Domain: suntimes.com
Stories and comments across the archive that link to suntimes.com.
Comments · 527
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Here's one
Name: Steve Ballmer
Position: CEO
Company:Microsoft
View on open source: cancer -
Star Wars is dyingIt is official; Rick McCallum now confirms: Star Wars is dying
One more crippling bombshell hit the already beleaguered movie community when LucasFilms confirmed that theatre market share has dropped yet again, now down to less than a fraction of 1 percent of all moviegoers. Coming on the heels of a recent box office survey which plainly states that AoTC has lost more market share, this news serves to reinforce what we've known all along. Box offices are collapsing in complete disarray, as fittingly exemplified by failing dead last in the recent Moviegoers comprehensive audience test.
You don't need to be a Ebert to predict Star Wars future. The hand writing is on the wall: Star Wars faces a bleak future. In fact there won't be any future at all for Star Wars because Star Wars is dying. Things are looking very bad for Star Wars. As many of us are already aware, Star Wars continues to lose market share. Red ink flows like a river of blood.
LucasFilm is the most endangered of them all, having lost 93% of its core producers. The sudden and unpleasant departures of long time producers as Stanley Kubrick only serve to underscore the point more clearly. There can no longer be any doubt: Star Wars is dying.
Let's keep to the facts and look at the numbers.
Box Office leader George Lucas states that there are 7000 watchers of Star Wars. How many users of Star Wars are there? Let's see. The number of Star Trek versus Star Wars posts on Usenet is roughly in ratio of 5 to 1. Therefore there are about 7000/5 = 1400 Star Wars users. Episode I posts on Usenet are about half of the volume of Star Wars posts. Therefore there are about 700 watchers of Episode I. A recent article put Empire Strikes Back at about 80 percent of the Star Wars market. Therefore there are (7000+1400+700)*4 = 36400 Empire Strikes Back watchers. This is consistent with the number of Empire Strikes Back Usenet posts.
Due to the troubles of Lucas Ranch, abysmal sales and so on, TPM went out of business and was taken over by AoTC who sell another troubled film. Now AoTC is also dead, its corpse turned over to yet another charnel house.
All major surveys show that Star Wars has steadily declined in market share. Star Wars is very sick and its long term survival prospects are very dim. If Star Wars is to survive at all it will be among cult film dilettante dabblers. Star Wars continues to decay. Nothing short of a miracle could save it at this point in time. For all practical purposes, Star Wars is dead.
Fact: Star Wars is dying
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He said it best......I think Roger Ebert, well-known closet otaku, said it best in his review for Titan AE :
I argue for animation because I believe it provides an additional dimension for film art; it frees filmmakers from the anchor of realism that's built into every live-action film, and allows them to visualize their imaginations. Animation need not be limited to family films and cheerful fantasies. The Japanese have known that for years....
The thought of what a live action Akira might be like scares me.
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5th commissioner being held up by politics
This is a very timely question. It is answered in this article and this op-ed.
Basically, because Senator Leahy is holding up several judicial nominees, the Republican have fired back and put holds on several Democrat nominees, including Jonathan Adelstein, a staffer for Senate Majority leader Daschle and the current nominee for the 5th FCC spot.
Traditionally, the FCC is filled with 5 commissioners, the majority and minority leader of the House and Senate choosing one each, and the President choosing the Chair.
This is actually a big mess right now and causing some to observe they have not seen this type of rancor EVER in the Senate (and that is saying a lot).
Meanwhile a gripe about the moderation system. I think it is ridiculous I can't mod any posts under this article now that I have chosen to add something to it. I comment on articles I am interested in, and I mod in threads I am interested, but I can't do both...that sucks (and yes, I understand the reasons to do so. But given the choice, I would rather comment than mod, but the best is to be able to do both). -
Re:Who in the hell is Robert Novak?No...
The Robert Novak you're thinking of is the sometimes competent and sometimes wildly partisan conservative columnist and talking head.
The Robert Novak in this story is a sociopathic bully and owner of a horrible online pet store (/., please).
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Comdex cancelled :(
The irony of this statement is that Comdex has been cancelled.
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Roger Ebert
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Roger Ebert
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Re:What is Spirited Away?It's a Japanese anime, but it has become the highest grossing movie in Japanese history.
Roger Ebert has a story on it though is review seems to be missing at the moment (he loved it... so did Roeper).
The IMDB entry is here.
-S
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Roger Ebert has a write up on this...
..which includes a brief interview with Miyazaki.
Here 'tis.
It's a rather fawning bit, but this seems to me to be one of the rare interviews in which the director isn't just puffing up his work, but actually discussing it.
Besides, this movie looks to be that good. I grabbed a VCD bootleg of this in Taiwan many moons ago, and despite the crappy transfer quality + lack of dubbing/subtitles, I watched the entire first half before I began to feel lost (stopped after that so that I could enjoy the movie in its full-fledged form more). Miyazaki is a fine, fine visual storyteller, and by all accounts so far, the dub (lead by John Lassetter of Pixar fame) is an achievement in of itself. -
Ebert on the visibility of effects
There is an interesting back and forth between Roger Ebert and Peter Donen (a Visual Effects Supervisor) on the effects of The Bourne Identity.
