Scene shot with a GoPro in an AAA movie with $150m budget

>scene shot with a GoPro in an AAA movie with $150m budget
>CGI looks worse than previous movie shot in 2001
>"You require assistance, m'lady?"
>48 fps meme

Is there anyone else in Hollywood who fell so low from such a high place?

Other urls found in this thread:

youtube.com/watch?v=SQkygZdZ_Vk
newyorker.com/magazine/2011/02/07/show-the-monster
twitter.com/SFWRedditGifs

Hollywood? Zizek is from Slovenia.

Lord of the rings was never good or great. Only fellowship was. Jackson is like Lucas, but worse.

The Battle of the Five Armies is one of the worst movies ever made

>Jackson is like Lucas, but worse

Atleast Jackson admitted multiple times himself that the hobbit trilogy was not executed well and that there were a lot of flaws in the end result, while Lucas is still pretending that prequels are flawless cinematic masterpieces.

Lucas created Star Wars, Jackson adapted books

It destroyed a franchise and the reputation of the director

>Lucas is still pretending that prequels are flawless cinematic masterpieces
He knew from the start they weren't as good, he just didn't have the means to make them any better. Same with Jackson: youtube.com/watch?v=SQkygZdZ_Vk the Hobbit trilogy was already doomed by the time he came aboard.

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Jesus Christ, why did Del Toro leave anyway?

Because of all the behind the scenes dicking around that was going on just to get the movies into production, let alone finished. He didn't have time to focus on that so he moved on to other projects.

Production kept getting stalled and he went to work on another movie. It's a shame, he had some neat designs and it would have been interesting to see such a different interpretation.

>animatronic Smaug never

>“In light of ongoing delays in the setting of a start date for filming “The Hobbit,” I am faced with the hardest decision of my life”, says Guillermo. “After nearly two years of living, breathing and designing a world as rich as Tolkien’s Middle Earth, I must, with great regret, take leave from helming these wonderful pictures. I remain grateful to Peter, Fran and Philippa Boyens, New Line and Warner Brothers and to all my crew in New Zealand. I’ve been privileged to work in one of the greatest countries on earth with some of the best people ever in our craft and my life will be forever changed. The blessings have been plenty, but the mounting pressures of conflicting schedules have overwhelmed the time slot originally allocated for the project. Both as a co-writer and as a director, I wlsh the production nothing but the very best of luck and I will be first in line to see the finished product. I remain an ally to it and its makers, present and future, and fully support a smooth transition to a new director”.

>mfw Smaug would have slightly resembled a demon from DOOM
FUCK MY LIFE... I can't believe his ideas were cancelled

Lucas had YEARS to write the prequels and he had total control over the productions. He owned the production company so he could've pushed back the release dates and done reshoots but he didn't. When Del Toro abandoned The Hobbit and Peter Jackson swooped in to save it Peter only had a few months until shooting began and the studio refused to change their deadlines. Also, Peter openly admits The Hobbit movies are heavily flawed whereas whenever someone asks George about the prequels he insists they aren't as bad as people say they are.

Will they make a documentary at least similar to Jodorowsky's Dune so we can see his vision?

That way I can have something else to replace the horrible Jackson Hobbit movies

Why is this shitty opinion so popular on here? The Two Towers and The Return of the King are top notch fantasy epics. Name some fantasy epics that are better than them.

long past incoming

>Del Toro, with his ornate aesthetic, was hardly the obvious choice to follow Jackson, who in his trilogy had placed Tolkien’s mythological characters in realistic landscapes—one worried about Frodo’s furry toes getting frostbite as he trudged through heavy snow. As del Toro put it, Jackson had reconstructed the Battle of Mordor with the same exactitude as the Battle of Gallipoli. Del Toro described his own style as more “operatic.” Speaking of Tolkien, he said, “I never was a mad fan of the ‘Rings’ trilogy.” “The Hobbit,” he said, “is much less black-and-white. The monsters are not just evil. They’re charming, funny, seductive. Smaug is an incredibly smart guy!” Del Toro later said that he inevitably imposed his sensibility on source material: “It’s like marrying a widow. You try to be respectful of the memory of the dead husband, but come Saturday night . . . bam.”

>We walked past a display case of Star Wars aliens, and returned to the front door. Del Toro told me that, in a few weeks, he’d be locking up Bleak House for a while. He was taking his family with him to New Zealand, where filming for “The Hobbit” was to begin once he had finished designing dozens of costumes and creatures. The production-design work would be completed at Weta Digital—the Wellington visual-effects firm that Jackson co-founded, and that created much of the dreamscape of James Cameron’s “Avatar.”

>For several months, del Toro said, he had been working on the dragon. “It will be a very different dragon than most,” he said. He proposed discussing it over lunch.

Star Wars is a better Space Fantasy epic.

>I paused at what looked like an image of a double-bitted medieval hatchet. “That’s Smaug,” del Toro said. It was an overhead view: “See, he’s like a flying axe.” Del Toro thinks that monsters should appear transformed when viewed from a fresh angle, lest the audience lose a sense of awe. Defining silhouettes is the first step in good monster design, he said. “Then you start playing with movement. The next element of design is color. And then finally—finally—comes detail. A lot of people go the other way, and just pile up a lot of detail.

> I turned to a lateral image of the dragon. Smaug’s body, as del Toro had imagined it, was unusually long and thin. The bones of its wings were articulated on the dorsal side, giving the creature a slithery softness across its belly. “It’s a little bit more like a snake,” he said. I thought of his big Russian painting. Del Toro had written that the beast would alight “like a water bird.”

