Post by Dale on Sept 13, 2008 22:06:49 GMT -5
Casablanca and the Movies
Episode #3
casablanca3491 - Casablanca
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Hello, MR Directors and patrons, and welcome to the third episode of “Casablanca and the Movies”. Tonight we will continue what we started last time, by looking at a few upcoming titles with my Trailer Analysis segment, then we will movie on to a few movies, however, this time I will do slightly newer films, ones which may still be in theaters, where as I will only do 1 old films. Also, I have a new interview, this time with Movie Lord Productions, in which we will read what he has to say, and then afterwards look at his career. Also, I will, at the end, update you on the show as well as a new television review section which should be intact within the next few episodes.
So, with all of that out of the way, let’s begin this episode.
Now, under request of SCF, I would like to go back and look at the Wolf Man as it is a film which I think should be looked at, it has quality and many little scenes of wonder I think we may have missed in our rather broad review of it, however, before that lets start with the filmed videos on Movie Reels, namely “A Sound of Thunder”, “Night of Eureka”, “The Long Coats”, “5:30”, “Golf Tips”, briefly mention “Jacob’s Corruption”, and, unfortunately, “Debt Collector”, which will mainly be used as a comparison for how not to make a video. Due to the length at which it would require to analyze each and every video, I was hoping to sort of back up and look at the process of filmed videos, using the titles listed above as examples and keys to understanding how a video works.
The main problem with the videos, the thing that ruined Debt Collector, A Sound of Thunder, and not so much Jacob’s Corruption, however still a little, is the use of inspired images. With a video the script, while it may be there and while you may have put a lot of time into it, is essentially worthless. Films like The Long Coats, which try to have a nice story and a nice script excel in storytelling, however if equal measure isn’t taken against their images, the video can still fail anyway. Right now, let’s focus on A Sound of Thunder, as that is a prime example of what I just described. Now, take the opening shot. Indy42 didn’t shoot it, as I was told, however it is stunning. It is artistic; it shows a wonderful choice to use a seemingly random shot like that as the intro, then it goes nowhere, and fast. Not nowhere with the plot, because it jumps right into that, however the images were given no though, what so ever. The camera is basically standing still (actually standing shakily) aimed right at the front of the subject, with no attempt to use some nice angles or use any techniques above that of a father shooting his son’s concert for school. Now let’s take the opposite of that, 5:30. 5:30 has some of the most stunning imagery I have seen yet. It has wonderful cinematography, great black and white/use of color, and angles along with lighting which looks very impressive and professional, however there is no story. When A Sound of Thunder has no visuals but a story, and wasn’t that good, and then 5:30 had nice visuals but no story, and was astounding, it is obvious which aspect is more important in filming.
Visuals though, while make a video decent, is not the only saving grace. 5:30 is an exception, it uses its plotless structure to be interpretive, philosophical, the film is what you think it is, however, with the exception of that a slight story is needed, as well as a mixture of all forms of the senses. Finally, an opportune moment to bring up Night of Eureka. If you remember my review to Night of Eureka, you will remember I said that it mixes all of the arts to create a marvelous film. That is very true. The music, visuals, story are all top quality. It uses all three of those things to its benefit. The music creates a mood, it morphs the pace to whatever the situation is, and excites or calms the viewer. The story keeps up the tension, the suspense, and compliments the music almost in terms of drawing out emotion. Then, finally, the visuals play out as the white paper through which the story and the music paint their picture. Each aspect has its own importance, and the levels of importance for each aspect changes from film to film. Take Golf Tips, I’d say that the visuals played the most importance, the story a little and the music practically nothing. Golf Tips, while only fairly good, had decent enough visuals to succeed, and it did, as most of its humor didn’t come from the story or the few words that came up, but through the visuals. Thus, confirming the idea that filmed videos should rely on the visuals to tell the story, not just on the story.
Even in the new film Jacob’s Corruption shows this. From the director of A Sound of Thunder, I commented in my review ho the director had grown up with his use of images, and let them play a more vital part. However, sadly, as I said in my television show, the movie, like Sound of Thunder, basically circled around one thrilling scene. So, while it was a better attempt it still didn’t pass off as a great video.
Now, we can go back and a take a little, less critical view at Wolf Man, and more of that of a patron, as I want to show you a few of my favorite scenes, and why I think it worked out so well.
Kendall:
No thanks needed, Master Larry.
Larry:
Please, just call me Larry. There's no need for the formalities.
