I pretty much agree with Matt. A lot of the BD looks fine but when it's bad it's really
bad. I don't have the ability to cap, so this
will have to serve as an example (here's
the same frame from a 720p TV rip). Some more caps (without comparisons) are here
. This thread is in Chinese, so you can Google Translate it if you'd like, or you can take my word that the general sentiment is negative, with many posters looking forward to the European releases. Some single out the low video bitrate (something like 18Mbps) as the culprit, which would account for the iffy grain resolution but not for the frequent brightness boosting and DNR. The bitrate issue is exacerbated not only by having HD extras on the same disc, but also by redundant TrueHD and MA versions of both the original and Mandarin-dubbed soundtracks—an obnoxiously common practice on Hong Kong BDs.
Originally Posted by fookoo_2010
Exactly what does this mean? There is little doubt that being in film, below the line, is no picnic because of the continual time pressure.
I can't speak for Matt and his friend, but Wong Kar-wai films aren't normal productions. He uses minimal scripts—more like outlines, though he had a couple of co-writers on The Grandmaster
—and his films sometimes change completely in mid-shoot (e.g. In the Mood for Love
started out as a comedy and Happy Together
started out with Tony Leung and Leslie Cheung playing estranged brothers). His shoots are open-ended and nobody knows when it'll be done until he decides it's done. In the case of The Grandmaster
, he shot on and off for three years, with frequent breaks or general thumb-twiddling when Wong got stuck on the story, or went off to do more research, or when one of the lead actors left for another commitment (Tony Leung shot and released two other films while The Grandmaster
was still in production).
So it's a very different kind of pressure: the pressure of not knowing when the damn thing will be finished and you can go home or move on to the next project. If you're working on a difficult shoot, you can normally take comfort in the fact that it'll be over in x days, but not here. Chris Doyle says the main reason he stopped working with Wong is because he no longer wanted to spend three years of his life working on the same film, and Gong Li came out of 2046
and "The Hand" with nothing but complaints, declaring that Wong is hell to work with and doesn't know what he's doing. (I laughed when some early reports claimed Gong would appear in The Grandmaster
.) Of course Wong has loyal collaborators too, like Leung and Chang Chen and William Chang, but it takes a certain kind of personality and commitment to work on a Wong Kar-wai movie and then come back for the next one.
The final gag is that The Grandmaster
still had a rushed post-production, with a last-minute delay, shooting only a couple of weeks ahead of release, an unfinished soundtrack and credits sequence, no time for Tony Leung to do his own Mandarin dubbing, an IMAX version that was only confirmed two days in advance, and missing English subtitles on some of the Hong Kong prints. So there's still time pressures even with an "open-ended" shoot, because eventually someone's going to say "okay, we're releasing it on such-and-such day" and then they're scrambling to meet that date...which they still didn't make (it was postponed from December 18th to January 8th in late November, after they'd already sent out posters and trailers with the old date). That sort of thing would have even hardened industry veterans pulling their hair out at the roots.
Originally Posted by yuettoi
I could answer the second one at once, it is playable by LX91, such as any 2D only BDP.
Can you say anything about the deleted scene? You can PM me in Chinese if you'd prefer.