You have power!! If anything, this proves that you can get the people to see the truth. Now they just need to listen to what you have to say about Kohn Krasinski!!
That's greeeeeeeeeeat...except for people like me who have less than a year to live. Tenet and Halloween Kills were the only movies I was looking forward to this year. Now they've both been postponed until next year. Thanks a lot, Patrick. I'm blaming my grade IV glioblastoma on you as well. I hope you're happy.
Patrick, I'm sincerely concerned about your friend, Charl. Judging from his overtly smug tone of voice and the fact that he seems to think he's "in charge" of your show, I honestly think he's a bit of an attention seeker and a bad friend to have around. It's honestly painful to watch him talk about you with such disrespect. He clearly doesn't appreciate how much of a kind-hearted and warm friend that you are to him. My heart can't take it. It pains me to say this, but I believe you two need to part ways. I know it's not easy but from personal experience, I know that it's worth it. It pained me when I parted ways with my best friend, Mort the Pineapple, but I realised that it was best for the both of us, we just weren't making each other happy, so I had to let him go. It hurt at first, but eventually we moved on. He found a new human, and I found Rob... the Corn Cob, we're now happier than we ever were before. You can be, too. I just want you both to be happy. It's for the best that you part ways. I wish Charl all the best, but you need to let him go. I believe in you, Patrick.
Especially after the abuse allegations former co-workers of Charl have been finally made heard in the last weeks, Pat really got to part ways with Charl... I mean, these people claim that Charl made them drink his milk without consent, which is honestly just disgusting
It's kind of lame. Patrick has finally found his groove with less known American films and filmmakers (still super mainstream, but not the MOST mainstream), but the viewers aren't there and he needs to turn back to filmmakers and films every hack on RUclips has covered already.
Henry G: I agree. All people wanna talk about is whatever’s popular. Its gets boring after a while and I’m always glad to see Patrick talking about great movies like little women that get shelved for discussion because people rather argue about who was the best Spider-man for what feels like decades. But I don’t think Nolan has quite reached that level. His films may be main stream and over shadow lesser known masterpieces (such as Little women). But would never go as far as to call him anything less that a soon to be legend. He is a brilliant director and I would love to hear someone of Patricks filmmaking intelligentsia discuss him. Instead of other idiots on RUclips who only talk about how “it was cool when he flipped that truck that one time” or “His films are too confusing”. Someone like Patrick will actually give deeper, much less surface level praise and critiques. I understand what you’re saying but Nolan is the best director working now. And I’m sure Patrick will go right back to talking about forgetting gems.
@@bebaguette766 I think its good to hear Patrick's opinions on mainstream films BECAUSE he isn't the average viewer, he applies the knowledge he's learnt from other lesser known films
Yeah, I guess I kind of agree with you. I initially didn't enjoy Patrick's videos, but he's gotten real good in the past year or so, and even this, which I expected to be shallow and repetitive was mostly okay. I'm just tired of the endless Nolan discourse. I enjoy most of his films and he's probably the best Hollywood Blockbuster director atm, and I prefer him over someone like modern Spielberg, but eh, I'd take someone like Abel Ferrara (who hasn't had pretty much any videos on his films on RUclips), Scorsese, Paul Thomas Anderson, Asghar Farhad, Roy Andersson, fuck it, pretty much anyone who isn't constantly talked about on RUclips over Nolan.
Yeah, can you imagine him talking about someone like Fellini or Antonioni? Now that's something that sounds interesting. But I get it, you have to pay the bills, which is sad as shit.
When he said that he had a new band, I fully expected to see his mom playing a plastic recorder, with his dad on a toy piano. Which would have been awesome. But classically trained musicians are great, too. 👍🏼
I was slightly worried that Patrick mentioning the 20-minute uncut rant that the sentence would end with “available on the Patreon,” but he actually uploaded it to PHWP. Pat’s a good egg.
Don't forget that Nolan also changed cinematographers. Wally Pfister did Memento through The Dark Knight Rises. Hoyte van Hoytema did Interstellar through Tenet. Interestingly, Pfister was Oscar nominated for most of his Nolan collaborations (Batman Begins, The Prestige, The Dark Knight, and Inception (he finally won for Inception).
I remember watching The Dark Night and left the cinema wondering why some of the more intense action shots were cut the way they were. during i think a car chase, I literally lost track of what was actually going on, and thus the suspension of disbelief was broken. Paradoxically, that movie contains some of the most iconic shots and sequences filmed in recent times.
Patrick, after watching your Alien: Covenant vid and a few others, I legit went back and watched basically all your channel's vids from the beginning going back 7 years. What started out as a lighthearted channel of goofy superhero comic vids from an aspiring director, has become a chronicle of great expectations, frustration, and a slow descent into madness. Keep it up!
Part of the 87% male audience here, I went and watched Little Women and The Music Man after your quality segments about them. Good stuff! I'm even tempted on Momma Mia...
My husband and I stretched watching the movies on that list. I second Patrick’s enthusiasm for “In a Lonely Place.” Might be Bogart’s best performance. 👍🏼
Incredible film. I'm a sucker for films about about relationships falling apart, and that one went right to the top. The story behind the making of the film is also super interesting.
Your little skit joke kind of backfired...literally got goosebumps anytime those ladies sang, and am pretty bummed about the idea of another episode without them on. I don't want them to go :( Do they have a youtube presence?
RE: Matt Wines. Rugrats Go Wild was a theatrically released movie! And it was the most ambitious crossover of 2003. Also, 12yo me liked All Grown Up more than Rugrats by that point.
That Rugrats entract was truly empowering. Finally someone who mustered the courage to speak out on such important matters ! I, too, love getting mad at trivial things it makes me feel like I'm somehow alive and most importantly I need validation from people I'll never interact with in any meaningful capacity. Rugrats > Animal Crossing. There, I SAID IT.
I'm not any kind of knowledgeable about film making, but even I noticed how well the camera told the story in Dunkirk. You felt the isolation, the fear, all without anyone saying a word.
