Phil, Matic, Johnny Depp discussed on Maltin On Movies
My also think that you know, it's a visual, and especially visual medium, and you also have a situation where? You have to look at the movie in its Anna, Matic, former storyboards in this light show. Right. And in its office just checking up linger for a moment. Yes. Playing for the. So when you're when you're putting you write the script, then the story board artist draws the story board. And then the next step is you have people from around the office record voices of, you know, just they're not professional actors, but it's fine. And then you put up the the the storyboards in sequence like, it's like a slide show of the movie timed to what the movie would be, and then you can watch that note in black and white it's scratchy drains, you're trying to interpret what it is. And then you hear these not the world's best actor voices. And if you watch that scene in it works, then you know, that when real actual performances come in and real animation and beautiful color, and you see it altogether. It's going to be amazing and dazzling and it may end, but. Normally you look at it go, this is not working at all. And so you have to healing it in general, right? But there's a lot of situations where it if you even if it was like, you feel like it's not working if you went through that process by the end like okay that does work. But because it really you get afraid that it's not good enough you go back into it into it. And then make it work, and when it works in that that area, then and then I think that's part of why I think a lot of animated films turn out so good. I think the percentage of enemy and movies that are well reviewed as higher than other live action movies because people get a chance to go back in over and over and over again until his they know it they only get one shot at it. And thinking about this a lot the last couple of days like the stories that that stick with us. Many of them have been told and retold for a really long time even the stories in our lives. We've retold the same story at the dinner table with at a family reunion for like for years and years and years, so they get home. And in that process, and the reason like like, you know, the the the tale of discus exactly is honed by like, you know, on's of retailing it. And and and so just to have a story that like just flops onto the page in a coffee shop by Phil. Having a good time by himself and expect to that to be done, and at the level of this other things just isn't reasonable than so the grinding that happens in the edit suite and between with all these storytellers having to pitch out this this story board. You know, it hones it. And I think I mean look at the way the marvel movies are made. Now, they they build in several months of reshoot. So that in like the movie put together, I got okay now. Let's go back and do it again. Right. Or is the thing. Right. Right. Right. Isn't then that movie famously they had to stop because of a strike, and then John carpenter's like editing it and goes now, not good. And so I think that the the movies that can afford to do it do. So and I think then it ends up being quite nice for them the movies turn out pretty well. Now, I want to ask you about the flip side. Tell us about your experience, directing your first live action movie that was twenty one jump street was our first live action moving and we were is this by the third day. We had spent more time on a movie set than ever in our live fourth day. We were shooting an eleven person shootout in a penthouse with Johnny Depp. So. That defense. Attic knows with the nose flown in from England. That got caught up in customs gosh..