mother! | 09.15.17 | Paramount | Darren Aronofsky, Jennifer Lawrence | Razzie Awards frontrunner

[JohnnyGossamer]

3 hours ago, Jake Gittes said:

I don't think that's important. I'm an atheist and thought it was terrific. And he praises it exclusively for its cinematic qualities in the piece.

mother! > 2049 

 

In other random comparisons... I finally caught A Ghost Story. While I didn't love it, I did like it a great deal. Nice piece of aching, soulful storytelling.

[Jake Gittes]

2 hours ago, JohnnyGossamer said:

mother! > 2049 

 

In other random comparisons... I finally caught A Ghost Story. While I didn't love it, I did like it a great deal. Nice piece of aching, soulful storytelling.

Agree on the first part for sure. 

 

I was really into the first half of A Ghost Story when it was just a small-scale story about sudden death and grief but somewhere around Will Oldham's obnoxious fucking monologue it lost me and never really won me back. 

[JohnnyGossamer]

1 hour ago, Jake Gittes said:

Agree on the first part for sure. 

 

I was really into the first half of A Ghost Story when it was just a small-scale story about sudden death and grief but somewhere around Will Oldham's obnoxious fucking monologue it lost me and never really won me back. 

Monologue was a vortex of awful and completely unnecessary. And, it was long. He wouldn't stop. Terrible part. But, other than that party scene, I didn't mind where it went.

[trifle]

5 hours ago, Mockingjay Raphael said:

Have we seen the same movie? If he’s catholic, then he should be hated this movie when it comes to plot, since it give us one of the most cruel and selfish representations of God in the big screen. I know a lot of Catholics that were offended by this movie.

There were a lot of Biblical representations as shorthand for humanity and human progress, but the God / Creator of mother! was drawn from a lot of earthly religions, including Hindu. One of the big metaphors was to take things/events/beliefs from all over the earth and put them in one house, this planet, one organism with Jen as Mother Nature. The idea was that people turn a blind eye to things happening in different parts of the world, but if it is in your own house, you care. All of earth's beliefs (ideally) would be somewhat represented under this view... but the Bible clearly is the main touchstone in that regard

Edited October 12, 2017 by trifle

[trifle]

 

 

 

[trifle]

 

The crowd for mother! at the Busan Film Festival in South Korea.  On the other hand, for all I know the crowd for EVERY movie is like this at the Busan Film Festival in Korea.

 

 

 

 

[Wonder89]

[trifle]

 

The post-NBR screening Q&A http://www.nationalboardofreview.org/2017/10/qa-darren-aronofsky-jennifer-lawrence/

[trifle]

 

 

 

[TalismanRing]

36 minutes ago, trifle said:

 

 

 

 

Proust at his most masochistic navel gazing

[trifle]

9 minutes ago, TalismanRing said:

 

Proust at his most masochistic navel gazing

Well, that isn't official movie promotion.... but the picture is a still from the production..... 

[trifle]

Jen's going to be discussing the movie at deadline's 'The Contenders' event November 4. http://deadline.com/2017/10/deadlines-7th-annual-movie-contenders-event-set-for-november-4-with-record-turnout-expected-1202187336/

[trifle]

 

 

 

[trifle]

 

There's a Editing Room version of the mother! script... (a parody)

 

 

 

 

 

 

 

Edited October 21, 2017 by trifle

[Noctis]

just saw it...

 

anybody who doubts that J-Law is THE greatest actress among her generation is a liar...she was astonishing.

[The Futurist]

3 hours ago, Noctis said:

just saw it...

 

anybody who doubts that J-Law is THE greatest actress among her generation is a liar...she was astonishing.

 

"MUSIC IS SOMETHING FROM THE OUTSIDE. MUSIC IS SOMETHING THE DIRECTOR PUTS ON AND TRIES TO TELL THE AUDIENCE. BUT, JENNIFER IS SO GOOD AND SO GIFTED THAT SHE’S ABLE TO TELL THE AUDIENCE EXACTLY HOW SHE’S FEELING." 

— Darren Aronofsky

 

[trifle]

43 minutes ago, The Futurist said:

 

"MUSIC IS SOMETHING FROM THE OUTSIDE. MUSIC IS SOMETHING THE DIRECTOR PUTS ON AND TRIES TO TELL THE AUDIENCE. BUT, JENNIFER IS SO GOOD AND SO GIFTED THAT SHE’S ABLE TO TELL THE AUDIENCE EXACTLY HOW SHE’S FEELING." 

— Darren Aronofsky

 

The point being, that after an entire sound track  was  created for the film, they threw it away. Even the creaks in the house are supposed to be distortions of Jen's voice.

[trifle]

 

 

 

 

and there are major spoilers in this analyses of the movie, but I think it is pretty interesting.

 

 

 

Edited October 21, 2017 by trifle

[trifle]

 

 

I don't think that guy was remotely like Bacchus.  He was more of an apostle or false prophet, imho.

[trifle]

 

 

 

 

 

 

 

ILM Delivers Hellfire and Damnation for Darren Aronofsky’s ‘mother!’

 

That's a pretty interesting article on the special effects and make up.  And it makes me think if the budget is $30m, that is where the money went, certainly not on salaries. Both based on the amount of work they did on effects and quotes like this one:

 

Quote

So, let’s talk about the fireball shots.

They happen toward the end of the film. After Jennifer Lawrence’s character has been through a horrific experience, she takes her revenge by igniting an explosion. A fireball erupts around her and travels through the house, which is filled with people who have come to worship Javier Bardem’s character. To shoot it, we departed from Darren Aronofsky’s formal rulebook. He shot most of the film using three angles, a close-up of Jennifer, Jennifer’s point of view, or over her shoulder. We had a crane rig going up the staircase, a cable rig across the roof, and a descender rig that drops down. We shot it on the last two nights of production with interactive lighting effects and extras going crazy.

 

Also, most of the film was shot on super 16mm, but for this we decided to shoot digital for the higher frame rate and resolution. The filmmakers had a very defined sense of rhythm shot to shot -- the speed of the camera and the framing at the start and end all had to tie closely together. Matching that wasn’t trivial. Before we could add layers of flame and fireballs erupting through the house, we had to alter the digital plates by re-speeding, pushing in, and sometimes even doing set extensions so they flowed the way Darren wanted. Then we had to match the look of the 16mm filmed plates with grain, softness, and lens effects.

For the flames wrapping around the actors, rather than match animate 50 people in 3D, we rotoscoped those characters and created rough geometry to wrap the fire around them. To direct the fire, we used collision geometry matched to the set and injected velocity fields into the simulation to cause the fire to, say, hit the wall here, ride up the wall, and around a corner. The compositors combined layers and layers of flames, and postcards with images of Javier Bardem’s character that we simulated flying around.

 

After the fireball sequence, we see Javier carrying the burned Jennifer Lawrence. By this point in the production, everyone was exhausted and Jennifer wasn’t too keen about getting into that burn makeup again. It was a multi-hour process. So, Darren [Aronofsky] turned to me and asked how much it would cost if ILM added the burn makeup to Jennifer. I checked with ILM’s executive producer and we came up with a number. It wasn’t cheap, and this was a moderate-budget film. I tell Darren the number, and while I’m standing there, Darren tells Jennifer what it will cost. She said, “You know what, maybe I’ll pay for it.” But, she’s a trooper. She sat for the makeup, and it was amazing. We did a little digital intermediate work on top and did the transition from the burned makeup into an ashen husk at the end but it’s all Adrien Morot’s astonishing makeup.