🍒 Hard Eight () - Trivia - IMDb

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The film was Hard Eight and he cast Philip Baker Hall as the lead once SEYMOUR HOFFMAN IMPROVISED MOST OF THE CRAPS SCENE.


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“When it's possible – in terms of the type of scene it is, where the the cinematic canon, Anderson's debut feature – Hard Eight ()– had slipped the two men staring each other down from opposite ends of the craps table.


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Netflix To Temporarily Remove Every Movie Except ‘Hard Eight’
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nodownload.altruist-music.ru hopes you enjoy this scene from P T Anderson's first feature Hard Eight. Phillip Seymour Hoffman taunts Philip Baker Hal.


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Hard Eight film analysis • P.T. Anderson • Senses of Cinema
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Hard Eight () -- Craps Scene --Anyone who's ever played craps knows just how real this scene is. []. Media.


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“When we filmed Hard Eight,” Hall recalled to Rolling Stone after Hoffman's tragic He improvised most of that craps scene and just had such a sense for timing.


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Promo Materials | Interviews | Production Notes | Trivia | Deleted Scenes | Awards & Reviews Sydney (Philip Philip Seymour Hoffman as Craps player Hard Eight marks the feature film debut of newcomer Paul Thomas Anderson. Written.


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Hard Eight is a American crime film written and directed by Paul Thomas Anderson in his Gwyneth Paltrow as Clementine; Samuel L. Jackson as Jimmy; Philip Seymour Hoffman as young craps player; Robert Ridgely as Keno Bar.


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Hard Eight - Craps scene

Until then, both characters are shot front-on, the camera offering the point-of-view of their interlocutor. After a cut to a two-shot to incorporate an interruption by a waitress, Anderson returns to the shot-reverse-shot rhythm, this time from over-the-shoulder. More especially because all that his characters ache for is to connect. It robs actors of independence and autonomy, of the freedom to create a scene in collaboration, to vary and modulate their work in response to one another. Does Anderson want them to be less lonely? He has, in fact, engineered it thus by ensuring that the two characters have never been allowed a moment of intimacy. Here, it seemed, was the filmmaker who could merge the two great streams of New Hollywood cinema: the bravura technique of the film school generation — Scorsese, Brian De Palma, Francis Coppola and their ilk; and the Method-infused, actor-focused cinema exemplified by Altman, John Cassavetes, Mike Nichols, Sidney Lumet and others. Instead of sharing a performance space, so many key character moments take place alone — alone in the frame even if there is, diegetically speaking, another character right in front of them.

He curls in down there somewhere… so that he has eye contact with you all the time. The opening encounter between Sydney and John, a link minute dialogue scene, comprises an almost fanatical adherence to the shot-reverse-shot structure.

Endnotes 1.

Or any other way. The respite is brief, however, since Sydney soon gets up from the table and the final minute-and-a-half separates the actors again. He makes films about lonely people — would they be less lonely if they more often shared their space? The coldness engendered fits the noirish view of the world as a threatening and alien place. In Hard Eight , it works. He wanted this thing in a certain way. Paul might be two or three feet away from you and locking eyes right into you.