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المحتوى المقدم من rotten rewind and Rotten rewind. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة rotten rewind and Rotten rewind أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.player.fm/legal.
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Man on Fire & Domino (with Jake Ures)

1:31:15
 
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Manage episode 362910478 series 2781426
المحتوى المقدم من rotten rewind and Rotten rewind. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة rotten rewind and Rotten rewind أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.player.fm/legal.

In the mid-aughts, Tony Scott was written off by most film critics as a studio showman who valued style over substance. Ten years after his untimely death, Scott's legacy has been reclaimed by new generations of fans and critics as one of the most visionary filmmakers of his time. The 2000s were a transitional period for Scott as he evolved his trademark visual panache and hyper-kinetic action into something far more groundbreaking and experimental than any modern studio director. Scott's singular style would go on to inspire a whole new era of genre filmmaking.

Cinematographer and resident 9/11 stan Jake Ures returns to the podcast to discuss two of Scott's most maligned films: his 2004 re-teaming with Denzel Washington in "Man on Fire" and his Richard Kelly-penned media satire/true crime hybrid "Domino." Does Denzel have chemistry with everyone he shares the screen with? Was Keira Knightley the right fit for a British supermodel turned hardened bounty hunter? Can Scott do a modern media satire? Is Richard Kelly overdue for another Rotten banger? How many times does Keira Knightley say "My name is Domino Harvey" in the 120 minute runtime of "Domino?" Was "Man on Fire" the post-9/11 revenge thriller America needed to quench their bloodlust? There's only one podcast that has all those answers and more.

SUBSCRIBE NOW for early access and exclusive bonus episodes at WWW.PATREON.COM/ROTTENREWIND

  continue reading

146 حلقات

Artwork
iconمشاركة
 
Manage episode 362910478 series 2781426
المحتوى المقدم من rotten rewind and Rotten rewind. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة rotten rewind and Rotten rewind أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.player.fm/legal.

In the mid-aughts, Tony Scott was written off by most film critics as a studio showman who valued style over substance. Ten years after his untimely death, Scott's legacy has been reclaimed by new generations of fans and critics as one of the most visionary filmmakers of his time. The 2000s were a transitional period for Scott as he evolved his trademark visual panache and hyper-kinetic action into something far more groundbreaking and experimental than any modern studio director. Scott's singular style would go on to inspire a whole new era of genre filmmaking.

Cinematographer and resident 9/11 stan Jake Ures returns to the podcast to discuss two of Scott's most maligned films: his 2004 re-teaming with Denzel Washington in "Man on Fire" and his Richard Kelly-penned media satire/true crime hybrid "Domino." Does Denzel have chemistry with everyone he shares the screen with? Was Keira Knightley the right fit for a British supermodel turned hardened bounty hunter? Can Scott do a modern media satire? Is Richard Kelly overdue for another Rotten banger? How many times does Keira Knightley say "My name is Domino Harvey" in the 120 minute runtime of "Domino?" Was "Man on Fire" the post-9/11 revenge thriller America needed to quench their bloodlust? There's only one podcast that has all those answers and more.

SUBSCRIBE NOW for early access and exclusive bonus episodes at WWW.PATREON.COM/ROTTENREWIND

  continue reading

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