Kendall:
As you say, Master Larry. I'll take these to your room
This is a scene which shortly follows Larry’s arrival, and I just wanted to point it out because, as minor as it is, it is still brewing with the wit, the sophistication and the control as the rest of the script, and scenes like this, minor scenes of unimportant conversation are usually my favorite scenes, which is why I am a bad patron, I don’t like the high climatic scenes or the scenes of action and adventure, but small things like this. Another small scene which carries over some great feeling is:
Montford:
There's a hearing tomorrow afternoon. I'd like to meet with both of you tonight, though, to discuss our strategy.
Larry:
Hearing?
Sir John:
Paul believes that your brother was murdered. But it seems that the village is too negligent to recognize a murder. They believe it was suicide.
It isn’t a scene that involves a lot but you can practically see the suspense and mystery boiling over. This is true suspense, not an axe murderer, but a mystery eluding a death. Quiet, simple, with just as much visual excitement as watching paint dry, but just as much emotion as any shoot out I’ve seen. The next scene is one, I believe I pointed out in an earlier episode, and that is:
Gwen:
It's a man that turns into a wolf when the full moon is bright.
Larry:
You mean it bites and snaps and bays at the moon?
Gwen:
And sometimes even worse then that. How does it go again? Even a man who is pure in heart, and says his prayers by night, may become a wolf when the wolf bane blooms, and the moon is full and bright.
Larry:
Superstitions. I don't believe in them.
This really shows us what is going on. It gives us an atmospheric idea of what the town is like. They believe suicide killed the brother, they believe in superstitions, and have an old antique shop with a wolf’s head. It sets up a nice mood, an eerie mood. I can almost picture many older people, in a religious Puritan town, with wolf bane hanging all over their house. That is the key to horror, the setting. What if this film were to take place in a large metropolis? Not that scary, right?
And finally, I’d like to point out the end, which was mentioned in my original review, but I’d like to bring mention to again. (May have spoilers)
Maleva walks off screen, leaving Sir John to do nothing but crouch by his dead son, and grasp his cold hand. Montford and some of the hunters walk on screen, taking a look at the situation.
Montford:
The wolf must've attacked her, and Larry came to the rescue. I'm sorry Sir John.
Gwen cradles Larry's head in her lap. Sir John continues to stare. He's lost everything.
Gwen:
Larry?
CLOSE UP: LARRY”S FACE
His face is calm, and at peace. A smile is formed on his mouth.
What a nice way to end a film, nice and silent as the beginning was. We start off with a small, quiet town and end in the same manner as his face is at peace, very calm. However, it is also tragic, which is a nice technique as it mixes our emotions and lets us feel what we want to feel, opening, not so much an interpretation, but a mixed bag of treats, which is what the whole film was, different ideas, techniques and feelings all in one film. What a fitting end!
With that, I’d like to end the reviews here. Next episode I’ll continue, and am open to recommendations on what film to do. I will get to all eventually, however, first come, first serve.
Now, lets move on to the Trailer Analysis, as there are a few I’d like to cover. The first being “Resident Evil: Raccoon”. Interesting title. Interesting trailer as well, as it seems, like the Green Lantern Teaser, like a clip and may very well be, perhaps edited a little though. It starts:
We focus on a lab. The lighting overheard casting shadows everywhere. Sitting at a table mixing different colored liquids is William Birkin. He looks down at a vial of a purple liquid and smiles. A small screen in front of him flickers and a small box appears on the screen telling him he has a transmission coming in. He presses a button on the screen.
This tells us what kind of film it is, for those of us who don’t know the video game, it is a science fiction. From the looks of things, I’d say that the purple liquid is pretty important and will play a vital, or at least minor, part in the story. He then receives a transmission, and this being a teaser, I have a feeling it will be pretty important in telling us the story.
William: Hello?
The screen shows in the background behind Albert Wesker. A line of blood runs down the edge of his mouth.
William: Wesker? It worked?
Wesker nods.
Wesker: It did. Thank you William. Now Umbrella thinks I'm dead. And I have the Tyrant's combat data.
This is one of the most curious moments in a trailer I’ve seen so far. Aren’t you just wondering what’s going on! Well, lets take a look. Obviously, these two are co-workers and must have had some secret plan. A mission, sort of. I am guessing that Albert either worked for Umbrella or was a rival of the corporation, and Albert stole some data from them, which may be the cause of everything. Albert stole the data, Umbrella wanted him dead, then him and William tricked Umbrella into thinking just that. Either that or he stole the data after they thought he was dead, which may be true, however, I’d put my money on the first option.