It seems that during "Ebert & Roeper at the Movies", Roeper said that "no computer effects are as good as a well-shot movie in Paris" to which Ebert responded "this movie is a convincing argument for really photographing real things happening on real locations."
Then Doren responded (as he had worked on The Bourne Identity) saying that there were actually over 150 special effect shots "includ[ing] miniatures, blue screen, wire removal, time manipulation, 3D character animation and background replacement for starters."
His take on his job: "I come from the school that says if I do my job well, my work will not be noticed by the audience." -
Ebert on the visibility of effects
There is an interesting back and forth between Roger Ebert and Peter Donen (a Visual Effects Supervisor) on the effects of The Bourne Identity.
It seems that during "Ebert & Roeper at the Movies", Roeper said that "no computer effects are as good as a well-shot movie in Paris" to which Ebert responded "this movie is a convincing argument for really photographing real things happening on real locations."
Then Doren responded (as he had worked on The Bourne Identity) saying that there were actually over 150 special effect shots "includ[ing] miniatures, blue screen, wire removal, time manipulation, 3D character animation and background replacement for starters."
His take on his job: "I come from the school that says if I do my job well, my work will not be noticed by the audience." -
Re:Here here!
Any talk of this being a Clinton-caused recession is just willfully ignoring that the Bush's tax cut caused nearly half of the budget shortfall.
Uh, what does one have to do with the other? Other than the generally-observed fact that tax cuts stimulate economic growth?
You might also, in case you actually care one whit about the truth, take a look at this article, which might as well have been titled Corporate Profits Misstated by Clinton Administration?".
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Re:Keep it UP...US government!
In fact the US Goverment has been doing it, too.
The Commerce Department had to "restate earnings" itself this past week. The announced level of before-tax profits by US nonfinancial corporations was at least 10% too high in 1999 and 2000 and that amount rose to 30% during the 2000 Presidential Election campaign.
See Robert Novak's column of August 8, 2002 here.
BH
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A good movie about this:
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CINDY ADAMS
ARMY ARCHERD
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HARRY KNOWLES
MORT KONDRACKE
KRAUTHAMMER
LARRY KUDLOW
HOWIE KURTZ
JOHN LEO
DAVID LIMBAUGH
RUSH LIMBAUGH
HAL LINDSEY
RICH LOWRY
MICHELLE MALKIN
CHRIS MATTHEWS
MARY MCGRORY
MICHAEL MEDVED
DICK MORRIS
PEGGY NOONAN
BOB NOVAK
OFF THE RECORD
KATE O'BEIRNE
MARVIN OLASKY
BILL O'REILLY
PAGE SIX
ANDREA PEYSER
JIM PINKERTON
JOHN PODHORETZ
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ANNA QUINDLEN
WILLIAM RASPBERRY
REX REED
RICHARD REEVES
J. MAX ROBINS
RICHARD ROEPER
RUSH/MOLLOY
BILL SAFIRE
SCHLAFLY
TOM SHALES
GAIL SHISTER
LIZ SMITH
MICHAEL SNEED
JOE SOBRAN
THOMAS SOWELL
ANDREW SULLIVAN
HELEN THOMAS
CAL THOMAS
HUNTER S. THOMPSON
NEAL TRAVIS
TV COLUMN
DEB WEISS
JEFFREY WELLS
GEORGE WILL
WALTER WILLIAMS
WASHINGTON WHISPERS
BILL ZWECKER
GERTH ZEROS IN ON CHENEY... AIRLINES TO TRIM FLIGHTS ON SEPT 11... Accounting controls on EU budget 'unreliable'... Man Accused of Raping Nine Women He Met Through Internet... Pentagon: Hamas experimenting with chemical weapons... AGENCE FRANCE-PRESSE
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WASH POST: Bush Admin Split over Iraq...
