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Potiki
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Posts posted by Potiki
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Just now, AJG said:
- they only added 1.7 million subs across WBD streaming??? Was that just HBO Max???
They lost 0.3m Domestic subs and gained 2m international subs that is across all subs (which would mostly be Disco+ and HBO Max)
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Disney carrying that studio profit, first thing they shouted out was Lego Star Wars: The Skywalker Saga.
But don't worry Zaslav says they have unmatched Brands (no one in the business has more/better brands)
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All this for $1B in profit in 2025
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Global rollout, using HBO Max markets first.
Low goals only adding 38m or so subs
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Some of the slides are telling
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People hear David Zaslav voice and stock is down nearly another 5% lol
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WBD stock is down over 5% in after hours trading, Netflix, Disney and Paramount are all pretty flat so Wall Street sees this as WBD problem. The call is just starting now let's see if what they have to say impacts their stock one way or another.
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The earnings call is no open by the way, should start in about 10 minutes
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I don't think WBD is breaking out the share of HBO Max or Discovery+ subs, this is worse than AT&T if true.
Anyway still small growth 92.1m global subs up 1.7m for the quarter.
source: https://ir.wbd.com/files/doc_financials/2022/q2/WBD-2Q22-Earnings-Release.pdf
edit: should mention here just like I did in the streaming thread:
Revenue $2.23B
Domestic subs 53m down -0.3m from 53.3m in Q1
International subs 39.1m up 2m from 37.1m in Q1
Global ARPU for all subs is $7.66
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39 minutes ago, AJG said:
https://ir.corporate.discovery.com/investor-relations/default.aspx
The audio live stream is here
https://events.q4inc.com/attendee/436689605
Unlike Disney we might need to sign up - hopefully its free
It is free, you also don't need to confirm with an email, so you can just make up a fake name/email if you don't want to receive WBD Investor Relations emails in the future lol
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Up, Memories of Murder and Face/Off missing out
I suppose at least they got somewhat close.
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4 minutes ago, TwoMisfits said:
Marvel was $4B 13 years ago - just by time value of money, that price would be double.
And Disney didn't get all of it - they didn't get MOST of the flagship characters (Spidey, Xmen, FF, the villains for each, etc) - all they got was the Avengers and the pips...
And then Disney showed what it could be worth...and that's raised the price exponentially...
So, if you get ALL of DC's flagship at current 2022 prices, you're talking at least $30B, not $5-7B, as a starting figure...
For $30B you may as well go buy Paramount (which is roughly double it's market cap of ~$16B) you would be getting way more bang for your buck all of Nickelodeon (Spongebob merchandise alone is huge), Star Trek, Mission Impossible, Top Gun ... the list goes on.
Also would be super ballsy of WBD to try sell DC for $30B when that is 3/4 of the market cap of their entire company right now.
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2 minutes ago, TwoMisfits said:
5-7B isn't enough...maybe you get a Sony type deal where you sell them the Flash and his villains or the Lantern Corps for that value...
7B is close to what Disney paid for Marvel and Lucasfilm combined or alternatively Pixar and with those purchases they also got film production companies. If I recall correctly DC films uses WB and New Line for production so all you would be getting is the IP.
I can't see DC selling for much over 7-8B unless there is some other incentives thrown in.
If this was a few months there was some crazy money being thrown around for all sorts of production companies so they could have made a huge sum early in the year or late last year probably but I think that is over for the foreseeable future.
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1 hour ago, stephanos13 said:
Please explain to me how streaming is the future.
What company has a successful streaming service that makes money for them?
- Netflix stock is at the same as it was 4 and a half years ago.
- Peacock $467 million losses.
- Paramount ->
- Apple and Amazon -> No comment, they are just dumping money.
Everything you listed is in the past and an investment needs to be made for future profitability, much like how a film in production will cost money until it is released and has a chance to make that money back plus more.
Breaking down your points:
Netflix used to be included as a tech stock in FAANG as was overvalued as such, now it has been revalued as a media stock. That said if you take the market caps of WBD and Paramount then double them that is pretty close to what Netflix market cap is right now without any cable, broadcast, theatrical, theme parks and limited merchandise.