William: That's definitely not good. If word gets out then Spencer is finished.
Wesker: William let me tell you something. While I was trying to get the info from Red Queen I found something. They want the G-Virus, Birkin. They will kill you.
William shakes his head.
William: I doubt that Wesker. Umbrella needs me. And they won't take the G-Virus from me.
Wesker: I can't stop you William. But I did warn you. Remember that. I'll contact you later once I get to The Agency. I'll see if I can get you a position here.
Well, now we know a little more. William works for Umbrella, Albert doesn’t, at least not anymore, and William is betraying the company. I have a feeling that there will be some great scenes of tension where the company is about to find out about William’s betrayal, and maybe not find out just by a hair. So I’m not expecting an action film, as much as a sci-fi suspense thriller. Then, after the conversation, it goes back to the liquid.
The screen switches off and William stands up and walks over to a small container. He smiles as he opens it revealing rows of vials holding a purple liquid.
William: It's sheer perfection. My precious G-Virus. No one will EVER take you from me.
So now we know that it plays a vital part in the story, and he believes no one will ever get it, but…
HUNK: Doctor. We're here for the G-Virus sample.
Of course the doctor says no, and of course the “hunk” gets it. And then finally, the climax of it all.
We focus on a sewer. Two Umbrella soldiers stand against a wall waiting when their radios crackle with a scream. They immediately run to where Alpha Team would be. They find the two down and bloodied and William standing over the vials drinking them.
Umbrella Soldier 1: W-What is this thing?! Shoot it!
They both open fire as William rushes and kills the first one by slashing with his now claw-like hand. The other continues to shoot until he runs out of ammo. He backs against the wall as William's shadow begins to get larger over him. We're shown a closeup of a large eye opening as we fade to these words
Is there much to say? Now the horror elements come out and a Wolf Man-ish plot ensues. I didn’t post a section from it, but there was a piece of the teaser with a woman in it who was friendly to William, so maybe there will be a love story where she is devastated that he is a monster, and he, though a monster, can’t bring himself to kill her. Sounds like I’m describing a soap opera. Let’s just hope it doesn’t end where a kiss frees him from the curse.
Next, I’d like to do one more trailer before moving on to that interview. This one will be a trailer to ”Garden of Beasts”, a new upcoming attraction be Movie Lord Productions. It starts off showing us that it is indeed a thriller.
The scene starts out black. The scene slowly fades in, showing the Nazi flag on the entire screen, looking as though it's waving in the wind. The scene then cuts to black.
Schumann- I'm a button man. What's a button man, you ask? Well, to put it simply, I get paid to kill people.
We know the setting, the time, and thanks to a bit of helpful narration, we know what a button man is. Now, I’m guessing, and I’m assuming I’m right, that the central plot will feature Schumann being hired to kill a Nazi, or a few Nazis, as we see the flag at the beginning. I have a feeling also that the film, though will have different countries and the war, is going to lay off the politics and be more of an action then a detailed strategic film. However, lets look and see if there are any hints of intelligence:
Cut to an apartment. Bull Gordon, the New York Senator, and Paul are seen sitting around a table, talking.
Senator- We've seen what you've done, Paul. There's no turning back now. Either you take this hit, or we send you to the chair. You're out of options.
Schumann- What do you want from me?
Well, there is some I see. Enough to satisfy me anyway. This doesn’t tell us too much new things except we now know the magnitude of the plot. It is not a simple hiring by one man to kill one small Nazi, however it appears he is being hired by the state, on which will be a large project, or hit, which leads me to believe it will be similar to a spy film. But, let’s finish it up, as there is only a little left:
Senator- Did you know Germany wants to start another war? That's what you're to prevent, Paul. You have an important role in this, and just imagine. You kill one person, and your slate is clean.
There she blows! There is everything we need to know. If the whole teaser was just that one line, it would be as good as three pages. Obviously, I was right in saying it would be a large plot, in fact, it will be a global plot, and also, we find out that it is only one person he has to kill, someone, I’m guessing, of high importance. Not Hitler, but probably the next guy up the line. Also, the character is shown a little. He is probably insolent, or at least, not kind to the government, as he needs his slate wiped clean. I doubt he hold the door open for the senator anyway. So, now we can expect a little conflict with his attitude. That could be a good thing or a bad thing for the film, as it often tends to drag out films and give them a less intelligent feel. However, I’m not worried, it seems good so far.
