Huh.  Based on that description, that's the cut I just watched a couple months ago.  Didn't even know it was the "extended" version.

Courtesy of the great John Pavlich

yep, with the 307 engine.  Maybe not as awesome as the 350, but once I put the 4-barrel carb on it, it was plenty good enough.   

Oh, the stunts I did in that baby.  Some of which are immortalized on 8mm film in a box somewhere.  Good times.

Pretty much. 

And so's this thread, apparently.

/just glad somebody in the world is still doing a stop motion project

Interesting post here by one of MASH's writer/producers about the laugh track.

Both Tim Burton's first Batman and both of Nolan's are interesting case studies as well.   

In Burton's Batman, Michael Keaton is already Batman at the beginning of the movie, and he's still Batman at the end.    No arc there.  But Nicholson's Joker has a complete arc - we see him become the Joker, we see him BE the Joker, and we follow his story all the way to its end.

In Batman Begins, we see.. well, Batman begin.  So Bruce Wayne gets a full character arc in that one.    But in The Dark Knight, he's the same throughout.  Sure, he suffers a lot and becomes a pariah at the end, but these are just things that happen to him, they don't actually change his character at all.   

Ledger's Joker has no arc either, he also stays the same through the entire movie.    Of all the main characters in TDK, Harvey Dent is the only one with an arc, albeit a tragic one.

It's the same dynamic as the classic Western anti-hero like Shane, or the Road Warrior, or Yojimbo... the title character doesn't change - he just shows up, does his thing, and then moves on.   The arc-ing is carried by the supporting characters.

Well, my my.  Best non-human, best Actor and Best Feature?   Awesome.   Curious to see what the actual results are tomorrow.

I gotta check out Sherlock Holmes (Asylum version).  I hear it's kinda wacky fun.  And the steampunk robot thingie that appears in the movie is prominently displayed in the Asylum lobby to this day, it's pretty nifty. 

Rachel Goldenberg was prepping Princess and Pony while we were in post on Moby, so I saw her around the office a lot.  She seems nice.  If she ends up taking the coveted Best Director award, I'm okay widdit.

Re: Dean Kreyling, apparently he's just somebody Asylum likes working with.  Mike Gaglio and Matt Lagan are two other Asylum veterans who appeared in Moby as well, nice guys all.    None of them came in to audition, the Asylum honchos just cast them according to type.  I didn't meet any of them myself until they came to set. 

But they all knew what to do, I just pointed a camera at 'em.

We didn't talk about it a lot in the DOTD78 comm, but it's there. I think.

And other than the head asplosion I dunno what else I'd have to say about Scanners.* I haven't seen it since it came out, not sure if any of the rest of the crowd has seen it at all.

* Except that I wish Patrick McGoohan had done more movies in his later years, 'cause he was always frickin' awesome.

There are those who believe the Oscar often works the same way.  The theory is winners sometimes win not for the thing they're nominated for that year, but because the voters realized in retrospect that they shoulda won for that other thing a few years ago.   

Or because the nominee gets nominated a lot but never seems to win, so it's just time to give them a damn Oscar already.

Al Pacino might be a good example - six Oscar nominations without a win, finally on the 7th turn he wins... for Scent Of A Woman?   Was that really Pacino's most Oscar-worthy performance?   Compared to Serpico or Godfather or Dog Day Afternoon?  Really?   

I think that was a "just give him one fer pete's sake" win.

It was never a common assumption that the stormtroopers were clones, back in the day.   Always seemed to me, and still does, that they're just a random assortment of guys who signed up to be troops for the Empire, because the Empire is the reigning goverment after all, so that's the army you sign up for.   

SW books like Allegiance certainly portray them as different people as well, if that counts.

What stormtroopers REALLY are is a cost-effective way to kill the same stuntmen over and over and get away with it, but that's probably not what you were asking. 

Except there's no correlation between the two categories: editors nominate editors, whereas all Academy voters nominate Best Picture, regardless of whether they know jack about editing or not.   There's no secret society within the Academy that makes adjustments to the overall outcome.

Usually you see the mechanics of the process when things conspicuously DON'T get nominated for something, a la Prince of Tides getting Best Pic/Best Actor/Best Actress noms because the Academy overall liked the movie and the actors' branch thought the performances were worthy, and yet didn't get a Best Director nom because the directors' branch apparently didn't think of Barbra Streisand as being one of the club.   

There are so many factors that it'd take a Nate Silver to crunch the numbers and see if there's any particular reason behind the editor/Best Pic factoid.   I'll bet it's a combination of factors rather than just one, or maybe even just a lengthy run of concidence that will end next year.   But it's definitely not because somebody in the back room is "deciding" it, tho.