This is a great video, and I love the note on Fincher. His use of CG definitely became a lot more subtle; most folks don't know that the handheld shot used here from Zodiac is in fact an almost-all CG shot, minus the actors and the cab. It shows that it is the flashiness of a lot of CG that makes it annoying; the stuff that works best is the stuff you don't notice - and Fincher has become a master of this.
omg Patrick the BEARD. I'm awaiting the inevitable December video that's a filmic dissection of Santa Claus with you then becoming Santa Claus in the video
I don’t suppose that talking about Denis Villeneuve would be too conventional. He’s my favorite director, and I think his style is under appreciated or at least not talked about enough. Could you talk about him? I don’t want to tread on your plans, you’re doing great work.
Unfortunately the film bros he's mentionning at 9:45 are already trying to accaparate Villeneuve for themselves. Villeneuve style is being talked a lot, StudioBinder has already covered his style ruclips.net/video/FYvimGit3nQ/видео.html
@@tatehildyard5332 Really? I didn't know that, if true then it's surprising because the Safdies are in my opinion too eccentric like the Coens or Wes Anderson to be appreciated by the film bros.
@@bookeblade Slow rythm, highly atmospheric well composed shot, precise camera work (slight push-off for example), stark production design (like brutalism) and characters who are slowly turning insane in front of violence
I’ve been watching your vids for a long time and I think this one just blew the socks off everything else. It’s gratifying as a fan to see so many of your jokes and styles clicking into something greater than the sum of their parts. Keep going, y’all. You’re all great.
I got to be an extra in one of the effects sequences from Dunkirk. It was a really special experience- maximum realism and immersion even for the extras. But that IMAX camera was really silly looking.
6:30 I think that makes Nolan the anti-Campbell. One thing I love about Martin Campbell is that his masters and establishing shots are fantastic. He's great at putting a lot of information in the frame and allowing that to establish the context of the scene. In Edge of Darkness there's very little known about the daughter in the early moments of the film. Her story has to come later in plot reveals. But we also have to care about her so we can relate with Gibson's quest for answers. So when he first enters her room, there's Gibson at the extreme left, and her room is splayed out to his right. All the bits and pieces of her life, abruptly left behind, are there, and we get a short tour of who she was, at least as well as Gibson remembers her. To quote another film critic, you didn't notice it, but your brain did. Nolan specializes in think pieces, examinations of the human condition, so it makes sense that the people are the main focus of his shots. We're either looking at them, or the things they're giving special attention to. A perfect example is Insomnia where we always see the hotel room from Pacino's perspective of ever invasive light, then Maura Tierney turns on the light and WWAAAHHHHHH. One really great wide shot Nolan did was also from Insomnia. After Robin Williams escapes at the lumber mill, there's a great shot where he's on the other side, small and distant, and the logs on the river are in the extreme foreground, rushing by at high speed. It puts a huge emphasis on how close Pacino was too chasing him and now he might as well be a million miles away. That's another thing Campbell does well, actually: having something (typically a character) in the extreme foreground juxtaposed against something happening in the background, and it draws your eye to both at once.
I come home from work, I open my laptop, I go on RUclips, I see the guy who is giving John Krasinski a run for his money uploaded a new video - it's a good day. :)
Ah cool collaboration for nebula! Those ladies are so talented! Man, the way imax really changed how Nolan filmed is so interesting to see it broken down. And woah no movielike shots with you outside or with your parents?! You okay Patrick? Also that ending to Matt Wines was hilarious bc actually tho just give me babiesss
Putting the Coco Loco "in charge" at this point in time escalates things unnecessarily I think. The times are what they are and, despite I don't endorse the points he makes, I can see he's clearly under the weather. Hope you guys work through this bc. a Charl on his A-Game is what we need.
Really nice analysis here Pat! One of the reasons I think I've enjoyed Nolan's career so much is watching him grow a bit with each film, while still retaining that familiar style and voice. The way you broke it all down was very clear. I think it makes perfect sense if you track it from his start as an indie writer/director working on a shoestring budget and weekends, to one of the biggest large-scale filmmakers working today. The marriage of those two sensibilities is definitely his main signifier IMO. And regardless of what one thinks of his films, I think it's clear that he continually hones his craft each time he steps up to the plate. Should be inspiring for all aspiring creators to see that the learning process never ends! Also, the midnight showing of TDK at the Lincoln Square IMAX remains probably the best theatrical experience of my life.
Nolan’s lack of spatial geography particularly stood out in INTERSTELLAR during the big moment when Brandt realizes that Cooper is about to detach from her Could’ve been a great moment had I known they were in completely different compartments during the scene I thought they were in the same space!
Unfortunately “TENET” proved that even if Nolan’s style improved a lot visually, he still has a problem with a need to say everything directly. The exposition in this movie is constant. It seems like Nolan wanted to show elaborate action scenes more than tell the story. So he told it directly, entirely in dialog, to get it over with and move on to spectacular action as soon as possible. IMAX might have made him a better filmmaker, but it might have also make him a worse writer.
I think those problems are better attributed to the fact that Jonathan Nolan was not one of the films writers. Their collaborations seems to improve the scripts for his films.
@Aka "TENET" is the ultimate (and strongest) proof of this, but this problem has been growing with Nolan for years. Yes "Dunkirk" is a glorious exception, but do you remember how Nolan explaining everything in dialogue in "Inception"? The character of Arthur was in this movie basically just for that. The ending of "Interstellar" also repeats in dialogues what the viewer sees and knows (or guesses). Completely unnecessary. The same regression is seen in his Batman trilogy, where the further into the series you get, the more the script tells the viewer directly what to think. Nolan is a master of building specular set pieces and has great fun with time in his films. But he's not the most subtle writer.
@Aka Your main argument for justifying the exposition used in dialogue in this way is to explain something to the characters/viewer. Yes, that's what exposition is for. But its use in this form is always poor screenwriting. Films are a multimedia medium where if you can show or tell something, you should always choose the former option. Explaining the meanderings of the script or building a world through dialogue in film is the weakest form of this process. And it's not that it can't be done differently. A lot of things can be visualized in a film without being said explicitly in dialogue. If Nolan put as much work into crafting dialogue and world building into a form more interesting than simple dialogue as he puts into constructing his impressive action scenes, I'm sure he would have found a way to do it. However, it is clear that he is (in some of his films) more interested in said spectacularity. Which is also cool. His films are always epic events. But as far as quality writing goes, his dialogues are his weakest point.