Disney has been expanding into new countries and that is costly as they have to localise the app and shows/movies, have a big marketing spend, process local payments, spend on local programming and all without getting anything back until they launch. Disney has also bested expectations and has ramped up their spend fairly quickly (particularly with ESPN+) but so far that has been paying off and they will likely be very profitable 5 years from now from streaming.
Peacock has been a massive failure. NBCUniversal has been halfhearted in the attempt to move into streaming probably because their parent company is Comcast.
Paramount has continued to license shows and movies and still had an impressive amount of streaming growth, the reason Q1 22 was down on Q1 21 was due in part due the lack of a Super Bowl and due the fact they made a lot more money selling movies to streaming last year than showing them theatrically as you can see by the revenue and profit mix below
source: https://ir.paramount.com/static-files/4eca8381-53d2-4975-8a42-22620ca94218
Apple and Amazon do not break out streaming as you mentioned so no further analysis there.
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1 minute ago, Borobudur said:
Most of my top picks are dropped off from the race. I began to wonder if Titanic will miss out from the list.
Titanic will likely be top 20 I would think.
You have to remember Avatar made the top 100, if Titanic didn't show that would be crazy.
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18 minutes ago, The Panda said:
#17 Cartoon Ranking
Silence is an anime now?
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12 minutes ago, The Panda said:
OH MY FUCKING GOD, WE DID IT! WE DID IT!
The movie is bringing me to tears again just listening to the ambient soundtrack and reading through sources
Number 62
"It was in the silence that I heard Your voice."
About the Film
Synopsis
"Two Jesuit priests travel to seventeenth century Japan which has, under the Tokugawa shogunate, banned Catholicism and almost all foreign contact."
Its Legacy
"The history of Christian missionaries—in Japan and elsewhere—is a complicated one. Remember that when speaking about “Christian missionaries” we are talking about a 2,000-year history that begins with St. Paul and took place in almost every country in the world. Add to that the variety of the originating countries of the missionaries, and you get an idea of the complexity of the history. Even if we consider simply the era in which the film is set, the 17th century, almost every European country, was sending Christian missionaries abroad. Also, we must take into account the wide variety of approaches among the many Catholic religious orders active in the missionary field: Franciscans, Jesuits, Dominicans and so on. In some instances, missionary priests, brothers and sisters traveled with representatives of the colonial powers and were seen, rightly or wrongly, as adjuncts of these political actors.
But the missionaries came to these new lands to bring what they considered a gift of inestimable value to the people they would meet: the Good News of Jesus Christ. Let us look at the case of Fathers Rodrigues and Garupe. Both have come to Japan to spread the Gospel. (We can reasonably presume their being sent from Portugal not simply to find Father Ferreira but later to remain in Japan.) They are bringing what they consider to be the most precious thing that they know to a new people: Jesus. Is it arrogant to say that they are bringing a gift? Others may think so, but not to my mind. Think of it as a physician wanting to bring medicine to someone he or she knows is in need. And doing so at peril to his or her own life.
Jesuits both fictional and real did this out of love. Out of love for God and love for the peoples with whom they were ministering. If you doubt their motivation I would ask this: Would you leave behind all that you knew—your country, your language, your family, your friends, your food, your culture, your traditions—to travel across the globe at immense risk, in order to give a gift to a group of people whom you’d never met, a group of people whom many in your home country think are unworthy of being given that gift—knowing that you might be tortured and killed? To me that is an immense act of love.
In the end, “Silence” is about love. Or maybe loves. Father Rodrigues’s and Father Garupe’s love for their old mentor, Father Ferreira. The three Jesuits’ love for the Japanese people. Father Rodrigues’s intense love for Jesus Christ. Most of all, Jesus’s love for him, for his brother Jesuits, for the people of Japan and for all of humanity. Understand love and you will understand “Silence.”"
- Fr. James Martin, Religious Consultant for Silence
From the Filmmaker
""Q: You spent a lot of time going to Church or going to Mass?
Scorsese: Yes. In the church, and going to Mass.
Q: By yourself?
