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J.C.

Member Since 13 Mar 2005
Offline Last Active Dec 12 2017 10:45 PM

Topics I've Started

BBC Culture's 100 Greatest American Films

21 July 2015 - 05:54 PM

Here’s BBC Culture‘s 100 Greatest American Films. 

 

I think they had about ~60 international critics vote, by registering Top 10 lists, with #1 on their lists getting ten points, and #10 getting one point.  Most notable seems to be the absence of selections from the Coen brothers and Paul Thomas Anderson, though I imagine the high number, and diversity, of quality films they've each produced probably split the votes considerably.  With these types of lists, I concern myself less with what is and isn't on it (and in what order), and more in locating films that I need to get around to seeing.  I believe I've seen eighty of these, and all but two of the Top 25.

 

 

100. Ace in the Hole (Billy Wilder, 1951)
99. 12 Years a Slave (Steve McQueen, 2013)
98. Heaven’s Gate (Michael Cimino, 1980)
97. Gone With the Wind (Victor Fleming, 1939)
96. The Dark Knight (Christopher Nolan, 2008)
95. Duck Soup (Leo McCarey, 1933)
94. 25th Hour (Spike Lee, 2002)
93. Mean Streets (Martin Scorsese, 1973)
92. The Night of the Hunter (Charles Laughton, 1955)
91. ET: The Extra-Terrestrial (Steven Spielberg, 1982)
90. Apocalypse Now (Francis Ford Coppola, 1979)
89. In a Lonely Place (Nicholas Ray, 1950)
88. West Side Story (Robert Wise and Jerome Robbins, 1961)
87. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
86. The Lion King (Roger Allers and Rob Minkoff, 1994)
85. Night of the Living Dead (George A Romero, 1968)
84. Deliverance (John Boorman, 1972)
83. Bringing Up Baby (Howard Hawks, 1938)
82. Raiders of the Lost Ark (Steven Spielberg, 1981)
81. Thelma & Louise (Ridley Scott, 1991)
80. Meet Me in St Louis (Vincente Minnelli, 1944)
79. The Tree of Life (Terrence Malick, 2011)
78. Schindler’s List (Steven Spielberg, 1993)
77. Stagecoach (John Ford, 1939)
76. The Empire Strikes Back (Irvin Kershner, 1980)
75. Close Encounters of the Third Kind (Steven Spielberg, 1977)
74. Forrest Gump (Robert Zemeckis, 1994)
73. Network (Sidney Lumet, 1976)
72. The Shanghai Gesture (Josef von Sternberg, 1941)
71. Groundhog Day (Harold Ramis, 1993)
70. The Band Wagon (Vincente Minnelli, 1953)
69. Koyaanisqatsi (Godfrey Reggio, 1982)
68. Notorious (Alfred Hitchcock, 1946)
67. Modern Times (Charlie Chaplin, 1936)
66. Red River (Howard Hawks, 1948)
65. The Right Stuff (Philip Kaufman, 1965)
64. Johnny Guitar (Nicholas Ray, 1954)
63. Love Streams (John Cassavetes, 1984)
62. The Shining (Stanley Kubrick, 1980)
61. Eyes Wide Shut (Stanley Kubrick, 1999)
60. Blue Velvet (David Lynch, 1986)
59. One Flew Over the Cuckoo’s Nest (Miloš Forman, 1975)
58. The Shop Around the Corner (Ernst Lubitsch, 1940)
57. Crimes and Misdemeanors (Woody Allen, 1989)
56. Back to the Future (Robert Zemeckis, 1985)
55. The Graduate (Mike Nichols, 1967)
54. Sunset Boulevard (Billy Wilder, 1950)
53. Grey Gardens (Albert and David Maysles, Ellen Hovde and Muffie Meyer, 1975)
52. The Wild Bunch (Sam Peckinpah, 1969)
51. Touch of Evil (Orson Welles, 1958)
50. His Girl Friday (Howard Hawks, 1940)
49. Days of Heaven (Terrence Malick, 1978)
48. A Place in the Sun (George Stevens, 1951)
47. Marnie (Alfred Hitchcock, 1964)
46. It’s a Wonderful Life (Frank Capra, 1946)
45. The Man Who Shot Liberty Valance (John Ford, 1962)
44. Sherlock Jr (Buster Keaton, 1924)
43. Letter from an Unknown Woman (Max Ophüls, 1948)
42. Dr Strangelove (Stanley Kubrick, 1964)
41. Rio Bravo (Howard Hawks, 1959)
40. Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)
39. The Birth of a Nation (DW Griffith, 1915)
38. Jaws (Steven Spielberg, 1975)
37. Imitation of Life (Douglas Sirk, 1959)
36. Star Wars (George Lucas, 1977)
35. Double Indemnity (Billy Wilder, 1944)
34. The Wizard of Oz (Victor Fleming, 1939)
33. The Conversation (Francis Ford Coppola, 1974)
32. The Lady Eve (Preston Sturges, 1941)
31. A Woman Under the Influence (John Cassavetes, 1974)
30. Some Like It Hot (Billy Wilder, 1959)
29. Raging Bull (Martin Scorsese, 1980)
28. Pulp Fiction (Quentin Tarantino, 1994)
27. Barry Lyndon (Stanley Kubrick, 1975)
26. Killer of Sheep (Charles Burnett, 1978)
25. Do the Right Thing (Spike Lee, 1989)
24. The Apartment (Billy Wilder, 1960)
23. Annie Hall (Woody Allen, 1977)
22. Greed (Erich von Stroheim, 1924)
21. Mulholland Drive (David Lynch, 2001)
20. Goodfellas (Martin Scorsese, 1990)
19. Taxi Driver (Martin Scorsese, 1976)
18. City Lights (Charlie Chaplin, 1931)
17. The Gold Rush (Charlie Chaplin, 1925)
16. McCabe & Mrs Miller (Robert Altman, 1971)
15. The Best Years of Our Lives (William Wyler, 1946)
14. Nashville (Robert Altman, 1975)
13. North by Northwest (Alfred Hitchcock, 1959)
12. Chinatown (Roman Polanski, 1974)
11. The Magnificent Ambersons (Orson Welles, 1942)
10. The Godfather Part II (Francis Ford Coppola, 1974)
9. Casablanca (Michael Curtiz, 1942)
8. Psycho (Alfred Hitchcock, 1960)
7. Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952)
6. Sunrise (FW Murnau, 1927)
5. The Searchers (John Ford, 1956)
4. 2001: A Space Odyssey (Stanley Kubrick, 1968)
3. Vertigo (Alfred Hitchcock, 1958)
2. The Godfather (Francis Ford Coppola, 1972)
1. Citizen Kane (Orson Welles, 1941)


