關於 the wonder imdb ，我們在網路上蒐集到這些相關的討論、資訊與評價

#SnyderCut #先讚後彈 #DCEU正義聯盟 #劇透 #圖文不符 ★ #9個吐槽位 ★ #patreon先行
【完勝17年版的 Justice League The Snyder Cut及其中的9個吐槽！】
#自尋死路post #大膽 #中立撚！(偽中立)
Youtube開播討論派對！
https://youtu.be/FiK65cCzCjc

● #評分
IMDb 8.5/10 (85,219) | RT🍅74%(206 review)|
九叔 ★★★☆☆

●完勝17年版正義聯盟。
以九叔3月18日HBO上架時花了4小時收看及2小時重看細節，再在更早前重看17年版正義聯盟及2016年的蝙蝠俠對超人：正義曙光 我斷言 ~ The Snyder Cut絕對優於 17年版而且去到完勝地步。

不論是導演強項的CG與打鬥、各角色戲份的平衡與描寫與及場景與場景之間的補完等等、尤其糾正了17年版最失敗的主伏線( 嘰嘰兵嗜食恐懼>最終狼叔因超人而恐懼而被嘰嘰兵擊到) 及讓人慘不忍睹的對白與笑位(You smell good、Flash與Wonder Woman 、Aquaman 自白等)都令人不能否定Snyder Cut的確優於17年版太多。

但當然，正如節目中提到：『接受Zack Snyder的優點同時亦要接受他的缺點！』下面就是九叔整理下來，Justice League The Snyder Cut的9個需要吐槽的地方，雖然或者會令你有雞蛋內挑骨頭之感，但其實這些缺點絕對將Snyder Cut評價直接拉低一到兩個層次......

全文請參閱Patreon (公開帖文)
https://www.patreon.com/posts/48991316
(內文由九叔個人觀點寫出，歡迎指導)

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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

「時間之旅」-\-\-　毀滅，是為了重生，而愛，讓天地萬物生生不息。

http://petermurphey.pixnet.net/blog/post/226437104

一般大眾看藝術片，總覺得有距離感，因為總被導演如夢似幻行雲流水，卻虛無縹緲的空靈，充滿形而上的論述所阻絕，而產生了身心難以跨越的理解鴻溝，但如果跟你說看過「永生樹」坎城金獎導演泰倫斯‧馬力克(Terrence Malick)，預定2018年11月23日在台上映的的電影新作「時間之旅」(Voyage of Time : Life’s Journey)之後，就像是看了一部「國家地理雜誌」＋「動物奇觀」＋「生命的奧密」＋「一千個為甚麼」的集大成之作，你是否就覺得充滿好奇而興味盎然呢？


之前觀賞過「永生樹」(The Tree of Life，2011 )與「愛‧穹蒼」(To the Wonder，2012)的朋友，可將導演新作「時間之旅」(Voyage of Time : Life’s Journey)視為探索天、地、神、人，宇宙萬物之間生滅輪迴與愛的力量流轉之間的完結篇。

電影透過了奧斯卡金獎影后凱特‧布蘭琪(Cate Blanchett)的旁白，時而輕語溫言讚頌，時而吭鏘有力地聲懷質疑，引領觀眾直視時間的力量，從過往、現今到未來，種種的演化，人類所能看得見的與看不不見的，不僅讓滄海桑田、滴水穿石、生滅輪迴更迭，也代表了觀眾向大地之母-\-\-地球，提出了許多關於發生在人類與萬物共生的這塊土地上的種種現象，更點出了只有愛的力量，才能化解現代人類之間因貪婪的岐異紛爭，以及對地球大地之母的傷害，哲者之言，能否如暮鼓沉鐘敲醒了當世的強權人們?且讓時間之旅去給出最後的答案。

時間之旅 Voyage of Time : Life’s Journey
出 品 國：美國
語 言：英語
IMDb評分：6.4
台灣上映：2018.11.23
類 型：紀錄片
片 長：1時30分
級 別：普級
編 導：「紅色警戒」「永生樹」坎城金獎名導泰倫斯‧馬力克(Terrence Malick)
主 演：
奧斯卡金獎影后凱特‧布蘭琪(Cate Blanchett)旁白