spliced frames in beginning of Fight Club?
Laninna
(john) wrote:
> I saw the movie this past Tuesday at a sneak preview. To anyone who
> has also seen it, did you notice in the first 20 minutes any images
> (of a person, i'm pretty sure) that flickered on the screen for a
> split second? I thought I was seeing things at first but my friends
> also noticed this and we counted three times we definitely saw a
> subliminal frame or two thrown in there. This would certainly go
> along
> with one of the smaller character plot points in the movie. I'm
> just
> trying to figure out what it was I saw.
That would be cool. Was it like a canyon or a pillar?
>
Laninna
>
>
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john
JKID71
>has also seen it, did you notice in the first 20 minutes any images<BR>
>(of a person, i'm pretty sure) that flickered on the screen for a<BR>
>split second? I thought I was seeing things at first but my friends<BR>
>also noticed this and we counted three times we definitely saw a<BR>
>subliminal frame or two thrown in there. This would certainly go along<BR>
SPOILERS
SPOILERS
SPOILERS
I believe those were snippets of Tyler Durden.
Jim
john
Yeah, one of them i'm almost sure was Tyler Durden. No clue about the
others.
Tenzel Kim
>>has also seen it, did you notice in the first 20 minutes any images
>SPOILERS
>SPOILERS
>SPOILERS
>I believe those were snippets of Tyler Durden.
And you're completely right. There are four subliminal frames during the
first twenty minutes. All four frames have the same picture as the ones
before and after, but a picture of Tyler Durden has been added. Look for
Tyler in the scenes.
Edward Norton is standing at the xerox machine in the office and Tyler pops
up for one frame. During this scene Norton is saying "Everything is a copy
of a copy of a copy"
Then you see Tyler standing next to the doctor Norton is seeing as the
doctor says: "Men with testicular cancer. That's pain"
Then at the "testicular cancer" meeting, you see Tyler standing with his arm
around the councellor as he says: "So let's all follow Thomas' good example
and really open ourselves up to each other"
Then you see Tyler in the right side of the picture as Marla walks down the
street after a the cancer group session.
After that there are no more subliminal images showing Tyler, who then next
appears on the rolling floor at the airport, as Norton is saying "If you
wake up in a different time, in a different place, do you wake up a
different person"
And then Tyler next shows up in the seat next to Norton on the plane.
At the very end of the movie however, there is another subliminal image,
similar to the one seen when Norton explains the idea of subliminal frames
earlier on in the movie. "A nice big dick," as I believe Tyler himself calls
it :-)
Have fun locating these images as they appear for only one frame each.
Tenz.
Robert Bosworth
>
> SPOILERS!
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> It's intentional. There are scenes where you see superimposed images of
> people with arms around another, as well as people put in rather
> "uncompromising positions". They explain this later when they talk
> about Tyler's job as a projectionist and the really funny things he does
> to family movies like Cinderella (he splices flash frames of full
> frontal nudity and anal sex). The reactions from the audience watching
> Cinderella were absolutely priceless.
>
> Peace,
> Vince Yim
> --
> +-------------------------------------------------------+
> | E-mail address altered to avoid unsolicited junkmail. |
> | Remove asterix marks (*) to reply by e-mail |
> +-------------------------------------------------------+
Was there also intentionally black ovals added in the upper right hand
portion of the screen, or is that actually ture about projectionists having
to splice in different scenes? I found that to be odd.
rob
Valkyrie
ovals are a function of the splicing so the projectionist knows it's coming
up. You'll see this in almost every movie you see in the theatre.
Robert Bosworth <NOSPAMro...@usedlasers.com> wrote in message
news:7udmd4$2mpb$1...@news1.spacestar.net...
Robert Bosworth
went crazy in there.
rob
Valkyrie <valkyrie@rocketmail%.com> wrote in message
news:7udukf$fdi$1...@nntp3.u.washington.edu...
Stephen Thompson
>wow...didn't realize projectionists did anything besides make sure nothing
>went crazy in there.
I believe it depends on the theater. When I was in college, I worked as a
projectionist at a small art house theater. Films arrived on a few separate
reels, and we had two projectors. I'd load reel one on projector one, and load
reel two on projector two. I'd start reel one, and when the signal was given
(by the dots in the upper right corner) I'd switch over to reel two on the
other projector. While it was playing, I'd load reel three onto projector one,
then switch over to it at the right time, and so on.
As I understand it, these days (and probably back then in bigger theaters)
many projectors have larger reels that can hold the entire film. The whole
movie is spliced together and loaded onto the one reel. The projectionist just
starts it running and leaves it for the entire movie. With these projectors, I
believe that the dots in the corner serve no purpose, but they're included for
the benefit of smaller theaters that still rely on older projectors.
