I'm still watching TD (upto epi3) but I'm still finding it boring as hell ... It's basically 2 inbred redneck hillbilly detectives talking shite for an hour per episode & nowt much else! ... How anyone can say TD is 1 of the greatest shows ever created is beyond me!
(Atleast Hannibal is coming back soon!!!) :cool:
I found it slow going, but I enjoyed that slowness once I made a point of concentrating and drinking in what was being said, by whom, about what, and how. And bearing in mind that things that are said now will all go towards understanding more what we find out later, whatever that might be.
The area of America it's set is also quite slow moving in general. I think it captures it perfectly, and there's clearly so much going on just beneath the surface of all these characters, and the story as we've been allowed to see it thus far.
Some people just want NOW NOW NOW though, which is fine. I do too, sometimes. TD is a welcome change of pace.
Hmmm, seems this is definitely going to be a marmite show. Personally I'm in the absolutely loving it camp, from the brilliant opening theme and intriguing imagery I was drawn in and four episodes in am totally hooked.
As others have said MM is simply captivating throughout and WH has long been a favourite of mine. For me the pace and script are nigh on perfect and I'm hanging on every word, happy not to second guess anything and just drinking it all in, outstanding TV, long may it continue.
It's art. Most people aren't going to "get it." If this kind of thing appealed to a broad audience, CBS would be making shows like this instead of NCIS: LA.
It's the first act, establishing the premise, characters and motives. Now we are entering the second act with the introduction of the most likely suspect, Rene LeDoux. I think perhaps you should stick to villain of the week style series if you find the characterisation and pace to not be engaging. Try any of the Law & Order or CSI series.
I used to like Law & Order & CSI but haven't watched either for years. This show can enter all the acts it wants, it is not entertaining & to try to make it to be something it is not beggars belief.
Reading the above, it is clear that you aren't aware that True Detective in its current form ends at episode eight -- so that is a definite "end." The plan for the show is to follow the American Horror Story model: each season will have completely new characters in a new setting, with a story that is fully wrapped up in the season finale.
OMG the same ghastly format that Skins used.
I stopped watching that as well.
Pointless getting into something as even if you do and like it, that's the end of it and move on to a whole new cast but called the same thing.
Whoever first invented that format needs shooting!
I used to like Law & Order & CSI but haven't watched either for years. This show can enter all the acts it wants, it is not entertaining & to try to make it to be something it is not beggars belief.
It is not entertaining to you, and that's fine. Who said anything about making it try to be something it's not? What are you talking about?!
Pointless getting into something as even if you do and like it, that's the end of it and move on to a whole new cast but called the same thing.
Whoever first invented that format needs shooting!
Actually no, not the same format as Skins at all. Skins ran two series with each cast, then moved on. This was a great idea - it's about a particular age-group and after two years that cast is too old to realistically be about that age group any more. So they move on. I think that's a great idea and whoever thought of it deserves a round of applause for working out how to keep a format fresh.
American Horror Story is slightly different. They run a story for the full season, it comes to a conclusion and then next series is an entirely different story with entirely different characters, but using many of the same cast in different roles. It's rather clever, and again keeps a format fresh without getting too familiar with the same characters.
if you prefer the same characters every. single. season. forever. and ever. then you are spoilt for choice as that's what every other show on the planet does.
I started watching this the other night, and to be honest I didn't like what I seen. Looked a bit boring. I know it prob will get better as it goes on.
Well, it certainly kicked up a gear this week. As I said before, the first 3 episodes were establishing the investigation and the target of it, now they are on the hunt and we're starting to see exactly why the investigation may have skewed away from professional conduct since both detectives are dealing with their own problems and vices, Marty with his anger and infidelity and Rust with his addiction and sociopathic nature when it comes to his devotion to the job.
The camera work and lighting was fantastic throughout but once Rust became Crash the show really went full steam ahead. The last 10 minutes and the continuous camera shot in the last six minutes were fantastic work. I was actually worried for Rust even though we know he'd have to survive in order to be interviewed later.
