Working as someone in the entertainment industry, it's very uncommon for these kinds of lawsuits to produce anything. Nothing EVER makes a profit acording to hollywood, because then they'd have to pay their "net points" which are often referred to as "not points" for a reason. You never get anything from them. Next time Stan, negotiate for gross points and be a rich man.
"Maybe this is begging the question, but WHY are you mad?"
I can't answer this from a programming standpoint, but I'll do my best from a filmmaking standpoint and hope that the relevance is understood.
As an artist as well as an entertainer, there is inherently a judgemental phase of your work, where the general public gets to see the results of your work. Up to the point where you decide to show the general public, it's usually just close friends and maybe one or two outsiders. Once you get to the point where you're happy enough with a work to show it to the populace, it's absolutely nerve-wracking. You've worked long hours, sleepless nights and you're placing your baby up on a pedistal for all to see and judge.
Now imagine this same work without the polish of those long hours or sleepless nights. IMagine the public barging into your editing room and demanding to see a cut three months early; when the effects aren't done, the scenes are choppy, there are no transitions, and you still have the take where your main actor's pants fell down. It has to be horrifying to be under that kind of stress and see an unfinished product put out there for everyone to judge and tear apart.
When you make an artistic piece, you're trying for a certain kind of reaction andit takes a lot of fine tuning to get that reaction. You don't get the same kind of feeling when the tuning isn't there, and you feel like your six months to a year of work are null and void because no one seems to understand what you were getting at.
It's much the same here.
Let it be, wait for the polish and final product. It'll be a longer wait, but the effect you'll get will make it all worth it.
Re:download it hete ---useless, parent cant spell
on
Doom 3 Alpha Leaked
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· Score: 1
To correct a little bit, LOTR was done all at once for budget reasons, yes. It was easier to do all of them in one fell swoop as well as it kept all of the actors looking the same age and weight overall, which is always a concern. Now it was greenlighted by the studio as an excercise in trust. If you've ever dealt with a studio, as I do in my day to day life, you would realize that control is a term expected by them, not easily given away. With the production so far along, had Fellowhip bombed, they would have been fucked in an enormous way. The Matrix is credited by everyone throughout the filmmaking community as one of the big movies which pushed the studios to release their stranglehold on creative control and let a little more of it towards the artists.
As for Spider-Man, I wish you knew what you were talking about. The script was finished long before Raimi was ever involved and save a few minor rewrites it was handed to him as is. He chose to take it in the direction that he did with the actors he chose more than anything else. The plot was already there for him for the most part. He took control of the way it was done however, fighting the studios for control of how the special effects were done and seen as well as who the actors he chose were. If you remember for a while, ben affleck was the studio's choice for the lead role, followed by Paul Walker. They chose Tobey because he had final say over artistic control. In fact, Raimi has stated in interviews that were it not for two movies, Spider-Man would never have been made the way it was. Those movies were Fight Club and The Matrix. From his own mouth. I was never saying that because of the matrix, all these decisons were made, adn if you read my post you will see that, but that it allowed artistic control to be seen not as a curse, but a blessing among studio films. Studios are very very bossy about what they want to see and why, so for them to back off even a little is a huge deal. The Matrix paved the way by showing how successful a film can be when a little more money is thrown in, and the artists are allowed to control their craft.
Oh and for the record, Bullet Time is not a tecnique, it is a very very sophisticated computer program which allows those effects to be used in an incredibly precise manner. The old trick of firing off cameras all at once has been used in the past, but Bullet Time is a proprietary computer program designed originally for The Matrix. It is a trademarked and copyrighted and leased to other movies such as Charlie's Angels and whatnot, and a license fee was even payed by Shrek for their little joke about it.
Anyways, that's my peace from someone constantly surrounded by the movie industry, feel free to take it however you wish.
...willing to push some boundaries. It attacked Sci-Fi when Sci-Fi (with a few notable exceptions in Star Wars and Terminator) was not considered a viable genre. It brought Hong Kong style action and anime inspired cinematography to the masses, when both were considered to be niche markets at best. It pushed the limits of technology and special effects going so far as to invent proprietary techniques to better show off the ideas of the filmmakers (yes, Bullet time was invented for the Matrix and is a trademarked and patented technique. It was first seen in a Gap commercial as a sort of technology test to see how audiences would react, but was created entirely for and because of the Matrix). It was willing to have a complex and highbrow storyline that was dark and brooding while still being fun and exciting. It was also, and maybe most importantly, a test in trust from the studio to the filmmakers. They were given a lot of leeway in developing and making this movie. They were allowed to market it in the way they saw fit and rack up a huge expense bill to make sure that it was as good at they saw it in their heads. It led to other films being made under trust (decidedly rare in Hollywood), such as the filming of all three Lord of the Rings movies at once and letting Spiderman be directed by Sam Raimi of Evil Dead fame (kind of a contrast there) and played by Tobey McGuire who is more known as an arty actor than an audience drawing teen hunk.
Overall I trust these sequels because of how well The Matrix was done the first time around. I have confidence that it will be as esoteric and interesting as the first, while still kicking ass. I also appreciate them for the changes that the first brought about to the movie industry, and hope that these lead to more in the same direction. As a film major, I can only hope that there are more mass movies made to the same caliber as The Matrix, LOTR, and Spider-Man and hope to see these sequels as another catalyst for change. I also hope to be able to leave the theater with the same sense of awe and adrenaline that the first left me with.