Wow, done with that! Now, I’m going a little longer on this episode, so let me just cut to the interview right now, and then I’ll have more time to discuss the subject, Movie Lord Production, of the interview afterwards.
Q: Hello, MLP, I am not too familiar with your work, however, I must say, I, frankly, thought Most Dangerous Game was a masterpiece. What did you think? Do you think it came out well, or would you have fixed it up a little if you had the time?
A: I did like the final product, although looking back on it, I think though I did well, I would go back and fix a few things.
Q: How do you approach your work? In reading Most Dangerous Game, it is apparent that you like to have fun while writing, and I wouldn't be surprised if some of that fun was projected into your films, do you see this?
A: I do try to have some fun while writing, although this doesn't seem to work out with all of my movies.
Q: What upcoming projects do you have coming up? Anything that deviates from your style, or anything that you believe to be a personal film, one that you have a fondness to? To you attach to your films?
A: wouldn't really say that I have a certain 'style'. I do however have Garden of Beasts coming up, which isn't something I would normally see myself doing. You would understand if you read the book that this is based on. I also don't normally get too attached to my films. I just write them and hope that the people like them, although I will be writing one soon, but everything is under wraps until I get it all figured out.
Q: When you write, do you focus on the words or the images? Do you get lost in a trance of visuals, as if you were directing it, or do you simply read it like a novel?
A: As I write, or read others' films on here, I do try to visualize it. I sometimes will catch myself proofreading my work, getting lost in the visuals that I give, although sometimes it's hard to do because I give a very vague image.
Q: In Most Dangerous Game, you used the story and characters from a great literary classic. Does this mean that you are fond of literature, or have you just taken a liking to that specific story?
A: I am a fan of literature, which surprises most people, because they don't picture me like that. The thing about Most Dangerous Game was that I saw the possibility of a good film coming out of the story.
Q: Two more questions. First, I was wondering if you think marketing and promotion is a key element or do you think that it isn't needed, at least not as heavily as some directors use it?
A: Promotion is needed, although a few directors go a little far with their promotion. There are actually a few directors who will promote a film for a few weeks, then all will be forgotten about it until it is released into the theaters. I am guilty of this, and am trying to end it. So to shorten that answer, yes it is necessary to successful films, but no it is not needed to have 27 trailers for your film.
Q: And finally, what do you think about the show "Casablanca and the Movies"? Is there anything you would like changed? Anything you would like to see?
A: I love the show, if you want my complete honesty. It is one of the best shows I've seen on the site, and I can't think of anything that needs changed, as I feel you have everything about the show perfected.
Thanks for the interview, and your kind words, and I’m sure your next film will be a success.
Now, let’s look at Movie Lord Productions a second. First thing, I thought that was a great interview, and I was happy to learn some more about his method of writing films. Obviously, he likes to have fun, as he said, when writing and though he didn’t dive into it, I do think it projects into his work a lot, as it is quite obvious that The Most Dangerous Game had a certain B-Movie level of fun to it, which was, as I said, part of its charm. Even with Garden of Beats, it isn’t as fun, but it isn’t as dark and brutal as it could have been in the hands of a lesser director. It seems that it will be a very interesting thriller and a nice journey which I am excited to take. He also pointed out the bit about promotion. It is needed, but he doesn’t go to far, which is good, as often a movie will have many trailers, and then just be forgotten, by the people and the director. However, Movie Lord Productions seems like he sticks by an idea when he gets one and finishes it off as best as he can, and I like that. He is hard working, dedicated, and doesn’t take his writing too seriously, or too loosely.
With that, it is time to come to the end of our show, where I would like to say a few things. Firstly, I will continue to look into television shows, and will have a list of those in the next few episodes. Don’t expect anything too big, as it is difficult ton have the spacer and the ideas to write a review for each series, so just expect something similar to my “What To see and What Not To” post I had when I first started reviewing. It will be a little more in depth then that, but nothing big. Also, let me update you on the show quickly. There will only be 1 more, maybe 2, episodes before Mills of God. There are so much interviews I’d like to do and more trailers to look at, so I’m thinking that one episode will have 2 interviews in it, and then just commonly one per episode. So that’s that. Also, I am going I was thinking I might do some films that I reviewed right when I started reviewing, as my reviews have progressed much, and I would be able to better give my opinion on certain things, but that idea could change, I may let you know later.
Well, thanks for viewing, and I hope to see you next time on “Casablanca and the Movies”, as always please comment telling me how you liked this episode, and I am open to any recommendation for the show, so please just ask anything. Thank you and good day.