Scorsese: By myself. My family wasn’t very religious that way, but I just found comfort there because the streets were pretty rough, and having the severe asthma, I was told I couldn’t do anything. If you’re told that repeatedly, and you have enough breathing problems, and you really believe it—I always think of Teddy Roosevelt as an example, who had severe asthma, but he fought it—but my parents in the mid to late ‘40s, uneducated and working class, they just didn’t know what to do. They just knew I couldn’t breathe. This was from three years old on, and so I was more or less protected because of that. But when you’re in the street you’re not really protected. There’s a testing all the time: tougher kids, younger kids, and then you try to make sense of it all. You try to make sense of the dynamic of the family. What a family means. What a family unit is. The extended family: The aunts and uncles, my grandmother and grandfather in 241 Elizabeth St., my grandmother and grandfather in Queens, my mother’s side of the family, the Cappa side, her brothers and sisters. Some of them were still living in the neighborhood on Prince Street and on Lafayette. So, it was like a living organism, and the church was the center.
It was also the center for every group that was there. Mainly it was all working-class people trying to live a decent life. It was very dirty; they were tenements, but it wasn’t as dirty as it was when they were born there. Elizabeth Street at the turn-of-the-century was noted in New York as the highest rate of infant mortality, and that was because of cholera and all these diseases. They finally found a way to maintain the buildings where they lived, and I still can smell the bleach that was used to scrub the halls. My mother and everybody scrubbing the halls on the weekend, the windows, everything to keep it clean and to protect the family. And there was an underworld element that was there that was brought over from the old world.
Q: When did you run across the Silence book?
I had gotten involved with Kazantzakis’ book The Last Temptation of Christ. I wanted to make that. By 1988 when that was finally made, and it was about to be released, there was a great deal of an uproar, and we had to show the film, what was the film at that moment anyway, to different religious groups to show what it was rather than arguing about it without having seen it. One of the people there was Archbishop Paul Moore of New York, Episcopal, and he came to a little meeting afterwards at a small dinner we had. He felt that the film, as he said, was “Christologically correct.” He told us many stories. He was a very interesting man.
He said, “I’m going to send you a book.” And he described some of the stories in the book, and he described the confrontation, the choices, the concept of apostasy and faith. I received the book a few days later, and by ’89, a year later, I read it. The experience of taking “The Last Temptation of Christ”, and then doing “Goodfellas” was so extraordinarily exhausting and pummeling, in a way, fighting very strong arguments and discussions. Really, it was around the world. By the time I did “Goodfellas,” I had promised the great Japanese director Akira Kurosawa to be in a film of his called “Dreams.” He wanted me to play van Gogh.
I was 15 days over schedule on “Goodfellas.” The studio was furious. My cameraman left because he had another picture to do. Somebody else came in. We were just scurrying to finish, and Kurosawa was waiting for me in Japan. He was 82 years old, and he had just finished the majority of the shooting, and he had only my scene to shoot, and he was waiting. It was very nerve-racking. Within two days after shooting that film, we flew to Tokyo, and then to Hokkaido, and while I was there I read the book. Actually finished it on the bullet train from Tokyo to Kyoto.
When I’d look at my managers, and my agents, and say, “I really want to make this film.” They’d go in. They’d inquire where it stood at that moment in time, and they’d come back in horror, and say, “Well, this person has to get this, and the amount of money against it,” back and forth, and, finally, there were a number of people who really worked it out. But it took many years to try to understand or feel comfortable with how to visualize the picture, and how to deal with the last sequences of the film. The last sequences. Not just the confrontation at the end, but the epilogue.
Q: Right. Now, you said that it took you a while to understand the heart of the book. How would you describe the heart of the book?
Well, I think it's the depth of faith. It’s the struggle for the very essence of faith, stripping away everything else around it. The vehicle that one takes towards faith, which can be very helpful—the institution of the church, the sacraments—this all can be very, but ultimately it has to be yourself, and you have to find it. You have to find that faith, or you have to find a relationship with Jesus with yourself, really, because ultimately that’s the one you face. Yeah. He is, but it doesn’t negate, in my mind, those who choose to have, I should say, lived a life according to the rules of an institution, [like] the institution of the Catholic Church, or however one proceeds in their life with their own beliefs, but ultimately they can’t do it for you. You’ve got to do it yourself. That’s the problem. And the invitation, and it keeps calling you. It keeps calling you, and it’s in the other people around you. It's the people closest to you. This is what it is, and you suddenly get slapped in the face by it, and say, “Wake up.” You know?
