It isn't called "No Country for Guys who Steal Money".

The whole point of the movie is how different things are from the past and how it's a struggle to keep up.  That's all Tommy Lee Jones ever says in the flick.  Almost every scene has a line or two where he complains about how fast the world is changing around him.  It's specifically set in 1980 to highlight the turning point between small crime along the border, and the massive organized drug trade.

We don't even see Josh Brolin meet his end.  We see it through Tommy Lee Jones eyes as he drives up to the crime scene minutes after the shootout.  It's all about how he can't keep up.

Even the end of the movie is Tommy Lee Jones talking to an older family member (maybe his uncle?  I forget) about how the times are changing.  The Uncle tells him that times changed just as much between their generations.

The movie is not about drug deals and shootouts.  It's about recognizing when your time is up and moving on, as well as the regret one may feel because lives were lost when they didn't recognize that soon enough.

- Branco

Okay. I loved this movie as well. Before you go trashing it, realize that this was supposed to be a Hugh Jackman vehicle from the director of DOOMSDAY and CENTURION. Just keep in mind what this movie was supposed to be, and what it became instead.

Also, the main character of NO COUNTRY isn't Josh Brolin. It's Tommy Lee Jones. The movie isn't about whether or not this guy will get away with the money, it's about how this series of events changes the way an old school cop looks at his job and the world.

-  Branco

Holy shit.  Phil Tippet's beard is the most awesomest thing ever.

- Branco

Stallone as Rocky.

- Branco

'71-'78 Cadillac El Dorado.  Matte black, with black rims.

OR, a '65ish Lincoln Continental.  Glossy black, with chrome everything else.  Suicide doors.

- Branco

Didn't they make several eXistenZ flicks?  Maybe it's in once of the sequels?

- Branco

YES!  I saw DAS EXPERIMENT at an art-house theater in Dublin, and the crowd was so captivated that the fire alarm went off near the climax and not a single person moved from their seat.  When the manager came in a few minutes later to reassure us that it was just a false alarm, he was quickly shushed.

- Branco

For what it's worth, I haven't seen anyone in New York cutting on anything but FCP in the past 5 years.  I would see Avid before that here and there, but I've literally NEVER seen a professional editor here using Premiere.

Producers are notoriously susceptible to hype and buzz words, so I imagine many editors will be hesitant to ignore the fact that their producers want to see and use the latest and "greatest" software.

- Branco

DISCLAIMER: I'm a DP, and not involved in post in any way.  What I know is based on stopping in to say 'hi' to producers and doing color corrects.

Shawrape Redemption?

The Acquisition of An Upscale Neighborhood in Westchester First Second and Third.

- Branco

The first movie that I have a distinct memory of being enthralled by as a kid was THE ABYSS.  There was something just magical about it.  It's also one of the first movies where I can remember thinking "This is new.  Someone made this, and it's pushing the limits of what we can technologically do in film."

It's a hard question to answer with a single movie.  There have been so many movies that have opened me up to different things.  I'm just gonna list movies that have had a major impact on the way I think about moving pictures.  Keep in mind that there are many many movies that I like more than some of the films on the list, but they didn't actually CHANGE anything for me.

ABYSS
STAR WARS
SEVEN SAMURAI
FIGHT CLUB
CASABLANCA
FORBIDDEN PLANET
LOST IN TRANSLATION
ANNIE HALL
PANIC IN NEEDLE PARK
TAXI DRIVER
SNATCH
ETERNAL SUNSHINE OF THE SPOTLESS MIND
SLC PUNK
MADE

- Branco