I really don't get this, but its definitely true because there doesn't seem to be a lot of crossover. Either you're all Kaiju or all Monster Kid. I was and am both and enjoy both. Wonder why that is.MaxRebo320 wrote: Its a pretty common viewpoint for old, curmudgeonly "monster kids" to have disdain for Japanese monster movies, viewing them as little more than cheap, childish crap, but view the likes of It Came from Beneath the Sea or 20 Million Miles to Earth as masterpieces. Pretty stupid.
King Kong Tribute Thread (THE REAL KING KONG!)
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
"Monsters are tragic beings. They are born too tall, too strong, too heavy. They are not evil by choice. That is their tragedy. They do not attack people because they want to, but because of their size and strength, mankind has no other choice but to defend himself. After several stories such as this, people end up having a kind of affection for the monsters. They end up caring about them." - Ishiro Honda
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
"Unconscious" nationalism, mostly.Mr. Yellow wrote:I really don't get this, but its definitely true because there doesn't seem to be a lot of crossover. Either you're all Kaiju or all Monster Kid. I was and am both and enjoy both. Wonder why that is.MaxRebo320 wrote: Its a pretty common viewpoint for old, curmudgeonly "monster kids" to have disdain for Japanese monster movies, viewing them as little more than cheap, childish crap, but view the likes of It Came from Beneath the Sea or 20 Million Miles to Earth as masterpieces. Pretty stupid.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
While overall I agree with your point (and you chose great visual examples), I would like to offer one suggested counter to this specific, broad claim:UltramanGoji wrote:Stop motion, as a visual effect in an otherwise normal live-action film, has never once looked convincing to me. Ever.
The Empire Strikes Back
To me, the sparingly used stop motion effects in Empire (which admittedly take place in a fairly abstract setting and are heavily intercut with other techniques), while recognizable when one is looking for the signs, do not in any way stand out as separate from the rest of their environment.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
And with that example, I admit a weakness! I totally agree.eabaker wrote:While overall I agree with your point (and you chose great visual examples), I would like to offer one suggested counter to this specific, broad claim:UltramanGoji wrote:Stop motion, as a visual effect in an otherwise normal live-action film, has never once looked convincing to me. Ever.
The Empire Strikes Back
To me, the sparingly used stop motion effects in Empire (which admittedly take place in a fairly abstract setting and are heavily intercut with other techniques), while recognizable when one is looking for the signs, do not in any way stand out as separate from the rest of their environment.
It's actually a testament to how good the effects are in the Hoth battle that it never even crossed my mind when thinking about famous stop motion sequences in films!
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
I think the number of caveats associated with that example goes to prove your main point, though.UltramanGoji wrote:And with that example, I admit a weakness! I totally agree.eabaker wrote:While overall I agree with your point (and you chose great visual examples), I would like to offer one suggested counter to this specific, broad claim:UltramanGoji wrote:Stop motion, as a visual effect in an otherwise normal live-action film, has never once looked convincing to me. Ever.
The Empire Strikes Back
To me, the sparingly used stop motion effects in Empire (which admittedly take place in a fairly abstract setting and are heavily intercut with other techniques), while recognizable when one is looking for the signs, do not in any way stand out as separate from the rest of their environment.
It's actually a testament to how good the effects are in the Hoth battle that it never even crossed my mind when thinking about famous stop motion sequences in films!
