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CaptainCrozier's Replies
There's also cyber terrorism, which society is vulnerable to given the degree to which everyone has become dependent on the Internet.
<blockquote>nobody could have predicted the darker consequences of [the Internet]. Trolls being rude is surprisingly the least nasty outcome</blockquote>Misinformation spreads much more rapidly today than ever. And terrorist and criminal groups can network more easily than at any point in the past. I take it that's what you're referring to?
According to Ron Howard's commentary on the DVD, some scenes were filmed on the KC-135 airplane, a.k.a the Vomit Comet, which has been used since the actual Moon Race of the '60's to train astronauts for zero-gravity, while others were filmed on the ground with the aid of seesaws and other props--for all shots other than head-to-toe ones--or by way of having the guys mime it, which they apparently learned how to do fairly well courtesy of their 'training' on the Vomit Comet.
I agree with probably 85 to 90% of the points in your OP, AmeriGirl26, and I consider myself more of a middle of the road kind of guy than anything else.
The modern American left has truly lost it's marbles.
I know how this is going to sound, but she actually does look dumber in this movie than usual, presumably because of her blonde hair.
<blockquote>Born in the late 80s, childhood in the 90s, teenhood in the early 2000s.
I don't think the best movies ever were all made during that time; I've seen many awesome ones that were made before I was born, and a few good ones in recent years. The trouble is, in recent years (like after 2015) they are few in number :(. I will tell you I loved many films that came out between '86 and 2016, but I wouldn't call them "the best" of all time.
</blockquote>This.
I know it sounds lazy, but I'm presumably close to the same age as you AmeriGirl26 and feel exactly the same way on all your points.
And since the OP's post, she has moved up two spots!
Quite a tough old bird, ain't she!
His I-don't-care attitude as Hockney the whole movie was indeed awesome :)
I don't know.
I know this is late, but Maher is 100% correct about the MeToo movement.
"Safe space" proponents and SJWs are indeed pathetic. Bill Maher has every right to mock those people.
I do however somewhat agree with the OP in that Maher is starting to come off like the archetypal grouchy old man these days.
<blockquote>So what is the point you'd like to make once you get a "feminists and supporters of #MeToo" to engage you in conversation?
</blockquote>None. I just want to know where they stand.
Although, since many of them appear to be of the mentality that women harassing/assaulting men is either no big deal or doesn't exist then insofar as I have a point to make, it is to call them out on their hypocrisy.
I've noticed that over the past few years many feminist writers have talked about older movies such as Thelma and Louise and 9 to 5 for being culturally relevant movies, possibly even ahead of their time, but on the subject of Disclosure, all I hear are chirping crickets.
<blockquote>well who have you asked?
Do you know any "feminists and supporters of #MeToo" ?
I'd imagine they would think its an interesting fictional crime drama about a woman commiting sexual harrasment at work.
They would agree the woman is the baddie and the man is the victim.
You make it sound like this movie is justification to kill the feminst and metoo movement as if it in some way proves that all women in real life are sexual predators.</blockquote> I have indeed spoken with a few.
They either haven't seen this movie, or think that it is an irrelevant movie because apparently only women can be victims of sexual harassment/assault and only men are perpetrators, or they engage in some sort of intellectual gymnastics to avoid having to engage me in conversation.
<blockquote>Did they mention why the rear projection was so bad here?</blockquote>No.
James Cameron did say, shortly after T2, that he preferred the use of rear projection over blue and green screen since it aids actors performances by giving them something to react to. Though I'm pretty sure this was the last time he used it, and surely one of the last times it was ever used in any movie. I wonder what Cameron would say about rear projection now!
Then John calling his house from the payphone, telling the Terminator about the history of him and his mom, the two jocks showing up, and John telling Terminator not to kill anyone.
The Terminator's arrival at the biker bar was filmed either just before or after that.
The bit where they pull over after the canal chase and Terminator explains his mission was also filmed about this time(late March).
Sarah's nightmare was filmed next.
Then the T-1000's arrival(early April).
And finally the opening credit sequence with the burning playground.
I know roughly the filming schedule from having obsessively watched and re-watched the making of featurettes and commentaries on both the Extreme and Special Editions over the years.
As someone earlier said, filming began in October 1990. it actually wrapped the following April.
The desert segment in the middle of the movie was shot first. Incidentally, one of the production assistants mentions on the Special Edition commentary that Furlong looks especially young in most of those shots and states that for the scene where John and the Terminator are talking about crying they wanted to not re-dub Furlong's dialogue in post-production because they wanted his high voice to remain intact because they felt it somehow fit the scene.
All the scenes at John's foster house were shot next(October 1990).
Then the drainage canal chase(late October).
Then many of the Cyberdyne scenes, including the shootouts, Terminator crashing the van into the lobby, and the building blowing up(first half of November).
Then the helicopter/SWAT van chase and pickup truck/tanker chase(second half of November).
Then the steel mill scenes(December and January).
Then the pre-credit future war sequence
Then all the scenes at the mental hospital, including Sarah's escape with John and the Terminator(January 1991).
Then all the scenes at Dyson's house(early February).
Then some scenes requiring the use of a soundstage and, believe or not, rear-projection! These would have included the scene right after the hospital escape where Sarah scolds John in the car, as well as closeups of all the actors during various chases throughout the movie.
Then the scenes at the mall where the Terminators first find John, including the shootout in the utility corridor, the T-1000 throwing Terminator through the window, and the first part of the subsequent chase with the T-1000 chasing John on foot out of the parking garage(March).
<blockquote>I agree fully about the music, which I find odd because I love James Horner generally.</blockquote>I second that statement, on both fronts.
<blockquote>If Dalton could have had A View to a Kill and Goldeneye, I think his run as Bond would celebrated today, lauded as one of the best. He really got a raw deal. </blockquote>TandyMan, I have to take my hat off to you! Brilliant observation ;)
I'm going to try to spell out what I think many others have been trying to say throughout this thread and which I have felt for many, many years now and that is that Goldeneye does seem like it was written with Timothy Dalton's version of Bond in mind. Namely, in that Goldeneye is a very reflective and introspective movie and Dalton's version of 007 was easily the most introspective of all the Bonds. The film is all about reflecting on where Bond fits in a post-Cold War world and after everything Bond went through in License to Kill, it seems only fitting to me that that character be given a kind of epilogue/prologue. Epilogue in that he is assessing where he goes from here and prologue in that he contemplates a new beginning.
I also concur with the person further up the thread who said that Brosnan's Bond did not click quite as well with Alec Trevelyan as Dalton's Bond, who in demeanor, temperament and disposition is rather similar to Trevelyan. I can easily picture Trevelyan and Dalton's Bond having at one time been close friends. For that reason alone Dalton probably would have been a better fit for Goldeneye than Brosnan.
Incidentally, did you guys know that before Dalton was cast in The Living Daylights that Sean Bean was considered for a while? Kind of casts Goldeneye/Dalton Bond and Trevelyan's chemistry in a new light, eh?!
Not to mention Sarah stabbing Dr. Silberman with his pen just before the events of the movie, according to him.
It also would have been interesting if Karl was the first guy McClane killed and Tony was out for revenge the rest of the movie. I think Tony would have held his rage in check though. He seemed calmer and more stoic than his hot-headed brother, as illustrated in the phone-cutting scene.