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ptaylor1989

Age: 34

tekin wrote:

Oh fuck I forgot Buster Keaton; and I should say I hate Tarantino and Lynch and I'm happy about that Very Happy

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EDIT: I also like Stephen Daldry's work esp. The Hours which is one of my absolute favs.

I'm curious why all the Tarantino and Lynch disdain? For all us simpletons, s'il vous plaît.
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Applerill
Autistic Princess <3

Gender: Female
Age: 30
Location: Chicago

tekin wrote:

Oh I forgot Buster Keaton.

Yeah, I was wondering about that.

Sherlock Jr. is one of my favorite movies ever.

useless

tekin wrote:

Eh ...:
Tim Burton, Jim Jarmusch, Andrey Tarkovskiy, Coen Brothers, Orson Welles, Francois Truffaut, Steven Zaillian, David Fincher, Nuri Bilge Ceylan, Ingmar Bergman, Bela Tarr, Clint Eastwood, Andrey Zvyagintsev, Charles Chaplin, Krzysztof Kieslowski, Martin Scorsese, Michael Haneke, Alexander Sokurov, Woody Allen, Michelangelo Antonioni, Gus Van Sant, Vittorio De Sica, Elia Kazan, Roman Polanski, Bernardo Bertolucci, Semih Kaplanoglu, Jean-Pierre Jeunet, Steven Spielberg, Federico Fellini, Christopher Nolan, Jean-Luc Godard, Milos Forman, Paul Thomas Anderson.

Wow! Also, Steven Zaillian is quite an interesting choice-I thought his work was generally frowned upon, except Searching For Bobby Fisher. Since you seem to be informed about Turkish cinema, what's your opinion about Fatih Akin?

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ptaylor1989 wrote:

I'm curious why all the Tarantino and Lynch disdain? For all us simpletons, s'il vous plaît.

No-one becomes a simpleton for liking or disliking a director. So I can say this: Tarantino wants to incorporate Postmodern elements into his cinematic aesthetics and Lynch wants to incorporate Modernist elements to his cinematic aesthetics. I think although it's practically possible to introduce postmodern themes from literature to cinema medium (as The Coen brothers have done successfully) but it's not even plausible to use modernist techniques in movies in such an overwhelming amount as Lynch does. Even though I admit that Postmodernist techniques are among the apparatus a filmmaker can use to narrate his story, the problem in Tarantino's case is that it seems he doesn't have a story. I mean yes, he pretends to be telling a genuine story but for me they are just masks for some short-circuits and genre-fusion ideals. The foremost role of a movie in it's American tradition is to tell a story. Filmmakers start with those sparks of inspirations and then form the narrative, primarily a sound screenplay and then make the movie with giving it the final cinematographic form. In Tarantino's case I think his dedication to certain annoyingly recurring themes and techniques just overshadows his stories which he doesn't seem to care much about. I mean we all understand the motto "pop is avant-garde" now after Warhol but the problem is that no-one would recognize Picasso's cubist masterpieces if he couldn't draw a hand in it's proper classic fashion. Tarantino doesn't seem to be patient enough to let the shots or scenes grow up and tell or show what they are supposed to show. His scenes just want to scream the notion which is in the mind of director. I don't like that. I like some fine smooth film-making. As for Lynch's case his mission seems much more irrational to me than Tarantino's. I mean I cannot just bear the mess which is Mulholland Drive. In Modernist literature if you obscure the life and acts of your characters in stream of consciousness or non-linear narrative then you have some 1000 pages to compensate for that; drop a hint here and there and the reader can come back and read several more times and proceed with the significant amount of excessive understanding about characters which have been conveyed through formal or narrative points. But where is that opportunity, where is that time in cinema medium. I mean even if there was, you don't drench yourself in the movie that much compared to a novel so you don't care about some obscure lives clouded with more-than-enough-or-necessary non-linearness. You won't go after that story because the movie can never be a sea to swim in (so letting you have 10 km depth) but a river which you cross and wet your feet in it. One must know the boundaries.

mooseboy101

Gender: Male
Location: Geneva

Applerill wrote:

But really, Moose, I now declare you to have the best taste on the whole site.

cool
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useless wrote:

Wow! Also, Steven Zaillian is quite an interesting choice-I thought his work was generally frowned upon, except Searching For Bobby Fisher. Since you seem to be informed about Turkish cinema, what's your opinion about Fatih Akin?

Steven Zaillian is a superb writer and two movies that he has directed are among my all-time favourites. As for Fatih Akın (I just forgot to include him in my list), I think and many of my fellow Turkish people who seem to care for the urgent cultural issues of the country, seem to agree with me that Fatih Akın is kind of a Saviour in our cultural approach dilemma. He has a vision of our country's cultural problems that no other intellectual seems to have or at least share. His movies may seem a little limited (dealing only with immigrant life of turks in Germany) and in some cases opinionated (although his fans think the exact opposite), but the kind of look he has is so scarce in our country which is to show the extremes a Turkish citizen can do or think about. In this regard he is unique and esp. his movie Duvara Karşı (Head-on) is a must-see with it's nuances and brilliant analytic approach. His movies are mainly cross-cultural (so I wouldn't call them Turkish cinema) but because his movies are seen in Turkey we owe him a lot.

mooseboy101

Gender: Male
Location: Geneva

tekin wrote:

I should say I hate Tarantino and Lynch and I'm happy about that Very Happy

I take it you've never seen Lynch's early short films or Eraserhead. If not, hate is a pretty extreme definition of somebody that helped shape surrealism into the mainstream. Tarantino isn't that bad of a directer but his films aren't anything special in particular so I can somewhat sympathize with you on that.
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mooseboy101 wrote:

I take it you've never seen Lynch's early short films or Eraserhead. If not, hate is a pretty extreme definition of somebody that helped shape surrealism into the mainstream. Tarantino isn't that bad of a directer but his films aren't anything special in particular so I can somewhat sympathize with you on that.

I actually don't hate anyone, that was only overstatement (I actually like Inglourious Basterds). I have only seen Lost Highway, Mulholland Drive and Inland Empire. I will try to watch Eraserhead based on your recommendation. Although I don't think Lynch's works are among Surrealist movies. I actually don't believe there's anything called Surrealism in cinema because such an approach would result in a plotless undecodeable movie and no-one would watch that. Actually Surrealist theory has some ontological assumptions which are utilized in Surrealist literature but Lynch's work does seem to have just epistemological aspects to it. The narrative is twisted not because the world itself imposes it but since the narrator visualizes it such in his/her mind.

19loveless91
mag. druž. inf

tekin wrote:

I actually don't hate anyone, that was only overstatement (I actually like Inglourious Basterds). I have only seen Lost Highway, Mulholland Drive and Inland Empire. I will try to watch Eraserhead based on your recommendation. Although I don't think Lynch's works are among Surrealist movies. I actually don't believe there's anything called Surrealism in cinema because such an approach would result in a plotless undecodeable movie and no-one would watch that. Actually Surrealist theory has some ontological assumptions which are utilized in Surrealist literature but Lynch's work does seem to have just epistemological aspects to it. The narrative is twisted not because the world itself imposes it but since the narrator visualizes it such in his/her mind.

Un Chien Andalou is pretty much like this. And yeah, Eraserhead is close to that too.

ButterThumbz
I always used to wonder if she wore false ears

Gender: Male
Age: 53
Location: O'er the hills and far away

Scorcese, Hitchcock, Allen and the Coens (obviously).

I have a lot of time for the work of del Toro, Gilliam, Raimi, Jonze, Linklater, Meadows, Greengrass, Soderbergh, Nolan, Aronofsky and P.T. Anderson.