Why It's Great
Critic Opinion
"On one level, the tension in the film is governed by an ecclesial ambivalence in the era of post-colonialism: is Christian evangelization a kind of violence to the very understanding of enculturation? That question eventually faces the two Jesuits, Frs. Sebastiao Rodrigues and Francisco Garupe as they set out to find their mentor, Fr. Dante Ferreira, in Japan in 1633. Refusing to believe that his teacher has apostatized, Rodrigues clings not only to that ideal but to an image of Christ he has prayed with and which becomes a recurrent vision throughout the film. It is the image of Christ, as well as the construction of Ferreira as an ideal, that is continually at risk throughout the film. While Japanese Christians are compelled into desecration of sacred Christian images by Inoue, the Grand Inquisitor, Rodrigues must come to terms with his illusions of Christ in the face of human suffering. In confronting Ferreira, Rodrigues learns that the older Jesuit apostatized not because his life was in danger, but because other Christians were screaming in agony upside down over a torture pit filled with excrement. Eventually, Rodrigues would follow his mentor on the same path and apostatize for the same reason, violating the sacred image of Christ himself for the sake of charity. In Ferreira’s mind, Japan is a “swamp” where Christianity, even during the days of St. Francis Xavier, could not take root; it was all an illusion. In the end, he tells Rodrigues, they are not martyrs to Christ but to Rodrigues himself and his own Christian ideals and teachings. As the Inquisitor says to Rodrigues, “the price for your glory is their suffering.”
The film goes to great length to disclose the ambivalence of signs and images and how difficult it is to trust them. We want to identify Kichijiro as a Judas figure who seemingly betrays his family, friends, and the Christianity he knows but then he remains steadfast in the end. Rodrigues sees the flight of an eagle as a sign from God that they are headed on the right path, only to see they are being spied on. A young Japanese couple understands paradise as what is happening now, only to be disabused of such a notion by Fr. Garupe and the horrible death they must endure. In the end, Rodrigues must deconstruct himself as a Catholic priest for the sake of the very charity which remains at the root of Christian faith. These equivocal signs suggest the plurality of meaning available to the interpreter, free from an essentialist point of view. The way of negativity, the pathway of silence, seems to be the only sign that is incapable of being invested with the aura of illusion. At the same time, however, the spectator must face the most ambivalent image of all: the cross. While Rodrigues moves away from a traditional ecclesial portrait of the suffering Christ, he himself begins to look more and more like the portrait of Jesus throughout the film, with his long, entangled hair and emaciated face mirroring the suffering Christ. He clings only to a tiny handmade representation of the crucifix, which he puts in his clothes in the course of the film and which his Japanese wife secretly puts in his hands at the end of the film, just before he is cremated in the Buddhist custom. The only “ecclesial image” we are left with is the apostate Rodrigues himself, imago Dei, and the imprint of the God who “emptied himself, taking the form of slave” (Philippians 2:7), completely divesting himself from the power of divinity. Yet this image itself is annihilated into smoke. Charlie Cappa becomes an image of the Crucified in the streets, but maintained the symbolic wounds of Christ. Rodrigues is reduced to silence without a trace.
In the end, Silence is something of a return to the beginning: salvation is found not in the sacred place of the Church and its penances, but in the streets, with Charlie Cappa and striving for salvation among the sacred people of God. As Scorsese would say in an interview in 2013, “I don’t know if I any longer accept the idea of an inherent sinfulness in human nature. I think in the process of living, we may need redemption just from being who we are. But the idea of original sin, that we are already guilty to begin with, is obviously in the films I make and in who I am.”"
- Guerric DeBone, Scorsese and Religion
Public Opinion
For me, Silence is less of a movie and more of a meditative experience. I come back to elements, lines, imagery, sounds, and ideas present throughout the film and constantly find that I come upon a spiritual revelation. The film and the novel have paired together to be an essential part of my personal religious canon. I cannot even begin to touch on all of the aspects of the film in a short write-up but I can highlight a few elements on how the film has become so personal to me (and may even supplant Raiders as my favorite film at some point in time, as I let it sit longer).