Episode #3
casablanca3491 - Casablanca
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Hello, MR Directors and patrons, and welcome to the third episode of “Casablanca and the Movies”. Tonight we will continue what we started last time, by looking at a few upcoming titles with my Trailer Analysis segment, then we will movie on to a few movies, however, this time I will do slightly newer films, ones which may still be in theaters, where as I will only do 1 old films. Also, I have a new interview, this time with Movie Lord Productions, in which we will read what he has to say, and then afterwards look at his career. Also, I will, at the end, update you on the show as well as a new television review section which should be intact within the next few episodes.
So, with all of that out of the way, let’s begin this episode.
Now, under request of SCF, I would like to go back and look at the Wolf Man as it is a film which I think should be looked at, it has quality and many little scenes of wonder I think we may have missed in our rather broad review of it, however, before that lets start with the filmed videos on Movie Reels, namely “A Sound of Thunder”, “Night of Eureka”, “The Long Coats”, “5:30”, “Golf Tips”, briefly mention “Jacob’s Corruption”, and, unfortunately, “Debt Collector”, which will mainly be used as a comparison for how not to make a video. Due to the length at which it would require to analyze each and every video, I was hoping to sort of back up and look at the process of filmed videos, using the titles listed above as examples and keys to understanding how a video works.
The main problem with the videos, the thing that ruined Debt Collector, A Sound of Thunder, and not so much Jacob’s Corruption, however still a little, is the use of inspired images. With a video the script, while it may be there and while you may have put a lot of time into it, is essentially worthless. Films like The Long Coats, which try to have a nice story and a nice script excel in storytelling, however if equal measure isn’t taken against their images, the video can still fail anyway. Right now, let’s focus on A Sound of Thunder, as that is a prime example of what I just described. Now, take the opening shot. Indy42 didn’t shoot it, as I was told, however it is stunning. It is artistic; it shows a wonderful choice to use a seemingly random shot like that as the intro, then it goes nowhere, and fast. Not nowhere with the plot, because it jumps right into that, however the images were given no though, what so ever. The camera is basically standing still (actually standing shakily) aimed right at the front of the subject, with no attempt to use some nice angles or use any techniques above that of a father shooting his son’s concert for school. Now let’s take the opposite of that, 5:30. 5:30 has some of the most stunning imagery I have seen yet. It has wonderful cinematography, great black and white/use of color, and angles along with lighting which looks very impressive and professional, however there is no story. When A Sound of Thunder has no visuals but a story, and wasn’t that good, and then 5:30 had nice visuals but no story, and was astounding, it is obvious which aspect is more important in filming.
Visuals though, while make a video decent, is not the only saving grace. 5:30 is an exception, it uses its plotless structure to be interpretive, philosophical, the film is what you think it is, however, with the exception of that a slight story is needed, as well as a mixture of all forms of the senses. Finally, an opportune moment to bring up Night of Eureka. If you remember my review to Night of Eureka, you will remember I said that it mixes all of the arts to create a marvelous film. That is very true. The music, visuals, story are all top quality. It uses all three of those things to its benefit. The music creates a mood, it morphs the pace to whatever the situation is, and excites or calms the viewer. The story keeps up the tension, the suspense, and compliments the music almost in terms of drawing out emotion. Then, finally, the visuals play out as the white paper through which the story and the music paint their picture. Each aspect has its own importance, and the levels of importance for each aspect changes from film to film. Take Golf Tips, I’d say that the visuals played the most importance, the story a little and the music practically nothing. Golf Tips, while only fairly good, had decent enough visuals to succeed, and it did, as most of its humor didn’t come from the story or the few words that came up, but through the visuals. Thus, confirming the idea that filmed videos should rely on the visuals to tell the story, not just on the story.
Even in the new film Jacob’s Corruption shows this. From the director of A Sound of Thunder, I commented in my review ho the director had grown up with his use of images, and let them play a more vital part. However, sadly, as I said in my television show, the movie, like Sound of Thunder, basically circled around one thrilling scene. So, while it was a better attempt it still didn’t pass off as a great video.
Now, we can go back and a take a little, less critical view at Wolf Man, and more of that of a patron, as I want to show you a few of my favorite scenes, and why I think it worked out so well.
Kendall:
No thanks needed, Master Larry.
Larry:
Please, just call me Larry. There's no need for the formalities.
