yeah, but you're MichaelC
MAD MAX: FURY ROAD (2015) Post-Release Discussion - Page 47
Colors. Color are better than no colors, because they are more interesting and the world is full of them. I truly do not understand how this is even open to debate.
Not that I want to take away black and white versions from anyone. I just think they're dumb.
I don't like what I've seen of FURY ROAD in B&W. The film's use of color is rich and exciting and I miss it.
Desert landscapes deserve color. Also, to go from a movie that was overly saturated on release to no saturation to begin with feels suspect.
The Mist is a horror movie with 50's B-Movie influences with a town that gets engulfed by white mist that turns color to two tones anyway. I can see The Mist playing well in Black and White.
I do wonder just how much effort went into the 'black & chrome' version. Was it just a general setting applied to the whole film? Or did they get more specific from scene to scene like THE MIST did with its B&W version?
I fully get missing the colors. They're beautiful colors. But the colors are still there in multiple formats whenever you want. I'm most interested simply because Miller himself is so attached to it and am interested in attempting to see/feel what he experienced when he watched the B&W print during the process. Miller wanted a more abstract sensation that the B&W gave him. Since WB obviously wasn't gonna allow a major budget movie to be released that way, he pushed the colors beyond what was natural to give it a similar sense of abstraction. Awesome. And now he wants to share this other thing with the support of a studio.
I'd love it if we had more opportunities for us to see these 'impractically whimsical' ideas be released as extras here and there. Ideally, not the coldly calculated "SAUCIER UNRATED VERSION!!!" Or the bonus version of Anchorman that was just a patchwork of alternate takes. I'd love to be able to see earlier assembly cuts of certain films... instead of them being touted as "THE DIRECTOR'S UNCOMPROMISED VISION!!!" as they so often are... even though they're not.
I WANT TO SEE THIS SUPPOSED VERSION OF MI2 THAT WAS 3 HOURS LONG
yes... this is what it all boils down to...
yeah, I don't have a problem with the fact that this B&C version exists... that's great, sure, whatever, I'm just not going to pay money for it. maybe I will try to simulate it, though, at some point, to get an idea of what Miller was intending when he envisioned it that way.
I picture a full-blown silent film version (B&W, lots of grain and reel artifacts, maybe even some fake damage, simulation of hand-cranked on the frame rate and some jitters [which is already in the movie in certain moments], dialogue cards, a redone version of the soundtrack that emulates the kinds of soundtracks they put on those silent movies) and that would actually be pretty cool. Would be an awesome kind of thing to have playing in the background at like a Halloween party or something.
I'd like to see a version where the contrast is so high that we can only see glaring white outlines of the characters. No details whatsoever. Against a stark background where sky and ground become one. And the dialogue has been excised almost entirely, with only the most pertinent portions remaining. And when those portions are said, instead of hearing them, the frame freezes and a comic caption appears for a few seconds, then the film starts again.
Edited by Overlord - 10/28/16 at 5:40pm
Of course, the opposite is also true. Colorizing a movie that started out B&W makes me wanna get violent. Can anyone imagine something like The Third Man in anything but B&W? Basically....I just wanna see films as they were in the theater at the time of release. Films are time capsules that should not be altered..
so... not a fan of THE MAN WHO WASN'T THERE either?
And not of THE MIST, which WOULD'VE been B&W if the studio had allowed Darabont to make it that way?
Equating those to colorizing a movie that wasn't ever going to be that way doesn't really work. Especially when attempts at colorizing has yet to actually feel 'natural' to begin with.
I tried watching that colorized version of IT'S A WONDERFUL LIFE a while back. I'm glad someone attempted it just so that we can see for ourselves how misguided it is.
I prefer the B&W version of The Mist. It improves the shitty CGI.
I'll check out the B&W version of Fury Road, but probably won't buy it.
As for the rest of this convo, sheesh. You guys seems to be having a realllllly slow day. We should all go outside for a bit.
This shot actually looks better than the reveal in that comparison video.
BTW, I completely get why folks like THE MIST in B/W. I actually feel like I'm missing out on something, but it just didn't do anything for me.
So NOW you're wanting to play all nice-nice when a director indulges himself? FIE ON THAT, I SAY. FIE ON THAT!