IRAQ 'CLOSE TO NUCLEAR BOMB GOAL'
Passive smoking can kill your cat... TIMEWARNER to charge flood victims for cable boxes... Archerd: Democrats seeking Hollywood money... Republicans will tie ANWR to Iraq; Say threat in Baghdad necessitates oil drilling in Alaska... Ventura Goofs On God... AP WORLD
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UPDATE: Mob Kills 2 in Ill. After Van Crash... US Senate Fails to Pass Medicare Drug Plan... Agents leaving Border Patrol in droves, union says... French spa to host next G8 summit... GLASSMAN/HASSETT: Dow 36000 Revisited... MATT DRUDGE
3 AM GIRLS
CINDY ADAMS
ARMY ARCHERD
DAVE BARRY
MICHAEL BARONE
PETER BART
BOB BARTLEY
STEPHEN BATTAGLIO
MARILYN BECK/SMITH
BLANKLEY
GLORIA BORGER
L. BRENT BOZELL
BRESLIN
DAVID BRODER
PAT BUCHANAN
BILL BUCKLEY
MONA CHAREN
ELEANOR CLIFT
RICHARD COHEN
PAUL COLFORD
JOE CONASON
ANN COULTER
STANLEY CROUCH
MICHAEL DALY
LOU DOBBS
MAUREEN DOWD
STEVE DUNLEAVY
ROGER EBERT
JOSEPH FARAH
SUZANNE FIELDS
ARI FLEISCHER
MICHAEL FLEMING
ROGER FRIEDMAN
JOHN FUND
LEAH GARCHIK
BILL GERTZ
GEORGIE GEYER
JONAH GOLDBERG
ELLEN GOODMAN
MARTIN GROVE
LLOYD GROVE
PETE HAMILL
CARL HIAASEN
NAT HENTOFF
CHRISTOPHER HITCHENS
H'WOOD REPORTER E-MAIL
ARIANNA HUFFINGTON
INSIDE BELTWAY
INSIDE POLITICS
INSIDE THE RING
MOLLY IVINS
AL KAMEN
MICKEY KAUS
KEITH J. KELLY
MICHAEL KELLY
MICHAEL KINSLEY
HARRY KNOWLES
MORT KONDRACKE
KRAUTHAMMER
LARRY KUDLOW
HOWIE KURTZ
JOHN LEO
DAVID LIMBAUGH
RUSH LIMBAUGH
HAL LINDSEY
RICH LOWRY
MICHELLE MALKIN
CHRIS MATTHEWS
MARY MCGRORY
MICHAEL MEDVED
DICK MORRIS
PEGGY NOONAN
BOB NOVAK
OFF THE RECORD
KATE O'BEIRNE
MARVIN OLASKY
BILL O'REILLY
PAGE SIX
ANDREA PEYSER
JIM PINKERTON
JOHN PODHORETZ
TV PROGRAMMING INSIDER
WES PRUDEN
ANNA QUINDLEN
WILLIAM RASPBERRY
REX REED
RICHARD REEVES
J. MAX ROBINS
RICHARD ROEPER
RUSH/MOLLOY
BILL SAFIRE
SCHLAFLY
TOM SHALES
GAIL SHISTER
LIZ SMITH
MICHAEL SNEED
JOE SOBRAN
THOMAS SOWELL
ANDREW SULLIVAN
HELEN THOMAS
CAL THOMAS
HUNTER S. THOMPSON
NEAL TRAVIS
TV COLUMN
DEB WEISS
JEFFREY WELLS
GEORGE WILL
WALTER WILLIAMS
WASHINGTON WHISPERS
BILL ZWECKER
GERTH ZEROS IN ON CHENEY... AIRLINES TO TRIM FLIGHTS ON SEPT 11... Accounting controls on EU budget 'unreliable'... Man Accused of Raping Nine Women He Met Through Internet... Pentagon: Hamas experimenting with chemical weapons... AGENCE FRANCE-PRESSE
AFP INTERNATIONAL
AFP NEWS WRAP
AFX
UPI WIRE
UPI NATIONAL
UPI WORLD
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WASH POST: Bush Admin Split over Iraq...
IRAQ 'CLOSE TO NUCLEAR BOMB GOAL'
Passive smoking can kill your cat... TIMEWARNER to charge flood victims for cable boxes... Archerd: Democrats seeking Hollywood money... Republicans will tie ANWR to Iraq; Say threat in Baghdad necessitates oil drilling in Alaska... Ventura Goofs On God... AP WORLD
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WASH POST: Bush Admin Split over Iraq...
IRAQ 'CLOSE TO NUCLEAR BOMB GOAL'
Passive smoking can kill your cat... TIMEWARNER to charge flood victims for cable boxes... Archerd: Democrats seeking Hollywood money... Republicans will tie ANWR to Iraq; Say threat in Baghdad necessitates oil drilling in Alaska... Ventura Goofs On God... AP WORLD
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UPDATE: Mob Kills 2 in Ill. After Van Crash... US Senate Fails to Pass Medicare Drug Plan... Agents leaving Border Patrol in droves, union says... French spa to host next G8 summit... GLASSMAN/HASSETT: Dow 36000 Revisited... MATT DRUDGE
3 AM GIRLS
CINDY ADAMS
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PAGE SIX
ANDREA PEYSER
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( .hj
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WASH POST: Bush Admin Split over Iraq...