Kendall:
As you say, Master Larry. I'll take these to your room
This is a scene which shortly follows Larry’s arrival, and I just wanted to point it out because, as minor as it is, it is still brewing with the wit, the sophistication and the control as the rest of the script, and scenes like this, minor scenes of unimportant conversation are usually my favorite scenes, which is why I am a bad patron, I don’t like the high climatic scenes or the scenes of action and adventure, but small things like this. Another small scene which carries over some great feeling is:
Montford:
There's a hearing tomorrow afternoon. I'd like to meet with both of you tonight, though, to discuss our strategy.
Larry:
Hearing?
Sir John:
Paul believes that your brother was murdered. But it seems that the village is too negligent to recognize a murder. They believe it was suicide.
It isn’t a scene that involves a lot but you can practically see the suspense and mystery boiling over. This is true suspense, not an axe murderer, but a mystery eluding a death. Quiet, simple, with just as much visual excitement as watching paint dry, but just as much emotion as any shoot out I’ve seen. The next scene is one, I believe I pointed out in an earlier episode, and that is:
Gwen:
It's a man that turns into a wolf when the full moon is bright.
Larry:
You mean it bites and snaps and bays at the moon?
Gwen:
And sometimes even worse then that. How does it go again? Even a man who is pure in heart, and says his prayers by night, may become a wolf when the wolf bane blooms, and the moon is full and bright.
Larry:
Superstitions. I don't believe in them.
This really shows us what is going on. It gives us an atmospheric idea of what the town is like. They believe suicide killed the brother, they believe in superstitions, and have an old antique shop with a wolf’s head. It sets up a nice mood, an eerie mood. I can almost picture many older people, in a religious Puritan town, with wolf bane hanging all over their house. That is the key to horror, the setting. What if this film were to take place in a large metropolis? Not that scary, right?
And finally, I’d like to point out the end, which was mentioned in my original review, but I’d like to bring mention to again. (May have spoilers)
Maleva walks off screen, leaving Sir John to do nothing but crouch by his dead son, and grasp his cold hand. Montford and some of the hunters walk on screen, taking a look at the situation.
Montford:
The wolf must've attacked her, and Larry came to the rescue. I'm sorry Sir John.
Gwen cradles Larry's head in her lap. Sir John continues to stare. He's lost everything.
Gwen:
Larry?
CLOSE UP: LARRY”S FACE
His face is calm, and at peace. A smile is formed on his mouth.
What a nice way to end a film, nice and silent as the beginning was. We start off with a small, quiet town and end in the same manner as his face is at peace, very calm. However, it is also tragic, which is a nice technique as it mixes our emotions and lets us feel what we want to feel, opening, not so much an interpretation, but a mixed bag of treats, which is what the whole film was, different ideas, techniques and feelings all in one film. What a fitting end!
With that, I’d like to end the reviews here. Next episode I’ll continue, and am open to recommendations on what film to do. I will get to all eventually, however, first come, first serve.
Now, lets move on to the Trailer Analysis, as there are a few I’d like to cover. The first being “Resident Evil: Raccoon”. Interesting title. Interesting trailer as well, as it seems, like the Green Lantern Teaser, like a clip and may very well be, perhaps edited a little though. It starts:
We focus on a lab. The lighting overheard casting shadows everywhere. Sitting at a table mixing different colored liquids is William Birkin. He looks down at a vial of a purple liquid and smiles. A small screen in front of him flickers and a small box appears on the screen telling him he has a transmission coming in. He presses a button on the screen.
This tells us what kind of film it is, for those of us who don’t know the video game, it is a science fiction. From the looks of things, I’d say that the purple liquid is pretty important and will play a vital, or at least minor, part in the story. He then receives a transmission, and this being a teaser, I have a feeling it will be pretty important in telling us the story.
William: Hello?
The screen shows in the background behind Albert Wesker. A line of blood runs down the edge of his mouth.
William: Wesker? It worked?
Wesker nods.
Wesker: It did. Thank you William. Now Umbrella thinks I'm dead. And I have the Tyrant's combat data.
This is one of the most curious moments in a trailer I’ve seen so far. Aren’t you just wondering what’s going on! Well, lets take a look. Obviously, these two are co-workers and must have had some secret plan. A mission, sort of. I am guessing that Albert either worked for Umbrella or was a rival of the corporation, and Albert stole some data from them, which may be the cause of everything. Albert stole the data, Umbrella wanted him dead, then him and William tricked Umbrella into thinking just that. Either that or he stole the data after they thought he was dead, which may be true, however, I’d put my money on the first option.