At its heart, Silence tackles the central question that torments anyone who believes in any sort of God. Where is God in all of the suffering of the world? Why is this God silent? And among others delves into thorny themes of faithful apostacy, Christian obsession with martyrdom, and the colonizing elements of missionary work from white Europeans. The film also firmly plants itself into a historically true setting within the Tokugawa Shonugate. I won't go into it, but you can read about Kakure Kirishitan, or 'hidden Christians', in this era in Japan. It's an absolutely fascinating historical subject to read.
“When words do not suffice, when they are incapable of communicating what is experienced at the affective level, then we are fully engaged in loving.”
- Gutierrez, On Job: God-Talk and the Suffering of the Innocent
Father Rodrigues is faced with an impossible dilemma for a devote Catholic priest who had dedicated his life to his faith. He can let his parish suffer persecution, or apostatize. Rodrigues is fully prepared to suffer for the God he devoted his life to. But can he let others suffer because of his faith? It takes the full arc of the film and sitting in silence for Rodrigues to realize the truth that his faith teaches. Perhaps even Rodrigues cannot hear God because he cannot understand what God is saying until the final act of the film. That Christ of Rodrigues' religion was born into the suffering of men and to carry it with them. God is not silent when the suffering seems to go unanswered, but is with the Japanese and Rodrigues in their suffering.
This message feels particularly striking in that it seems anti-thetical to how the loudest of Christians in America, evangelicals, tend to practice their religion. They practice a faith that is bent towards trampling on others in order to achieve their aims of political power over the world, in an attempt to realize religious order as they see it. The pivotal reflection from Endo's novel and Scorsese's film is the opposite. Rodrigues needs to lay down his hubris and ambitions of glory to evangelize, because of the pain and harm that it's causing to the people around him. In doing so, it may even seem as though Rodrigues loses his faith. But not so, he perhaps realizes it even more fully. He exchanges the grandeur for silence to better bring about his God's intent for the people around him.
The AI's Poetic Opinion
silence
""
- da vinci
Factoids
Previous Rankings
UNRANKED (2020, 2018), NA (2016, 2014, 2013, 2012)
Director Count
Brad Bird (2), James Cameron (2), Martin Scorsese (2), David Fincher (2), Christopher Nolan (2), The Russos (2), Ridley Scott (2), Paul Thomas Anderson (1), John G. Avildsen (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Wes Craven (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Spike Lee (1), Michel Gondry (1), Steve Hickner (1), Richard Linklater (1), Katia Lund (1), Richard Marquand (1), Fernando Meirelles (1), Hayao Miyazaki (1), Katsuhiro Otomo (1), Jan Pinkava (1), Makoto Shinkai (1), Vittorio de Sica (1), Steven Spielberg (1), Andrew Stanton (1), Isao Takahata (1), Lee Unkrich (1), Gore Verbinski (1), Peter Weir (1), Simon Wells (1), Kar-Wai Wong (1), Robert Zemeckis (1)
Decade Count
1930s (2), 1940s (1), 1970s (2), 1980s (6), 1990s (7), 2000s (14), 2010s (5)
Country Count
Japan (4), Brazil (1), China (1), Italy (1)
Franchise Count
Pixar (3), The MCU (2), Alien (1), Avatar (1), Before (1), Blade Runner (1), The Exorcist (1), Finding Nemo (1), Incredibles (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), Star Wars (1), The Wizard of Oz (1)
Re-Weighted Placements
#80 Fanboy Ranking, #46 Cinema Ranking
#56 Old Farts Ranking, #51 Damn Kids Ranking
#22 Ambassador Ranking, #71 All-American Ranking
#17 Cartoon Ranking, #71 Damn Boomer Ranking
Now this is a great Scorsese film! Somewhat redeems the inclusion of The Departed
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6 minutes ago, cax16 said:
Probably Blue Beetle, would be a really dumb move imo but after today who even knows anymore.
As a big fan of Cobra Kai and Xolo this would suck so bad, hopefully if there is anymore bad news it isn't this.