Slashdot Mirror
Working as someone in the entertainment industry, it's very uncommon for these kinds of lawsuits to produce anything. Nothing EVER makes a profit acording to hollywood, because then they'd have to pay their "net points" which are often referred to as "not points" for a reason. You never get anything from them.
Next time Stan, negotiate for gross points and be a rich man.
I saw Yoda move, I got 50 bucks on the green guy.
"Maybe this is begging the question, but WHY are you mad?" I can't answer this from a programming standpoint, but I'll do my best from a filmmaking standpoint and hope that the relevance is understood. As an artist as well as an entertainer, there is inherently a judgemental phase of your work, where the general public gets to see the results of your work. Up to the point where you decide to show the general public, it's usually just close friends and maybe one or two outsiders. Once you get to the point where you're happy enough with a work to show it to the populace, it's absolutely nerve-wracking. You've worked long hours, sleepless nights and you're placing your baby up on a pedistal for all to see and judge. Now imagine this same work without the polish of those long hours or sleepless nights. IMagine the public barging into your editing room and demanding to see a cut three months early; when the effects aren't done, the scenes are choppy, there are no transitions, and you still have the take where your main actor's pants fell down. It has to be horrifying to be under that kind of stress and see an unfinished product put out there for everyone to judge and tear apart. When you make an artistic piece, you're trying for a certain kind of reaction andit takes a lot of fine tuning to get that reaction. You don't get the same kind of feeling when the tuning isn't there, and you feel like your six months to a year of work are null and void because no one seems to understand what you were getting at. It's much the same here. Let it be, wait for the polish and final product. It'll be a longer wait, but the effect you'll get will make it all worth it.
Smae as above, nothing here, move along now.
By the way (BTW) it's a BMW, not a BWM.
To correct a little bit, LOTR was done all at once for budget reasons, yes. It was easier to do all of them in one fell swoop as well as it kept all of the actors looking the same age and weight overall, which is always a concern.
Now it was greenlighted by the studio as an excercise in trust. If you've ever dealt with a studio, as I do in my day to day life, you would realize that control is a term expected by them, not easily given away. With the production so far along, had Fellowhip bombed, they would have been fucked in an enormous way. The Matrix is credited by everyone throughout the filmmaking community as one of the big movies which pushed the studios to release their stranglehold on creative control and let a little more of it towards the artists.
As for Spider-Man, I wish you knew what you were talking about. The script was finished long before Raimi was ever involved and save a few minor rewrites it was handed to him as is. He chose to take it in the direction that he did with the actors he chose more than anything else. The plot was already there for him for the most part. He took control of the way it was done however, fighting the studios for control of how the special effects were done and seen as well as who the actors he chose were. If you remember for a while, ben affleck was the studio's choice for the lead role, followed by Paul Walker. They chose Tobey because he had final say over artistic control.
In fact, Raimi has stated in interviews that were it not for two movies, Spider-Man would never have been made the way it was. Those movies were Fight Club and The Matrix. From his own mouth.
I was never saying that because of the matrix, all these decisons were made, adn if you read my post you will see that, but that it allowed artistic control to be seen not as a curse, but a blessing among studio films. Studios are very very bossy about what they want to see and why, so for them to back off even a little is a huge deal. The Matrix paved the way by showing how successful a film can be when a little more money is thrown in, and the artists are allowed to control their craft.
Oh and for the record, Bullet Time is not a tecnique, it is a very very sophisticated computer program which allows those effects to be used in an incredibly precise manner. The old trick of firing off cameras all at once has been used in the past, but Bullet Time is a proprietary computer program designed originally for The Matrix. It is a trademarked and copyrighted and leased to other movies such as Charlie's Angels and whatnot, and a license fee was even payed by Shrek for their little joke about it.
Anyways, that's my peace from someone constantly surrounded by the movie industry, feel free to take it however you wish.
...willing to push some boundaries.
It attacked Sci-Fi when Sci-Fi (with a few notable exceptions in Star Wars and Terminator) was not considered a viable genre.
It brought Hong Kong style action and anime inspired cinematography to the masses, when both were considered to be niche markets at best.
It pushed the limits of technology and special effects going so far as to invent proprietary techniques to better show off the ideas of the filmmakers (yes, Bullet time was invented for the Matrix and is a trademarked and patented technique. It was first seen in a Gap commercial as a sort of technology test to see how audiences would react, but was created entirely for and because of the Matrix).
It was willing to have a complex and highbrow storyline that was dark and brooding while still being fun and exciting.
It was also, and maybe most importantly, a test in trust from the studio to the filmmakers. They were given a lot of leeway in developing and making this movie. They were allowed to market it in the way they saw fit and rack up a huge expense bill to make sure that it was as good at they saw it in their heads. It led to other films being made under trust (decidedly rare in Hollywood), such as the filming of all three Lord of the Rings movies at once and letting Spiderman be directed by Sam Raimi of Evil Dead fame (kind of a contrast there) and played by Tobey McGuire who is more known as an arty actor than an audience drawing teen hunk.
Overall I trust these sequels because of how well The Matrix was done the first time around. I have confidence that it will be as esoteric and interesting as the first, while still kicking ass. I also appreciate them for the changes that the first brought about to the movie industry, and hope that these lead to more in the same direction. As a film major, I can only hope that there are more mass movies made to the same caliber as The Matrix, LOTR, and Spider-Man and hope to see these sequels as another catalyst for change. I also hope to be able to leave the theater with the same sense of awe and adrenaline that the first left me with.
Here's to hoping.