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Ayz Waraich

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About Ayz Waraich

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  • Occupation
    Director
  • Location
    Mississauga, Canada
  • Specialties
    umm. this is pretty much a no brainer.

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  • Website URL
    http://www.dimeworth.com
  1. As David said... I think I made it pretty clear that I'm not anti-film -- you know, by actually saying that I wasn't anti-film. I'm actually a big fan of film, and made no implications about its death. I was pointing out the fact that you RAVED about the cinematography of Benjamin Button before you found out it was digital, so your argument doesn't really hold any solid ground. It has nothing to do with your technical know-hows.... And btw, you weren't tricked into anything since they haven't hidden the fact that its digital -- instead promoted it quite well.
  2. This was probably one of my favorite works by Deakins. Really subtle and beautiful... and more importantly something that stayed stuck in my mind afterwards for a long while....
  3. After reading this thread, I'm very curious about this as well, and think Joseph needs to address this -- especially after raving about the cinematography of Ben Button, and then going on to declare that Digital has no place in cinema. Err -- what? Since button is more than 95% digital, there's either some hard to ignore contradictions here or some major misunderstanding. Btw, I'm not anti-film at all here, but i am pro-making-sense...
  4. I guess the days of Michael Mann films with gorgeous anamorphic compositions really are long gone then. *sigh* look forward to this regardless, but still...
  5. Shaun of the Dead. Hot Fuzz. Spaced. Anything by Edgar Wright really.
  6. Did you just compare yourself to Stanley Kubrick? Okay, I'm just going to go ahead and assume you did, and give you one star for that. :P
  7. You know, that's the best way I have heard it put by anyone. Most anamorphic frames feel very deliberate and thought out, and I agree that you feel the edges of the compositions. It infuses the images with an odd kind of integrity in a subconscious way... I've always noticed and felt this, but never been able to articulate it. So well said David.
  8. Ayz Waraich

    Fargo

    Agreed, good discussion. Just wanted to address one more thing you mentioned: Russel Crowe once said (i'm paraphrasing) in an interview that he doesn't think actors should always indentify with their characters actions. He felt it his job as a storyteller to comment on a characters behavior or actions. I'm of a similar mind... while it's true the rule is a good one and works for the most part, some really good actors find a way to comment on the characters behaviour without making the character aware of their behaviour. If you take that idea to another level, you've got essentially what the Burn after reading esemble is doing. I think its actually quite difficult to pull off that tone where the characters are totally recognizable from real life, yet absurdly larger than life, BUT still not aware of themselves. It's one of the many reasons I really respect these performances/characters the Coens pull out every now and then. I think Raising Arizona falls in a similar territory, though a very different film. Again, Raising Arizona. Actors are very aware of themselves in the same way, and its definitely considered a classic, and gotten more attention with time. There's many other examples too. But yeah, this isn't so much me debating you anymore, as it is just me thinking out loud on some of these points that you've got me thinking about. So yes, good discussion indeed. :)
  9. Ayz Waraich

    Fargo

    I would have a hard time comparing this film to Will Ferrel or Youtube lol. It's smart and subversive, and is commenting on some pretty ridiculous aspects of North American culture. It's ambitious. Just because we're laughing at the characters, doesn't make it lazy filmmaking by default, does it? Whatever happened to Context? Also, I was under the impression the characters in Burn after reading didn't know they were stupid. We know they're stupid, and the actors know they're stupid, but the characters don't. Does Pfarrer look in the mirror every morning and go "God, It's shocking how unbelievably stupid I am" ? I don't think so. He just is. Anyway, point is, the films tone and performances are intentional and to a certain effect. Now it may not play to your sensibilities, but that's got little to do with how effective it is. ;)
  10. Ayz Waraich

    Fargo

    I thought it was pretty obvious that this is all intentional, and very much part of the charm of the movie -- if you dug it that is. The word "Failed" implies that they were intending to do something different and fell short somehow, which is not the case. The actors are all almost "cartoony" in a great way. Yet at the same time, there's so much being said about this certain kind of dumbed down aspect of north-american culture, which is reflected in the performances. I for one thought the tone of the acting was pitch-perfect for this particular story. Fargo is a very different movie, and much more grounded in reality. Someone else put it better than me recently when they wrote the Coen's are laughing AT their characters here, instead of with them. The actors are obviously on the same page here.
  11. I'd totally put up with opening weekend crowds to see that.
  12. It was fantastic. I can't stop saying WTF.
  13. Cruise totally stole the show. And the end credits were aces.
  14. Music is definitely a big part of my creative process. Gotta be careful though, since the wrong piece of music (even in the most subtle way) can really take you off-course, as far as storyboards or shot composition goes. I always have to find the right tone musically when i'm working, which can take a bit of time, but once I've got it I'm off flying. So yes. Music can be very helpful depending on your process.
  15. Speaking of Aaron Seltzer and Jason Friedberg: http://www.joblo.com/hack-duo-movie
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