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10 minutes ago, The Panda said:
idk wtf this is but it made it
Number 63
"Treasure the experience. Dreams fade away after you wake up."
About the Film
Synopsis
"High schoolers Mitsuha and Taki are complete strangers living separate lives. But one night, they suddenly switch places. Mitsuha wakes up in Taki’s body, and he in hers. This bizarre occurrence continues to happen randomly, and the two must adjust their lives around each other."
Its Legacy
"The twist in "Your Name" comes when Taki and Mitsuha stop swapping bodies. The film then starts following solely Taki's perspective, as he discovers that his and Mitsuha's timelines weren't parallel. While he lived in 2016, she was in 2013, the same year her town, Itomori, was wiped out by a comet. Taki manages to engineer one last body switch and rewrite history so Itomori's citizens evacuate before the town's destruction. The pair briefly meet each other in person, but they forget each other afterward. Not to worry — they meet each other in Tokyo in 2021 and vaguely recognize each other.
In an interview with Vice, Shinkai explained his inspirations. They ranged from Christopher Nolan's "Interstellar" to a waka poem by ancient Japanese writer Ono no Komachi: "I met someone in my dream, and had I known it was a dream, I would have stayed there." As for the destruction of Itomori, that came from a much more tragic place: the 2011 Tōhoku earthquake that ravaged Japan.At magnitude 9.0, Tōhoku is the worst earthquake in recorded Japanese history. The damage was threefold; the earthquake caused a tsunami and a meltdown at the Fukushima Daiichi Nuclear Power Plant. The disaster left 18,000 dead, and the effects are still felt in Japan today.
"It was the largest in a thousand years, and there was something similar 1,000 years ago, which we all forgot about. But if you look closer there were warnings, like stone inscriptions in the cave in the film: Don't live in this valley. But we forget those warnings, or dismiss them as something 'from the ancient times'. We think they're just dangers from the past. When we have a disaster in Japan, I wonder, how can we prevent our lives and traditions and history from the disaster?"
- Devin Meenan, SlashFilm
From the Filmmaker
Why It's Great
Critic Opinion
"Makoto Shinkai’s animated film Kimi No Na Wa, translated as Your Name, was a critical and commercial hit when it was released in 2016. The film depicts the strange and wondrous journey of two high school teenagers, city boy Taki in Tokyo and countryside girl Mitsuha in rural lakeside Itomori, who are inexplicably swapping bodies with each other. Your Name is currently the highest grossing anime feature of all time, a remarkable mainstream success at the local box office and in its global reception. Such widespread positive attention is rarely seen outside of films made by Studio Ghibli and Hayao Miyazaki, and Your Name has since solidified Shinkai’s position as a leading filmmaker on the animated movie landscape (Fig. 1). The fantastical premise of Your Name’s story, combined with gorgeous naturalistic animation and standout music composition, all play defining roles in the film’s success. However, a central idea that underpins Your Name is the tension between modernity and tradition, informed by postmodern Japan’s sense of cultural loss due to globalisation, termed mukokuseki or nationlessness (Iwabuchi 2002: 28). The music composed and performed by Japanese band RADWIMPS acts in tandem with the aesthetics to shape the movie’s thematic coherence, and to amplify fantastical elements in the animated medium. RADWIMPS’s soundtrack is part of a wider genre of anime music uniquely situated to support animated films on a creative and commercial scale, given Japan’s intersection of high music CD consumption, a thriving music industry, and the prevalent franchising of popular anime elements including soundtracks to fans. With Your Name, I offer an analysis in this post of the opening music, material cultural identifiers, and synthesis of sound elements with visual sequences to interrogate how aural cues inform the recurring mediation of tradition and modernity in the text, and which are integral in drawing the viewer into the animated world.
