CinemaCopa
@CopaExMachina • 4,917 subscribers
Film Director | Screenwriter | Author | Educator https://t.co/6pP9j0pKhl
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Not sure why Christopher Nolan doesn't think the "Nobody" pun doesn't translate to modern dialogue. The Odyssey's "Nobody" pun might be nearly 3,000 years old yet remains one of the most famous literary tricks in human history. It holds up today because it is simultaneously a simple joke, linguistic genius, and adds to Odyssyeus's hubris. There's even another layer to this trick. Odysseus knows he can't out muscle this guy. By stripping his name and becoming "Nobody", Odysseus proves that identity and strength are meaningless without intellect. After defeating the Cyclops, Odysseus (safe on his ship) let's his ego gets the best of him. He can't stand even his "Nobody" alter ego getting the credit, so he screams his real name back at the Cyclops to let him know who really did this to him. And of course, now that the cyclops knows it was really Odysseus, prays to Poseidon using his real name. Which in the poem, catches Odysseus a 10 year prison sentence out at sea. The "Nobody" joke is insanely multilayered and the real punchline is Odysseus can't stand Nobody taking credit for his exploits. The Odyssey (1997) | Andrei Konchalovsky
CinemaCopa3,037,642 Aufrufe • vor 1 Tag
The obvious dummy plus Gary Busey's death scream is pure perfection. Drop Zone (1994) | John Badham
CinemaCopa154,361 Aufrufe • vor 7 Tagen
Rocky Balboa has no right being this damn good. I've always said if Stallone didn't become a movie star, he would have had a great career anyway as a screenwriter. "The world ain't all sunshine and rainbows" monologue ain't no joke. Rcoky Balboa (2006) | Sylvester Stallone
CinemaCopa318,974 Aufrufe • vor 21 Tagen
The "Do I feel lucky?" scene in Dirty Harry is a masterclass in character introduction, establishing everything you need to know about Harry Callahan’s worldview, his methods, and his relationship to the law in just over 3 minutes, completely bypassing the need for expositional bullshit. The scene starts with Harry sitting at a diner counter, casually eating a hot dog. When the alarm goes off, he doesn't panic, drop his food, or wait for the cavalry he just called in. He handles a bank robbery while casually chewing on a hot dog. Just another Tuesday for Harry to blow away bad guys. This establishes him as a rogue operator who views official police protocols as annoying obstacles to actual justice, which must be swift if justice means anything. The sheer destructive force of his response with cars flipping over, hydrants erupting, windows shattering tells the audience that Harry doesn't care about collateral damage, personal safety (still out in the open even after confirming his leg is wounded), or protocol. He cares about stopping the threat by the most direct, violent means available. The "Do I feel lucky?" monologue isn't just a cool speech but a great look into his psyche. He hooks the wounded robber with a psychological trap. By withholding the one piece of information the criminal desperately needs whether the gun is empty, Harry enjoys exerting absolute physical and psychological control over criminals. The final hammer clicking and Harry's smirk tell you everything about his nature. He doesn't feel a shred of remorse or hesitation about pointing a massive hand cannon at an unarmed, bleeding man and pulling the trigger just to see what happens. This also sets up his moral compass. In Harry’s view, if you cross the line into criminality, you forfeit your right to empathy, due process, or safety. This all happens inside a shade of 4 minutes. Masterful stuff. Dirty Harry (1971) | Don Siegel
CinemaCopa110,486 Aufrufe • vor 10 Tagen
When I say filmmakers wish they can make a mid-tier Spielberg film, this is what I mean. His blocking is like watching a little mini-ballet. The camera moves are motivated by the actors. Violà you have at least 9 shot compositions in 35 seconds. Hook (1991) | Steven Spielberg
CinemaCopa246,570 Aufrufe • vor 29 Tagen
The situational irony and hypocrisy of resources in Death Wish is its most frustrating aspect. When Paul’s wife is brutally murdered, the police treat it like bad weather, an unavoidable, tragic reality of modern urban life. They tell Paul there's only a mere chance of catching the guys who killed his wife and raped his daughter. "That's the way it is in the city". But the moment Paul flips the script and starts executing muggers, the precinct suddenly discovers an infinite pool of resources. The state that was completely paralyzed by street violence is suddenly running with clinical, hyper-efficient urgency. Why? Paul’s actions expose their own systemic failure. The system will tolerate a high volume of violent crime before it will tolerate a single individual proving that the system isn't working. They'll even use the violent criminal to lure in the vigilante. Death Wish (1974) | Michael Winner
CinemaCopa115,335 Aufrufe • vor 16 Tagen
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Road House is one of those perfect movies. It's perfect if you want to fully engage with something or for noise. Go ahead put it on and walk out of the room. That comfort you're feeling? That's you knowing it's still there, being perfect. Road House (1989) | Rowdy Herrington
CinemaCopa31,617 Aufrufe • vor 27 Tagen
The intro to Alien is one of the most brilliant opening sequences ever. It's the Anti-Star Wars. The purpose is to establish the geography of the ship. By the time the 2nd act kicks off you understand where you are like you're one of the crew. Alien (1979) | Ridley Scott
CinemaCopa14,460 Aufrufe • vor 12 Tagen
Steven Spielberg's War of the Worlds is an interesting commentary on a post-9/11 world where the terror within exploits the myth of safety. Even Tom Cruise can't save us from aliens when he can barely keep his own family safe. War of the Worlds (2005) | Steven Speilberg
CinemaCopa20,181 Aufrufe • vor 1 Monat
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So many talented directors came out of the music video scene but there's one who always stood out the most to me: Chris Cunningham The dude's an absolute visual arts baller and just one day disappeared from the game Aphex Twin | Rubber Johnny (2005) | Chris Cunningham
CinemaCopa14,781 Aufrufe • vor 1 Monat
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