Jump to content


Photo

"Outland"


  • Please log in to reply
64 replies to this topic

#61 George Ebersole

George Ebersole
  • Sustaining Members
  • 1570 posts
  • Industry Rep
  • San Francisco Bay Area

Posted 09 November 2017 - 11:38 AM

Well, like I said, Probert did some sketches to illustrate Trumbull's idea and go beyond what he suggested, and these are reproduced in a few places like THE ART OF STAR TREK, so maybe you saw them there.

 

My initial response to the movie was largely the same as yours, except a LOT more negative -- way too much of a s-l-o-w ripoff of THE CHANGELING, when I'd been hoping for BALANCE OF TERROR, or maybe THE IMMUNITY SYNDROME (that's the one with the big amoeba, but more importantly it is very character-centric on Spock and the Doctor, PLUS reuses the great music from THE DOOMSDAY MACHINE.)

 

My shorthand perception (which actually ignores a couple of my favorites that aren't typical eps, like THE EMPATH and RETURN TO TOMORROW) of good TREK was, "ship fires its guns and Kirk gets his shirt ripped' and TMP had precious little of the one and none of the other. I was so ticked off I didn't even let myself get seduced by the cloud visuals, which in retrospect were some of the most beautiful shots ever attempted back then, but my positive takeaways were primarily just the Goldsmith score and (most) of the miniature work, which I still think is just gorgeous, especially given the time pressure involved.

 

Don't know if you're aware, but a redshirt -- well, a helmeted security guy -- did get zapped in the rough cut, when the glowy thing invades the bridge, but Dykstra's group couldn't get the whole sequence done in time, so they dropped that portion, which happens before the probe wanders around the bridge and buzzes Chekov. It was the only time you'd have seen somebody shooting a hand phaser in the film, since the other scene, when Spock shoots vger antibodies that are mistaking Kirk for Rachel Welch, also got thrown away when Trumbull came in and started fixing the mess that was left for him.

 

Ah, the coffee finished brewing!

 

Yeah, I didn't go back to see it a second time, and only watched it casually when it hit HBO.  From a writer's standpoint the film was a departure from the TV series, and rehashing a monster episode probably wasn't the best choice.  The movie felt more like a studio trying to play catch-up with another studio's film.  

 

Then a year later "The Empire Strikes Back" hits the screens, and in retrospect I wonder why a Trek feature film couldn't have that level of energy.  I mean to me, again in retrospect, it seems like Lucas and Kirschner out did Trek at its own game ... going to a snow world, a massive memorable chase sequence in space coupled with a little bit of laser fire, visiting a jungle world, and going to a city floating int the clouds (which I think both Trek and Flash Gordon did in previous TV and serials).

 

But yeah, I mostly liked STTMP's model shots.  There's one or two that have me scratching my head.  There's a shot where the Enterprise comes within 500 meters of V'Ger, and the POV shot you see of the bridge crew looking at the screen shows some out of focus stuff for the V'Ger miniature.  Given the sterling Enterprise shot I wonder why that was out of focus.  There's also a top down shot with some shotty matte work as we see the Enterprise traverse that same section of the alien....more of a lab issue, but I wonder why they didn't clean that up.  

 

I think the story concept was okay, but that film maybe needed more Klingons, needed Kirk and Crew to beam aboard and get into some fisticuffs and fire fights with V'Gers energy-probe crew .... and maybe another space battle or two along with all of the high falutin stuff about humanity evolving with machines and saving the Earth.  Just my inane opinion here.

 

And yeah, the extra footage in the "special extended" edition doesn't add too much.


  • 0

#62 George Ebersole

George Ebersole
  • Sustaining Members
  • 1570 posts
  • Industry Rep
  • San Francisco Bay Area

Posted 18 November 2017 - 05:50 AM

Well, I went and saw Blade Runner 2046 (or whatever the title is), and I can't say I was all that impressed with the story.  The visuals are so-so on the impressive side, but the story, however well acted and well shot, was pretty low on the sophistication meter.

 

I'm glad a slower paced film as made, but it wasn't that smart of a story.  There was one major story twist, but once that was over the whole thing was fairly predictable.  Not to mention a lot of loose ends are never tied up.

 

I don't care how arrogant I sound in saying the following, and it'll probably cost me several career opportunities from pros reading this forum, but I would have shot a different script, and maybe go back to the visual color-noire look back in the 80s.

 

I understand why it was made, I understand who the audience is, but it's like did you really need to use the Blade Runner setting to tell this story?  It really feels like a different film that borrows from the 80s to put backsides in seats.  That's pretty blunt, but that's how I see it.

 

Compare it to the film which this thread is dedicated, and "Outland" almost looks like Shakespeare in space next to the new "Blade Runner". 

 

Oh well.

 

Replies, retorts, any comments on my comments I'd be interested to hear.


  • 0

#63 George Ebersole

George Ebersole
  • Sustaining Members
  • 1570 posts
  • Industry Rep
  • San Francisco Bay Area

Posted 21 November 2017 - 06:39 PM

Just so you know, your images don't load unless one copies the link and pastes it into the url field in their browsers.

Let me try to attach.

attachicon.gifoutlandshot04l.jpg

attachicon.gifoutlandshot05l.jpg

 

How a long a lens do you think was used for each of those shots?


  • 0

#64 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19769 posts
  • Cinematographer
  • Los Angeles

Posted 22 November 2017 - 10:34 AM

Maybe a 50mm anamorphic for the first and a 75mm anamorphic for the second, that's a guess. The first still has some mild barrel distortion which is common with anamorphic lenses from the 50mm and shorter. The second may even be a 100mm anamorphic.
  • 0

#65 George Ebersole

George Ebersole
  • Sustaining Members
  • 1570 posts
  • Industry Rep
  • San Francisco Bay Area

Posted 22 November 2017 - 02:49 PM

Very interesting.  Many thanks mister Mullen.


  • 0


Paralinx LLC

Aerial Filmworks

Broadcast Solutions Inc

FJS International, LLC

Metropolis Post

rebotnix Technologies

Rig Wheels Passport

Technodolly

Visual Products

Glidecam

Willys Widgets

Ritter Battery

CineTape

Gamma Ray Digital Inc

Abel Cine

Wooden Camera

The Slider

Media Blackout - Custom Cables and AKS

Tai Audio

Opal

CineLab

Tai Audio

Metropolis Post

Visual Products

Paralinx LLC

Broadcast Solutions Inc

Gamma Ray Digital Inc

rebotnix Technologies

CineTape

FJS International, LLC

Rig Wheels Passport

Willys Widgets

Glidecam

Opal

Technodolly

Aerial Filmworks

Media Blackout - Custom Cables and AKS

Ritter Battery

CineLab

The Slider

Wooden Camera

Abel Cine