William: That's definitely not good. If word gets out then Spencer is finished.
Wesker: William let me tell you something. While I was trying to get the info from Red Queen I found something. They want the G-Virus, Birkin. They will kill you.
William shakes his head.
William: I doubt that Wesker. Umbrella needs me. And they won't take the G-Virus from me.
Wesker: I can't stop you William. But I did warn you. Remember that. I'll contact you later once I get to The Agency. I'll see if I can get you a position here.
Well, now we know a little more. William works for Umbrella, Albert doesn’t, at least not anymore, and William is betraying the company. I have a feeling that there will be some great scenes of tension where the company is about to find out about William’s betrayal, and maybe not find out just by a hair. So I’m not expecting an action film, as much as a sci-fi suspense thriller. Then, after the conversation, it goes back to the liquid.
The screen switches off and William stands up and walks over to a small container. He smiles as he opens it revealing rows of vials holding a purple liquid.
William: It's sheer perfection. My precious G-Virus. No one will EVER take you from me.
So now we know that it plays a vital part in the story, and he believes no one will ever get it, but…
HUNK: Doctor. We're here for the G-Virus sample.
Of course the doctor says no, and of course the “hunk” gets it. And then finally, the climax of it all.
We focus on a sewer. Two Umbrella soldiers stand against a wall waiting when their radios crackle with a scream. They immediately run to where Alpha Team would be. They find the two down and bloodied and William standing over the vials drinking them.
Umbrella Soldier 1: W-What is this thing?! Shoot it!
They both open fire as William rushes and kills the first one by slashing with his now claw-like hand. The other continues to shoot until he runs out of ammo. He backs against the wall as William's shadow begins to get larger over him. We're shown a closeup of a large eye opening as we fade to these words
Is there much to say? Now the horror elements come out and a Wolf Man-ish plot ensues. I didn’t post a section from it, but there was a piece of the teaser with a woman in it who was friendly to William, so maybe there will be a love story where she is devastated that he is a monster, and he, though a monster, can’t bring himself to kill her. Sounds like I’m describing a soap opera. Let’s just hope it doesn’t end where a kiss frees him from the curse.
Next, I’d like to do one more trailer before moving on to that interview. This one will be a trailer to ”Garden of Beasts”, a new upcoming attraction be Movie Lord Productions. It starts off showing us that it is indeed a thriller.
The scene starts out black. The scene slowly fades in, showing the Nazi flag on the entire screen, looking as though it's waving in the wind. The scene then cuts to black.
Schumann- I'm a button man. What's a button man, you ask? Well, to put it simply, I get paid to kill people.
We know the setting, the time, and thanks to a bit of helpful narration, we know what a button man is. Now, I’m guessing, and I’m assuming I’m right, that the central plot will feature Schumann being hired to kill a Nazi, or a few Nazis, as we see the flag at the beginning. I have a feeling also that the film, though will have different countries and the war, is going to lay off the politics and be more of an action then a detailed strategic film. However, lets look and see if there are any hints of intelligence:
Cut to an apartment. Bull Gordon, the New York Senator, and Paul are seen sitting around a table, talking.
Senator- We've seen what you've done, Paul. There's no turning back now. Either you take this hit, or we send you to the chair. You're out of options.
Schumann- What do you want from me?
Well, there is some I see. Enough to satisfy me anyway. This doesn’t tell us too much new things except we now know the magnitude of the plot. It is not a simple hiring by one man to kill one small Nazi, however it appears he is being hired by the state, on which will be a large project, or hit, which leads me to believe it will be similar to a spy film. But, let’s finish it up, as there is only a little left:
Senator- Did you know Germany wants to start another war? That's what you're to prevent, Paul. You have an important role in this, and just imagine. You kill one person, and your slate is clean.
There she blows! There is everything we need to know. If the whole teaser was just that one line, it would be as good as three pages. Obviously, I was right in saying it would be a large plot, in fact, it will be a global plot, and also, we find out that it is only one person he has to kill, someone, I’m guessing, of high importance. Not Hitler, but probably the next guy up the line. Also, the character is shown a little. He is probably insolent, or at least, not kind to the government, as he needs his slate wiped clean. I doubt he hold the door open for the senator anyway. So, now we can expect a little conflict with his attitude. That could be a good thing or a bad thing for the film, as it often tends to drag out films and give them a less intelligent feel. However, I’m not worried, it seems good so far.