I used to like Law & Order & CSI but haven't watched either for years. This show can enter all the acts it wants, it is not entertaining & to try to make it to be something it is not beggars belief.
You want short form detective stories to suit your lesser attention span and preferences. This is not one of those series with a mystery/perp of the week, it is an 8 episode series that may or may not reuse members of the existing cast again in future series. The problem is not with any of us trying to make it into something it is not as much as it seems to be your failure to comprehend the premise of the show. You're getting mad that a three course meal is not as easily consumed as fast food and then claiming anyone that likes something a little more indulgent is not as appetising. That is not fair. If you prefer McDonalds, that is fine, but some people would prefer an appetiser, main course and dessert. This served the first course and is now getting into the meatier parts of the story.
Might I suggest Columbo? In that show you find out the murderer from the beginning and then the story is about how Columbo figures it out based on the arrogance of the murderer assuming they committed a perfect crime. However they tend to be mini movies so perhaps might also test your patience and preferences.
It is fantastic - I have spent time in Louisiana and recognise some of the places - great acting and one of the best scripts for a long time
I think there are certain things showing escalation and the increasing forced friendship between Marty and Rust. No slow car journeys in this episode, each bar they visit gets dingier and more dangerous as they get deeper into the chase for the case, both are getting lonelier and having less interaction with everyone else on the show, the laconic tension from having to unravel things while getting on each others nerves is being replaced with real high stakes dangerous tension as they are being forced to rely on one another and why even 15 years later they may be covering each other's backs even though they are cut from very different cloth. There's also the mirroring of Marty running over the plastic trike last episode and losing his family subsequently, the same way Rust's daughter being ran over led to his family life falling apart... there is a lot of stylistic subtext on the show if you care to look.
Without doubt one of the best shows I've ever seen - and it's only four episodes in! Remarkable achievement to give it so much depth, make it feel so lived in, in such a short space of time. That tracking shot at the end of the episode was absolutely phenomenal.
I'm just staggered that anyone could call this boring.
I can only agree with all the praise for this show, it really is exceptional, everything about it is pretty much perfect, Nic Pizzolatto has created something very special here.
I do love long tracking scenes. Whether it's the opening shot of A Touch of Evil or, my favourite, the football scene from the fantastic film The Secret In Their Eyes (Click here for the scene on YouTube), they're like little pieces of art. This series was already good, but Ep 4 raised the bar. There's going to be a twist, surely...
But would a twist really be a twist? We already know both Rust and Marty are broken, troubled people, in their own way. Not sure any of their actions from this point onwards would constitute a huge surprise.
Unless they start screwing. That would a bit of an eyebrow-raiser. But even then, the sexual tension's been brewing...
I do love long tracking scenes. Whether it's the opening shot of A Touch of Evil or, my favourite, the football scene from the fantastic film The Secret In Their Eyes (Click here for the scene on YouTube), they're like little pieces of art. This series was already good, but Ep 4 raised the bar. There's going to be a twist, surely...
Well we already know their personal vices and the off the books operation they did may have compromised the investigation in 1995, we know Marty and Rust haven't spoken since 2001, we know there is a copycat killer going around in the present but there was obviously parts of the investigation that didn't go on the file... what we don't know is what happened to Rust's "Taxman" book of case notes and what exactly happened to Marty's family and mistress. We see he's not wearing his ring in the interview room but that's all we'v got for sure. We do know the current detectives know Rust's dad didn't die from leukemia in 1995 and that Rust stopped using drugs but went back to drinking, he lives alone behind a bar and the years have not been kind to him, we know they catch a suspect in 1995 but we don't know for certain if it was Reggie LeDoux.
As for the tracking shot, I want to know how the Hell they got it over the fence so smoothly in the last minute? That was an impossible shot unless they switched the camera from a gyroscopic cart or shoulder mount over to a gyroscopic crane just for that 12-15 seconds.
That was another thing I enjoyed about the most recent episode - it marked the first point (I think) in the modern day investigation where we knew for sure that Rust and Marty were lying to them. Up until then, they'd jerked them around a little bit, but the flashback scenes mostly matched up with what they were selling. Give or take.