Jesus @Aka! You've posted 17 responses already. I think that's enough ;) Citing other works and their lack of criticism as an argument against criticism of Nolan is a strange line of defense. It has no relevance in the context of Nolan's films. But sticking with this narrative what about the better works? "Blade Runner 2049", "Arrival", "Twelve Monkeys", "The Fountain" etc. etc. etc. These are also films with very complicated worlds and narratives that find other ways to convey information than saying it directly in dialogue. Some of them even make it an element of fun (e.g. "Primer" being a puzzle), and others, if they have to convey/explain something directly, use clever narrative vehicles to do so (e.g. video logs in "The Martian"). There are hundrets of ways to tell a story, build and explain the world and hundred more to do it without direct dialogue or with hiding these dialogues behind some more clever idea. And Nolan, as you yourself rightly point out, does this often. "Memento", "Insomnia" or "Dunkirk" are all good examples of a smoothly paced narrative. But I dare say that the bigger show Nolan makes, the more he relies on screenwriting crutches in the form of straightforward, direct exposition. Often unnecessary, because not every element of the film (not even the logic of its world or events) has to be explained to the viewer in order for him to enjoy it. From my side this is the end of the topic. Let's agree to disagree :) Have a nice day and thank you for the conversation. Cheers from Poland!
This RUclipsr ‘comic book girl-19’ made a pretty cool video after a recent Batman movie (where the Wayne’s were killed). And talked about how to make a pearl necklace. Apparently there’s no way for all the pearls to spill everywhere if it’s in any way a decently made necklace. I found that fascinating.
Sometimes I watch the entire 30 minutes, feel satisfied, and forget to leave a like. This is me coming back 45 minutes later and doing that while also leaving a comment to remind people to do the same.
We have mixed feeling about it. Basically, you can the film discourse ecology is a square shaped spectrum with 4 separate ends and everyone is closer to 2 ends over the others. You've got your film bros (the devotees of Nolan, Tarantino, Fincher, Kubrick and maybe Scorsese but only the ones with enough popularity to play on cable). There's film twitter (those who vocally advertise their love for A24 and Wes Anderson and Sofia Coppola, go hard for "THE AESTHETIC" get a lot of scented candles at the mall and like the film bros, their range and viewing habits are pretty narrowly defined to contemporary releases and the stuff that gets played on tv). There's the grad program crop that live on a steady set of Fellini, Bergman, Ozu and Eisenstein, occasionally indulge amongst the commoners and end up as the academics or grinding the Sundance circuit. Finally, you've got the shlock kings who usually end up working in novelty or video stores and thrive on the obscure, low budget genre and cult fare like Russ Meyer, Mario Bava, Roger Corman, and Mexican vampire films from the 80s. Everyone exists somewhere in the square, pulled between all 4 ends but closer to some and father away from others.
@@ErmenBlankenberg Thank you. Where do you think you are in the square? I try to be in the section between Film Twitter and grad program. I try to keep up with the art house stuff that’s currently out to mixed results and I try to make the effort to catch up on the giant chasm of cinema classics (while trying my best to keep my head out of my ass).
And just for visual aid, here’s the square layout. Film Bro corner is the top left, Film Twitter corner is the top right, Grad Program corner is the bottom right and Schlock King corner is the bottom left. I based the positions on how often the 4 ends of the spectrum do and do not intersect. The ones that are next to each other are more common pairings and the ones that are diagonal from each other are not as common
@@tatehildyard5332 Yes, that alignment chart makes a lot of sense and helps to visualize it, like some sort of political compass, but for film fans (Cinephile Compass?). By the way you structured the corners of the square, I'd guess the Y axis could be something like Notoriety (Mainstream at the top, Obscure at the bottom) and the X axis might signify like Attitude (people at the left taking their films very seriously and sticking to what they know, people at the right being very chill and open to new ideas and experiences). But that's merely my impression what the axis could be, I'm curious how you see it, as it is your design. I'm not sure where I'd put myself in the chart. I'm a film studies undergraduate myself, currently working on my bachelor thesis, but I'm all over the place, I enjoy Fincher, Scorsese, Anderson and Sofia Coppola just as much as Ozu, Eizenstein or other classics, although I'm quite behind on contemporary festival scene and I haven't dipped my toes in the low budget cult fare so far. And my fellow students are all over the place as well, some are film bros, some are Schlock fans, some die-hard arthouse snobs, some casual Twitter type fans, so it's really diverse and finding someone with similar taste can be quite difficult.
This is awesome and you are awesome, Patrick (H) Willems. I love everything about this video, most definitely including your insights on Christopher Nolan.
Interesting continuation of the show. The main issue with delaying Tenet is that theaters in the U.S. are in pretty bad financial shape, and it seems like Nolan wants to give them a boost to try & keep them alive. Not saying it's a good idea with coronavirus, but I think his intentions are good.
And it's an even bigger problem in other countries where the cinemas have legally been declared safe to reopen. As such, they can't easily claim for lost revenue caused by choosing to remain closed but have no movies coming out because major films don't want to release before the US is also safe. Here in the UK I already know of several independent cinemas that have been forced to shutter permanently and there's a serious risk to jobs even at the major chains if they don't figure out something soon. Delaying Tenet isn't costless.
This is EXCELLENT visual analysis! I love how precisely you broke down Nolan’s evolution. So glad this was recommended to me, can’t wait to watch more.
What you said about lenses isn’t useful information at all since he changes formats within movies. So an 80mm on IMAX is like a 40mm in full frame terms with a 40mm IMAX being a 20mm full frame equivalent angle of view. Meaning he mostly use normal focal length that don’t cause to much perspective distortion.