IRAQ 'CLOSE TO NUCLEAR BOMB GOAL'
Passive smoking can kill your cat... TIMEWARNER to charge flood victims for cable boxes... Archerd: Democrats seeking Hollywood money... Republicans will tie ANWR to Iraq; Say threat in Baghdad necessitates oil drilling in Alaska... Ventura Goofs On God... AP WORLD
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UPDATE: Mob Kills 2 in Ill. After Van Crash... US Senate Fails to Pass Medicare Drug Plan... Agents leaving Border Patrol in droves, union says... French spa to host next G8 summit... GLASSMAN/HASSETT: Dow 36000 Revisited... MATT DRUDGE
3 AM GIRLS
CINDY ADAMS
ARMY ARCHERD
DAVE BARRY
MICHAEL BARONE
PETER BART
BOB BARTLEY
STEPHEN BATTAGLIO
MARILYN BECK/SMITH
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L. BRENT BOZELL
BRESLIN
DAVID BRODER
PAT BUCHANAN
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MONA CHAREN
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PAUL COLFORD
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LOU DOBBS
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HOWIE KURTZ
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DAVID LIMBAUGH
RUSH LIMBAUGH
HAL LINDSEY
RICH LOWRY
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CHRIS MATTHEWS
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MICHAEL MEDVED
DICK MORRIS
PEGGY NOONAN
BOB NOVAK
OFF THE RECORD
KATE O'BEIRNE
MARVIN OLASKY
BILL O'REILLY
PAGE SIX
ANDREA PEYSER
JIM PINKERTON
JOHN PODHORETZ
TV PROGRAMMING INSIDER
WES PRUDEN
ANNA QUINDLEN
WILLIAM RASPBERRY
REX REED
RICHARD REEVES
J. MAX ROBINS
RICHARD ROEPER
RUSH/MOLLOY
BILL SAFIRE
SCHLAFLY
TOM SHALES
GAIL SHISTER
LIZ SMITH
MICHAEL SNEED
JOE SOBRAN
THOMAS SOWELL
ANDREW SULLIVAN
HELEN THOMAS
CAL THOMAS
HUNTER S. THOMPSON
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WALTER WILLIAMS
WASHINGTON WHISPERS
BILL ZWECKER
GERTH ZEROS IN ON CHENEY... AIRLINES TO TRIM FLIGHTS ON SEPT 11... Accounting controls on EU budget 'unreliable'... Man Accused of Raping Nine Women He Met Through Internet... Pentagon: Hamas experimenting with chemical weapons... AGENCE FRANCE-PRESSE
AFP INTERNATIONAL
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07/31/02
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-
Grave of the FirefliesSays Ebert:
"Grave of the Fireflies" is an emotional experience so powerful that it forces a rethinking of animation. Since the earliest days, most animated films have been "cartoons" for children and families. Recent animated features such as "The Lion King," "Princess Mononoke" and "The Iron Giant" have touched on more serious themes, and the "Toy Story" movies and classics like "Bambi" have had moments that moved some audience members to tears. But these films exist within safe confines; they inspire tears, but not grief. "Grave of the Fireflies" is a powerful dramatic film that happens to be animated, and I know what the critic Ernest Rister means when he compares it to "Schindler's List" and says, "It is the most profoundly human animated film I've ever seen."Grave of the Fireflies is a very good movie, and easily the most sad movie I have ever seen, animated or otherwise. If you want to see something that challenges some traditional ideas of what animation is capable of, this is it.
-
Re:100 year change really 100 year curse
Yes, Buffalo used to be so *huge*... the streets and roads are so overbuilt... there are hardly ever any traffic jams in Buffalo for the morning or afternoon commute (unless u life in a suburb of Buffalo, the jams are uaually outside city limits)... anyways.. yes, some of us who live here believe it is a 100 year curse brought on by the assaination of McKinley during the PanAm Expo that has caused our downfall. But who believes in those things anyways... well,time to check my horoscope.... *grin*
-
Courtesy of the Answer Man (Ebert) . . .
A quote from Ebert's article "Projections on future of digital":
"A bombshell research report just released by Credit Suisse/First Boston supports Maxivision as preferable to digital projection, which is "not ready for prime time." The most unexpected finding of the report is that digital projection would not be cheaper than the current system of distributing prints, but, because of the financing costs, would be more expensive. Other bullet points: Maxivision has dramatically better picture quality; its cost is around $10,000 a booth, as opposed to $100,000 to $150,000 for digital; it is backward compatible and can project all films ever made; and the current Texas Instruments digital standard uses an inferior standard. The report praises the Kodak digital standard as superior, but criticizes Kodak for not supporting Maxivision--which, because it uses film, dovetails with Kodak's dominance of the celluloid market. Since the much-heralded digital rollout of "Star Wars Episode II" was a non-event, it's unlikely that exhibitors are prepared to make an enormous investment in digital projectors. If they want something new, affordable and dramatically better, Maxivision is the obvious choice."
The report itself may be found here (it's a PDF).
Here's another quote from an earlier Answer Man article:
"Daniel Switkin of Palo Alto, Calif., writes: 'I saw AOTC in digital. Although the image was completely flicker- and defect-free, and the sound was perfect, the resolution was dreadful. Pixels were clearly visible, and everything from subtitles to small details were much worse than film. Some digging on www.dlp.com reveals that the current digital projectors use a pathetic 1280x1024 resolution--the same as most 17 inch desktop LCD monitors! This is despite the fact that the Sony camera used to shoot the movie digitally operates at 1920x1080 resolution. How can we the audience tell the industry that these five-year-old digital projectors they're now just installing aren't good enough?'"
1280x1024!!!?? What the heck?
Ebert makes a very good case against digital projection, at least as it exists today. He posits convincingly that the fascination with converting the industry to a digital projection format is fueled by uninformed executives who have been trained to salivate at the word 'digital.' The Answer Man column archive is here. -
Courtesy of the Answer Man (Ebert) . . .
A quote from Ebert's article "Projections on future of digital":
"A bombshell research report just released by Credit Suisse/First Boston supports Maxivision as preferable to digital projection, which is "not ready for prime time." The most unexpected finding of the report is that digital projection would not be cheaper than the current system of distributing prints, but, because of the financing costs, would be more expensive. Other bullet points: Maxivision has dramatically better picture quality; its cost is around $10,000 a booth, as opposed to $100,000 to $150,000 for digital; it is backward compatible and can project all films ever made; and the current Texas Instruments digital standard uses an inferior standard. The report praises the Kodak digital standard as superior, but criticizes Kodak for not supporting Maxivision--which, because it uses film, dovetails with Kodak's dominance of the celluloid market. Since the much-heralded digital rollout of "Star Wars Episode II" was a non-event, it's unlikely that exhibitors are prepared to make an enormous investment in digital projectors. If they want something new, affordable and dramatically better, Maxivision is the obvious choice."
