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Author Topic: Gods & Generals (& dts) Question Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 02-06-2003 12:30 PM                    Would it be worth it to turn off the bulb for ten minutes, or more strain on the bulb than it's worth? I think you're right about the slides and movie tunes. Although I think I'd prefer music running for the entire twelve minutes, all black and maybe a countdown clock of some sort. Everyone is talking about Gettysburg... anyone else remember The Rescuers Down Under? 10 minute cartoon, 10 minute intermission, and then 1 hour feature?  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 02-06-2003 12:48 PM                    My rule of thumb is to leave a lamp on if it will be used again within an hour, but then I am running 1600's and I figure that the wear of running vs. wear of starting tradeoff is more favorable to keeping them on than it would be on a high wattage lamp. But whether or not the tradeoff is a sliding scale or not (subject for a separate discussion) I cannot see turning off a lamp for 12 minutes regardless of wattage. Warner Bros. says that without the built-in intermission the film should be stopped at the end of R8 for 15 minutes.  |  IP: Logged Gracia L. Babbidge Jedi Master Film Handler Posts: 709 From: Bowdoin, Maine Registered: Aug 2000 posted 02-07-2003 04:52 AM                        somehow, I forsee myself writing out a checklist of sorts, and posting it by a machine running Gods & Generals, detailing an 'intermission procedure' ...  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 02-09-2003 01:37 PM                    Has anyone seen any "how it was filmed" info on G&G? It looks sharp enough that one would presume anamorphic negative but I don't see negative splices so unless this is Super 35 done extremely well, with very slow, ultra fine grained negative or they went through a digital intermediate stage. Perhaps both.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 02-09-2003 02:00 PM                     The fact that our aforementioned presentation with the Associate Producer had 30-minutes of excerpts on DVD suggests digital intermediate to me. Of course, that is hardly a strong indicator. --jhawk  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 02-09-2003 02:54 PM                    I'm not following your logic. If you mean merely that it exists on video that doesn't really mean much since most films are edited on Avids or other workstations so that means it exists in a video format. BTW, the matte paintings still look like matte paintings even with moving images inserted into them. There is something quaint and soothing about that.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 02-09-2003 03:30 PM                     You're right Steve. I guess I keep forgetting that . --jhawk  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 02-09-2003 04:10 PM                    In case anyone cares, the former Vice Chairman of AOL Time Warner, founder of CNN, Mouth of the South, Captain Outrageous, and Jane's ex turns up at the end of Reel 9.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 02-10-2003 10:12 AM                        The cinematography of "Gods and Generals" will be featured in the March 2003 issue of "American Cinematographer": http://www.theasc.com/magazine/main.htm  |  IP: Logged Claude S. Ayakawa Film God Posts: 2738 From: Waipahu, Hawaii, USA Registered: Aug 2002 posted 02-10-2003 02:26 PM                        The "GODS AND GENERALS" soundtrack CD was released last week and I bought a copy and it is wonderful. Not only does the CD have almost sixty two minutes of music, it also comes with a seperate DVD with about twenty four minutes of program material. They include the music video to the two ballads featured in the movie and on the soundtrack CD. THe first one is titled GOING HOME" and sung by Mary Fahl. The second one that will be used over the end credit of the movie is sung by Bob Dylan and is titled "CROSS THE GREEN MOUNTAIN". Both of the music video and the "GODS AND GENERALS" trailer that is also included is in Pro Logic sound but the six deleted scenes from the movie on the disk has 5.1 sound. I was expecting another Randy Edelman score on the music CD but this time, he share the honor with John Frizzell. From the play list that came with the CD, I have noticed that the majority of the tracks was written by John Frizzell. Not including the two ballads, out of the seventeen tracks, there are thirteen by Frazzell and only four by Randy Edelman. Because most of the musc is by Frazzell, the sound track to the movie does not resemble the "GETTYSBURG" composition. "GETTYSBURG"'s music was majestic and grand but the "GODS AND GENERALS" music is more subdued but still elegant. If you like very mellow new age music, you will enjoy this album. -Claude  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 02-10-2003 05:42 PM                     Judging by the trailers I've seen, "God's and Generals" clearly looks like it was shot with anamorphic lenses. Check out the large Quicktime movie trailer from Apple's site: http://www.apple.com/trailers/wb/gods_and_generals/qt_520x216.html There are several shots revealing artifacts of anamorphic photography. Don't know about any digital intermediate work. It looks like normal 'scope to me.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 02-10-2003 07:59 PM                    Before my recent preview screening and during the intermission I played some tracks from Ken Burns / The Civil War and also something called "The Vacant Chair" that I stumbled upon. I think a Kathy Mattea version but I'm not sure. I agree it looked like true anamorphic. But no neg splices visible on the print makes it something to look into.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 02-10-2003 09:45 PM                        quote: I agree it looked like true anamorphic. But no neg splices visible on the print makes it something to look into. Maybe they cut the negative into A and B rolls ("checkerboard cutting") with printer "zero-cuts" to hide the splices. Or they used a true "CinemaScope" splicer with narrow overlap: http://www.acvl.org/3c.htm In either case, "Anamorphic Done Right".  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 02-11-2003 08:09 PM                        Wow, that directive from WB must have been written by someone old enough to remember single screen movie palaces and Roadshow presentations -- he thinks he is going to get CURTAINS in his intermission scenario?! I guess he doesn't know the multiplex mantra...."Curtains? ....we don't need no stinking curtains." But it's nice to see that they are at least trying to create a special Roadshow-type presentation for this title. However, as most have already pointed out, the problem is that by trying to micro-manage this intermission, they will force many theatres to throw wrenches into their good intentions. They should have issued a more flexible protocol that individual theatres could tailor to there specific situations. Like Scott, I certainly would have to rework that break. I need more than 12 minutes and would almost be forced to work around their intermission-in-the-middle-of-the-reel idea. In a 2500 seat house, you would be crazy to think that once you let a large audience loose for an intermission, that they would ever be able to get back to their seats in 12 minutes. And I don't have to tell you how unpleasant it is to have to stand there and listen to the complaints from those who come back from the restrooms only to find the film already started. Since the soundtrack is already released on CD, it will be easy to fill in however much time we need for an intermission with appropriate music from the film. Frank PS You know, even though a theatre doesn't have curtains, there are other ways to prevent that naked screen from staring back at the audience like someone caught with their pants off. There are a number of light machines that are designed mainly for clubs but that can throw attractive moving colored light patterns on any movie screen. One that I have uses slowly sweeps ever-changing color wisps of light across the screen -- like the Star Trek Voyager's warp core, only more colorful and a lot slower -- almost lyrical. Some of these lighting instruments are quite sophistocated using multiple prisms and gobos and can change their patterns triggered by the music from the speakers. These devices can be very effective alternatives when a screen is curtainless. I even toyed with the idea of using the Visualation programs in audio players like Realplayer or Windows Media Player and project their patterns on the screen with an LCD projector. I've yet to try it, but that should be excellent if it will read with the house lights up.  |  IP: Logged Tom Ferreira Expert Film Handler Posts: 203 From: Conway, NH, USA Registered: Jun 99 posted 02-13-2003 08:36 AM                     How wide is WB actually going with this film? I can't imagine that a lot of the smaller towns are going to see this film until the DVD shows up at Walmart later this year. I'm willing to bet a lot of bookers won't touch this film with a ten foot pole.  |  IP: Logged

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