Did Obama openly keep blacklists of media outlets who didn't publish favorable news? Did Obama ban press from his plane, or routinely dodge media pools? Did Obama call for an "opening up" of libel laws? Did he single out reporters who he didn't like, telling them literally to "be quiet"?
Is "be quiet" a synonym for "silence"?
I really hope that your only defense as to why Trump is "no more of a demagogue than Obama" is that he has never held public office, nor been a politician in any way, and that we as a nation aren't regretting that rather naive defense in four years time.
This strikes me as a prosumer camera, something sold in a best buy to 30-40 somethings who've gotten word that everyone shoots baby videos in 4k now for future-proofing those memories, and this seems like as good an option as, well, anything.
Clearly canon is targeting idiots with this, is what I'm trying to say.
It is an interesting question, Daniel. I generally prefer watching war films that don't reinforce or regurgitate the mythology that American military industrial complex is a force acting on behalf of a greater good. I like films that make me question and consider, or push me to understand a point of view that is a subversive or alternative one to the powerful or the mainstream.
The fact of the matter is that the events that occurred on that day in Mogadishu were much, much more complicated than what ended up in the film. I'm not even referring to the larger geopolitical context that Operation Restore Hope occurred within, though this was only marginally referenced; let's just consider what happened within the existing narrative structure Ridley Scott presents to us. 50% of the story of what happened that day is just completely absent.
Watch the film again and try to count how many Somali men, women and children were likely killed on that day. You'll lose count at some point, at other points you will have to estimate (accounting for stray bullets, ricochets, or collateral damage from rockets and missiles). What were they doing that day, Daniel? Who are these people who our protagonists casually refer to as "skinnies"? Wouldn't understanding their motivations create a slightly more thoughtful, nuanced retelling of a major world event?
Here's my producer's bottom line: Ridley, go make your war movie about American blind arrogance and willful ignorance and whatever other issues you may feel you're snarkily bringing to the table, please just recognize you're taking a real cheap shot at an enormous community of innocent people who've already been dealt a pretty shit card. And if you are going to completely ignore the Somali side to this story and write them as one-dimensional gun-fodder to be mowed down by that .50cal, if you still feel that best serves the purposes of your film and you want to go ahead with this, well I think the very least you could do is cast actual Somalis and give them a paycheck.
yeah exactly. what is the point of the fixed lens if there's no servo zoom?
yeah but it's pretty cool to imagine rays of black flying all over a set, isn't it?
Shoot with the whites correctly balanced and adjust the image in post if you feel that is a look you want for the film. There's no reason to commit so hard to something like color tone of the image in production when you can just as simply adjust your balance after.