I just realize that theses episodes come every week or two, but they feel like they've been working on for at least a month and I'm impressed! The results are awesome as usuals! Also, the cover of "toxic" at the start was sooo good. It gave me shivers!
3:17 What are the five topics that a male audience care about? So far we have marvel (hey, they have two audio dramas out), Star Wars, and Christopher Nolan. Are the other two DC and wrestling?
Such an amazing RUclips video and also captures why Dunkirk is by far my favourite film from him. The cinematography and visual storytelling is just another level to his other pieces.
Most holywood directors: crazy spinning cgi shots Kojima: full cgi, "films" everything with handheld gyro tracked motions with actual carefully blocked motion captuee actors
DEFINITELY appreciate this video, I feel like through this more than any other vid you've made (and your videos are brilliant, ofc) that I've got a decent education on shot composition and sufficent, contextual shot planning. Fantastic stuff. Also yes, Nolan, Delay Tenet.
And then Michael Bay watched The Dark Knight, and said “Hey, I wanna try that!” So he took an IMAX camera to the woods, and added Optimus Prime dying in post (also Egypt, and added Devastator in post).
This is a hopeless request but if you could do an in depth video on anything slasher-movie related I’d be indebted forever. Look at story structure or film techniques across the biggest franchises (Halloween, F13, Nightmare on Elm Street, Texas Chainsaw, Childs Play, Scream) and how they differ between the good films and the horrible cash grabs. That would be fucking awesome
patrick and gang, these videos have been a joy and highlight of the quarantine, thank you so much for your work. i've learned about film criticism more in the last few months than ever before
UPDATE: TENET IS DELAYED! WE DID IT!
You have power!!
If anything, this proves that you can get the people to see the truth.
Now they just need to listen to what you have to say about Kohn Krasinski!!
Patrick (H) Willems when I saw the news on twitter, you were the first person I though about
I’m so glad you did it
It’s only being delayed in the US It’s going to be releases globally
No, YOU did it Patrick. You did it.
That's greeeeeeeeeeat...except for people like me who have less than a year to live. Tenet and Halloween Kills were the only movies I was looking forward to this year. Now they've both been postponed until next year. Thanks a lot, Patrick. I'm blaming my grade IV glioblastoma on you as well. I hope you're happy.
As a member of your 87% male audience, I just wanted to say that I really enjoyed your takes on less guy-coded films (ie Little Women and Mama Mia)
Yeah screw it, I'll watch anything Patrick puts out.
@@johanjarvinen same!
I second this
Same
100% same
As a member of your 13% non-male audience, I already miss the Little Women hot takes and wine club debauchery 😭 ... but this is fine too lol.
As a member of his male audience... Same
saaame... and the mamma mia takes haha
The Wine club video is Willem's Magnum Opus. Nolan and the rest pay the bills :(
13%? Damn! Charl has to show a bit more skin.
His video got me to watch Mamma Mia: Here We Go Again, so that's good
"It's like... F-- it, you know"
-Christopher Nolan
I wish someone knew where that clip is from. I want to see the full interview.
@@evooff TIFF Talks interview for Dunkirk
ruclips.net/video/j0T2mMAfsx8/видео.html
14:30 mark
One of my favorite lines!
@@rubberducky4074 I love the comment section. Thank you
Did not come here expecting to want a full version of the classical “Toxic” cover, but here we are...
Watch the trailer for a movie called "Promising Young Woman."
Patrick, I'm sincerely concerned about your friend, Charl. Judging from his overtly smug tone of voice and the fact that he seems to think he's "in charge" of your show, I honestly think he's a bit of an attention seeker and a bad friend to have around. It's honestly painful to watch him talk about you with such disrespect. He clearly doesn't appreciate how much of a kind-hearted and warm friend that you are to him. My heart can't take it.
It pains me to say this, but I believe you two need to part ways. I know it's not easy but from personal experience, I know that it's worth it. It pained me when I parted ways with my best friend, Mort the Pineapple, but I realised that it was best for the both of us, we just weren't making each other happy, so I had to let him go. It hurt at first, but eventually we moved on. He found a new human, and I found Rob... the Corn Cob, we're now happier than we ever were before. You can be, too.
I just want you both to be happy. It's for the best that you part ways. I wish Charl all the best, but you need to let him go.
I believe in you, Patrick.
I wish nothing but the best for you and Rob the corn cob.
It's such a classic co-dependent abusive relationship. I haven't seen anything this sad and damaging since the Depp-Heard split.
@@MariaVosa I know right , only Harley-Joker can be compared to what became of the beautiful bond between Patrick and Charl
Especially after the abuse allegations former co-workers of Charl have been finally made heard in the last weeks, Pat really got to part ways with Charl... I mean, these people claim that Charl made them drink his milk without consent, which is honestly just disgusting
@@elchsohn7943 By drink his milk do you mean.............that?
There’s something special about the promise of Patrick talking about Nolan
It's kind of lame. Patrick has finally found his groove with less known American films and filmmakers (still super mainstream, but not the MOST mainstream), but the viewers aren't there and he needs to turn back to filmmakers and films every hack on RUclips has covered already.
Henry G: I agree. All people wanna talk about is whatever’s popular. Its gets boring after a while and I’m always glad to see Patrick talking about great movies like little women that get shelved for discussion because people rather argue about who was the best Spider-man for what feels like decades. But I don’t think Nolan has quite reached that level. His films may be main stream and over shadow lesser known masterpieces (such as Little women). But would never go as far as to call him anything less that a soon to be legend. He is a brilliant director and I would love to hear someone of Patricks filmmaking intelligentsia discuss him. Instead of other idiots on RUclips who only talk about how “it was cool when he flipped that truck that one time” or “His films are too confusing”. Someone like Patrick will actually give deeper, much less surface level praise and critiques. I understand what you’re saying but Nolan is the best director working now. And I’m sure Patrick will go right back to talking about forgetting gems.
@@bebaguette766 I think its good to hear Patrick's opinions on mainstream films BECAUSE he isn't the average viewer, he applies the knowledge he's learnt from other lesser known films
Yeah, I guess I kind of agree with you. I initially didn't enjoy Patrick's videos, but he's gotten real good in the past year or so, and even this, which I expected to be shallow and repetitive was mostly okay. I'm just tired of the endless Nolan discourse.
