Three movies that changed the way movies are made (IMHO) and how we view them

[DainBramaged]

The Wizard of Oz



Star Wars



The Matrix

[Jade Fox]

1. Memento nt

[lunamagica]

2. A Hard Day's Night n/t

[madamesilverspurs]

3. The Jazz Singer, Fantasia, 2001 a Space Odyssey

[CaliforniaPeggy]

4. My dear DainBramaged!

Those are great choices...

I would also add "Schindler's List" and maybe the Godfather films.

:hi:

[darkstar3]

5. If you're specifically including changes in making AND viewing...

then you're missing one from your list:

Gone With The Wind.

Personally I think the plot is crap, but you have to admit that it had a big impact.

[leeroysphitz]

6. Porky's (seriously).

[deucemagnet]

7. Reservoir Dogs and Pulp Fiction. n/t

[Deja Q]

8. Star Trek 90210 (2009)

:yoiks:

[Deja Q]

9. You're definitely right about Oz,

but the other two were sold for their effects. Not the content. Well, by 1977 and certainly by 1999, their respective plots needn't have been so banal...

[DainBramaged]

10. Content doesn't make movies memorable to the people who make movies

the three movies I listed were ground breakers, and they changed the way movies were made for a full generation after they were released. The Matrix still influences movies and how they are made. granted, 2001 (which I saw about 6 times in various stages of blitzdom) did not affect the way movies were made like the first star Wars or Wizard of Oz did.

And when you ask any three people what movie influenced them the most, I am POSITIVE these three movies come to the young before any others, except possibly Gone With the Wind, Jaws, and Titanic. After that it's hard to put a finger on anything else.

[Chan790]

22. It's an interesting premise...

I want to take it one step further because I can. Bookmarking this for later.

My roommate is a 2nd 2nd for a series on USA, Assistant Produced an Oscar nominee last year and has made several major motion pictures over the past 3 years in a number of production roles ranging from PA to Line Producer. I want to ask him what his three are and have him ask others he works with to see what that list looks like. As a student studying screenwriting, my three are completely different because imagery is less important to me than content that revolutionizes how a story is told and where it can be taken.

In this way, I think we generate a far more interesting list-of-lists in that we not only get a measure of the important works of cinema, but also a comparative measure of the criterion used to assess that question from people who approach the question from differing places: As a viewer, as a writer, as a director, as a DP and as a producer (someone once said that producing is the creation of content with an eye towards profitability rather than content...in my roommate's case, that is spot-on.)

For me:

1.) M (1931)
2.) Le fabuleux destin d'Amélie Poulain (2001) (English title: Amélie)
3.) Koroshiya 1 (2001) (English title: Ichi The Killer)

honorable mention to Mou gaan dou (2002) (English Title: Infernal Affairs...was remade domestically by Martin Scorsese as The Departed)

[YankeyMCC]

11. Forbidden Planet

and

Jason and the Argonauts

[azmouse]

12. Alien

[Fire Walk With Me]

24. Truly. Most scary monster movies weren't so scary in comparison.

Also, Blade Runner for the incredible pre-production/sets/overall look, and Koyaanisquatsi for reminding us that it is truly a visual medium, and that the most significant messages may indeed be carried merely with music and images.

[surrealAmerican]

13. The Great Train Robbery

It was probably the most influential film ever made.

[old mark]

14. "Dirty Harry" The director shot the film in a grainy, almost TV look,

abandoned the "hollywood" production look. It's still almost irritating to see it. Don Siegal directed the first - best- Harry.

mark

[Auggie]

15. Six: The Jazz Singer, Citizen Kane, 2001: A Space Odyssey, Clockwork Orange,

Jurassic Park, Toy Story

(on edit: added the The Jazz Singer

[MissMillie]

16. I'm probably one of about 10 people who have never seen The Matrix

And, you know, I don't know that I have any interest to.

[gbate]

17. Rope.

http://en.wikipedia.org/wiki/Rope_(film)

[gmoney]

18. "Citizen Kane" is the obvious example.

Welles and his cinematographer Gregg Toland really challenged the standard rules, largely because Welles had no experience in movies, so didn't know what the rules really were. Toland was resourceful enough to make them happen and really changed the way films looked and unfolded. Granted, a lot of what Welles did was being done in other countries where there was a more advanced "experimental" film movement, mainly Germany, but Welles actually made it serve the story, and not just be an exercise in gratuitous oddity.

And while it's hard to applaud DW Griffith's "Birth of a Nation" since the story is a giant racist glorification of the KKK, technically it was highly advanced film-making that changed movies from "filmed stage plays" to the more current methods of presenting a story.

[Blue_Tires]

20. i'm surprised it took 18 posts to mention Citizen Kane

[moggie]

19. Rashomon

The way it told the story from multiple conflicting viewpoints, without treating any of them as objective truth: I believe this made many subsequent film-makers look at the camera viewpoint in a fresh way.

[Blue_Tires]

21. The French Connection

which not only changed cop-buddy movies, it changed cop shows for decades to come...

and what about Easy Rider and the subsequent flood of nihilist films that followed in the 70s?

[Patiod]

23. If you liked this topic, you might enjoy Mark Harris' book

about the year the movies really changed: "Pictures at the Revolution: Five Pictures and the Birth of the New Hollywood"

Amazing book.

http://www.nytimes.com/2008/02/17/books/review/Shepard-t.html

"...focuses on the nominees for the Academy Award for best picture of 1967: “Bonnie and Clyde,” “The Graduate,” “Guess Who’s Coming to Dinner,” “In the Heat of the Night” (the eventual winner) and “Doctor Dolittle.” Yes, you read that last title correctly. For Harris, a columnist at Entertainment Weekly, that array is not just a historical “collage of the American psyche” but also well beyond diverse, “almost self-contradictory”; a movie like “The Graduate” was seemingly designed to demolish the values on display in “Guess Who’s Coming to Dinner.” The generational divide could not have been starker, and the central issue was what an American movie was supposed to be."