Unable to perceive the shape of you, I find you all around me. Your presence fills my eyes with your love, It humbles my heart, for you are everywhere.
that crunchy vibe that 70s/80s movies have that modern movies simply cannot capture… that kind of quiet empty vibe to em that can be played for either bleakness or a peaceful energy… why do all modern movies (even the great and pretty ones) feel overproduced after watching an older film. what is it I can’t put my finger on it but it’s there I can feel it
Shot on film
No digital colour grading (today’s films are horribly over processed)
No in-the-computer composite layered scenes with virtual sets etc.
practical sets and effects
hand painted mattes / hand animated vfx
You used the light you had instead of endlessly tweaking it
Sociologically, people stopped going to movies as much in the late 1960s / early 70s because television had really taken off, the era of the ‘tv movie’ started, so studios greenlit a lot of low budget auteur films that had to focus on meaning & relationships instead of spectacle.
8. Pacing.
This is the biggest thing, and it’s not even something most people will even realize they’re noticing. Movies became more uniform in their structure, as hollywood found the “formula” for a hit movie. It means you lose quiet, peaceful scenes that don’t fit into the pattern. That uniformity has done more to hurt the emotional tone of films than any visual effects tricks.
In 2005, Blake Snyder released a book: Save the Cat! It discussed movie “beats” and and gave an outline for movie pacing.
That outline has been followed like it’s religious dogma for the majority of Hollywood movies ever since. It’s enough that you can literally count the minutes in movies and say “ok, here comes the antagonist’s big move.”
it’s not just pacing but also average shot length (sometimes shortened to “ASL,” but not to be confused with american sign language.) a movie that only cuts every 12 seconds is gonna feel drastically different from a movie that cuts every 2.5 seconds.
One thing I’ve noticed in my TFA rewatches, is that JJ loves to film Kylo with a moving camera, often ending shots with a canted angle. The camerawork matches his emotional state, beat for beat—with the last frame being the most crooked, the most unhinged.
You can see it here, too, if you look at the angle at which the Stormtroopers are standing/running on the left. The horizon line is not straight. There’s an interesting off-kilter swooping here, that almost implies a dizzy, desperate feeling. Small moment, but effective.
Another example of that dizzying effect. It almost seems like the angle is simply getting steeper at first, as the camera moves, but it’s also increasing the way Kylo is looming over Rey. Her position on screen gets dramatically lower on the left side.
When the scene continues, the camera almost finds balance as he approaches, but when he circles behind her, there’s a dramatic dutch angle that’s noticeable because of how the trees are tilted. It’s also echoed in the angle at which he’s holding his lightsaber.
1. Goodbye My Princess 东宫 2. Yanxi Palace 延禧攻略 3. House of Flying Daggers 十面埋伏 4. Killer and Healer 恨君不似江楼月 5. Tomb of the Sea 沙海 6. Nirvana in Fire 琅琊榜 7. Legend of Zhen Huan 甄嬛传 8. Word of Honor 山河令 9. Scarlet Heart 步步惊心
While rewatching BBC’s Merlin recently, I taught my mom about the Universal Angle of Homosexual Longing™. And now whenever she sees it when I’m watching Supernatual, a la Destiel, she very excitedly points it out. It is one of the best things I have done in this life.
