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  1. Glad you guys had a great time, sounds like the only person missing at the premiere was Garth Ennis.
  2. It's annoying to hear a nitpick when you love something, easy to dismiss someone as a troll or idiot. Beauty is in the eye of the beholder, if you like it, who cares if someone else doesn't, and how boring would things be if everyone had the same perspective?! As a strong supporter of this movie, I think Mike V's "Hannibal" complaint is fair judgment. I loved the script as a whole, but to be honest it had lazy writing in some key spots. It won't bother me any bit on film, but its understandable for someone who looks into things deeper (like Mike) to recognize these flaws.
  3. Soap's interview confirmed that Frank in this movie was a "Special Forces Instructor" and the Central Park scene has his family a witness to a mob execution. I think this means we'll see the entire massacre of his family instead of quick flashes, this will strengthen the impact for sure. And as a Special Forces instructor, would be nice if we could see a glimpse of Frank teaching a class, perhaps a student asking him about 'Nam.
  4. Can someone fill me in on what happened to Thomas Logan, I'll admit his posts were fun to read even though I disagreed with him 99% of the time. The only Alien movie I've seen was Alien Resurrection, which I liked. I'll try to rent the first two this weekend. Oh there was an Alien reference in "Valley Forge, Valley Forge". The delta force guys were disgusted by the mess of bodies left by Punisher, one of the soldiers said "Did you ever see Alien? (about Frank) "I admire its purity". Those new PWZ vids are great, I'm actually afraid to watch any more clips, I want some stuff to surprise me in the theater. I'm still wondering what changes they made to the script (SPOILER)
  5. That poster does look cool in the theaters, kinda small though, not as big as it looks on the web. AvP-R was rated 14A in Canada, I don't think we take creature violence seriously. I'm aware of the skinned body and exploding human heads, but they still released it as 14A here. The Saw movies have all been rated 18A (meaning anyone under 18 can see it as long as there's an adult with them). Can't remember what was the last true rated "R" film I seen here, think it was Texas Chainsaw Masacre (remake)
  6. I watched an unrated cut of "The Descent" on the weekend, man oh man did Lionsgate botch that film with the North American release. If you want proof that someone at Lionsgate needs to be shot, watch the unrated original UK version's ending, then look at the Lionsgate piece of sh*t ending. The director was against the final cut, but he said there was nothing he could do, whatever scores highest in the screen tests are what they decide on, no matter what.
  7. Dahl did an excellent job with Joy Ride. I'm a big Dexter fan, I haven't started season 3 yet, so without spoiling anything.. can you tell me how well Dahl did on Dexter? I'm expecting the suspense was killer, he's good at that and pacing. I'm glad Lexi was chosen though, loved Green Street Hooligans, think her plus steve gainer's cinematography is a fantastic combo.
  8. Today's the one year anniversary of this thread, what a great read this was. Some highlights off the top of my head.. -Steve Gainer dropping in and restoring faith. -Thomas Logan vs the IMDB invasion -Kevin and all the "The Truth" controversy