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
As much as I hate pulling that card in regards to stuff like this...yeah, you're probably on to something. Monsturd Kids tend to also like films like Gorgo and Them!, which don't utilize Stop Motion, and are really no better or worse than the typical, above-average Toho Kaiju film from the time. I was going to say it could in part just have to do with Japanese monster movies just simply not being apart of their childhoods (And anything they didn't see as a kid is automatically bad in their book), but considering those were just as much a staple of late night TV, drive-ins, etc. I doubt that's it.UltramanGoji wrote:"Unconscious" nationalism, mostly.Mr. Yellow wrote:I really don't get this, but its definitely true because there doesn't seem to be a lot of crossover. Either you're all Kaiju or all Monster Kid. I was and am both and enjoy both. Wonder why that is.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
“Childhood” is kind of relative in this instance. There’s lots of stuff I watched during my childhood that definitely wasn’t made when I was a child. As a kid, it was all different types of special effects and all amazing to me. Even the super cheesy stuff I enjoyed and still do so on a level today.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
I'm with you on this, even if I do like 20 Million Miles quite a bit.MaxRebo320 wrote:Its a pretty common viewpoint for old, curmudgeonly "monster kids" to have disdain for Japanese monster movies, viewing them as little more than cheap, childish crap, but view the likes of It Came from Beneath the Sea or 20 Million Miles to Earth as masterpieces. Pretty stupid.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
So do I, as with all of the other Harryhausen movies I've seen (Which admittedly, is only around 6 - 7). But I really wouldn't rate them up their with Toho's better efforts, with the exception of 7th Voyage of Sinbad and Jason and the Argonauts (And maybe Mighty Joe Young, though I'm not sure if that's deemed more of a Harryhausen or O'Brien endeavor), which I would rate about on-par with said finer films in the Toho canon.tbeasley wrote:I'm with you on this, even if I do like 20 Million Miles quite a bit.MaxRebo320 wrote:Its a pretty common viewpoint for old, curmudgeonly "monster kids" to have disdain for Japanese monster movies, viewing them as little more than cheap, childish crap, but view the likes of It Came from Beneath the Sea or 20 Million Miles to Earth as masterpieces. Pretty stupid.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
To me, the reason why the stop motion in Episode V still looks so good is because the AT-AT's are machines. It is way more convincing to make a machine move in stop motion than an organic object because a machine will naturally move with bulk and "clunkiness" and have an occasional jitter. It's the same reason I absolutely love the stop motion work on the T-800 in the first Terminator.UltramanGoji wrote:And with that example, I admit a weakness! I totally agree.eabaker wrote:While overall I agree with your point (and you chose great visual examples), I would like to offer one suggested counter to this specific, broad claim:UltramanGoji wrote:Stop motion, as a visual effect in an otherwise normal live-action film, has never once looked convincing to me. Ever.
The Empire Strikes Back
To me, the sparingly used stop motion effects in Empire (which admittedly take place in a fairly abstract setting and are heavily intercut with other techniques), while recognizable when one is looking for the signs, do not in any way stand out as separate from the rest of their environment.
It's actually a testament to how good the effects are in the Hoth battle that it never even crossed my mind when thinking about famous stop motion sequences in films!
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
UltramanGoji wrote: Is stop motion fun? Absolutely. Is it creative and a prime example of fantastic animating ability and craftsmanship? You bet. Is it a more convincing/better effect? No. And it never will be.
Sorry, gotta strongly disagree with you on this one.
3:40 is frighteningly realistic.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
I love the Japanese style man in suit technique but there are very few ways it’s better than top level stop motion.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
Meh, not really. Still too jerky and still too composite-y.Kaiju-King42 wrote:UltramanGoji wrote: Is stop motion fun? Absolutely. Is it creative and a prime example of fantastic animating ability and craftsmanship? You bet. Is it a more convincing/better effect? No. And it never will be.
Sorry, gotta strongly disagree with you on this one.
3:40 is frighteningly realistic.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
I’ll agree to a point with that sentiment. Films like Jason and the Argonauts, Mighty Joe Young, and 20,000 Fathoms have effects that honestly still stand the test of time and are an absolute joy to go back and watch even today. Top tier stop motion work, even in a live action setting, is a gorgeous sight to behold, and I honestly wish that more films would utilize this dying technique more.Terasawa wrote:I love the Japanese style man in suit technique but there are very few ways it’s better than top level stop motion.
However, on the flip side, when suitmation is at its absolute best, I have to put it a step above even the best of stop motion.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
I'm not going to hold the compositing against stop motion, mainly because compositing was always difficult to pull off and also the standard for what was considered an effective composite has changed. Film screenings and video monitor resolutions used to be much blurrier not too long ago, after all, and that covered up things to an extent making 20th Century film compositing much more noticeable than what we expect in the 21st Century. Doubly so for Harryhausen-style methods of compositing scale models into live action shots.UltramanGoji wrote:Meh, not really. Still too jerky and still too composite-y.Kaiju-King42 wrote:UltramanGoji wrote: Is stop motion fun? Absolutely. Is it creative and a prime example of fantastic animating ability and craftsmanship? You bet. Is it a more convincing/better effect? No. And it never will be.
