder worked hard on those skies and backgrounds for final product to have the painterly effect they were after.

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it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Fri Sep 16, 2011 4:35 am 
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AYBGerrardo wrote:
AvatarIII wrote:
i am very fond of the funeral sequence, where the camera flies through the arch of the gates,

The Kane shot!

AvatarIII wrote:
i never quite know where a director's job ends and a cinematographer's begins

It's about how the shot looks. Lighting, colour, lenses and camera movement mainly. But any shot is valid, even those similar to the comic, because they all take skill to set up!

AvatarIII wrote:
not to mention some of the shots i love of the movie are entirely VFX, particularly the Mars sequence, do you think Fong would have had as much input into that as he did the live action shooting?

He's never said it, but I think part of what he's become known for is the ability to integrate his photography with digital effects. In 300, for instance, he and Snyder worked hard on those skies and backgrounds for final product to have the painterly effect they were after.


good points,

another sequence of shots that i love is Osterman's death

to be honest, it's difficult to think of a scene that isn't beautifully shot, :D maybe you should just tell him that.

same with Sucker Punch to be honest, and 300,

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PostPosted: Fri Sep 16, 2011 11:06 am 
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Anyone else a fan of the action figure shot? (follows it round and focus pulls to the real Veidt)
Or that trailered, rainy shot of Rorschach on a Rockefeller rooftop, lightning behind?
In terms of its difficulty to pull off, there's that long take establishing the Keene riots (newspaper headline > car smash > crane up and across through the mob > down as the CG owlship flies in in the background > track back with the molotov cocktail being prepared just below the camera til we see both men involved, before one finally throws it). Very impressive.

You may have noticed these are in order. Yeah, I'm totally fast-forwarding through the film and these are my picks so far!

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it was tying it into the rape-revenge stories and making light of a verys erious sub-genre that kind of offended me.


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PostPosted: Fri Sep 16, 2011 9:24 pm 
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So many great shots. Snyder is often derided as being an MTV videogame director when his style is almost the complete opposite of that. He has a fondness for long takes that may not be of Cuaron or Scorsese or PT Anderson length and complexity but that are beautifully fluid and composed, and bring the audience into the story in ways that are almost invisible.

The aforementioned shot of the Riots is one of my favorites as well, or basically any shot in the opening credits is a great example of this. The list goes on and on.

However if I have to choose, I'll go with the push-in of the Comedian's dead body on the ground, lying and bleeding as glass pours over and around him, ending on the toppling pin, ending of course with the darkness of the black eyes of the smiley covering us up.

I must point out that there is a detail that I caught in theaters that I haven't been able to see on DVD but on push in/pull out shots of the pin, you could see a very vivid amount of grain in the dark, almost as if we were looking deeply into the panels of the comics.

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PostPosted: Sat Sep 17, 2011 11:41 am 
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I never knew it was Larry Fong who sent me those photos. Very cool!

Also, why are you going to hang out with Larry Fong? Did I miss something?

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