I enjoy most of his films and he's probably the best Hollywood Blockbuster director atm, and I prefer him over someone like modern Spielberg, but eh, I'd take someone like Abel Ferrara (who hasn't had pretty much any videos on his films on RUclips), Scorsese, Paul Thomas Anderson, Asghar Farhad, Roy Andersson, fuck it, pretty much anyone who isn't constantly talked about on RUclips over Nolan.
Yeah, can you imagine him talking about someone like Fellini or Antonioni? Now that's something that sounds interesting. But I get it, you have to pay the bills, which is sad as shit.
I can’t wait for Charl to drop his debut spoken word album, he has such a way with language
Ever been to one of his poetry readings? I cried so much, I was dehydrated by the end.
word is Patrick has William Shatner lined up as the voice of Charl, so this checks out.
Guys I don’t know how to tell you this but
Charl can’t talk
@@jamesward3859 Sometimes we all feel like that, dude.
When he said that he had a new band, I fully expected to see his mom playing a plastic recorder, with his dad on a toy piano. Which would have been awesome.
But classically trained musicians are great, too. 👍🏼
Like that segment on Jimmy Fallon's show.
LMAO yes that should be his next replacement band.
The Epic Conclusion to Matt Wine's did NOT disappoint.
I was slightly worried that Patrick mentioning the 20-minute uncut rant that the sentence would end with “available on the Patreon,” but he actually uploaded it to PHWP. Pat’s a good egg.
Really had a strong finish.
Holy shit, that Toxic cover!!! 😍😭😍😭😍😭😍😭
Don't forget that Nolan also changed cinematographers. Wally Pfister did Memento through The Dark Knight Rises. Hoyte van Hoytema did Interstellar through Tenet. Interestingly, Pfister was Oscar nominated for most of his Nolan collaborations (Batman Begins, The Prestige, The Dark Knight, and Inception (he finally won for Inception).
And now for Oppenheimer, I hear that Nolan's going to be collaborating with Poon Pfister. Exciting times
I remember watching The Dark Night and left the cinema wondering why some of the more intense action shots were cut the way they were. during i think a car chase, I literally lost track of what was actually going on, and thus the suspension of disbelief was broken. Paradoxically, that movie contains some of the most iconic shots and sequences filmed in recent times.
Patrick, after watching your Alien: Covenant vid and a few others, I legit went back and watched basically all your channel's vids from the beginning going back 7 years.
What started out as a lighthearted channel of goofy superhero comic vids from an aspiring director, has become a chronicle of great expectations, frustration, and a slow descent into madness.
Keep it up!
That beard tells me that this talk show has reached the My Next Guest with David Letterman stage
Scary old man from home alone stage*
The beard, glasses, dome and suit tell me that Simon Whistler is taking over this channel. Soon, everyone will be Simon.
Part of the 87% male audience here, I went and watched Little Women and The Music Man after your quality segments about them. Good stuff! I'm even tempted on Momma Mia...
Watched both because of that essay. You will not regret it... well you won’t regret the second one.
Oh my god the sisters are so bubbly and fun, I hope they show up again in the future
agreed 🥰
Nolan: I don’t think people notice-
Patrick: I noticed it, Chris! Me! I did!
At the very least your comment deserves a "like" for using an em-dash.
I'm a member of the 13% and would love some more TCM content
87%er here,we all demand TCM Wine Club
My husband and I stretched watching the movies on that list. I second Patrick’s enthusiasm for “In a Lonely Place.” Might be Bogart’s best performance. 👍🏼
Incredible film. I'm a sucker for films about about relationships falling apart, and that one went right to the top. The story behind the making of the film is also super interesting.
As a member of the 87%, so would I
I love classic movies always have, and I would love to see Patrick see more
Patrick's beard just gets more and more magnificent and it fills me with both awesome wonder and boundless envy.
Seeing the evolution of Christopher Nolan's filming was personally inspiring for aspiring filmmakers like us.
Now i get it why Tarantino think Dunkirk is Nolan's magnum opus
The improvement in visuals (lighting, fidelity, etc.) since I started watching this channel is awesome. This episode looks GREAT.
I love the term "Filmbros" its perfect
I knew that the final installment of Matt Wines would be heated but I had forgotten about All Growed Up and I was unprepared for his vitriol
YOOO is that Loveless?
NEVER FORGET
@@Stratocasterlaserblaster Do you mean Loveless the quintessential 1991 shoegaze LP from pioneering Irish alt rock band My Bloody Valentine? yes
@@robinsonnox9980 Nice avatar
@@caseyglover7298 You too
These sisters are the breakout stars of your show. Give them a spinoff.
Your little skit joke kind of backfired...literally got goosebumps anytime those ladies sang, and am pretty bummed about the idea of another episode without them on. I don't want them to go :( Do they have a youtube presence?
@@johanjarvinen thank you hero
@@johanjarvinen what about other musician, the one with violin
They are awesome
Those two are wonderful!
Saaammeeee
RE: Matt Wines. Rugrats Go Wild was a theatrically released movie! And it was the most ambitious crossover of 2003. Also, 12yo me liked All Grown Up more than Rugrats by that point.
I am very invested in the PWCU (Patrick Willems Cinematic Universe)
Missed an opportunity there, not calling the segment "Charl in Charg".
That Rugrats entract was truly empowering. Finally someone who mustered the courage to speak out on such important matters !
I, too, love getting mad at trivial things it makes me feel like I'm somehow alive and most importantly I need validation from people I'll never interact with in any meaningful capacity.
Rugrats > Animal Crossing. There, I SAID IT.
Patrick: I don't like doing edits every 3 seconds
_Immediately follows this with the Matt Wines segment_
I'm not any kind of knowledgeable about film making, but even I noticed how well the camera told the story in Dunkirk. You felt the isolation, the fear, all without anyone saying a word.