> Smaug’s front legs looked disproportionately small, like those of a T. rex. This would allow the dragon to assume a different aspect in closeup: the camera could capture “hand” gestures and facial expressions in one tight frame, avoiding the quivery distractions of wings and tail. (Smaug is a voluble, manipulative dragon; Tolkien describes him as having “an overwhelming personality.”) Smaug’s eyes, del Toro added, were “going to be sculpturally very hidden.” This would create a sense of drama when the thieving Bilbo stirs the beast from slumber.

Fantasy epics are a word for shit tier fantasy. Theres no spice. Give it to terry gilliam and he would have done better. The acenes in TTT with frodo are so boring. The battles just become vidya

>Alfrid
>Lickspittle

> Del Toro wanted to be creative with the wing placement. “Dragon design can be broken into essentially two species,” he explained at one point. Most had wings attached to the forelimbs. “The only other variation is the anatomically incorrect variation of the six-appendage creature”—four legs, like a horse, with two additional winged arms. “But there’s no large creature on earth that has six appendages!” He had become frustrated while sketching dragons that followed these schemes. The journal had a discarded prototype. “Now, that’s a dragon you’ve seen before,” he said. “I just added these samurai legs. That doesn’t work for me.”

> Del Toro’s production design for “The Hobbit” seemed similarly intent on avoiding things that viewers had seen before. Whereas Jackson’s compositions had been framed by the azure New Zealand sky, del Toro planned to employ digital “sky replacement,” for a more “painterly effect.” Sometimes, instead of shooting in an actual forest, he wanted to shoot amid artificial trees that mimicked the “drawings in Tolkien’s book.” In his journal, I spied many creatures with no precedent in Tolkien, such as an armor-plated troll that curls into a ball of metal plates. Del Toro said that it would be boring to make a slavish adaptation. “Hellboy,” he noted, was based on a popular comic-book series, but he had liberally changed the story line, and the demon had become an emotionally clumsy nerd. “I am Hellboy,” he said.

> Even the major characters of “The Hobbit” bore del Toro’s watermark. In one sketch, the dwarf Thorin, depicted in battle, wore a surreal helmet that appeared to be sprouting antlers. “They’re thorns—his name is Thorin, after all,” he said. The flourish reminded me of a similar arboreal creature in “Hellboy II,” which was slightly worrying.

The problem with Lucas is that he's literally autistic and couldn't get the support that helped him during the originals (his wife who edited the movies left him during production of Episode VI). He actually approached several directors to do the prequels (Ron Howard and Robert Zemeckis come to mind), but they flat out refused.

>At the restaurant, del Toro had trouble squeezing into the booth; he had gained weight in Wellington. He was adamant that he had left “The Hobbit” of his own accord, but his language seemed careful. “The visual aspect was under my control,” he said. “There was no interference with that creation.” In collaboration with Jackson and two screenwriters, del Toro had completed drafts for Parts 1 and 2. But final revisions were still to come, and he noted that any “strong disagreements” between him and Jackson would have occurred when they debated which scenes to film and which to cut—“You know, ‘I want to keep this.’ ‘I want to keep that.’ “ But, he said, he had quit “before that impasse.” I asked him if there had been creative tension. At Weta, he said, the production delay had made everyone anxious, and he “could not distinguish between a real tension and an artificial tension.”

> He admitted that there had been discomfort over his design of Smaug. “I know this was not something that was popular,” he said. He said that he had come up with several audacious innovations—“Eight hundred years of designing dragons, going back to China, and no one has done it!”—but added that he couldn’t discuss them, because the design was not his intellectual property. “I have never operated with that much secrecy,” he said of his time at Weta.

>The most difficult part, he said, was “making peace with the fact that somebody else is going to have control of your creatures, your wardrobe, and change it, or discard it, or use it. All options are equally painful.” He added, “The stuff I left behind is absolutely gorgeous. I’m absolutely in love with it.” He suddenly became animated, waving his hands in the air like a conductor navigating a treacherous passage of Mahler. “We created a big exhibit in the last few weeks, in preparation for a studio visit.

>I had color-coded the movie: there was a green passage, a blue passage, a crimson passage, a golden passage. In Tolkien, there is a clear season for autumn, winter, summer, spring in the journey. And I thought, I cannot just stay in four movements in two movies. It will become monotonous. So I thought of organizing the movie so you have the feeling of going into eight seasons. So a certain area of the movie was coded black and green, a certain area was crimson and gold, and when we laid out the movie in a big room, we had all the wardrobe, all the props, all the color-coded key art. When you looked and saw that beautiful rainbow, you could comprehend that there was a beautiful passage.”

> At the restaurant, he reminded me that the subtitle of “The Hobbit” is “There and Back Again.” He said, “There was a moment in the screenplay—I don’t know if it’s going to survive or not—where it was made clear that the purpose of the journey is for Bilbo to know that he wants to be home, to say, ‘I understand my place in the world.’ For me, the journey to New Zealand was like that.”

newyorker.com/magazine/2011/02/07/show-the-monster

If you didn't tell me these were from five armies I would assume they were video game screenshots

What a fuckin' hack

Go back to Sup Forums

You realise that this is mostly describing the stuff that we not only got, but complained about.

I especially direct you to these lines

>Whereas Jackson’s compositions had been framed by the azure New Zealand sky, del Toro planned to employ digital “sky replacement,” for a more “painterly effect.” Sometimes, instead of shooting in an actual forest, he wanted to shoot amid artificial trees that mimicked the “drawings in Tolkien’s book.”

>I spied many creatures with no precedent in Tolkien, such as an armor-plated troll that curls into a ball of metal plates. Del Toro said that it would be boring to make a slavish adaptation.

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I quite like this, shows off the inclination of the dwarves to engineering.

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>lose weight
>lose talent
Why are skinny fucks so shit at making movies?

>take the worst part of the trilogy, ROTK
>making another trilogy with the gay video game color filter and huge amounts of CGI

wew