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Post by urban-letter-opener on Jan 27, 2021 7:44:17 GMT -5
TRR is my favorite part of the film. GAF, I think I already read something in your texts but I don't remember anymore ... Was there any more detailed explanation of why Violet didn't want to call the police or Poe after the house was destroyed? Not that I could find, though it might have been different in an earlier script. The version in the movie has Klaus telling Violet that they ought to "go to the authorities" but she replies that they won't listen and that she, Klaus, and Sunny will have to find Aunt Josephine themselves. They then hear Olaf shouting at them (in his Captain Sham voice) to stay put, while driving his car through the town, with a police siren and lights attached to it. This was always the most baffling part of the film to me, and I’m not even sure that adding deleted scenes back in would make it more comprehensible. Where do the children get the boat from? Why is Captain Sham coming up the hill when he was with Josephine at the top? Wouldn’t the children have seen him leave? Why on earth has he dressed his car up as a police car? Sigh. This is why I wanted to create The Ropy Rewrite. (EDIT: Perhaps he dressed his car up during the TRR segment (as a car for Dr. Lucafont) and wasn’t interested/didn’t have the time or money to change it? His car only appears in one short shot in TRR... let me see if I can get a closer look at an image.) |
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Post by gothicarchiesfan on Jan 27, 2021 8:05:23 GMT -5
One of the most frustrating aspects of the deleted scenes as they are presented on the DVD and Blu-ray, is that not only are they only a sampling of the whole bunch, but many of them are also missing footage. This makes it incredibly difficult to try and cut them back into the movie as they can't really fit. However, after watching one of the tv spots, I noticed that it contained a very short snippet of a few crucial missing seconds from a deleted scene, that patched the gap between it and the finished movie. So after a great deal of work, I have now presented my own reconstruction of how the full scene would have originally appeared. I added music and sound effects, colour corrected all the different visual sources to better match the HD copy of the movie, and extracted some very annoying music that drowned out all the audible dialogue in the TV promo. |
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Post by urban-letter-opener on Jan 27, 2021 8:12:14 GMT -5
A-ha! Very nice work, gothicarchiesfan! The way in which all the Marvelous Marriage scenes fit together has always confused me... hopefully one day we get a Director’s Cut. If we were to ask Paramount/Silberling about it, do you know which avenue of communication would be the best? I would LOVE to see a 20th anniversary box set with the director’s cut, film stills, interviews... maybe even drafts of the script...? (Oh, I shouldn’t get my hopes up.) |
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Post by gothicarchiesfan on Jan 27, 2021 8:27:36 GMT -5
A-ha! Very nice work, gothicarchiesfan ! The way in which all the Marvelous Marriage scenes fit together has always confused me... hopefully one day we get a Director’s Cut. If we were to ask Paramount/Silberling about it, do you know which avenue of communication would be the best? I would LOVE to see a 20th anniversary box set with the director’s cut, film stills, interviews... maybe even drafts of the script...? (Oh, I shouldn’t get my hopes up.) Thank you very much. Sadly I'm not sure there really is an effective way to contact Paramount about this because it's highly doubtful that they will ever make a different Bluray release. Paramount (in the last decade) has become notorious in home media circles for having terrible no-effort Blu-rays, often missing content, and sometimes whole discs, that were on the DVD. We're actually very lucky that the Snicket one was made when they outsourced their home video stuff to Warner Brothers, because otherwise it's fairly likely that it would have dropped all the bonus features from the special edition DVD and would have been a barebones 25 gb Blu-ray of just the movie. Without even a menu. |
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Post by Dante on Jan 27, 2021 8:44:04 GMT -5
One of the most frustrating aspects of the deleted scenes as they are presented on the DVD and Blu-ray, is that not only are they only a sampling of the whole bunch, but many of them are also missing footage. This makes it incredibly difficult to try and cut them back into the movie as they can't really fit. However, after watching one of the tv spots, I noticed that it contained a very short snippet of a few crucial missing seconds from a deleted scene, that patched the gap between it and the finished movie. So after a great deal of work, I have now presented my own reconstruction of how the full scene would have originally appeared. I added music and sound effects, colour corrected all the different visual sources to better match the HD copy of the movie, and extracted some very annoying music that drowned out all the audible dialogue in the TV promo. This was on an almost professional level! Congratulations! |
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Post by gothicarchiesfan on Feb 11, 2021 16:30:16 GMT -5
I recently tracked down an old issue of CINEFEX, an expensive subscription magazine for special effects professionals, that has an article about the film. I'm working on scanning and transcribing it, but since that will take a while, I thought I'd upload all the references to deleted/alternate scenes that it contained.
