Instead of "a trip to Belize," maybe Saul Buenohombre's euphemism for murder will be "a siesta in Baltimore."
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Friends In Your Head | Forums → Posts by Rob
Instead of "a trip to Belize," maybe Saul Buenohombre's euphemism for murder will be "a siesta in Baltimore."
Are you still in need of a woman's voice, aural? My girlfriend is claiming "shyness," but I can do some arm-twisting if need be.
The toy was kind enough to let us know that the Bat had an ejector seat , and since our hero had a chute strapped to him... Oh.
The film implies that Bruce was piloting the Bat the whole way. Real-world aircraft have autopilot capabilities, don't they? So Bruce had to have ejected himself to survive, letting the un-piloted Bat go on over the bay. Surprising that there wasn't some throwaway line/set-up moment in the first act, Lucious offhandedly mentioning Bruce's bailing-out during botched test flights, or something like that. If our hero survives a nuclear blast, either give me a hint as to how he did that or tell me what new superpowers the radiation gave him.
Not only does Nolan show Bruce on that reverse angle, but it's a Bruce that looks pretty damn spry for having been literally tethered to a nuclear bomb at the moment it detonated. My personal retcon is that it's the ghost of Master Wayne come back to haunt Alfred. There's your sequel, Zach Snyder.
Rob wrote:I'm still down with doing the Boy or the Sailor.
I think you could probably do both. The Sailor has literally one line.
[Edit] Unless we've got more people than roles. In that case, I might need to give one of them to someone else.
That'd be a-okay with me.
If there's anyone here who has not participated in one of these yet and would like to do either of these roles, let aural know. I adore being a part of these things but would stand down if someone who hasn't had a turn yet is itching to get in the game. That said, I was a Boy once; this is the part I was born to play.
I don't recall whether it's been mentioned yet, but as a frequent matinee attender one thing that regularly disrupts my experience is, quite frankly, older people.
Not all older people, obviously, and not all of the time, but I go to enough screenings to have noticed that it's a thing. Specifically, it's older people who likely have hearing aids (or are likely in need of hearing aids) not realizing how loud they are whispering and/or not realizing that they are, in fact, not whispering at all but speaking in a much-too-loud voice. Also, there's the falling asleep and snoring loudly thing, which I witness at least once a month.
To be fair, I consider this almost a separate issue altogether because these folks are absolutely not doing these things on purpose and are otherwise exemplary theater patrons. If someone doesn't realize, then they don't realize. The good news is I've never seen an older person horsing around on an iPhone during a screening.
I'm still down with doing the Boy or the Sailor.
I'd be willing to give the salty Sailor a go. (Yeah I could have phrased that better.) Or the mysterious Boy.
Gomie was Hank's loyal subordinate, and Hank wanted it all on the DL. It was never made clear whether they told anyone else what they were up to. Well, Huell.
I wonder whether Skyler would really be able to use those GPS coordinates as a bargaining chip with the prosecutors. It seems just as likely that possession of that information could freight her with even more legal entanglements. After all, a prosecutor is under no special obligation to believe her story about how she came into that knowledge. They could fuck with her if they wanted to, is all I'm sayin'.
The way it looked to me, Walt simply got nailed by one of the zillions of bullets he sent spraying through the wall and windows, but I'm not sure. Story-wise, it makes sense: Walt took a bullet that would have hit Jesse. Jesse is about to shoot Walt, but then Jesse sees that wound and realizes he doesn't want to shoot Walt.
It's okay to retcon a couple of the more farfetched plot points as the desperate measures of a man who has finally resigned himself to death and thus has nothing to lose. This helps deal with questions like "What would Walt have done had he not been allowed to park his car in that exact spot?" and "What if the Nazis would have simply shot Walt on sight?" It's like Gus poisoning Don Eladio and his men: what would Gus have done had he not been allowed to go to the bathroom? He would have died. High risk, high reward.
I think the fact that it wasn't a strong closer was what made it perfect. There's such a pressure on Big Important Shows to go out with a bang, to lay it all on the table in their finale. Breaking Bad didn't do that. Because shows that DO do that often fall into the trap of being defined by their finales, for better or for worse. People don't talk about The Sopranos anymore because of great episodes like Funhouse or Whitecaps. All anyone talks about in reference to that show is its finale. That won't happen with Breaking Bad, and that's a good thing.