Wow, done with that! Now, I’m going a little longer on this episode, so let me just cut to the interview right now, and then I’ll have more time to discuss the subject, Movie Lord Production, of the interview afterwards.
Q: Hello, MLP, I am not too familiar with your work, however, I must say, I, frankly, thought Most Dangerous Game was a masterpiece. What did you think? Do you think it came out well, or would you have fixed it up a little if you had the time?
A: I did like the final product, although looking back on it, I think though I did well, I would go back and fix a few things.
Q: How do you approach your work? In reading Most Dangerous Game, it is apparent that you like to have fun while writing, and I wouldn't be surprised if some of that fun was projected into your films, do you see this?
A: I do try to have some fun while writing, although this doesn't seem to work out with all of my movies.
Q: What upcoming projects do you have coming up? Anything that deviates from your style, or anything that you believe to be a personal film, one that you have a fondness to? To you attach to your films?
A: wouldn't really say that I have a certain 'style'. I do however have Garden of Beasts coming up, which isn't something I would normally see myself doing. You would understand if you read the book that this is based on. I also don't normally get too attached to my films. I just write them and hope that the people like them, although I will be writing one soon, but everything is under wraps until I get it all figured out.
Q: When you write, do you focus on the words or the images? Do you get lost in a trance of visuals, as if you were directing it, or do you simply read it like a novel?
A: As I write, or read others' films on here, I do try to visualize it. I sometimes will catch myself proofreading my work, getting lost in the visuals that I give, although sometimes it's hard to do because I give a very vague image.
Q: In Most Dangerous Game, you used the story and characters from a great literary classic. Does this mean that you are fond of literature, or have you just taken a liking to that specific story?
A: I am a fan of literature, which surprises most people, because they don't picture me like that. The thing about Most Dangerous Game was that I saw the possibility of a good film coming out of the story.
Q: Two more questions. First, I was wondering if you think marketing and promotion is a key element or do you think that it isn't needed, at least not as heavily as some directors use it?
A: Promotion is needed, although a few directors go a little far with their promotion. There are actually a few directors who will promote a film for a few weeks, then all will be forgotten about it until it is released into the theaters. I am guilty of this, and am trying to end it. So to shorten that answer, yes it is necessary to successful films, but no it is not needed to have 27 trailers for your film.
Q: And finally, what do you think about the show "Casablanca and the Movies"? Is there anything you would like changed? Anything you would like to see?
A: I love the show, if you want my complete honesty. It is one of the best shows I've seen on the site, and I can't think of anything that needs changed, as I feel you have everything about the show perfected.
Thanks for the interview, and your kind words, and I’m sure your next film will be a success.
Now, let’s look at Movie Lord Productions a second. First thing, I thought that was a great interview, and I was happy to learn some more about his method of writing films. Obviously, he likes to have fun, as he said, when writing and though he didn’t dive into it, I do think it projects into his work a lot, as it is quite obvious that The Most Dangerous Game had a certain B-Movie level of fun to it, which was, as I said, part of its charm. Even with Garden of Beats, it isn’t as fun, but it isn’t as dark and brutal as it could have been in the hands of a lesser director. It seems that it will be a very interesting thriller and a nice journey which I am excited to take. He also pointed out the bit about promotion. It is needed, but he doesn’t go to far, which is good, as often a movie will have many trailers, and then just be forgotten, by the people and the director. However, Movie Lord Productions seems like he sticks by an idea when he gets one and finishes it off as best as he can, and I like that. He is hard working, dedicated, and doesn’t take his writing too seriously, or too loosely.
With that, it is time to come to the end of our show, where I would like to say a few things. Firstly, I will continue to look into television shows, and will have a list of those in the next few episodes. Don’t expect anything too big, as it is difficult ton have the spacer and the ideas to write a review for each series, so just expect something similar to my “What To see and What Not To” post I had when I first started reviewing. It will be a little more in depth then that, but nothing big. Also, let me update you on the show quickly. There will only be 1 more, maybe 2, episodes before Mills of God. There are so much interviews I’d like to do and more trailers to look at, so I’m thinking that one episode will have 2 interviews in it, and then just commonly one per episode. So that’s that. Also, I am going I was thinking I might do some films that I reviewed right when I started reviewing, as my reviews have progressed much, and I would be able to better give my opinion on certain things, but that idea could change, I may let you know later.
Well, thanks for viewing, and I hope to see you next time on “Casablanca and the Movies”, as always please comment telling me how you liked this episode, and I am open to any recommendation for the show, so please just ask anything. Thank you and good day.