  9. I'm speechless.. that's one of the best wolvie covers ever. WOW!
  10. Check out this new Steve Gainer interview on PWZ, interesting stuff on the lighting and some of the gear he used. "Vivid Vengeance -Cinematographer Steve Gainer gives Punisher War Zone a true comic book look" Steve Gainer, ASC, is very proud of his work on the many indie features he’s shot, but Punisher: War Zone has given him the opportunity to work on a bigger canvas. This action-packed “reboot” of Marvel Comics’ Punisher series (not a sequel to the 2004 film The Punisher), with imagery designed to look just like the comic book source, was exactly the kind of work Gainer had been longing to do. “No one wants to believe that if you can shoot movie with a million dollars that you can do the same thing with 40 times that,” he observes, noting that Director Lexi Alexender and Producer Gale Anne Hurd were exceptions willing to push for him to make the leap. The job was a particular treat for comic book fan Gainer because Alexander’s take called for the visuals to go further than all previous comic book adaptations in terms of really looking as close as live action filmmaking could come to the graphic source material. “Our aim wasn’t to make it look kind of like the comic book,” Gainer explains. “It was to make it look like the comic book! That means the color of the light, the wardrobe, the cars, the walls—everything is in the color scheme of the Punisher comic books. Andrew Nitzcoromny is a wonderful production designer and he did a great job within a budget that was a lot bigger than anything I’d worked on but was still limited for the scale of the film.” Shot mostly in Montreal (for New York) and almost entirely at night, Gainer’s primary stock was Fujifilm Eterna 500T. He shot the very few day exteriors using Fujifilm Eterna Vivid 160T. “The Vivid is a beautiful stock,” he notes, “but I needed so many lights to give the look we were going for to cover multiple city blocks thatI can’t imagine what I’d have needed for an ASA 160 stock.” The “Marvel New York” look, for example, makes use of exaggerated oranges and yellows to suggest streetlights, and then some deep blues. “The location inside the Punisher’s den,” he says, “is bathed in this beautiful, deep blue. Lighting in the film isn’t so much ‘motivated’ in the sense of, ‘Here’s a lamp so that’s where the light’s coming from.’ The comic book really doesn’t look like that and so we felt free to use gels because they’re cool and they’re inspired by the comic.” Another aspect of most comic book art, Gainer adds, “is that it can be night but you can see everything. There is generally no atmospheric perspective. Nothing falls off. My choice was to put metric tons of light into the area and that allowed me to have enormous depth of vision. On lower budget movies you go into a neighborhood at night and maybe one city block is lit and then everything drops off. In this movie, every time you see down the street, it’s lit for six blocks or more.” Had the action been covered single-camera style, he might not have had to use quite as much light as he did. He could have opened up to maximum aperture for the wide shots and possibly only boosted light levels for close-ups on long lenses. But the 40-day schedule for a film with big action set pieces required multiple camera coverage—almost always three cameras rolled at once, often as many as six. “If I lit the scene,” Gainer says, “to the stop I’ve usually worked at at night—a T2 or T2.8—that might be fine for the camera with the wide lens, but there were usually cameras with a 200mm lens and that’s just such a tight depth of field, especially for action where actors and stunt people just aren’t going to hit the marks perfectly every time. They’re going to be bouncing all over the place.” Instead, he worked frequently at a T5.6, which necessitated a lot of Condors carrying 20Ks, huge numbers of PAR cans and quite a lot of other lighting gear as well. So did working on this kind of scale finally satisfy Gainer’s desire to shoot higher-end productions? He offers a resounding, “No!” “I had a taste of a forty-day schedule and a 30-person pre-rig crew,” Gainer enthuses. “This only whetted my appetite!” You can get the pdf version from Fuji film, it starts at page 12. There's no new images of the film. PDF
  11. There's a new positive review of the film up at Blu-Ray.com The Blu Ray version comes out tomorrow! Should be worth getting even if you have the dvd, there's the Dolby TrueHD 5.1 lossless audio track, plus the better PQ obviously.
  12. IGN expects the best of both worlds from one film, which is unfair criticism imo. There was a b&w X-files episode about a Frankenstein-like monster, they had modern slang and references from Jerry Springer to Cher throughout. Despite this, the ep still felt like classic horror to me, and I'm sure a b&w Mist will pull it off even more.
  13. Some good soundtracks I've been listening to recently: Lady in the Water - James Newton Howard ("Prologue" and "The Healing") Fantastic Four: Rise of the Silver Surfer ("Silver Savior/Aftermath") 28 Weeks Later - John Murphy (the whole thing rocks) What I'm patiently waiting for is a "Death Sentence" soundtrack, don't know if they'll ever release it
  14. I can't wait for the blu-ray version on Sept 16th. Haven't watched the film in B&W yet, should be a cool experience. IGN just gave the disc an 8/10 http://dvd.ign.com/articles/902/902819p1.html
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