The report itself may be found here (it's a PDF).
Here's another quote from an earlier Answer Man article:
"Daniel Switkin of Palo Alto, Calif., writes: 'I saw AOTC in digital. Although the image was completely flicker- and defect-free, and the sound was perfect, the resolution was dreadful. Pixels were clearly visible, and everything from subtitles to small details were much worse than film. Some digging on www.dlp.com reveals that the current digital projectors use a pathetic 1280x1024 resolution--the same as most 17 inch desktop LCD monitors! This is despite the fact that the Sony camera used to shoot the movie digitally operates at 1920x1080 resolution. How can we the audience tell the industry that these five-year-old digital projectors they're now just installing aren't good enough?'"
1280x1024!!!?? What the heck?
Ebert makes a very good case against digital projection, at least as it exists today. He posits convincingly that the fascination with converting the industry to a digital projection format is fueled by uninformed executives who have been trained to salivate at the word 'digital.' The Answer Man column archive is here. -
Courtesy of the Answer Man (Ebert) . . .
A quote from Ebert's article "Projections on future of digital":
"A bombshell research report just released by Credit Suisse/First Boston supports Maxivision as preferable to digital projection, which is "not ready for prime time." The most unexpected finding of the report is that digital projection would not be cheaper than the current system of distributing prints, but, because of the financing costs, would be more expensive. Other bullet points: Maxivision has dramatically better picture quality; its cost is around $10,000 a booth, as opposed to $100,000 to $150,000 for digital; it is backward compatible and can project all films ever made; and the current Texas Instruments digital standard uses an inferior standard. The report praises the Kodak digital standard as superior, but criticizes Kodak for not supporting Maxivision--which, because it uses film, dovetails with Kodak's dominance of the celluloid market. Since the much-heralded digital rollout of "Star Wars Episode II" was a non-event, it's unlikely that exhibitors are prepared to make an enormous investment in digital projectors. If they want something new, affordable and dramatically better, Maxivision is the obvious choice."
The report itself may be found here (it's a PDF).
Here's another quote from an earlier Answer Man article:
"Daniel Switkin of Palo Alto, Calif., writes: 'I saw AOTC in digital. Although the image was completely flicker- and defect-free, and the sound was perfect, the resolution was dreadful. Pixels were clearly visible, and everything from subtitles to small details were much worse than film. Some digging on www.dlp.com reveals that the current digital projectors use a pathetic 1280x1024 resolution--the same as most 17 inch desktop LCD monitors! This is despite the fact that the Sony camera used to shoot the movie digitally operates at 1920x1080 resolution. How can we the audience tell the industry that these five-year-old digital projectors they're now just installing aren't good enough?'"
1280x1024!!!?? What the heck?
Ebert makes a very good case against digital projection, at least as it exists today. He posits convincingly that the fascination with converting the industry to a digital projection format is fueled by uninformed executives who have been trained to salivate at the word 'digital.' The Answer Man column archive is here. -
Alternate Review - Comments AppreciatedI honestly don't know what's up with the submissions process. I submitted this review last night, immediately after returning from the movie. Since Slashdot doesn't have any way to leave feedback with a rejecttion, I guess I'm looking for comments as to how this review could have been made better.
(And guys - if you're looking to improve the quality of submissions Slashdot gets, it would probably be a really good idea to allow a limited form of feedback for rejections - even if it was just a choice from a drop-down menu ("This story was rejected because we have a writer working on the same story right now", for example.)
Oh - and in response to one user's post - go see it, but with lowered expectations.
Review: Minority Report
Reviewers of Spielberg's latest film are falling over each other to laud his new, gritty noir vision of the future, "Minority Report", based on the Phillip K Dick short story of the same name. Roger Ebert loves it; the movie is currently standing at 93% at Rotten Tomatoes, and Salon gives it a thumbs-up. But what's the reaction of your average geek?
(Full disclosure - while I am familiar with his work, I have not read the Phillip K. Dick story - so you're not going to read any comments about how the movie did or did not live up to the book. It stands and falls here on its own merits. Plot of the movie is discussed, but the ending is not given away. Plot of other Spielberg movies is also referenced.)
For those of you who have not yet been saturated by press releases or the trailer - Tom Cruise plays John Anderton, an investigator in the "pre-crime" police division of Washington D.C. in 2054. The department's work is facilitated by "pre-cogs", beings with the power to see the future - in particular, future murders. Alerted to crimes before they happen, the pre-crime unit can interpret the waking dreams of the pre-cogs and intercept the perpetrators before the event. This program has been such a success that murders in the D.C. area have been practically eliminated, and the government is considering taking the pre-crime unit national. Pre-cogs, it is claimed, are never wrong.
As a final safety check, federal investigator Danny Witwer (played by Colin Farrell) is sent to inspect the pre-crime facility. Anderson and his boss, Director Burgess (Max von Sydow) fear that the program is going to be taken away from them. However, things quickly get far more complex than mere power games over jurisdiction.
