Finally, someone made a quality video essay about ‘The Room.’
I have been waiting for this day for a while now. I never knew exactly how it would happen, but I knew it would and now here it is: someone made a video essay about The Room.
If I have to explain what The Room is to you, likely the fun of this post and video will be over your head, but bookmark us and in a few months when everyone’s talking about how rad The Disaster Artist is, come back and everything will make much more sense.
In many ways, this video — from Sven Pape of the YouTube channel This Guy Edits — is totally taking the piss out of The Room and its larger-than-life writer-director-star Tommy Wiseau, but at the same time it’s also acknowledging the bizarre brand of filmic brilliance Wiseau boasts. Watching this, then, is a lot like watching The Room:...
I have been waiting for this day for a while now. I never knew exactly how it would happen, but I knew it would and now here it is: someone made a video essay about The Room.
If I have to explain what The Room is to you, likely the fun of this post and video will be over your head, but bookmark us and in a few months when everyone’s talking about how rad The Disaster Artist is, come back and everything will make much more sense.
In many ways, this video — from Sven Pape of the YouTube channel This Guy Edits — is totally taking the piss out of The Room and its larger-than-life writer-director-star Tommy Wiseau, but at the same time it’s also acknowledging the bizarre brand of filmic brilliance Wiseau boasts. Watching this, then, is a lot like watching The Room:...
- 4/3/2017
- by H. Perry Horton
- FilmSchoolRejects.com
Film editor Sven Pape, the guy behind the YouTube channel This Guy Edits, has put together a video essay in which he breaks down a scene from Tommy Wiseau’s cult classic “The Room.” In the hilarious clip, Pape pokes fun at Wiseasu’s scene blocking and the narrative of the movie, which has been dubbed both “the worst film ever made” and the “biggest cult film from the past decade.”
Read More: ‘The Room’ Mastermind Tommy Wiseau Reviews New ‘Colossal’ Trailer — Watch
The scene in question takes place towards the middle of the film, when a disillusioned Johnny (Wiseasu) finds his best friend Mark (Greg Sestero) on the rooftop of his building. Johnny confides in Mark that he’s having problems with his fiancée, Lisa (those who have seen the film know that Lisa is cheating on Johnny with Mark).
Read More: ‘Game of Thrones’ Supercut Shows That Tyrion...
Read More: ‘The Room’ Mastermind Tommy Wiseau Reviews New ‘Colossal’ Trailer — Watch
The scene in question takes place towards the middle of the film, when a disillusioned Johnny (Wiseasu) finds his best friend Mark (Greg Sestero) on the rooftop of his building. Johnny confides in Mark that he’s having problems with his fiancée, Lisa (those who have seen the film know that Lisa is cheating on Johnny with Mark).
Read More: ‘Game of Thrones’ Supercut Shows That Tyrion...
- 3/30/2017
- by Yoselin Acevedo
- Indiewire
The American Cinema Editors have released their nominations for the 2010 Ace Eddie Awards and sci-fi films dominated the Feature Film category.
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
- 1/12/2010
- by Manny
- Manny the Movie Guy
As the nominations were unveiled Tuesday morning for the American Cinema Editors' 60th annual Ace Eddie Awards, this year's awards season is looking more and more like a Hollywood version of Comic-Con.
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
- 1/11/2010
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
• Sony Pictures Home Entertainment has shifted both the DVD release of The Grudge 3 and the Blu-ray edition of the original Grudge from March 24 to May 12. And Bob Badway’s claustrophobic chiller The Uninvited (no relation to the recent DreamWorks feature) will no longer be released by Empire Home Entertainment/Hannover House; a new distributor and date will be announced shortly. You can read more-advance-than-we-expected previews of Grudge 3 and Uninvited in Fango #282, on sale this month.
