Posts by Ethan Palmer61

Honestly, I’d just go ahead and perform a clean reinstall of Windows; whenever I run into these kinds of illogical glitches, that always ends up being the simplest way to fix things for me. 😁

Is it tough? Like, seriously intense? Well, it’s Gaspar Noé, so you already know it’s going to be a total trip. 😁

It really depends on which version of the movie you ended up downloading. I’m not exactly a tech expert when it comes to smartphones, but my best advice would be to try grabbing a few different versions of the same film. Take a look at the torrent description—check out the technical specs for video and audio quality, whether it's an mp4, mkv, or something else. That should help you figure out which file format will actually play smoothly on your phone.

Just because you can hear English in the background doesn't mean the movie actually has an English audio track. What you're dealing with is just poor Russian dubbing where the original English dialogue bleeds through the mix. Your best bet is to just redownload the film and look for a version that has a proper English audio track.

Go easy on the spoilers, man. Kevin Smith hasn't exactly been hitting it out of the park lately, but this one might actually be a decent laugh if we don't ruin the surprises.

This might be a bit of an awkward question to pose. We've all seen those incredible action flicks that eventually get saddled with absolutely desperate sequels, while on the flip side, we have some classic franchises that just stay consistently great. Rick Deckard mentioned Death Wish earlier, which totally slipped my mind—honestly, I think the first one is lightyears better than any of the later Die Hard or Mission: Impossible entries.

I’m not particularly huge on Paul Rudd, to be honest, but having the Monty Python crew involved makes it worth it—plus, you've got Robin Williams in there. And honestly, I think it’s pretty clever to approach the film through the lens of To be or not to be.

Based on the trailer, I get the feeling they’re leaning way too hard into toilet humor and crude jokes. That kind of vulgarity just wasn't really part of the vibe in the older movies.

If you don't have one specific favorite, just go grab the scripts for your favorite movies and read them. Or, look up some of those Oscar winners—just skim through them to get a feel for how a professional layout actually looks.
When it comes to software, Final Draft is really the gold standard because it handles all that annoying formatting for you. That said, you can totally just use Microsoft Word, or even start out writing it like a novel. Honestly, at this stage, just getting the story down on paper is what matters most.
I don't personally lean on a lot of screenwriting textbooks, but if you’re looking for something, there’s always Screenwriting for Dummies 😁
My advice? Don't get bogged down in the technical weeds right away. Forget about camera angles and shot compositions for now; just focus on fleshing out your story.
You might want to dive into some books on film theory, like the fundamentals from Ante Petrelić or some of the works by Ivo škrabalo. It's more about the essence of cinema, but it’ll definitely give you a better perspective.

Look, there isn't much magic wisdom to hand out here. At the end of the day, a killer idea and a solid story are everything; the rest is much easier to figure out later.
As William Friedkin, the director behind The French Connection, famously put it: "leave film school and study Alfred Hitchcock."

Yeah, I’m feeling pretty skeptical about this too. Ever since that Unknown era, his career has been on a serious downward slide, and everything he's put out since then has just been total garbage.

northernpilot2 said:SPOILER

I’d also throw Funny Games into this mix. I think it’s an incredibly strong film, though I have to admit that ending where they just swap houses felt a bit underwhelming to me. After witnessing all that suffering and abuse, you naturally find yourself waiting for some kind of justice—for someone to finally step in and take those villains down.

That’s just how Michael Haneke operates; he refuses to grant the audience the satisfaction of a happy ending. Take that scene where the woman kills one of the bad guys, only for the other one to simply "rewind" the moment. It’s his way of signaling right away that things aren't going to end well for anyone.

He’s a bit... unconventional like that. 😁

Samuel Murphy8 said:I’ve gotta be honest, I find this whole thing pretty hilarious.

The core issue is that up until that specific moment, everything felt somewhat rational and "plausible," almost like it was backed by some theoretical logic. But once things cross that line... I don't know, at that point, I’d just want to kill him.

bluenomad2 said:Most of the movies by Ridley Scott and Quentin Tarantino.

Could you expand on that a bit? I'm genuinely curious about your reasoning.

Personally, if I were rewriting Interstellar, I’d change everything from the moment he enters that black hole.
And that final chapter of Trier's Antichrist? It completely veered off in the wrong direction for my taste.

You know, there's actually a pretty interesting backstory to the drama surrounding Southpaw starring Jake Gyllenhaal. It originally started its life as a sequel to Eminem's 8 Mile. But somewhere along the lines during the script rewrites, they decided to ditch the rap elements entirely and pivot toward boxing instead. Because of that shift, Eminem ended up stepping away from the project, though he did eventually come back just to record a song for the soundtrack.
Here’s another little fun fact from that movie: there’s a rumor going around—and as Hans Landa would say, "I love rumors!"—that the fights in the film weren't just staged choreography. Apparently, the hits were actually real.