Your Name evokes culturally specific, nostalgia-driven modes of narration where sound acts as a unifying force. The musical number Yumetōrō 夢灯籠, literally meaning ‘dream lantern’, opens the film. It is performed using contemporary Western instruments such as the rhythm guitar and standard drums, affirming the modern-day context and globalised nature of the Japanese music industry. Aki Yamasaki identifies three common music types in anime: the theme song, character song, and soundtrack (2020: 210). Yumetōrō falls strictly in the tradition of a theme song, meeting all Yamasaki’s markers as a number paired with an opening credits sequence, with striking lyrics and a catchy melody aimed at mass appeal. In anime, theme songs act as the face of the film and is a prime device for promoting shows and highlighting their central motifs, and are often performed by the singer at events as well as made into soundtracks and sheet music for sale. So Yumetōrō’s function remains quintessentially Japanese. Although theme songs are more commonly applied to television programmes in Japan, Shinkai establishes a sense of reassuring familiarity for the local audience with adherence to this sonic convention.
Shinkai demonstrates that Your Name’s aural dimension and visual aesthetics complement each other, showing Japanese culture not as a static object but instead as a dynamic and liminal force. The Yumetōrō number has therefore been deliberately scripted, composed, and animated to weave between past and present time, setting up its central motifs and embodying the romantic, fantastical and nostalgic essence of the entire film."
- Zhui Ning Chang, Fantasy-Animation
Public Opinion
"It's the feeling of never wanting a dream to end, desperately trying to go back to sleep hoping that your dream would somehow pick up where it had left off.
But you know very well that it won't. First you'll forget the details. What shirt you were wearing, the exact words you said or wanted to say. Her hand on your palm that felt so tangible just a few seconds ago, reduced to a cold sensation that served as nothing but a reminder of the warmth that was once there.
Then the timeline becomes murky, sequences become knotted up -- like how mitsuha's grandmother had so wisely put it: Musubi dayo. Time is a knot. The location comes before the journey there, cause and effect all collapse in an instant. You can't remember the weather, or the exact time of day. It felt golden, the sun may or may not be present, was her eyes sparkling because of the comet? Why yes, there was a comet slowly crawling up above, leaving a trail of sparkling dust behind like something out of a desktop wallpaper. The comet traveled all across the galaxy to arrive on earth, like how you had traveled all across the country to meet----
To meet who, again? Ah, all is lost now, absolutely irrevocable. What's left is a lingering sadness which reason you had forgotten. A need to remember someone dear, a stroke of marker pen on your palm and a simple wish for company. How cruel it is for our dream to force itself away from us, beyond our control." - YI JIAN, Letterboxd
The AI's Poetic Opinion
your name
"A name is just a name
But it's the only one you've got
So make it yoursAlso, why the fuck
did you name me something
as tacky as dA vInci?
We get it."
- dA vInci
Factoids
Previous Rankings
UNRANKED (2020, 2018), NA (2016, 2014, 2013, 2012)
Director Count
Brad Bird (2), James Cameron (2), David Fincher (2), Christopher Nolan (2), The Russos (2), Ridley Scott (2), Paul Thomas Anderson (1), John G. Avildsen (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Wes Craven (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Spike Lee (1), Michel Gondry (1), Steve Hickner (1), Richard Linklater (1), Katia Lund (1), Richard Marquand (1), Fernando Meirelles (1), Hayao Miyazaki (1), Katsuhiro Otomo (1), Jan Pinkava (1), Martin Scorsese (1), Makoto Shinkai (1), Vittorio de Sica (1), Steven Spielberg (1), Andrew Stanton (1), Isao Takahata (1), Lee Unkrich (1), Gore Verbinski (1), Peter Weir (1), Simon Wells (1), Kar-Wai Wong (1), Robert Zemeckis (1)
Decade Count
1930s (2), 1940s (1), 1970s (2), 1980s (6), 1990s (7), 2000s (14), 2010s (5)
Country Count
Japan (4), Brazil (1), China (1), Italy (1)
Franchise Count
Pixar (3), The MCU (2), Alien (1), Avatar (1), Before (1), Blade Runner (1), The Exorcist (1), Finding Nemo (1), Incredibles (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), Star Wars (1), The Wizard of Oz (1)
Re-Weighted Placements
#40 Fanboy Ranking, #65 Cinema Ranking
#135 Old Farts Ranking, #46 Damn Kids Ranking
#20 Ambassador Ranking, #74 All-American Ranking
#18 Cartoon Ranking, #70 Damn Boom Ranking
Damn legit didn't think this would make it!