I think so too. I don't hate The Sopranos finale, but I do suspect it was the result of David Chase feeling that pressure and either over-thinking it or saying "To hell with it." Indeed, what happened is that people can't talk about the series now without giving their verdict on the finale (like I just did). BB's approach was to make the whole season (season 5-b, anyway) basically Walt's "endtimes." Before the finale aired, we knew paradise was lost and that a happily-ever-after ending wasn't possible. With Walt, we could literally see the writing on the wall. The Sopranos finale had to deal with the "Will it end badly for Tony?" question. With BB, the answer to that was a foregone conclusion, and the finale just had to show us how it happens.
I'm already looking at my Chamberlain garage-door motor differently.
Amazing — Jack has an El Camino on his compound! (Was that a big-block?)
I have no major complaints. It was always a dark story. It ended darkly. The little nod to Taxi Driver at the end — the overhead shot of the cops coming upon the scene of our almost-dead antihero and the corpses he left in his wake — was essentially the tone Cranston hinted that the show would go out on.
Jack didn’t let Hank finish his last sentence, so Walt not letting that shitbag Nazi finish his final tough guy act was fitting. It's the closest thing to justice Hank gets. (Besides Marie getting to give him a proper burial.)
Jesse getting away in that El Camino made me smile. Poor kid had been putting the lotion in the basket for fuck knows how many chilly nights in Todd's dungeon. Maybe Brock gets a loving legal guardian now. Or at least he'll get his Mario Kart buddy back every once in a while.
“I did it for me. I liked it. I was good at it. I was alive.” That was always obvious for five seasons, but Walt's admitting it out loud to Skyler made for one of the best scenes in the whole series. That moment was almost required — it's no kind of ending if you don't have some version of that scene. And they nailed it.
“The two best hitmen west of the Mississippi.”
Let's go ahead and get this out of the way:
A matter of hours until the finale, folks.
I'd be interested to hear your favorite episodes and/or scenes from the series.
Notice also, at the key moment, that the president's head moves back and to the left — back, and to the left...
Walt might be unhinged now. He's always professed that what he does he does for his family. But there's always been self-serving, ego-driven motives at play. When he phoned the DEA and calmly sat down at the bar waiting to be arrested, that was truly in the best interest of his family. At that moment, he was shelving his fantasies of tending to "unfinished business." He was ready to face the music.
Then he saw Charlie Rose and got mad, balled his fist. His oldest scab torn open. All his anger, resentment, and ego got re-ignited. Perhaps now he wants revenge, and maybe he somehow wants the world to know who he really is — like when he insisted that a certain someone "Say. My. Name." Why'd he do that? No practical reason — I suppose he wanted to emphasize that I'm not who you think I am. I'm nobody's bitch. I am the one who knocks. You're damn right. Etc. So this could be revenge tinged with some crazed ambition to make sure that, even if he goes down, the world will "say his name" right.
One thing this show specializes in is creating situations that make us say "Well I just don't see how X could happen, especially given Y and Z" and then showing us a surprising-but-somewhat-plausible way for X to happen. When it comes to the finale, it's hard to rule anything out.
BTW: Conan has the whole gang from the show on right now (Jonathan Banks is a solid talk show guest). Cranston said that the dvd/blu-ray boxed set will include a feature-length doc, part of which will show Paul and Cranston reading the final script together for the first time and reacting to it. Sounds kinda cool. Wait, I don't know... does that sound cool?
I sense a plot to destroy the aryans...
I think you guys are right that chemistry will carry the day. When Walt and Saul were temporary bunkmates, Walt was thinking hard about hiring a team. I doubt it'll be "Avengers, assemble!" but it shows that Walt realizes he'll need some kind of help.
Walt and Jesse both have a beef with the aryans. Whatever else happened between them, they might team up to stage Mr. White's last chemistry lesson.