As for the tracking shot, I want to know how the Hell they got it over the fence so smoothly in the last minute? That was an impossible shot unless they switched the camera from a gyroscopic cart or shoulder mount over to a gyroscopic crane just for that 12-15 seconds.
A bit like the tracking shot I linked where the camera flies over a football stadium, into the crowd, down a tunnel, into the catacombs and then out onto the pitch, if you pause it you can see the joins - for example when the camera pans over the washing on the line. Trickery, perhaps, but still blinkin' amazing to watch.
A bit like the tracking shot I linked where the camera flies over a football stadium, into the crowd, down a tunnel, into the catacombs and then out onto the pitch, if you pause it you can see the joins - for example when the camera pans over the washing on the line. Trickery, perhaps, but still blinkin' amazing to watch.
Apparently it was a one continuous single tracking shot, no matching edits, MTV USA's website has a video on how it was done but I can't access it because it is region restricted to the USA and Canada. I think maybe they cut a section of the fence away, then lifted the camera up on a hydraulic lift dolly to make the arc smooth and just appear to actually go over the fence as well while it was tracking them.
To film the sequence, Fukunaga shot in an actual housing complex. He plotted out "the most interesting path, but also the most logical path," which eventually took Cohle and Ginger over a chain-link fence. Having the camera pass over the fence along with them was one of the trickiest shots to film.
"At one point, we were going to build a ramp, and the operator was going to walk up it," Fukunaga says. "But that wasn't very safe." Having a Steadicam operator ride a weighted crane over the fence and back down to ground level again was how the final version was filmed.
To film the sequence, Fukunaga shot in an actual housing complex. He plotted out "the most interesting path, but also the most logical path," which eventually took Cohle and Ginger over a chain-link fence. Having the camera pass over the fence along with them was one of the trickiest shots to film.
"At one point, we were going to build a ramp, and the operator was going to walk up it," Fukunaga says. "But that wasn't very safe." Having a Steadicam operator ride a weighted crane over the fence and back down to ground level again was how the final version was filmed.
Thanks for that, I was very curious how they did that. I figured most was gyro steadied and shoulder mounted with some degree of heavy tread wheel tracking dolly putdown linkage since it didn't have the "steady cam shake" Paul Greengrass is known for, but I appreciate that information from you.
Comments
I found it slow going, but I enjoyed that slowness once I made a point of concentrating and drinking in what was being said, by whom, about what, and how. And bearing in mind that things that are said now will all go towards understanding more what we find out later, whatever that might be.
The area of America it's set is also quite slow moving in general. I think it captures it perfectly, and there's clearly so much going on just beneath the surface of all these characters, and the story as we've been allowed to see it thus far.
Some people just want NOW NOW NOW though, which is fine. I do too, sometimes. TD is a welcome change of pace.
As others have said MM is simply captivating throughout and WH has long been a favourite of mine. For me the pace and script are nigh on perfect and I'm hanging on every word, happy not to second guess anything and just drinking it all in, outstanding TV, long may it continue.
I used to like Law & Order & CSI but haven't watched either for years. This show can enter all the acts it wants, it is not entertaining & to try to make it to be something it is not beggars belief.
OMG the same ghastly format that Skins used.
I stopped watching that as well.
Pointless getting into something as even if you do and like it, that's the end of it and move on to a whole new cast but called the same thing.
Whoever first invented that format needs shooting!
It is not entertaining to you, and that's fine. Who said anything about making it try to be something it's not? What are you talking about?!
Actually no, not the same format as Skins at all. Skins ran two series with each cast, then moved on. This was a great idea - it's about a particular age-group and after two years that cast is too old to realistically be about that age group any more. So they move on. I think that's a great idea and whoever thought of it deserves a round of applause for working out how to keep a format fresh.
American Horror Story is slightly different. They run a story for the full season, it comes to a conclusion and then next series is an entirely different story with entirely different characters, but using many of the same cast in different roles. It's rather clever, and again keeps a format fresh without getting too familiar with the same characters.
if you prefer the same characters every. single. season. forever. and ever. then you are spoilt for choice as that's what every other show on the planet does.