Another alert from the pre-cog pops up. This time, Anderson sees himself killing a man - a man he does not know. Convicted by the infallibility of his own system and convinced he has been set-up, Anderson runs, determined to escape his own destiny by finding out who framed him.
The Washington DC that he runs to is a computerized Paniopticon, biometric readers omnipresent and blithely accepted by the populace. However the street (to paraphrase William Gibson) always finds a means to subvert every technological innovation - and to continue to run, Cruise must sink into the underbelly of the world he knows and confront his own past.
As a geek, your acceptance of Minority Report's plot will depend a great deal upon your stance on temporal paradoxes. The effectiveness of the pre-crime unit rests in the belief that once the future is "seen" it must occur, and Anderton's unit is therefore justified in taking pre-emptive action. However, as Witwer points out, by intervening you have forestalled the event - is it therefore right to incarcerate someone who has not committed an offense? Determinism is assumed to be a fact, but it turns into a question central to the film.
Spielberg has received a lot of recent press claiming how much "darker" and dystopian this movie is than much of his early work. I've seen comments that extrapolate from "Saving Private Ryan" through "A.I." to this movie that suggest the man is on a trip that rivals Poe in bleakness. Suffice it to say that anyone who believes this has "E.T" burned into their minds but has forgotten "Empire of the Sun" or even "The Color Purple", films as equally as grim as "Minority Report".
In fact there comes a point about fifteen minutes before the end of the film where Spielberg could have wrapped it up, leaving every plot thread neatly tied, and delivered a much darker ending. However Hollywood, or his own essential optimism, has driven him to deliver a brighter alternative, much like "A.I." It is not a completely unsatisfactory conclusion - the climax involves a very nice moral conflict - but it is not the bleak outlook I expected from reading the pieces on Spielberg's new "dark vision".
Spielberg does not fail to hit upon themes that are central to his work - the breathtaking innocence of childhood; the loss of humanity and its possible redemption; and the two-edged sword of technology. (Spielberg is no starry-eyed technologist - the potential misuse of man's tools has been an ongoing thesis since "Duel". In "Minority Report" there is an interesting sub-theme of technology as a new religion, with Anderton, the tool user, set against Witwer, a traditionally trained Jesuit seminarian before he became a cop.
Spielberg's visualization of the near-future of 2054 is complete and compelling. Animated advertising crawls over every surface; enhanced personalization of every experience has come at the price of a sharp loss in privacy; the gap between the well-to-do and the drug-addled poor has grown massively. One wonders, however, if the appearance in the film of companies we have today is there for verisimilitude or is merely clever product placement - how many corporations do you expect to survive another 50 years with the same logo? And while the technology shown is (for the most part) very believable, it is ironic that the cause behind the pre-cogs ability is somewhat glossed over.
In his directing Spielberg has taken note of his younger, hungrier competitors, such as David Fincher.. Part of this change was to hire Alex McDowell (the production designer of "Fight Club" and "The Crow"). In addition, his camerawork, in cooperation with cinematographer Janusz Kaminski (who worked with him on "Schindler's List") is more fluid than ever, using juxtaposition and video techniques to sometimes dazzling effect. And unlike his peer Lucas, who seems happy to place ultra-mirrored spacecraft in pristine environments and shiny robots on rich green grass, Spielberg's use of CGI is more subtle, "dirtier" and almost invisibly integrated in the scenes.
In terms of the cast, Tom Cruise is, well, Cruise. He's been chosen for roles for twenty years because he is an effective actor who is also cute, charming and bankable. His role as Anderton doesn't tax those abilities in any way. Max Von Sydow is the slightly scary Old Testament father figure he established himself in even before "The Exorcist". To me, the most effective player in the cast is Colin Farrell. Given a smaller role with far less screen time than Cruise he still succeeds in making his character deep, complex, and far more dynamic than the leading man's, with better lines and sharper delivery.
The plot is certainly enough to keep you guessing, with enough twists and turns to throw most. The movie has one "discovery" and an attendant chase scene that does stretch credibility somewhat, but otherwise the plotting is coherent and relatively bulletproof. There are holes, but none large enough to spoil the movie.
As a vision of the future, "Minority Report" is chock-full of ideas. As a movie, or even as a cyberpunk thriller, it leaves a little to be desired. After the film you won't want to tear your eyes out, but you may feel a sense of disappointment that Spielberg, who has demonstrated time and again that he can be deeply insightful into the human condition, warn of the dangers of technology while showcasing its attractions, and deliver a wild ride, could not quite succeed in delivering all three at once in this movie.
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Wilco used "pirating" to break records!
So hmmm, Wilco breaks into the billboard chart at number 13 thanks to mp3 trading on the web,
and Moby is "barely floating".
Good! First off, Moby may know a thing or two about making music, but what exactly does he know about Economics, and specifically those that are related to album sales? Ah! He doesn't have any qualifications. Thats fine, I am not a slave to "pieces of paper" that say Harvard or Yale, what is his evidence?
1) he's not doing so hot.
2) Weezer's not doing so hot.
3) Pink is beating the PANTS off them both.
Hmmm, could it be that PINK spend mad money on songwriter (Specifically the lady from 4 Non Blondes) Linda Perry
Hunh, maybe she's just getting more air play and has better quality songs?
okay, okay, fine. WEll, what about Wilco, who's album has been available for ages on the web, I would think they have a techie fan base?