• New DVDistributor Osiris Entertainment sent along word that it will give commercial release to the indie horror flick Summer School. Previously self-distributed by its creators at Random Creatureface Films, the movie is set to street April 14. Summer School was directed by Lance Hendrickson, Troy McCall, Mike P. Nelson, Steven Rhoden and Ben Trandem, who each tackled sections of the story, in which a student attending summer classes overdoses on B-horror movies and enters a...
• New DVDistributor Osiris Entertainment sent along word that it will give commercial release to the indie horror flick Summer School. Previously self-distributed by its creators at Random Creatureface Films, the movie is set to street April 14. Summer School was directed by Lance Hendrickson, Troy McCall, Mike P. Nelson, Steven Rhoden and Ben Trandem, who each tackled sections of the story, in which a student attending summer classes overdoses on B-horror movies and enters a...
- 2/24/2009
- Fangoria
Opens
Friday, April 11
For his second movie about Titanic, director James Cameron has made a film whose ambition rivals that of -- if not outstrips -- his first film, "Titanic", the all-time boxoffice champion. "Ghosts of the Abyss" is made in 3-D for Imax theaters, which means underwater cameras, camera housing, remote operating vehicles and methods of lighting had to be invented for the 2001 shoot at the legendary wreck. Yet Cameron isn't content simply to take audiences down to the vessel's watery grave. He caught Titanic fever on his first expedition in 1995 and means for audiences to get hooked too.
Cameron brings with him a crew of historians, marine scientists and even "Titanic" actor Bill Paxton to react to the awesome and strangely beautiful ruins. They explain and debate what we see and what is known about the events of the night of April 14, 1912. Searching for a way to look at the crumbling vessel not as a dead ship but a piece of living history, Cameron creates the "ghosts" of his title -- actors who re-create the historical events of Titanic's maiden voyage and are then superimposed over images of the actual wreck.
This proves a mixed blessing. Certainly the footage of the old ship, whose ghostly grandeur is still apparent despite nearly 90 years of existence underwater, speaks volumes. And to demonstrate that this is the exact spot where 1st Officer Murdoch stood as he loaded passengers into lifeboats does open a door to the tragedy. To enter a stateroom unseen by human eyes in 90 years and know that Molly Brown slept here personalizes a disaster whose horror may have been diminished by romantic legend.
But the 3-D footage of Titanic does speak volumes, and sometimes the sheer fussiness of all the ghosts and archival images get in the way. As huge as the Imax screen is, when six different images vie for one's attention, it looks cluttered.
The arguments by Cameron's crew about the life-and-death decisions of crew and passengers that fateful night and what constitutes bravery and cowardice are questions that resonate across two centuries. What might have been, should have been or could have been will always be part of the Titanic story.
"Ghosts" documents not only the ghostly wreck but how the movie, historic in and of itself, was made. We watch two little remotely operated vehicles, or ROVs, -- dubbed Jake and Elwood -- as they zip around inside the wreck at the same time we see the pictures they are transmitting back along fiber-optic lines. It does take awhile to get used to watching several things at once as they float in 3-D before one's eyes. Undoubtedly, a second viewing will yield even more discoveries.
High drama occurs when Elwood becomes "lost." Its battery dies, and it cannot make it back to the sub. Cameron and his crew devise a rescue plan in which Jake will search for, then recover his partner. Moments of frustration and genuine anguish yield to eventual triumph that proves short-lived. Elwood's recovery happens on Sept. 11, 2001, a day of an even greater human tragedy than the sinking of Titanic. The crew debates whether to continue to explore the ship. Fortunately, they do.
Paxton's role is something of a problem. He comes along as a kind of Everyman to react as we might react had Cameron chosen us to dive to Titanic. He must express comical anxiety over the dangers of the dive itself and utter such remarks as "Unbelievable" or "I can't believe I'm here" every few minutes. A little of this goes a long way.
