Tim Partridge

Filmmaker

[Tim Partridge @Tim_Partridge_]

My latest video is finally here, a 90 minute look at Batman Forever! Many thanks to @danieldmoses @storyjerk @TheManFrowns @Mark0Connell @Marc_V_Price @moneyintolight @vegitojedi & of course @OllieH82 !
https://t.co/wawg1V7mnb

[Tim Partridge @Tim_Partridge_]

@ryanricardo76 @OllieH82 @danieldmoses @TheManFrowns @Marc_V_Price Thanks Ryan!

[Tim Partridge @Tim_Partridge_]

My latest video: A look @ the 1994 Street Fighter movie, how its adaptation met the expectations of teenagers like myself, at the time, & how it "plays" now. Includes development & making of. Big thanks: @OllieH82 @danieldmoses @TheManFrowns @Marc_V_Price
https://t.co/sa9VlhekBd

[Tim Partridge @Tim_Partridge_]

The power of a really great voice actor. The animation is virtually static, facial expressions pretty fixed, yet so much character comes across.

[Jeremy @ManaByte]

This is comfort food.

[Tim Partridge @Tim_Partridge_]

@oceanwavesbob @Stunt_ManMik3 The motion control was by the company Arkadon, who came in during post-production, under Brian Johnson, to help the Skotaks. Miniature build by Peter Aston Models, detailed by Pat McClung. I understand that The Skotaks/Johnson worked collaboratively/whoever could get what done.

[Tim Partridge @Tim_Partridge_]

@oceanwavesbob @Stunt_ManMik3 This shot was supervised by Brian Johnson.

[Tim Partridge @Tim_Partridge_]

I cannot believe Don't Tell Mom The Babysitter's Dead has never been released on Blu-ray.

[Tim Partridge @Tim_Partridge_]

@CinemaTweets1 Complain to the management. Always complain.

[Tim Partridge @Tim_Partridge_]

@menonfilmpod @TheBigPic He had gooooooooood intentions

[Tim Partridge @Tim_Partridge_]

You could say that...
https://t.co/Z12zt0Br7S

[Mark🔞 @mshat18]

The first Batman movie I ever saw as a kid. Any fans of Batman Forever?

[Tim Partridge @Tim_Partridge_]

Amusingly, the animator credited for everything that happens after the 0:04 second mark went onto do the Children's cartoon show Funny Bones.

[House of Dracula (☥𝐃𝐁) @CountDraculaDB]

The Monster Club (1981)

Suzanna Willis goes from sultry striptease to hand-painted skeleton dance in one seamless, jaw-dropping transition. Practical effects, matte work, and animation done right. Peak cinema.

[Tim Partridge @Tim_Partridge_]

@SuperheroSYSK I really enjoyed this!

[Tim Partridge @Tim_Partridge_]

@RetroGraveProd Great performances, too. It's a real art form to hit marks like that, so the camera can move between multiple shot sizes.

[Tim Partridge @Tim_Partridge_]

As shown, the shot design is perfect, including the production design. The room looks cosy & intimate on screen, but it's a large, built set; a series of horizontal, proscenium arches for the anamorphic frame, with smaller horizontal backgrounds for various compositions within.

[Vashi Nedomansky, ACE @vashikoo]

🎥RAIDERS SHOT DESIGN🎥
Spielberg turns a cramped living room into 96 seconds of continuous cinematic choreography. A single moving shot gives Indy and Brody close-ups, wide shots, movement, exposition and visual variety without a single cut. Super elegant visual storytelling.

[Tim Partridge @Tim_Partridge_]

More:

Poltergeist (1982)
Lifeforce (1985)

Directed by Tobe Hooper

Photographed using JDC anamorphic lenses.

[Tim Partridge @Tim_Partridge_]

Poltergeist (1982)
Lifeforce (1985)

Directed by Tobe Hooper

Photographed using JDC anamorphic lenses.

[Tim Partridge @Tim_Partridge_]

@Bigbird96 There's a Spider-man inspired Darkwing Duck episode called Aduckyphobia, and the background art for that feels similar to this angular style:
https://t.co/tTHsSq1Jgs

[Tim Partridge @Tim_Partridge_]

Here are some examples of classic Spider-man inspired scenery, seen throughout the whole of Darkwing Duck episode Aduckyphobia. The angular artwork and limited blue colour pallette is playfully reminiscent of the 1960s animated Spider-man and comics. #darkwingduck

[Tim Partridge @Tim_Partridge_]

@JosephKahn It's interesting that Lifeforce from a few years later has a lot of style very similar to Poltergeist, and by the way has some of the best anamorphic blocking and camera movement of any movie (also JDC scope). Strobes & lens flares never looked scarier than on these films.

[Tim Partridge @Tim_Partridge_]

Produced by George Duke, with funky analogue synthesisers.

He used a similar bassline on another tune from the same year:
https://t.co/jG3mLXFxe2

[Dave Buzan @DaveBuzan]

Deniece Williams began a two week run at #1 on the U.S. Billboard singles chart with "Let's Hear it for the Boy" on this day in 1984.

The second #1 single from the bestselling "Footloose" soundtrack, "Let's Hear it for the Boy" would also be nominated for an Academy Award and two Grammy Awards.

The popular song was written by Dean Pitchford and Tom Snow (who also wrote "Footloose"), with background vocals performed by future Boy Meets Girl members George Merrill and Shannon Rubicon.

[Tim Partridge @Tim_Partridge_]

@agraphafx The miniature work is tremendous. My brain cannot accept this is a model shot and apparently it took about 50 takes to get right.

[johnnyB @agraphafx]

Stuart Ziff interview on the Last Days Robert Abel Productions on Star Trek the Motion Picture.

#VFXarchaeology https://t.co/CPSax4YIem