This is a great video, and I love the note on Fincher. His use of CG definitely became a lot more subtle; most folks don't know that the handheld shot used here from Zodiac is in fact an almost-all CG shot, minus the actors and the cab. It shows that it is the flashiness of a lot of CG that makes it annoying; the stuff that works best is the stuff you don't notice - and Fincher has become a master of this.
At first I thought the new band was going into the Goosebumps theme but instead them gave me goosebumps with some classic(al) Britney!
omg Patrick the BEARD. I'm awaiting the inevitable December video that's a filmic dissection of Santa Claus with you then becoming Santa Claus in the video
DO A VIDEO ON THE HOGFATHER FOR CHRISTMAS!
Genius. 👍
i cant wait for the christmas episode
He’ll talk about Fatman. The new film where he’s played by Mel Gibson
Matt Whines is so goddamn good. This was my favourite one yet
I don’t suppose that talking about Denis Villeneuve would be too conventional. He’s my favorite director, and I think his style is under appreciated or at least not talked about enough. Could you talk about him? I don’t want to tread on your plans, you’re doing great work.
Unfortunately the film bros he's mentionning at 9:45 are already trying to accaparate Villeneuve for themselves. Villeneuve style is being talked a lot, StudioBinder has already covered his style ruclips.net/video/FYvimGit3nQ/видео.html
@@fredericmigneret4211 They're coming for the Safdie's too.
Can you mention the style of Denis?
@@tatehildyard5332 Really? I didn't know that, if true then it's surprising because the Safdies are in my opinion too eccentric like the Coens or Wes Anderson to be appreciated by the film bros.
@@bookeblade Slow rythm, highly atmospheric well composed shot, precise camera work (slight push-off for example), stark production design (like brutalism) and characters who are slowly turning insane in front of violence
Charl is killing it in this new format! Also, the analysis of Nolan was awesome and super interesting.
I’ve been watching your vids for a long time and I think this one just blew the socks off everything else. It’s gratifying as a fan to see so many of your jokes and styles clicking into something greater than the sum of their parts.
Keep going, y’all. You’re all great.
Just gonna be blunt: "Let's get coconuts" was the best part of the show. Charl, do what you're known for!
The 2 new musicians are lovely, great episode as always :)
PHW: Just delay Tenet. Don't put people in danger just for wanting to see your movie. Next year is fine.
NOLAN: It's like... fuck it. you know.
I see you've finally prevailed in your battle of "Man vs. MacBook Pro"
I got to be an extra in one of the effects sequences from Dunkirk. It was a really special experience- maximum realism and immersion even for the extras. But that IMAX camera was really silly looking.
6:30 I think that makes Nolan the anti-Campbell.
One thing I love about Martin Campbell is that his masters and establishing shots are fantastic. He's great at putting a lot of information in the frame and allowing that to establish the context of the scene.
In Edge of Darkness there's very little known about the daughter in the early moments of the film. Her story has to come later in plot reveals. But we also have to care about her so we can relate with Gibson's quest for answers. So when he first enters her room, there's Gibson at the extreme left, and her room is splayed out to his right. All the bits and pieces of her life, abruptly left behind, are there, and we get a short tour of who she was, at least as well as Gibson remembers her. To quote another film critic, you didn't notice it, but your brain did.
Nolan specializes in think pieces, examinations of the human condition, so it makes sense that the people are the main focus of his shots. We're either looking at them, or the things they're giving special attention to. A perfect example is Insomnia where we always see the hotel room from Pacino's perspective of ever invasive light, then Maura Tierney turns on the light and WWAAAHHHHHH.
One really great wide shot Nolan did was also from Insomnia. After Robin Williams escapes at the lumber mill, there's a great shot where he's on the other side, small and distant, and the logs on the river are in the extreme foreground, rushing by at high speed. It puts a huge emphasis on how close Pacino was too chasing him and now he might as well be a million miles away. That's another thing Campbell does well, actually: having something (typically a character) in the extreme foreground juxtaposed against something happening in the background, and it draws your eye to both at once.
I come home from work, I open my laptop, I go on RUclips, I see the guy who is giving John Krasinski a run for his money uploaded a new video - it's a good day. :)
It takes 3 mins and 19 seconds for Patrick and his random cavalcade of friend cameos to get to the point... this is becoming the new Channel Awesome.
can we get a full-length version of that Jolene cover, I'm not even kidding XD
The outtakes with the musicians at the end are precious. They're both so good!!
you missed a real opportunity to change the words of Jolene to Nolene.
"Nolene, Nolene, Nolene, don't release tenant just because you can..." etc etc.
Genius.
Or "No-lan, No-lan" perhaps?
Ah cool collaboration for nebula! Those ladies are so talented! Man, the way imax really changed how Nolan filmed is so interesting to see it broken down. And woah no movielike shots with you outside or with your parents?! You okay Patrick? Also that ending to Matt Wines was hilarious bc actually tho just give me babiesss
I knew a Nolan video was coming. Great job
Both been stalking his letterboxd :/
I knew it when he was suddenly reviewing all Nolan films on letterboxd.
Those band-outtakes at the end are adorable.
Musician: "we're booked for the rest of summer"
lol.... right.... *cries in musician*
Your video essays are amazing pieces of work that is just packed with so much actually original and worthwhile content. Amazing.
Putting the Coco Loco "in charge" at this point in time escalates things unnecessarily I think. The times are what they are and, despite I don't endorse the points he makes, I can see he's clearly under the weather. Hope you guys work through this bc. a Charl on his A-Game is what we need.
Really nice analysis here Pat! One of the reasons I think I've enjoyed Nolan's career so much is watching him grow a bit with each film, while still retaining that familiar style and voice. The way you broke it all down was very clear. I think it makes perfect sense if you track it from his start as an indie writer/director working on a shoestring budget and weekends, to one of the biggest large-scale filmmakers working today. The marriage of those two sensibilities is definitely his main signifier IMO. And regardless of what one thinks of his films, I think it's clear that he continually hones his craft each time he steps up to the plate. Should be inspiring for all aspiring creators to see that the learning process never ends!