Sorry, gotta strongly disagree with you on this one.
3:40 is frighteningly realistic.
The biggest advantage for stop motion, at least up until the '80s/'90s, was that it was generally easier to depict radically inhuman creatures with stop motion than with suitmation. Suitmation generally requires you be able to stick with either a humanoid shape, or at least a shape that one or two people could be contorted into. That changed, however, when puppetry and animatronics greatly improved in the '70s and '80s which is part of why you saw stop motion drop off so rapidly post-1980 in favor of suitmation, animatronics, and puppetry. The main reason Jurassic Park was even considering stop motion was because the studio balked at the price tag for building the full size WALKING dinosaur robots Spielberg initially wanted.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
The character of King Kong originally appeared in his eponymous film released on 7 April 1933. In the United States, "works of corporate authorship" (which in terms of fiction means basically anything that isn't a novel, since that's pretty much the only thing you can make without anyone else's help) have copyright status for 95 years plus the remainder of the final year.
In other words, on 1 January 2029, the original Kong film will enter the public domain, making the big ape the first (culturally significant) giant monster to be open to unlimited derivative works. When that happens, do you think various studios will try to take advantage of it? Will we see a glut of Kong films in theaters and straight to DVD or television? Or will the property remain largely ignored and we'll still only get a reboot every couple decades like now?
In other words, on 1 January 2029, the original Kong film will enter the public domain, making the big ape the first (culturally significant) giant monster to be open to unlimited derivative works. When that happens, do you think various studios will try to take advantage of it? Will we see a glut of Kong films in theaters and straight to DVD or television? Or will the property remain largely ignored and we'll still only get a reboot every couple decades like now?
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
The latter. Kong is a timeless story but it's not a hot property that companies are itching to get their hands on.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
Never mind, apparently King Kong first appeared in the original film's novelization, published on 27 December 1932. Furthermore, the novel's copyright was not renewed after 28 years (as was required at the time), so it lapsed into the public domain on 1 January 1961. Technically, the character has been open season for 58 years and no rush to take advantage has happened. So yeah, you're right.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
Even if there was, pretty bold to assume that Disney's not gonna have copyright terms extended by another 50-100 years. They've done it before, they'll do it again.johnboy3434 wrote:Never mind, apparently King Kong first appeared in the original film's novelization, published on 27 December 1932. Furthermore, the novel's copyright was not renewed after 28 years (as was required at the time), so it lapsed into the public domain on 1 January 1961. Technically, the character has been open season for 58 years and no rush to take advantage has happened. So yeah, you're right.
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Re: King Kong Tribute Thread (THE REAL KING KONG!)
Except there's no signs of the lobbying they would usually be doing at this point in time. Copyright extensions take years to push through from concept to ratification, and they've only got until 1 January 2024 before "Steamboat Willie" enters the public domain (which is presumably what they've been trying to avoid in past attempts). On top of that, there's actually a sizable body of influencers ready to push back hard against further copyright extensions now, which wasn't the case in the past. After all, the last time this happened, the majority of American households didn't even have internet access. It would be significantly more difficult to replicate previous successes now. Not impossible of course, but still.NSZ wrote:Even if there was, pretty bold to assume that Disney's not gonna have copyright terms extended by another 50-100 years. They've done it before, they'll do it again.
Experts are speculating that Disney is going to abandon the copyright battles and instead rely on trademark law to enforce their IPs on a per-character basis. Trademarks are eternal as long as you keep using them, so Mickey will never truly be "free" for anyone to use the image of as long as Disney keeps using him. Why fight for copyright in the first place if trademarks can keep your characters in your control forever? Because while you can keep the characters forever, you steadily start losing the works they appeared in. They can keep Mickey Mouse for eternity, but the actual cartoon "Steamboat Willie" can still be copied and sold by anybody once it lapses, and so on and so forth for later cartoons as time marches on. However, they've built themselves a 95-year buffer thanks to previous copyright extension laws, so they may think that's finally a long enough window to milk any given work dry, to where losing ownership of it will be minimally harmful to their profit margins. And after all, it's not like they have to stop selling it when it lapses. Public domain means anyone can sell it, including the former copyright owners.
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