In the past, Walt has been able to secure some unlikely allies under the "enemy of my enemy is my friend" principle. (Walt didn't kill Gus Fring — Walt and Hector Salamanca killed Gus Fring. Hector was literally the button man.)
Ensure got some primo product placement.
The ending of “Granite State” was beautiful. It was mostly visual storytelling and Cranston's performance. Pretty cool how the theme music kicked in there. I'm a sucker for shit like that.
If anything will get Walter pissed off, it’s his old pals going on Charlie Rose and downplaying his role in Grey Matter. Walt’s secret criminal success compensated, to some extent, for not being the legitimate "somebody" he could have been. It's a clever touch, now, to have that criminal success be the cause of his old associates basically calling him a nobody publicly (well, on PBS, at any rate), even speculating that he's met his demise. (I love the idea of Walter White being this bin Laden-type figure — bearded, holed up, receiving portable medical treatment, watching people on TV speculating that he's already dead.) Ripping off that old scab, at that moment, might have been the only thing that could have gotten Walt off that barstool. A defeated Walt sat down, and an angry Heizenberg got up.
It’s funny to contrast Todd and Lydia’s coffee-shop rendezvous with the one Mike and Lydia once had. If I recall correctly, Lydia pulled the same you-sit-there-I-sit-here thing, but Ehrmantrout simply rolled his eyes, sat down in Lydia’s booth, and said hi to the waitress, who clearly knew him. But Todd is no Mike. Drink tea and put on a collared shirt all you want, Todd. She’s just not that into you. Is it possible Todd will do what Mike once wanted to do — kill Lydia? I can't tell whether Todd is the “If I can’t have you, no one can” type.
Is there a some kind of checklist of loose ends the finale has to resolve? The ricin. What else?
I love trying to come up with cheeky alternate titles for these episodes. All I could come up with for “Granite State” was “The Heart Wants What the Heart Wants” and “Todd Talks To Women.” (I guess “AmeriCone Dream” could work.)
You know, it occurs to me that, as the show's finale approaches, we'll be seeing all sorts of provocatively headlined web articles trying to score pageviews off the fact that the show will be trending insanely. Some pieces will be smart, some dumb, and some reasonable people will disagree about. Point is, there's going to be a shit-ton of them. Let's brace ourselves.
The theme of the series will likely be easier to argue about after the finale. Where the Walt character ends up, and how that all plays out, will surely modify our assessments of what the ultimate theme is. I feel like it matters a whole lot what happens to Walt in the end.
Those hunting for a serviceable mic: keep an eye out for eBay bargains. My co-worker scored a lightly used usb mic with a little stand and a shockmount all for around $40. He's pleased with it so far. Nothing wrong with used gear if the price is right and the seller's reputable.
Another thing Johnson mentioned on the commentary track was that the similarity between these two shots was not intentional on his part. His remark was something like, That's just the way you tend to shoot somebody when they fall over like that.
It'd still be cool to see what was scripted there, or what Gilligan or Moira Walley-Beckett has to say about it. Setting aside the visual, the two moments are kind of similar in other respects.
Awesome discussion you two.
I can't decide whether I want a third season or not. There's something to be said for just having "Election Night: Part II" be the finale. It sure felt like a finale there at the end.
They hardly ever leave the newsroom, no doubt. It is the name of the show, though. The Cheers gang spent a lot of time hanging out at the bar. If the show had been called Rehab, then it's a bit more weird.
Dorkman's story treatments for Episodes I, II, and III.
But first, I must hop in a time machine and go back to the early 90s, where I will properly hypnotize Lucas so that he will hire Michael as the prequels screenwriter.
"So what if he's just a little kid right now. He's got a great story idea!" George will have said.
Thoroughly hypnotized, George would be a model of humility and judiciousness:
"Ya know, I don't even want to produce or direct these films. I'll just be here for moral support and if anyone needs to borrow the original landspeeder. Now let's see, where's Larry Kasdan's number?"
Then I travel back to the present, where the finished films will be waiting for me. (Just as an extra precaution, I will have stolen every legal pad from George's house and burned them all to a nice uncle-Owen crisp.)
Friends In Your Head | Forums → Posts by Rob
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