One problem with movie projecting getting easier like this is that now theater
managers think anyone can do it right. That's why you occasionally see boom
mikes in well-made movies. When you see this, it means that the projectionist
has used the wrong aperture plate, so you're seeing parts of the picture
around the edges that the director didn't intend the audience to see.
==============================================================================
1999: 1. Rushmore* 2. Go 3. American Beauty 4. The Sixth Sense 5. Three Kings
6. Fight Club 7. Mystery Men 8. Austin Powers 2 9. Eyes Wide Shut 10. Minus
Man 11. The Matrix 12. Phantom Menace 13. Blair Witch Project 14. South Park
15. The Muse 16. Summer of Sam 17. 8MM 18. Bowfinger 19. Blue Streak 20.
Payback 21. Deep Blue Sea 22. The Mummy 23. Tarzan 24. Mod Squad 25. Thomas
Crown Affair 26. General's Daughter 27. True Crime 28. Entrapment 29. Carrie 2
(*I know, very limited '98 release.)
Jc
Stephen Thompson <th...@cableaz.com> wrote in message
news:380e6f59...@news.slurp.com...
> "Robert Bosworth" <NOSPAMro...@usedlasers.com> wrote:
>
> >wow...didn't realize projectionists did anything besides make sure
nothing
> >went crazy in there.
>
> I believe it depends on the theater. When I was in college, I worked as a
> projectionist at a small art house theater. Films arrived on a few
separate
> reels, and we had two projectors. I'd load reel one on projector one, and
load
> reel two on projector two. I'd start reel one, and when the signal was
given
> (by the dots in the upper right corner) I'd switch over to reel two on the
> other projector. While it was playing, I'd load reel three onto projector
one,
> then switch over to it at the right time, and so on.
>
> As I understand it, these days (and probably back then in bigger theaters)
> many projectors have larger reels that can hold the entire film. The whole
> movie is spliced together and loaded onto the one reel. The projectionist
just
> starts it running and leaves it for the entire movie. With these
projectors, I
> believe that the dots in the corner serve no purpose, but they're included
for
> the benefit of smaller theaters that still rely on older projectors.
Platter systems have many advantages to the Reel-to-Reel systems. Some of
the obvious advantages are no more forgotten reel changeovers, no continual
handling of individual reels, gives projectionist more time at other
projectors, etc. You probably won't see any changover cues since the heads
and tails of the individual reels are cut off and stored. The dots do still
exist tho. Simply enough all the reels are strung head to tail to head to
tail on large platters horizontally instead of vertically. Most setups have
three platters so two movies can be shown on the same screen (at different
times of course).
Basically, the print is wound around a metal ring from begining to end. The
end tail of the last reel is on the outside of the platter. The metal ring
is then removed and placed on an empty platter. At the very center of the
platter (inside where the metal ring rests) in a centerfeed. The print is
strung throug the centerfeed and brought through the projector then back to
the empty platter where the metal ring was placed.
The empty platter pulls and the full plater feeds. When the empty platter
is done pulling the film, the begining of the film is once again at the
center and the tail on the outside. There is no rewinding needed. When the
print is no longer needed, it is broken down and the heads and tails are
replaced (assuming the projectionist isn't a lazy bastard) and put back on
the reels.
>
> One problem with movie projecting getting easier like this is that now
theater
> managers think anyone can do it right. That's why you occasionally see
boom
> mikes in well-made movies. When you see this, it means that the
projectionist
> has used the wrong aperture plate, so you're seeing parts of the picture
> around the edges that the director didn't intend the audience to see
<snip>
Agreed! I work in a moviehouse that hires transient low paid projectionists
(kids)and it is a major pain! I have had to search outside my work to find
help and answers to questions because NO ONE in the whole theater knows much
about being a projectionist. Not to toot my own horn, but I know more than
everyone there combind and continue to educate and reseach the improvment of
my work.
The biggest problem with automation is it doesn't always work. And these
kids seem to be WAY too trusting of it. They'll start all 16 projectors up
and go out for a cigarette break. Meanwhile automation boards upstairs are
forgetting to turn off lights, missing cues to switch to sync'd audio
tracks, and running scope movies in a flat aspect. Of course none of these
kids have the slightest clue what to do when that happens.
And the biggest problem is the theater (well mine in particular) doesn't
train or even allow these kids to fix the problems! I've learned how to
manage most common problems in the projection booth from friends in the
industry and the makers of the equipment. I would probably be fired if my
boss found out I was running Diagnostics on their Dolby processors and such.
In response to Robert Bosworth (above): Many don't even do that much...but
there are some of us who do a helluva lot more to make sure the picture goes
up right.