|Old_Zircon - 2012-09-27 |
YOU'RE TEARING ME APART, ROSEBUD
|Binro the Heretic - 2012-09-27 |
"God damn it, where is it? Where did you put it? I JUST CHECKED THE FUCKING LUGGAGE. IT'S NOT IN THERE! IT'S. NOT. IN. THERE. Here, look in the god-damned bags, yourself! IT'S NOT IN ANY ANY OF THE MOTHER-FUCKING BAGS. HERE! SEE? Where is it. I told you not to forget it, God damn it! WHERE IS IT? WHERE? WHERE? WHERE THE FUCK DID YOU PUT IT? I WILL TEAR THIS FUCKING PLACE APART WITH MY BARE FUCKING HANDS! DID YOU THROW IT AWAY? WHE-oh. Oh, I forgot. I put it on the nightstand so I wouldn't leave without it."
"Uh, no, Jeffrey. I don't need anything. We'll, uh, we'll just be going, now. You can clean that up, right? Okay! Cool! Bye everyone!"
|The Mothership - 2012-09-28 |
That last shot is amazing.
|boner - 2012-09-28 |
This is, like, the first movie with ceilings in the frame. I dont kknow.
Binro the Heretic
Pretty much, yeah. Welles literally put holes in the floor of the sound stage to drop the cameras down low enough. He didn't tell his bosses at the studio because they would have freaked out and/or told him he couldn't do it.
Sometimes, Welles used such blocking to make Kane look grand and heroic. In other parts of the film, it made him look more like an imposing bully. It all depended on which character was telling the journalist a story at the time.
I'm sure there were earlier movies that showed a glimpse or two of a ceiling, but here it was meticulous and deliberate.
|chumbucket - 2012-09-28 |
Jonathan Winters took notes.
|John Holmes Motherfucker - 2012-09-28 |
Orson Welles was so brilliant behind the camera that's it's easy to overlook his acting. He was 25 when this was shot. It wasn't just makeup that made him so convincing as a man in his sixties.
Yeah, I like him as an actor at least as much as I like him as a director and cinematographer.
|StanleyPain - 2012-09-28 |
Rosebud Frozen Peas...
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