Few filmmakers have embraced the extended director’s cut as much as Ridley Scott. Plenty of other directors dabble in the form, but results vary. When George Lucas revisited the original Star Wars trilogy, adding new special effects and splicing in scenes that were originally left on the cutting room floor, fans grew irate. When Steven Spielberg digitally swapped-out rifles for walkie-talkies in a re-release of E.T., it was viewed as pointless. In the cases of Lucas and Spielberg, the filmmakers were attempting to improve on things that perhaps didn’t need improving, leading to the age-old question, “If it ain’t broke why fix it?”
But for Scott, the director’s cut is something of an art form. The Post-Impressionist artist Paul Cézanne was famous for frequently not signing his name to his paintings, because he didn’t want to admit the work was done. He recreated the same painting again and again, sometimes even destroying canvases, in an elusive quest for perfection. Perhaps this is what Scott is doing as well; leaving the corner of the frame blank, delaying the final signature.
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We frequently think of Ridley Scott as a master, a filmmaker with huge ambition and bigger talent who can bring any vision to the big screen. His resume certainly seems to confirm that. Space opera, war movies, period pieces, spy thrillers, Best Picture winners — he’s pretty much done them all. Still, out of the 22 films Scott has directed, including this week’s release Exodus: Gods and Kings, how many of them are actually good? What about great? It’s a pretty high percentage. Below, we rank the top 15 best Ridley Scott movies. Read More »
In this episode of the /Filmcast, David Chen, Devindra Hardawar and Adam Quigley find out what this whole Mumblecore deal is all about, try to write the plot of the new Asteroids film, assess the career and etymology of Nimrod Antal, discuss the look of Public Enemies, and get excited about the trailers of Jennifer’s Body and The Informant. Special guest Dan Trachtenberg joins us from the Totally Rad Show.
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