 First up is this completed shot of the Incredibly Deadly Viper that was cut out of the finished film, like so many of its other closeups. The article reveals that this short little sequence of Klaus playing with Sunny, which takes place directly during the scene where Lemony narrates about "first impressions" was originally part of the original (and much longer) introduction sequence at Briny Beach.
"In a series of flashbacks, the scene establishes Violet (Emily Browning) as the young and brilliant inventor, Klaus (Liam Aiken) as the bookworm, and Sunny as the 'biter' with sharp, serrated teeth. "That is where you find the most remarkable digital Sunny shots," stated Jeff Olson. “They establish that she likes to bite things, and they show her biting a wooden spindle her brother throws for her — like a dog catching a Frisbee. We really establish her character in this scene."
 The article also makes reference to this cut scene of the children talking with Mr Poe as they drive down Lousy Lane and pull up to Uncle Monty's house. "Lousy Lane exteriors were created digitally, inspired by photographs Tang and other members of the crew took in a marshy area north of San Francisco. The exterior environment was created in 3D, from scratch, and was used in 10 shots of the car driving through the marshlands. Locked off establishing shots of Uncle Monty's house were created with 2D matte paintings."
This is notable because the final cut only has three shots featuring the car driving down Lousy Lane, and no 2D Matte Paintings establishing shots of Uncle Monty's house. This suggests that the scene would have been fairly lengthy, at least one or two minutes long. ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The article also mentions another scene from the original climax/ending that makes no appearance in the final cut.
"Live-action for the marriage sequence, and a subsequent scene in which Sunny escapes the cage, had been shot on the full-scale Olaf house and yard set on stage at Paramount; but, again, ILM tracked in the top-level portions, created from the house miniature." |
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Post by Dante on Feb 11, 2021 19:13:25 GMT -5
It's really cool to read about it, especially since something I didn't really like about the Netflix show was the cg used in Sunny in the first season. Especially in the scene where she plays cards with Fernald.
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Post by gothicarchiesfan on Feb 11, 2021 19:56:50 GMT -5
It's really cool to read about it, especially since something I didn't really like about the Netflix show was the cg used in Sunny in the first season. Especially in the scene where she plays cards with Fernald. Thanks. I'm glad you liked it. Personally, I am not a huge fan of either CGI baby. Although, to be fair, the show also had a lot less time and money than the movie did. Sunny is one of the reasons why I think ASOUE would work best as an animated series rather than something live action. The technology to make her look real just doesn't exist yet. I also feel the same way about the Incredibly Deadly Viper, who I feel was badly (but understandably) let down by both adaptations. |
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Post by R. on Feb 11, 2021 23:43:56 GMT -5
I definitely think that a Coraline-esque animation style would work brilliantly for the series.
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Post by Dante on Feb 12, 2021 3:35:06 GMT -5
Oh... If Tim Burton directed an ASOUE animation it would be interesting. But I have no complaints about the ASOUE film with regard to the CG. I manage to be immersed in the film at all times. And Sunny's CG in the movie may not be perfect, but for me it's good enough. I'm sure if the Netflix show had more money, we would have something better. However, the cg used by Josephine's house anda around both in the series and in the movie are very good I think.