I'm pleasantly surprised looks like my top 10 will go 9 out of 10.
Also the visuals of this movie are still insane 6 years later and I love the unique plot twist, was a great time in the cinemas with a full crowd.
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4 minutes ago, dudalb said:
If boy condescending you mean I think a lot of people here don;t know the first thing about the business world, you are right.
Scrapping films, tv shows when they are well into production is not a good long term business strategy in production as it means talent is less likely to work with you in the future which is a major problem for WBD globally right now (including here in Australia/New Zealand which I have 1st and 2nd hand knowledge)
Also in terms of running a business and being profitable WBDs debt is close to double their market cap right now which is not great, streaming growth from both Discovery and HBO has been low, cable continues to decline, theatrical they are doing ok but far from great so they are cutting costs for short term profits without looking at long term health of the company.
There have been numerous public stories about this be it the Clint Eastwood stuff, JJ Abrams etc. this is just the most recent one to come out, Zaslav clearly wants to rely on unscripted to keep costs down and that is bad news for the Warner brands (hopefully HBO is exempt) long term.
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4 minutes ago, BadOlCatSylvester said:
So... how much are we all willing to bet this gets put into turnaround by the end of the year, if not outright binned? Zaslav is not fucking around, and that should leave us, the children of Arrakis, worried.
Hopefully due to Legendary funding 75% of the cost of the film that won't be the case, at worst I can see it shifting to another studio (along with Legendary's entire distribution deal) Apple would likely be the front runner given they have green lighted a Monsterverse TV show and have the $$$ that the rest of Hollywood is struggling to find right now.
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4 minutes ago, Cappoedameron said:
So all the HBO Max originals that are very successful and are very anticipated like Our Flags Mean Death S2, Euphoria, Succession, House of the Dragon, Peacemaker, Young Justice, Sex Life of College Girls, The new PLL, The new Gossip Girl, I'm probably missing others are gonna go to HBO now?
Some of those are already HBO shows (House of Dragon, Succession, Euphoria etc.)
Peacemaker, Our Flag Means Death are both HBO Max shows.
Both HBO and HBO Max originals are run by Casey Bloys so makes sense to switch Max originals to just being HBO shows it isn't a big deal compared to some of the other things happening.
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@HouseOfTheSun was right!
Damn Mr. Unscripted (Zaslav) making quick work of destroying Warner, who would have thought AT&T would be the more competent parent company.
I just hope the destruction is so quick that they sell Warner again within the next couple of years if this drags out I fell it will be painful to watch a once great company completely hollowed out.
Although Warner has already been through a handful of different owners in the last couple of decades and all have failed so maybe they will end up selling piecemeal (HBO, Warner, DC, Gaming etc.) as it is possible no one will want the full entity.
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1 hour ago, The Panda said:
Life of Pi (2012, Ang Lee)
This on hurts
what a great film.
1 hour ago, The Panda said:Number 171
A Silent Voice (2017, Naoka Yamada)
A knew this one would make the 100 but still used 40 points on it
10. A Silent Voice (40 points, 400 total)
One of my other top 10 films has already appeared and I'm sure 7 of the 8 remaining films in my top 10 will make the 100, Your Name (another anime film) I have a feeling may also miss the top 100 though
at least Spirited Away will show up so not a complete waste of anime in my top 10.
Because I know people will be curious here is the top 10 (order didn't matter as they all got the same points)
- Empire Strikes Back (40 points, 40 total)
- Finding Nemo (40 points, 80 total)
- Jurassic Park (40 points, 120 total)
- Spirited Away (40 points, 160 total)
- Parasite (40 points, 200 total)
- Your Name (40 points, 240 total)
- Pirates: Dead Man’s Chest (40 points, 280 total)
- The Lion King (40 points, 320 total)
- LotR: Return of the King (40 points, 360 total)
- A Silent Voice (40 points, 400 total)
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I suppose at least they got somewhat close.
The Warner Bros. Thread | Will NOT merge with Paramount...capitalism is still terrible
in Box Office Discussion
Posted
Zaslav says they are not going to release a movie unless they like them, hopefully they have good taste (and I'm not talking about the Food Network)