3 comments on “Stacie Snow

  1. I love seeing these pics of Stacie Snow, and I hope her new career and marriage are going great.

    I finally caught up with all of the Snyder Cut and GODZILLA VS. KONG. I had not expected this, and maybe it’s b/c of my extremely lowered expectations regarding anything Zack Snyder directs, but I actually felt The Snyder Cut was the better movie (yes, even watching it in 1.43:1 so it played in roughly Academy Ratio on my UHD TV and all).

    GvsK had great fight scenes, but that was only about a half-hour of a nearly two-hour film, which could have been a tight ninety minutes if they’d lost Barney and Josh! The movie gave them stuff to do, but it was nothing that Madison couldn’t have figured out on her own and probably do it better (Josh’s “hacking” was such a joke you wonder WTF it was there for, unless it was just to make fun of the cliché of every twelve-year old kid being able to hack the most secure servers around).

    Maybe if I’d seen it on the big screen it would’ve impressed me more, but on my 55″ television anything not a battle felt like marking time to the next battle.

    • Lord only knows why Snyder chose what I call “Old TV-vision” (lol) to run his cut of the movie, but it was a DAMN sight better than what Whedon put out. Makes me wonder…someone hires you mid-stream to finish a project, does this give you the right to completely rework it, or should you be finishing what the guy before you left behind? Maybe it’s personal ethics, but I couldn’t see clear to turning someone’s vision around as completely as Joss did. Whatevs.

      • ::but I couldn’t see clear to turning someone’s vision around as completely as Joss did. ::

        That was what Warners hired Whedon to do, Tony — they got upset about the complaints regarding how “humorless” (and long!) Snyder’s vision is, and they got real upset over him handing in a three-and-a-half hour first cut. So when Snyder left the project over his daughter’s death (after battling with WB and DC executives), they hired Whedon and gave him two orders — “Make it funnier”, and “Make it no longer than two hours!”

        According to that I read, the way Snyder shot Justice League there was no way to do all that without serious reshoots (watching the full version, I can believe it!), and Whedon thought he could make it all work by using Superman as creative spackle — so that’s what he did. On a tight timeframe, with a Superman who was contractually obligated not to shave his mustache, and with Warners breathing down his neck — not that that’s an excuse for how he treated Ray Fisher and Gal Gadot!

        He had to lose over and hour and a half to make the movie two hours long, his way of making work required more scenes with Superman, and he had to add humor…so a lot of Fisher’s scenes ended up on his cutting room floor, and Ezra Miller’s Flash got a lot laugh lines (though much of his original footage ended up on the cutting room floor, too). He also dicked around with Jason Momoa’s scenes, making him more of a drunken fratboy (like where Gordon says “Glad to see you’re working with others,” Aquaman suddenly shows up on the rooftop with Batman and Gordon and says “Great outfit, Bro!”, to which Batman mutters to Gordon, “Probably just temporary”).

        Whedon also added inter-character conflict to “goose” the shorter story along, so now there’s a Batman-versus-the-Rest of the Justice League scene, Superman seems more psycho when he’s first resurrected (hissing in Batman’s ear, “Do you bleed…?” (which sounds like a Snyder line for sure, but it’s not!), and rather than a few battles to blood and make the superheroes more of a team we get a half-hearted skirmish or two and a really confusing climactic battle with Steppenwolf! He brought it in at precisely two hours, and he added jokes, as ordered — but it really was a redheaded stepchild of a movie.

        ::Lord only knows why Snyder chose what I call “Old TV-vision” (lol)::

        Snyder shot the movie in IMAX, which has much more information in the frame, but has a 1.43:1 aspect ratio, a wee bit wider than pre-Widescreen Hollywood movies’ 1.37:1 “Academy Ratio” (which is a wee bit wider than old analog television 1.33:1, or “4×3” as it was popularly called!). Generally when shooting in IMAX the DP has sight marks on her/his eyepiece that show how the various gauges of film will look once printed — including IMAX’s 1.43:1, standard “Widescreen”‘s 1.85:1 (a bit larger than modern televisions’ 1.78:1, or “16×9”), and 1.78:1. The DP usually makes sure any essential action happens within the 1.85:1 area so when the movie is “masked” for regular theaters, nobody loses anything. The tops and bottoms of the frame are used for “glamour” like a cityscape or a forest, so IMAX audiences can ooh and ahh over how breathtaking it all is! (It is, too — I took a friend’s daughter to see Robots in IMAX, and I came away thinking it was a much better movie than most people did.)

        Played on modern televisions? Snyder’s insistence on preserving his IMAX framing means the movie looked much closer to I LOVE LUCY or THE X-FILES than a tentpole feature….

        …and that was one pedantic, long-winded reply!

Thanks for commenting...your comments help me shape the blog to the BEST result!

This site uses Akismet to reduce spam. Learn how your comment data is processed.