And didn't wide spread MP3 availability simply help them out?
So let us re-phrase the Pearl Jam Effect- when your new album sucks in comparison to your previous albums and you don't sell because you don't deserve it?
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Another Spielberg InterviewIn this interview Roger Ebert talks with Steven Spielberg and Tom Cruise regarding Minority Report. Spielberg speaks on the point of the future direction of advertising and privacy:
The Internet is watching us now. If they want to, they can see what sites you visit. In the future, television will be watching us, and customizing itself to what it knows about us. The thrilling thing is, that will make us feel we're part of the medium. The scary thing us, we'll lose our right to privacy. An ad will appear in the air around us, talking directly to us.
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Outrunning the sunThey forgot about The Mummy Returns. As Roger Ebert points out in his Full review:
4. I have written before of the ability of movie characters to outrun fireballs. In "The Mummy Returns," there is a more amazing feat. If the rising sun touches little Alex while he is wearing the magical bracelet, he will die (it is written). But Rick, carrying Alex in his arms, is able to outrace the sunrise; we see the line of sunlight moving on the ground right behind them. It is written by Eratosthenes that the Earth is about 25,000 miles around, and since there are 24 hours in a day, Rick was running approximately 1,041 miles an hour.
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Ebert thought Star Wars was better in Digital
Roger Ebert at first thought "Attack of the Clones" looked better in digital.
He's since gotten some feedback from movie goers that that isn't necessarily the case. Some complain about obvious pixelation and artifacts in the low resolution of the digital AOTC.
After seeing how lousy digital cable and digital satellite TV can be when they skimp on the bandwith, I'll remain a skeptic. -
Ebert thought Star Wars was better in Digital
Roger Ebert at first thought "Attack of the Clones" looked better in digital.
He's since gotten some feedback from movie goers that that isn't necessarily the case. Some complain about obvious pixelation and artifacts in the low resolution of the digital AOTC.
After seeing how lousy digital cable and digital satellite TV can be when they skimp on the bandwith, I'll remain a skeptic. -
Ebert thought Star Wars was better in Digital
Roger Ebert at first thought "Attack of the Clones" looked better in digital.
He's since gotten some feedback from movie goers that that isn't necessarily the case. Some complain about obvious pixelation and artifacts in the low resolution of the digital AOTC.
After seeing how lousy digital cable and digital satellite TV can be when they skimp on the bandwith, I'll remain a skeptic. -
Re:Digital will take overI hate double posting, but feel that here it is warranted...
In Roger Ebert's opinion (re: AotC on digital vs film):
"Since the movie was being projected on film on another McClurg screen...I slipped upstairs, watched a scene on film and then hurried downstairs to compare the same scene on video. The difference was dramatic: more detail, more depth, more clarity.
Readers familiar with my preference for film over video projection systems will wonder if I have switched parties. Not at all. It's to be expected that "Episode II" would look better on digital, because it was entirely filmed on digital. Therefore, the digitally projected version is generation one, and the film version is one generation further from the source. Lucas is right as far as a computer-aided special-effects movie like "Episode II" goes, but may be wrong for the vast majority of movies that depict the real world on celluloid."
The same thing would apply for Monsters Inc. as it is a digitally created work. Do the same test with a "real life" film (Insomnia for example) and see how the picture quality matches.
Yes with digital you get rid of the "jitter" and the dirt and scratches. But at what cost to the image quality and color depth? -
Wouldn't you know it...
Here it is...
"Since the movie was being projected on film on another McClurg screen...I slipped upstairs, watched a scene on film and then hurried downstairs to compare the same scene on video. The difference was dramatic: more detail, more depth, more clarity.
Readers familiar with my preference for film over video projection systems will wonder if I have switched parties. Not at all. It's to be expected that "Episode II" would look better on digital, because it was entirely filmed on digital. Therefore, the digitally projected version is generation one, and the film version is one generation further from the source. Lucas is right as far as a computer-aided special-effects movie like "Episode II" goes, but may be wrong for the vast majority of movies that depict the real world on celluloid.
[...]
My feeling is that movies shot on digital video look better projected on video, and that movies shot on film look better projected on film." -
According to Ebert...
Love him or hate him, he is a famous voice in the movie review business. Here he says "Digital images contain less information than 35mm film images, and the more you test their limits, the more you see that."
I have read (in another of his reviews that I can't find now) that movies that are "filmed" (vs. digitally recorded) look better on film, where as digitally recorded movies look better on digital projectors (duh). He also stated that film seems more suited for real life (vs. digital recording) where as digital projection is better for digitally created works (much of Clones, Monsters Inc., etc.).
Wish I could find that commentary... -
Re:Way Offtopic - Sum of all fears
I thought they got the bomb from an Israeli jet that had crashed in the 1967 war. It originally had a nuke attached, but the ground crew forgot to detach it when they were rearming the plane with conventional bombs. The plane crashed and the bomb landed in a field in Lebanon or Syria. Some farmer eventually ploughed it up and reported it to his local Hezbolla chief. If I recall. It has been a while since I read the book.
