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Peter T Chattaway

Certified Copy

153 posts in this topic

Overstreet wrote:

: Yeah, nobody embraces commercial-cinema trends like Abbas Kiarostami.

I tell ya, first he decides to make a movie with mostly English dialogue, and then...

Loved the closing credits, BTW. If the viewer wasn't thinking about the significance of windows BEFORE that shot, they should have been AFTERwards.

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I'm still trying to figure out how they filmed that drive in the car without getting the camera's reflection on the windshield.

It is a bit of a puzzle. The camera gear couldn't have even been all that much higher, at an angle, infront of the car, seeing as they went through a tunnel, and I just can't imagine that it was special effects.

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Attica wrote:

: . . . I just can't imagine that it was special effects.

Why not? Cameras have been digitally erased from reflections before (in Black Swan, The International, etc.).

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Attica wrote:

: . . . I just can't imagine that it was special effects.

Why not? Cameras have been digitally erased from reflections before (in Black Swan, The International, etc.).

That's my theory. There was a camera installed somehow on the hood of the car, and it was digitally erased. Even so, it's quite an achievement, since they're clearly actually driving through the streets and it's all one take/shot.

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In case you didn't open the Journey to Italy thread: If you like Certified Copy and plan to vote in the Road Movies poll, please try to see Rossellini's film. I'd go so far as to say -- and I can imagine Kiarostami smiling at this comparison -- that Certified Copy is a certified copy of Rossellini's original.

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Attica wrote:

: . . . I just can't imagine that it was special effects.

Why not? Cameras have been digitally erased from reflections before (in Black Swan, The International, etc.).

Yeah. I was thinking more along the lines that using special effects just didn't fit with the "vibe" of this film. I seems to be the kind of film where they would spend time thinking of a clever way to film it. It would also be awfully hard to erase the reflections, although not impossible I suppose. But really there isn't just the reflection to erase, but they would also have to adjust images and movement that was happening inside the car, as well as behind the car.

Here's my theory, fitting in with the films themes. The windshield reflection scene was a "copy" done with a mirror. The camera was rigged in front of the car pointing upwords and catching a reflection from a mirror above it. The mirror was angled in a way that the camera caught what we saw in the film, without the mirror itself being in the image.

Edited by Attica

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Has anyone who speaks the "other" languages in the film analyzed the subtitles? Since they're like a copy of the original dialogue, I wonder if anything unusual was done with them.

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I just figured out Certified Copy is actually a remake of Doctor Who: The City of Death.

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I've been looking around for more on whether it's true that Criterion passed on Certified Copy. Found this:

Thanks to The CriterionCast, we’ve gotten wind of a recent conversation that a user on these forums had with IFC President Jonathan Sehring following a recent screening of Werner Herzog’s CAVE OF FORGOTTEN DREAMS, and ultimately found out news on a few possible upcoming releases.

First, and most interestingly, according to this report, Criterion’s own Peter Becker found Abbas Kiarostami’s latest film, CERTIFIED COPY, to be “minor Kiarostami,” ultimately meaning that the film will not be getting it’s day in the Collection. One film that will be? Lena Dunham’s fantastic debut feature, TINY FURNITURE. Also mentioned here are Errol Morris films THE GATES OF HEAVEN, VERNON, FLORIDA, and THE THIND BLUE LINE. Criterion will also be releasing Herzog’s aforementioned DREAMS, and possibly 4 MONTHS, 3 WEEKS AND 2 DAYS, with the capper here being Wim Wenders’ 3D dance flick, PINA. Talk about a lineup.

Now, it goes without saying that this is still very much a rumor. The fact that Becker went out of his way to say “minor Kiarostami” is really bizarre, at least given the film’s buzz at this point. It has been talked about joining the collection for quite some time, so at this point, take this with a grain of salt. That said, a lot of these films seem like relative locks. Outside of COPY, don’t be shocked if this list comes to fruition in some way down the line. I’m particularly most excited about films like 4 MONTHS and TINY FURNITURE, both films I absolutely adore. Fingers are definitely crossed for this one.

And apparently they didn't pass on it after all. The teaser screenshot they posted on Facebook for tomorrow's announcement shows the stairs that James descends in the beginning.

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::w00t::

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And apparently they didn't pass on it after all. The teaser screenshot they posted on Facebook for tomorrow's announcement shows the stairs that James descends in the beginning.

I'm happy to have the region-free Blu-Ray (which I got for Christmas), but I'd be lying if I said the Criterion fanboy inside me isn't crying just a little bit right now.

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I'm glad I bought the import because I've already used it to introduce a lot of people to the film. It'll make a nice gift for somebody when the Criterion one comes out.

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It'll make a nice gift for somebody when the Criterion one comes out.

Ah...I hadn't thought of that.

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And apparently they didn't pass on it after all. The teaser screenshot they posted on Facebook for tomorrow's announcement shows the stairs that James descends in the beginning.

I'm happy to have the region-free Blu-Ray (which I got for Christmas), but I'd be lying if I said the Criterion fanboy inside me isn't crying just a little bit right now.

I'm probably going to double dip in July come the B&N sale. As much as I kove the ONE extra on the region free, I would much rather have the wealth of features that Criterion will no doubt deliver.

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Huh.

Well... maybe I won't be picking it up after all. I had hoped for more interesting extras. I'm sure I can get the Godfrey Cheshire essay from their site once it's released. The interview with Kiarostami isn't enough for me to spend another 20 or 30 bucks. And I doubt the image is going to be that much richer than what I already have. I wonder if the subtitles will be significantly different.

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Huh.

Well... maybe I won't be picking it up after all. I had hoped for more interesting extras. I'm sure I can get the Godfrey Cheshire essay from their site once it's released. The interview with Kiarostami isn't enough for me to spend another 20 or 30 bucks. And I doubt the image is going to be that much richer than what I already have. I wonder if the subtitles will be significantly different.

I was going to say the same thing. I'm pretty underwhelmed. Not a fan of the cover art either. Given how gorgeously photographed it is and how rich the story is, I'm not sure why they went with something so drab, even if the mirroring aspect makes thematic sense.

Edited by andrew_b_welch

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Not a fan of the cover art either. Given how gorgeously photographed it is and how rich the story is, I'm not sure why they went with something so drab, even if the mirroring aspect makes thematic sense.

I was also initially underwhelmed, but then I went back and checked on Netflix and...yep. It's modeled on the cover of the James Miller's book (as seen propped up on the table at the beginning of the film). Still looks too much like a textbook to me, even if that's the point.

Edit: Found a screen capture of the scene featuring the book cover. screen_image_470234.jpg

Edited by D. Adam

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So... the whole design is a copy. Cute.

Heck, they could carry this farther. They could market an exact copy of the region-free blu-ray I already have and it could be passed off as some kind of high-concept "special edition" that contributes to the film's discussion about originals and copies.

Edited by Overstreet

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So... the whole design is a copy. Cute.

Heck, they could carry this farther. They could market an exact copy of the region-free blu-ray I already have and it could be passed off as some kind of high-concept "special edition" that contributes to the film's discussion about originals and copies.

Using the Korean bootleg editions would be more appropriate.

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The AV Club podcast suggested that Last Year at Marienbad is a black-and-white Certified Copy. (The discussion comes toward the end of the episode.)

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The AV Club podcast suggested that Last Year at Marienbad is a black-and-white Certified Copy. (The discussion comes toward the end of the episode.)

That's funny. I was trying to describe the film to my brother without giving too much away and I called it MARIENBAD meets BEFORE SUNSET.

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