Volume and Dynamic Range at Concerts

14 July 2015 - 05:45 PM

(Hopefully this is in the right forum.  A mod can move it if they want.)

 

When we were discussing some of Jack's technical (mostly instrumental) issues over the years, specifically during some Racounteurs shows, it got me thinking about the volume and dynamic range at most rock concerts, from the audience's, but also the performers', perspective.  What are we (in the crowd) hearing, and why?  What is the performer hearing, and to what extent does it affect what the crowd hears?

 

This thread I happened upon gave me some input on this:  http://www.edwardtuf...g?msg_id=0000cX

 

I've got to be honest, whenever I attend a concert (and it's not nearly as often as many of you), I'm a bit fearful as to what my ears are going to experience, at least at first.  I never expect perfect clarity or dynamic range in a relatively large (3000 or more) venue, but I am concerned about damage to my ears.  I also do feel that we get a bit shortchanged in terms of the range of sound, with the venues typically emphasizing volume above all else. 

 

Regardless, as I'm aware that some of you (Action Boy!, for instance) perform live, I'd appreciate it if you could convey what it's like, and how it differs, being on that stage vs. being in the crowd.  Re: being in the crowd, which instrument(s) gets lost in the mix most often, and to what extent do you really hear the vocals.  Are the amplifiers/monitors pointing towards the performers louder or quieter than what's going out to the crowd?  If you're a singer, and you're wearing something to protect your ears, how can that not affect your vocals?

 

This is just a jumping off point.  I'm just curious as to what creates the best, most dynamic and satisfying sound mix in a variety of different venues.  Any specific, personal experiences would be most welcome, as I, personally, have a pretty small sample size to draw from.