Also, the midnight showing of TDK at the Lincoln Square IMAX remains probably the best theatrical experience of my life.
"WHAT IS THIS, DOONESBURY?!"
As a Doonesbury fan, I spit out my drink.
There are Doonesbury fans??! How old are you??!
"You're my IMAX", let me borrow that phrase, it's perfect!
Okay but where is Charl’s uncut 20 minute monologue on the big issues of the day? THAT is the good journalism I crave.
YEAH! WHY THE FUCK DON`T THEY LET CHARL TALK!?
I love that space wizards line. I brought the shirt and everything.
Loved the new musicians
I have been waiting forever for the uncut version of Matt Wines! I so happy to finally be able to watch it!
The musical ottakes were the most relatable thing ever
Nolan’s lack of spatial geography particularly stood out in INTERSTELLAR during the big moment when Brandt realizes that Cooper is about to detach from her
Could’ve been a great moment had I known they were in completely different compartments during the scene
I thought they were in the same space!
I'd love to see Tenet in the theaters, just not this year. Not worth the risk.
And the musicians were great.
The music in this episode was wonderful.
Unfortunately “TENET” proved that even if Nolan’s style improved a lot visually, he still has a problem with a need to say everything directly. The exposition in this movie is constant. It seems like Nolan wanted to show elaborate action scenes more than tell the story. So he told it directly, entirely in dialog, to get it over with and move on to spectacular action as soon as possible.
IMAX might have made him a better filmmaker, but it might have also make him a worse writer.
I think those problems are better attributed to the fact that Jonathan Nolan was not one of the films writers. Their collaborations seems to improve the scripts for his films.
@@michaelperik yeah definitely thats correct
@Aka "TENET" is the ultimate (and strongest) proof of this, but this problem has been growing with Nolan for years. Yes "Dunkirk" is a glorious exception, but do you remember how Nolan explaining everything in dialogue in "Inception"? The character of Arthur was in this movie basically just for that. The ending of "Interstellar" also repeats in dialogues what the viewer sees and knows (or guesses). Completely unnecessary. The same regression is seen in his Batman trilogy, where the further into the series you get, the more the script tells the viewer directly what to think.
Nolan is a master of building specular set pieces and has great fun with time in his films. But he's not the most subtle writer.
@Aka Your main argument for justifying the exposition used in dialogue in this way is to explain something to the characters/viewer.
Yes, that's what exposition is for. But its use in this form is always poor screenwriting. Films are a multimedia medium where if you can show or tell something, you should always choose the former option. Explaining the meanderings of the script or building a world through dialogue in film is the weakest form of this process.
And it's not that it can't be done differently. A lot of things can be visualized in a film without being said explicitly in dialogue. If Nolan put as much work into crafting dialogue and world building into a form more interesting than simple dialogue as he puts into constructing his impressive action scenes, I'm sure he would have found a way to do it. However, it is clear that he is (in some of his films) more interested in said spectacularity.
Which is also cool. His films are always epic events. But as far as quality writing goes, his dialogues are his weakest point.
Jesus @Aka! You've posted 17 responses already. I think that's enough ;)
Citing other works and their lack of criticism as an argument against criticism of Nolan is a strange line of defense. It has no relevance in the context of Nolan's films.
But sticking with this narrative what about the better works? "Blade Runner 2049", "Arrival", "Twelve Monkeys", "The Fountain" etc. etc. etc. These are also films with very complicated worlds and narratives that find other ways to convey information than saying it directly in dialogue. Some of them even make it an element of fun (e.g. "Primer" being a puzzle), and others, if they have to convey/explain something directly, use clever narrative vehicles to do so (e.g. video logs in "The Martian").
There are hundrets of ways to tell a story, build and explain the world and hundred more to do it without direct dialogue or with hiding these dialogues behind some more clever idea. And Nolan, as you yourself rightly point out, does this often. "Memento", "Insomnia" or "Dunkirk" are all good examples of a smoothly paced narrative.
But I dare say that the bigger show Nolan makes, the more he relies on screenwriting crutches in the form of straightforward, direct exposition. Often unnecessary, because not every element of the film (not even the logic of its world or events) has to be explained to the viewer in order for him to enjoy it.
From my side this is the end of the topic.
Let's agree to disagree :)
Have a nice day and thank you for the conversation.
Cheers from Poland!
You're 2020 output has been great. Another fantastic video.
We're all waiting for a video on DePalma.
This RUclipsr ‘comic book girl-19’ made a pretty cool video after a recent Batman movie (where the Wayne’s were killed). And talked about how to make a pearl necklace. Apparently there’s no way for all the pearls to spill everywhere if it’s in any way a decently made necklace. I found that fascinating.
Yes, real pearl necklaces have knots between each pearl.
Yes I remember that video! Made me laugh
The amount of work put out in this video deserve a like
Can you make three different video essays on why “The Apartment” is awesome?
Love that you managed to sneak a Phantom of the Paradise shot in there. I'd be completely down for anything Brian de Palma related!
I could watch a whole episode of the girls singing and breaking into laughter.
The sisters are awesome. Very talented.
To quote Obi-Wan Kenobi: "Your clones are very impressive, you must be very proud."
Sometimes I watch the entire 30 minutes, feel satisfied, and forget to leave a like. This is me coming back 45 minutes later and doing that while also leaving a comment to remind people to do the same.
So glad to hear everything's good with Charl again.
For someone who watch everything Nolan's, but never really loving any of it; this can be something enlightening.
PS: I like how film bros is a thing.
We have mixed feeling about it. Basically, you can the film discourse ecology is a square shaped spectrum with 4 separate ends and everyone is closer to 2 ends over the others. You've got your film bros (the devotees of Nolan, Tarantino, Fincher, Kubrick and maybe Scorsese but only the ones with enough popularity to play on cable). There's film twitter (those who vocally advertise their love for A24 and Wes Anderson and Sofia Coppola, go hard for "THE AESTHETIC" get a lot of scented candles at the mall and like the film bros, their range and viewing habits are pretty narrowly defined to contemporary releases and the stuff that gets played on tv). There's the grad program crop that live on a steady set of Fellini, Bergman, Ozu and Eisenstein, occasionally indulge amongst the commoners and end up as the academics or grinding the Sundance circuit. Finally, you've got the shlock kings who usually end up working in novelty or video stores and thrive on the obscure, low budget genre and cult fare like Russ Meyer, Mario Bava, Roger Corman, and Mexican vampire films from the 80s. Everyone exists somewhere in the square, pulled between all 4 ends but closer to some and father away from others.