GHOSTS OF THE ABYSS
Buena Vista Pictures
Walt Disney Pictures presents an Earthship production
Credits:
Director: James Cameron
Creative producer: Ed W Marsh
Producers: James Cameron, Chuck Comisky, Gig Rachauskas, Janace Tashjian
Line producer: Andrew Wight
Director of photography: Vince Pace
Visual effects supervisor: Chuck Comisky
Music: Jole McNeely
Editors: Ed W Marsh, Sven Pape, John Refoua
Running time: 60 minutes
MPAA rating -- G...
Friday, April 11
For his second movie about Titanic, director James Cameron has made a film whose ambition rivals that of -- if not outstrips -- his first film, "Titanic", the all-time boxoffice champion. "Ghosts of the Abyss" is made in 3-D for Imax theaters, which means underwater cameras, camera housing, remote operating vehicles and methods of lighting had to be invented for the 2001 shoot at the legendary wreck. Yet Cameron isn't content simply to take audiences down to the vessel's watery grave. He caught Titanic fever on his first expedition in 1995 and means for audiences to get hooked too.
Cameron brings with him a crew of historians, marine scientists and even "Titanic" actor Bill Paxton to react to the awesome and strangely beautiful ruins. They explain and debate what we see and what is known about the events of the night of April 14, 1912. Searching for a way to look at the crumbling vessel not as a dead ship but a piece of living history, Cameron creates the "ghosts" of his title -- actors who re-create the historical events of Titanic's maiden voyage and are then superimposed over images of the actual wreck.
This proves a mixed blessing. Certainly the footage of the old ship, whose ghostly grandeur is still apparent despite nearly 90 years of existence underwater, speaks volumes. And to demonstrate that this is the exact spot where 1st Officer Murdoch stood as he loaded passengers into lifeboats does open a door to the tragedy. To enter a stateroom unseen by human eyes in 90 years and know that Molly Brown slept here personalizes a disaster whose horror may have been diminished by romantic legend.
But the 3-D footage of Titanic does speak volumes, and sometimes the sheer fussiness of all the ghosts and archival images get in the way. As huge as the Imax screen is, when six different images vie for one's attention, it looks cluttered.
The arguments by Cameron's crew about the life-and-death decisions of crew and passengers that fateful night and what constitutes bravery and cowardice are questions that resonate across two centuries. What might have been, should have been or could have been will always be part of the Titanic story.
"Ghosts" documents not only the ghostly wreck but how the movie, historic in and of itself, was made. We watch two little remotely operated vehicles, or ROVs, -- dubbed Jake and Elwood -- as they zip around inside the wreck at the same time we see the pictures they are transmitting back along fiber-optic lines. It does take awhile to get used to watching several things at once as they float in 3-D before one's eyes. Undoubtedly, a second viewing will yield even more discoveries.
High drama occurs when Elwood becomes "lost." Its battery dies, and it cannot make it back to the sub. Cameron and his crew devise a rescue plan in which Jake will search for, then recover his partner. Moments of frustration and genuine anguish yield to eventual triumph that proves short-lived. Elwood's recovery happens on Sept. 11, 2001, a day of an even greater human tragedy than the sinking of Titanic. The crew debates whether to continue to explore the ship. Fortunately, they do.
Paxton's role is something of a problem. He comes along as a kind of Everyman to react as we might react had Cameron chosen us to dive to Titanic. He must express comical anxiety over the dangers of the dive itself and utter such remarks as "Unbelievable" or "I can't believe I'm here" every few minutes. A little of this goes a long way.
GHOSTS OF THE ABYSS
Buena Vista Pictures
Walt Disney Pictures presents an Earthship production
Credits:
Director: James Cameron
Creative producer: Ed W Marsh
Producers: James Cameron, Chuck Comisky, Gig Rachauskas, Janace Tashjian
Line producer: Andrew Wight
Director of photography: Vince Pace
Visual effects supervisor: Chuck Comisky
Music: Jole McNeely
Editors: Ed W Marsh, Sven Pape, John Refoua
Running time: 60 minutes
MPAA rating -- G...
- 4/11/2003
- The Hollywood Reporter - Movie News
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