But more seriously...I don't see anyone getting upset or angry about this. I do think it's sort of hilariously pointless. To the degree that very, very few people could tell the difference, anyone who owns the movie could essentially create this version for themselves. I think part of the reaction is because this is true and because the studio's trying to convince people to pay money for something both unnecessary and something they could essentially recreate themselves.
I think it's great Miller was able to convince WB to release a second version, closer to his original vision. Good for him! I'm in no way obligated to like it, support it, or call it a well spent amount of time and resources.
I think if this was a B/W version with no dialogue, and there were some spiffy new extras....there might be a stronger case.
But no one here's up in arms or railing against Miller. Some folks are excited (yay for them!). Some folks are more "meh."
ooooh, I missed this post.
I say play nice-nice when the director indulges himself/herself after already having more than satisfied us with the theatrical version. I don't play nice when they fail to begin with.
When did I ever say anyone was getting upset or angry over this? It's more the dismissive tenor of the reaction I'm talking about. Especially since nobody was demanding that everybody go out and buy it.
In my case, I'm gonna be able to see it in a great theater with Atmos sound in B&W, which really isn't something I'd normally be able to do myself (since I don't own an amazing 4k digital laser projecting theater... yet).
This is why I'm curious about how much work actually went into the grading of the B&W version. That interests me.
Opinion of it vs the regular version?
There's some really gorgeous stuff in it - the shadows really pop, the car getting sucked up into the tornado is really awesome (the explosion in contrast with the tornado is great), the white War Boys in the opening chase through the complex are great. For some reason, I seemed particularly attuned to the motion of everything onscreen this viewing, so that was cool. And hell, it's Fury Road. Always worth watching.
So are we actually getting a sequel to this or not?
It's the one film that pretty much unites the whole board and geekdom in general as a stroke of absolute artistic genius that stuck the landing in a sea of varying mediocrity.
Paul, if I had any technical ability, I would take the gif of Hardy Max giving a weary thumbs up, and I would INVERT it, so that he is actually giving a thumbs down, to your negligent and stunted opinion.
Fie to your bullshit, sir!
As much as I love Fury Road (and boy do I love it, my favorite Mad Max, one of my favorite action movies ever, and in my Top 100 of all time), I don't think I need a sequel.
It's partly because of the thematic... I dunno, the thematic purity of Fury Road. Think about it: here we have a movie where a new patriarchy has risen from the ashes of civilization, one were the head positions himself as a demi-god and religion is used to control its members to deplorable ends. Those persecuted by this institution attempt to escape and flee, and are hunted down mercilessly. Max is merely an empowering agent in this film, but a somewhat necessary one. He is lost, hopeless, mad...but through relationship with these women he finds just enough hope to have direction, purpose. He finds a shred of compassion left within himself, and it's everything. He helps the women turn the tables. This one long, intense chase becomes a brutal counter-attack. It's a cathartic reversal as the climax of the film and, at great cost, they succeed. They return. They overthrow the patriarchy. The women (literally) rise to power, as Max gives them a nod and then wanders off into the Wasteland. While Vangelis-esque music swells.
I don't think I can fathom a more perfect end to the franchise.
Would watch just for the rain scene.
And also Jude Law's amazing entrance shot with the arches and that wonderful, wickedly perverse score in that moment (man, Thomas Newman scored the shit out of that movie).
Back on topic: another big highlight of the Black and Chrome edition was the whole sequence where everyone's bogged down in the mud and the Bullet Farmer's car is sweeping the darkness with its spotlights. Again, great use of shadows and onscreen motion.
Just got back from Black & Chrome. I haven't watched the color version in a while, but I can sort see what Vern is saying in that tweet. But my brain is weird anyway (as a f'r'instance, whenever I play back the tavern scene in Inglourious Basterds in my head, it's always in b&w for some reason). It definitely looked to me like they put the work in on the grading before desaturating it, because it looks gorgeous in a way that simply desaturating it wouldn't, and there are a lot of shots and scenes that work like gangbusters in b&w. My favourite is probably the shot of the elevator going up after the war rig leaves in the beginning, the way it's backlit the guards become pure black silhouettes and the crowd is this gray mass, all against a pure white background. Second favourite is the night scene after meeting up with the Vuvalini.
All in all though, I'm probably Team Colour and 3D for Fury Road. There are so many shots where the 3D adds to the immensity of the environments that I don't like losing it.