@@tatehildyard5332 Brilliant! Best film fans alignment I've come across so far.
@@ErmenBlankenberg Thank you. Where do you think you are in the square? I try to be in the section between Film Twitter and grad program. I try to keep up with the art house stuff that’s currently out to mixed results and I try to make the effort to catch up on the giant chasm of cinema classics (while trying my best to keep my head out of my ass).
And just for visual aid, here’s the square layout. Film Bro corner is the top left, Film Twitter corner is the top right, Grad Program corner is the bottom right and Schlock King corner is the bottom left. I based the positions on how often the 4 ends of the spectrum do and do not intersect. The ones that are next to each other are more common pairings and the ones that are diagonal from each other are not as common
@@tatehildyard5332 Yes, that alignment chart makes a lot of sense and helps to visualize it, like some sort of political compass, but for film fans (Cinephile Compass?). By the way you structured the corners of the square, I'd guess the Y axis could be something like Notoriety (Mainstream at the top, Obscure at the bottom) and the X axis might signify like Attitude (people at the left taking their films very seriously and sticking to what they know, people at the right being very chill and open to new ideas and experiences). But that's merely my impression what the axis could be, I'm curious how you see it, as it is your design.
I'm not sure where I'd put myself in the chart. I'm a film studies undergraduate myself, currently working on my bachelor thesis, but I'm all over the place, I enjoy Fincher, Scorsese, Anderson and Sofia Coppola just as much as Ozu, Eizenstein or other classics, although I'm quite behind on contemporary festival scene and I haven't dipped my toes in the low budget cult fare so far. And my fellow students are all over the place as well, some are film bros, some are Schlock fans, some die-hard arthouse snobs, some casual Twitter type fans, so it's really diverse and finding someone with similar taste can be quite difficult.
This is awesome and you are awesome, Patrick (H) Willems. I love everything about this video, most definitely including your insights on Christopher Nolan.
Interesting continuation of the show. The main issue with delaying Tenet is that theaters in the U.S. are in pretty bad financial shape, and it seems like Nolan wants to give them a boost to try & keep them alive. Not saying it's a good idea with coronavirus, but I think his intentions are good.
And it's an even bigger problem in other countries where the cinemas have legally been declared safe to reopen. As such, they can't easily claim for lost revenue caused by choosing to remain closed but have no movies coming out because major films don't want to release before the US is also safe. Here in the UK I already know of several independent cinemas that have been forced to shutter permanently and there's a serious risk to jobs even at the major chains if they don't figure out something soon.
Delaying Tenet isn't costless.
This is EXCELLENT visual analysis! I love how precisely you broke down Nolan’s evolution.
So glad this was recommended to me, can’t wait to watch more.
I'm not even here for the essay anymore.
I'm just here to watch Patrick implode on his team XD
That Nolan has evolved as a director even with all of that influence and clout is kinda inspiring for all of us.
What you said about lenses isn’t useful information at all since he changes formats within movies.
So an 80mm on IMAX is like a 40mm in full frame terms with a 40mm IMAX being a 20mm full frame equivalent angle of view. Meaning he mostly use normal focal length that don’t cause to much perspective distortion.
I just realize that theses episodes come every week or two, but they feel like they've been working on for at least a month and I'm impressed! The results are awesome as usuals! Also, the cover of "toxic" at the start was sooo good. It gave me shivers!
3:17 What are the five topics that a male audience care about? So far we have marvel (hey, they have two audio dramas out), Star Wars, and Christopher Nolan. Are the other two DC and wrestling?
Comic books and video games
Max666 999ty thanks.
Tarantino and comic books
I think he said something about a Kevin Smith retrospective.
Star Wars has two audio dramas as well
Charl is not the hero we deserved, but the hero we needed.
Nice subtle Tenacious D reference ;)
I really love this version of the show, your work has been something to look forward to in quarantine and I can’t wait for the next one!
Me looking at Patrick's Letterboxd: ?
Me now: :0
Such an amazing RUclips video and also captures why Dunkirk is by far my favourite film from him. The cinematography and visual storytelling is just another level to his other pieces.
I honestly liked this band more than the previous one (no shade, Jake)
Most holywood directors: crazy spinning cgi shots
Kojima: full cgi, "films" everything with handheld gyro tracked motions with actual carefully blocked motion captuee actors
“We never get any closer to the gunman than this” *immediately cuts to a shot behind the gunman’s legs*
DEFINITELY appreciate this video, I feel like through this more than any other vid you've made (and your videos are brilliant, ofc) that I've got a decent education on shot composition and sufficent, contextual shot planning. Fantastic stuff.
Also yes, Nolan, Delay Tenet.
And then Michael Bay watched The Dark Knight, and said “Hey, I wanna try that!” So he took an IMAX camera to the woods, and added Optimus Prime dying in post (also Egypt, and added Devastator in post).
Lol to all the bloops at the end of Lily and Chloe, get them back sometime soon, they were awesome! Great vid as always man.
I think I've fallen in love with Chloe and Lily
In a non-internet-stalker-creepy-but-totally-innocent-and-wholesome-way, of course :-D
This is a hopeless request but if you could do an in depth video on anything slasher-movie related I’d be indebted forever. Look at story structure or film techniques across the biggest franchises (Halloween, F13, Nightmare on Elm Street, Texas Chainsaw, Childs Play, Scream) and how they differ between the good films and the horrible cash grabs. That would be fucking awesome
NEW WILLEMS VIDEO; today is a good day.
patrick and gang, these videos have been a joy and highlight of the quarantine, thank you so much for your work. i've learned about film criticism more in the last few months than ever before