You got it right. The bad guys were Muslim terrorists, too. They used an East German nuke scientist to make the conventionat Israeli nuke into a H-bomb and set it off from a news van parked outside the Super Bowl in Denver(Phoenix?) The President was supposed to be there with his girlfriend and he takes the attack as attempt on him personally.
According to Roger Ebert the movie changed the bad guys to neonazis so they could sell it in Arab countries, where action pictures do well. I'll bet they wish they had reconsidered that decision after 9/11. -
For a second opinion....
Why don't you read Robert Ebert's review. He thought Robin Williams was rather good, and made much of the same points mentioned above. "3.5 stars"
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Ebert thinks so, too
Roger Ebert mentioned a certain fuzziness in his review.
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Re:Mixed reviews
Funny, he now lists Star Wars on his list of Great Movies.
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Re:Mixed reviewsInteresting. Do you have any evidence that Ebert hated it before changing his mind and putting it on his Great Movies list? Or are you just making this up?
And interestingly enough, he gave Phantom Menace 3 1/2 stars out of 4. Yeah, sounds like a man who really hates Star Wars no matter what. Or maybe he judged each movie objectively on its own.
If you don't agree with him, fine. But to say he went in looking for things to hate is purely ridiculous.
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Re:Mixed reviewsInteresting. Do you have any evidence that Ebert hated it before changing his mind and putting it on his Great Movies list? Or are you just making this up?
And interestingly enough, he gave Phantom Menace 3 1/2 stars out of 4. Yeah, sounds like a man who really hates Star Wars no matter what. Or maybe he judged each movie objectively on its own.
If you don't agree with him, fine. But to say he went in looking for things to hate is purely ridiculous.
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Mixed reviews
Thus far, it's gotten very different reviews.
Roger Ebert ripped it a new asshole, saying that the characters talk "more like lawyers than the heroes of a romantic fantasy."
Other reviews, however, were very positive (FilmThreat.com had a cool review here and here.
If you've got the time, look at the smorgasbord of reviews on www.mrqe.com. -
I don't know about art, but I know what I like...
There's always a lot of debate about what constitutes "art". Usually the discussion comes up if the "art" in question could be arguably pornographic, but I wonder what kind of reception this kind of thing will get from major American grant-providing organizations (ie, the National Endowment for the Arts, etc.). It's great to see that a venue like the Barbican is hosting it... but judging from the fact that the several of the email addresses on the Game On site are @barbican.co.uk, it looks like some infulential geeky guys at the gallery were able to get this kind of thing up and running.
I'm intrigued by the future of digital art, but judging from the overall poor critcal reception of major digital art efforts, and the clear inferiority of digital film (Ebert's previously-posted article is a good one re: AoTC)... there are certianly some major questions as to the validity of the digital medium as "art".
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Re:Ebert doesn't know what he's talking about.
During the time that has elapsed, the Star Wars fan base has been able to get used to the chintziness of the originals. As such, the originals have morphed from merely good stories to almost miraculous examples of cinematic perfection.
Actually, if you look at the original reviews, most found it a lot better than "merely good" (do some Googling). In his re-review of A New Hope, Ebert says:Seeing the film the first time, I was swept away, and have remained swept ever since.
And he doesn't idolize it now, either. He goes on to provide critiques:Seeing this restored version, I tried to be more objective and noted that the gun battles on board the spaceships go on a bit too long; it is remarkable that the Empire marksmen never hit anyone important; and the fighter raid on the enemy ship now plays like the computer games it predicted.
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Re:2 out of 4??They couldn't like the same movies as the general public or they wouldn't be "experts".
Then why does the "expert" Roger Ebert list the original Star Wars among his Great Movies of all time, along with other popular blockbusters of their day, like Raiders of the Lost Ark and ET?
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Re:2 out of 4??Actually, he hasn't given a 4 in over a month, and he puts out about half a dozen reviews a week. More recently, he gave Life or Something Like It one star, and Jason X zero and a half stars.
The one thing I do find amusing is that Ebert seems to talk more about the good things in movies he doesn't like, and more about the bad things in movies he does. I guess it makes sense, because if a movie really bites, the bad parts are likely to be simple ("the plot was stupid, the acting was bad"), while the good parts are likely to be more subtle ("but they did do some interesting lighting in these scenes"). Still, if you read the reviews without looking at the rating, sometimes it can be difficult to tell if he liked a movie or not.
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Re:Some reviews
Also note Rex Reed's excellent review. He calls Ep II "as exciting as a rancid Yoo-Hoo".
As for all the Ebert bashing going on here, he loved Episode I, and gave it 3.5/4 stars. So you know this one must be simply awful if he's giving it 1/2 star less than he gave The Scorpion King. -
Roger Ebert mentions this also
In his review, Roger Ebert mentions this also.
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Re:It really sucks.Welcome to the age when corporate interests dominate everything dealing with technology: if something doesn't directly make money under corporate sponsorship, it's forbidden. Really, I'm surprised that general purpose computers haven't been forbidden yet. Oh, no wait, TrustedPC has come to the rescue! Between that and the impending Microsoft Conflict OSS doesn't stand a chance.
Pack it in. OSS is well on the way to being killed by regulation, and RMS will be remembered for creating an OS used by subversives. Hmm, how long until CS majors will be required to be licensed and have to use trusted compilers?