11/4/2022 0 Comments Tvtropes bravery network online![]() ![]() He dabbled in music videos, commercials, and television, and also took an active role in Ridley’s company Scott Free, where he became a producer for a variety of other projects. Scott wasn’t content to simply limit his craft to cinema either. Tony Scott was a stylist that photographed the hell out of his subjects, and as a result, he cultivated a distinct look that influenced countless young filmmakers. A female bounty hunter just as tough as the boys.Ī runaway train. A man left for dead and hellbent on revenge. A power struggle inside a nuclear-class submarine. Rather, he was a man inspired by the high-concept idea that promised thrilling action.Ĭompeting fighter pilots jockeying for a place at the top of their class. Scott’s choices in film weren’t driven by any particular theme or story preoccupation. Producers like Jerry Bruckheimer and Don Simpson, actors like Denzel Washington and Gene Hackman, Directors of Photography like Dan Mindel and Paul Cameron, Musicians like Harry Gregson-Williams and Hans Zimmer.Īll of them frequently turning in their best work under Tony Scott’s direction. He also accumulated his share of key collaborators– people who worked with him again and again because they admired his work ethic and the way he told stories. His films, while made for mass consumption, aren’t for everyone– but it can’t be denied that an overwhelming majority of his feature films were huge commercial hits. The course of Scott’s development as a filmmaker shows a career that started from humble, foreign beginnings, and then took off into the stratosphere of the American pop cultural landscape with the release of TOP GUN in 1986.įor the remainder of his career, he remained in those lofty heights of mainstream filmmaking, weathering the occasional heavy turbulence, and touching back to Earth slightly battered, but more or less whole. ![]() As it turns out, Tony was more interested in films as thrill rides, and while that’s not everyone’s cup of tea, it’s a completely legitimate pursuit. Tony Scott and Ridley Scott, while brothers, are two entirely different people with entirely different interests and concepts about what a film is. In fact, I had always thought that perhaps Scott always felt he was working in Ridley’s massive shadow, and could never quite get out of it in his own right. Even when I did know who he was, I always held his work at arms-length, seeing him as an inferior, strictly commercial version of his older brother, Ridley. The first time I saw a Scott film (2001’s SPY GAME), I wasn’t even really aware of who he was. In all honesty, I hadn’t planned on reviewing his films at all, but the outpouring of love and respect from collaborators and industry personnel in the wake of his death made me rethink my own judgement on his standing within the art form. Prior to reviewing Scott’s work, I had always approached his films with a degree of caution. Tony Scott is the first director since I’ve started blogging to be no longer with us, so naturally he will be the first to get a specialized DEBRIEFING. From that perspective, I can only assess a living filmmaker’s development from that particular moment in time. For the living, obviously I’m tracking developing careers that are still evolving and changing. #Tvtropes bravery network online full#The Director Series is at its most effective when I’m analyzing the careers of the deceased, as I can view their works in totality and make observations about the course of their full development. ![]()
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