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Post by urban-letter-opener on Feb 12, 2021 7:52:34 GMT -5
I have no complaints about the ASOUE film with regard to the CG. I manage to be immersed in the film at all times. Me neither. The vast majority of the environmental CGI still looks very nice to this day, and even manages to add to the film’s surreal aura. I do wish, however, that the film-makers would have gone a different direction with Sunny, and with the Incredibly Deadly Viper especially — they ended up cutting so much of its footage that the ending of the sequence barely makes any sense. I often have daydreams in which the Incredibly Deadly Viper is instead a complex, ten-foot-long puppet created by the Henson Creature Workshop (perhaps with a few tasteful CGI enhancements). |
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Post by gothicarchiesfan on Feb 12, 2021 15:09:58 GMT -5
I have no complaints about the ASOUE film with regard to the CG. I manage to be immersed in the film at all times. Me neither. The vast majority of the environmental CGI still looks very nice to this day, and even manages to add to the film’s surreal aura. I do wish, however, that the film-makers would have gone a different direction with Sunny, and with the Incredibly Deadly Viper especially — they ended up cutting so much of its footage that the ending of the sequence barely makes any sense. I often have daydreams in which the Incredibly Deadly Viper is instead a complex, ten-foot-long puppet created by the Henson Creature Workshop (perhaps with a few tasteful CGI enhancements). I believe they did do tests with a puppet but found it couldn't provide the type of movement they needed. I absolutely agree with you that the way they ended up cutting most of its scenes in the film renders the scene where it plays with Sunny, totally meaningless. In fact, when I first watched the film I had never read the book, so I didn't understand that the Viper was supposed to be friends with sunny or that Dr Lucafont was the Hook-Handed Man (or that he was even hook handed at all) because all the scenes explaining this to a new audience had been cut. |
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Post by Dante on Feb 12, 2021 16:33:39 GMT -5
In fact, I can say that I really am grateful that these scenes have been cut. I decided to read the books after watching the movie, and I decided to read from TMM. So, all the members of Olaf's troupe were completely new to me. So, I was really surprised at each one of them that was in disguise.
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Post by urban-letter-opener on Feb 13, 2021 8:02:22 GMT -5
The article also mentions another scene from the original climax/ending that makes no appearance in the final cut.
"Live-action for the marriage sequence, and a subsequent scene in which Sunny escapes the cage, had been shot on the full-scale Olaf house and yard set on stage at Paramount; but, again, ILM tracked in the top-level portions, created from the house miniature." This actually jogged my memory... in the comments section of a YouTube video showing Sunny’s animatronic tests, the animatronic master said that they had to use her for a variety of scenes, including one where Sunny was thrown out of a window in a crate. Have you read anything about this, gothicarchiesfan? (Personally, I think it’s very likely that the animatronic master is misremembering the birdcage and tower sequence, considering the fact that a scene like that doesn’t really seem to fit anywhere else in the film’s plot.) |
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Post by gothicarchiesfan on Feb 13, 2021 15:37:46 GMT -5
The article also mentions another scene from the original climax/ending that makes no appearance in the final cut.
"Live-action for the marriage sequence, and a subsequent scene in which Sunny escapes the cage, had been shot on the full-scale Olaf house and yard set on stage at Paramount; but, again, ILM tracked in the top-level portions, created from the house miniature." This actually jogged my memory... in the comments section of a YouTube video showing Sunny’s animatronic tests, the animatronic master said that they had to use her for a variety of scenes, including one where Sunny was thrown out of a window in a crate. Have you read anything about this, gothicarchiesfan ? (Personally, I think it’s very likely that the animatronic master is misremembering the birdcage and tower sequence, considering the fact that a scene like that doesn’t really seem to fit anywhere else in the film’s plot.) I think you're right, he probably is just misremembering the birdcage sequence. Probably the bit where Klaus ducks the Hook-Handed Man, accidentally releases the rope, and lets her cage slide back out the window. I'm assuming the scene where she escapes was probably a little sequence after Klaus burns the marriage certificate, possibly even just a shot or two that went unused. |
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