The camera work and lighting was fantastic throughout but once Rust became Crash the show really went full steam ahead. The last 10 minutes and the continuous camera shot in the last six minutes were fantastic work. I was actually worried for Rust even though we know he'd have to survive in order to be interviewed later.
You want short form detective stories to suit your lesser attention span and preferences. This is not one of those series with a mystery/perp of the week, it is an 8 episode series that may or may not reuse members of the existing cast again in future series. The problem is not with any of us trying to make it into something it is not as much as it seems to be your failure to comprehend the premise of the show. You're getting mad that a three course meal is not as easily consumed as fast food and then claiming anyone that likes something a little more indulgent is not as appetising. That is not fair. If you prefer McDonalds, that is fine, but some people would prefer an appetiser, main course and dessert. This served the first course and is now getting into the meatier parts of the story.
Might I suggest Columbo? In that show you find out the murderer from the beginning and then the story is about how Columbo figures it out based on the arrogance of the murderer assuming they committed a perfect crime. However they tend to be mini movies so perhaps might also test your patience and preferences.
I think there are certain things showing escalation and the increasing forced friendship between Marty and Rust. No slow car journeys in this episode, each bar they visit gets dingier and more dangerous as they get deeper into the chase for the case, both are getting lonelier and having less interaction with everyone else on the show, the laconic tension from having to unravel things while getting on each others nerves is being replaced with real high stakes dangerous tension as they are being forced to rely on one another and why even 15 years later they may be covering each other's backs even though they are cut from very different cloth. There's also the mirroring of Marty running over the plastic trike last episode and losing his family subsequently, the same way Rust's daughter being ran over led to his family life falling apart... there is a lot of stylistic subtext on the show if you care to look.
Terrific pacing, the way the episode just escalated with every scene.
I love that Ginger thought he could pull off being a cop, with a skinhead and a long, plaited beard.
Shush - we don't want them coming back.
I'm just staggered that anyone could call this boring.
Unless they start screwing. That would a bit of an eyebrow-raiser. But even then, the sexual tension's been brewing...
Well we already know their personal vices and the off the books operation they did may have compromised the investigation in 1995, we know Marty and Rust haven't spoken since 2001, we know there is a copycat killer going around in the present but there was obviously parts of the investigation that didn't go on the file... what we don't know is what happened to Rust's "Taxman" book of case notes and what exactly happened to Marty's family and mistress. We see he's not wearing his ring in the interview room but that's all we'v got for sure. We do know the current detectives know Rust's dad didn't die from leukemia in 1995 and that Rust stopped using drugs but went back to drinking, he lives alone behind a bar and the years have not been kind to him, we know they catch a suspect in 1995 but we don't know for certain if it was Reggie LeDoux.
As for the tracking shot, I want to know how the Hell they got it over the fence so smoothly in the last minute? That was an impossible shot unless they switched the camera from a gyroscopic cart or shoulder mount over to a gyroscopic crane just for that 12-15 seconds.
Not anymore.
A bit like the tracking shot I linked where the camera flies over a football stadium, into the crowd, down a tunnel, into the catacombs and then out onto the pitch, if you pause it you can see the joins - for example when the camera pans over the washing on the line. Trickery, perhaps, but still blinkin' amazing to watch.
Apparently it was a one continuous single tracking shot, no matching edits, MTV USA's website has a video on how it was done but I can't access it because it is region restricted to the USA and Canada. I think maybe they cut a section of the fence away, then lifted the camera up on a hydraulic lift dolly to make the arc smooth and just appear to actually go over the fence as well while it was tracking them.
"At one point, we were going to build a ramp, and the operator was going to walk up it," Fukunaga says. "But that wasn't very safe." Having a Steadicam operator ride a weighted crane over the fence and back down to ground level again was how the final version was filmed.
Thanks for that, I was very curious how they did that. I figured most was gyro steadied and shoulder mounted with some degree of heavy tread wheel tracking dolly putdown linkage since it didn't have the "steady cam shake" Paul Greengrass is known for, but I appreciate that information from you.
Thanks for the info, Dz!