Uh. Blade Runner 2049?
-xtien
Could be it, but those frames don’t line up with the ones I already had prepared. What’s the proper screenshot etiquette here: with or without the opening titles?
I’m pretty much positive. Based on the costume (I think that’s Joi) and the light in the background of the first frame. I have a thing about light fixtures sticking out for me. I think I guessed one of the Raid movies based on the lights in the hallway.
I think Tom goes after the opening titles. Maybe. Which makes no sense for me since that really varies in older movies, and there’s–to borrow a TV term–a cold-open in a lot of newer movies after which there is a title card and some credits. So I just go with the start time of the movie and count from there.
But…YMMV. Or rather…YFMV.
-xtien
Yeah, I’m certain it’s Blade Runner 2049 as those frames are pretty close to the ones I have saved up. I have always included the opening titles in my previous frames and I see no reason not to to be honest.
Yes I am fairly certain that is indeed Joi from when K arrives home.
As for timing? Since I’m going from Netflix most of the time, the easiest thing is to use their timer. If there is a reason to do otherwise (the old style 5 minute credits open) I might start post credits. But that’s pretty rare.
It’s no reason of ideology, it’s simply that I’m lazy and don’t want to remember a time offset.
No way, dude. That would be totally random. I go as soon as the director’s input is identifiable. So after the studio logos, unless there’s some ambient sound or a soundtrack playing while the logos are displayed.
-Tom
This. Hey, I love you guys but let’s not make the 20:20 something that requires math to quickly do. It’s extremely easy to slide a pre-marked slider to the right point, versus anything else really.
And I believe most that I watch, the timer starts with the actual studio credits usually, not necessarily the distributor. This is true for most of the big streamers, as well as DVD/Blu-ray.
Correct!
I just go by the timer, in this case the iTunes version. It does include four studio logos, but the 20:20 is still just an arbitrary constraint, I wasn’t trying to game it to land on particular shots by staring after the WB logo but before the Sony, or anything nefarious. Apologies if that threw off anyone’s guess.
I was a little surprised it wasn’t guessed at the 20:20. I was lucky Joi’s face was obscured, but I was worried anyone who’d seen it recently would still get it.
Congrats, and here are the rest of the shots!
Dang I love that movie so much. Thank you.
I’ll have a new frame up as soon as I can.
-xtien
“I don’t mind the dirt. I do mind unexpected visitors.”
That movie was so beautifully shot. Just seeing the screenshots makes me want to see it again.
Bladerunner 2049, aka the movie that finally got Roger Deakins his goddamn Oscar.
Damn right. It was exactly everything I could have wanted that movie to be. From cinematography to tone to soundscapes, it was pitch perfect.
BR2049: beautiful but vacant. Still, I enjoyed it in the way that I’ve enjoyed some of Terence Malick’s recent work. I just marveled in the photography and let the rest go.
Of course I cannot agree with this. The connection to Malick is interesting, but I have to disagree with your word choice. Vacant implies emptiness. Absence. Neither applies to either. It might be cold or distant, which for me lends it more of a sense of pathos, because the main character is yearning for something he can ultimately not have (or be).
Which I find incredibly moving.
-xtien
-Do you ever yearn?
-Yearn? Do I yearn?
-I yearn.
-You yearn?
-Oh yes. Yes. I yearn…often I sit, and yearn. Have you yearned?
-Well…not recently.
So how would you go about screenshots of your all time fave Scott Pilgrim vs. the World or the Matrix for instance?
With Blade Runner 2049 I’d definitely include the studio logos as the amazing sound design is already present in the background.
I wholeheartedly agree. I was expecting the movie to look great (it still blew my mind visually and in the audio department as well), but what really surprised me was that it actually had something to say in a story sense that felt human and was involving where the original never made me care for Deckard’s plight on an emotional level and actually did feel a little empty.
I’m glad you found the pathos. I wasn’t ever able to.
There was a real mismatch for me between the size of the canvas Villeneuve was attempting to paint on and the cast’s (especially Gosling’s) understated-occasionally to the point of narcotized-quality in their performances. I’m pretty sensitive to actors and performances, and I often found it hard to feel much of anything about these characters.
On the other hand, I’m rarely sensitive, or usually even aware of, story structure in movies unless they veer off the path pretty widely. While I hardly demand slavish adherence to three-act structure in my movies, I felt like there were some really ill-advised narrative breaks in BR2049 that felt like deliberate choices by the director. The film lost momentum at several important points and I was never quite able to recover.
That said, I still recommended this movie to people after I saw it. I was really with it for the first hour or so, until we got the structural errors in judgment. As an exercise in style and atmosphere-building, though, this movie is nonpareil.
The new twenty:
Good luck.
-xtien
Definitely Vertigo
That guess is so dangerous you’ll have to sign a waiver.
No. Not Vertigo.
The forty:
-xtien