"The work, which becomes a new genre itself, will be called: COWBOY BEBOP" Shinichiro Watanabe supposedly wanted to change up space opera that he created the new genre of 'Space Jazz' which is definitely the perfect encapsulation of Cowboy Bebop.
Thank you, I didnt know what those wide shots in westerns were called pillow shots. I was talking about the lack of pillow shots in the live action show with friends. Those wide shots give a lot of information of the setting, were thee characters are, and the direction they are going either in a real of narrative sense. I ultimately came to the conclusion that the live action couldnt readily do it because tv shows have strict and low budgets and they must cut costs to make the sets smaller and use camera angles to hide their lack of resources...either that or they werent competent to do that.
I have to apologise then. When I talked about Westerns, I wasn’t trying to say that the epic wide shots were pillow shots. More so, I was trying to say that Cowboy Bebop was influenced by so many genres, including Westerns. And then I used the example of having a Director and a Composer work so closely together like Sergio Leone and Ennio Morricone did to then focus on the partnership between Watanabe and Kanno. But what I love about Watanabe and Kanno’s partnership is that the way they use music together gives me a similar feeling to the pillow shows that Ozu and Oshii used in their films. The main difference between what Ozu and Oshii do and what Leone does in his Westerns is that the music in the latter is always there to enhance the narrative and the events, mainly used as a build up to a climax. I never feel like I’m drifting away from the movie, quite the opposite. I’m even more focused to everything that is going on. Whereas in Ozu and Oshii’s films, you almost feel like the pillow shots scenes don’t need to be there at all, especially with Ozu. But that’s the beauty of those shots placing you in a state of mind that is almost unrelated with the movies themselves. With Cowboy Bebop, even though I can’t exactly call them Pillow Shots scenes because each scene is quite strongly connected to the narrative, I feel there is a correlation in the sense that I’m almost drifting away from what’s going on due to how the music and shots are being used. And that’s where my comparison comes from. Hopefully that makes sense.
Ummmm.... I have a patreon if you're interested :) www.patreon.com/kazetalks
You should talk about the kizumonogatari movie triology, those are probably one of the best made things in the whole cinematography
@@sonushinobu2050 Akiyuki Shinbo is someone I need to watch more. I have yet to see what he did with the Monogatari series, but it seems amazing
you deserve more attention my friend
Thank you! That means a lot 🙏
he definitely does! Been a fan for quite a while now
So many good points
Thanks! I’m glad you enjoyed it 🙂
"The work, which becomes a new genre itself, will be called: COWBOY BEBOP"
Shinichiro Watanabe supposedly wanted to change up space opera that he created the new genre of 'Space Jazz' which is definitely the perfect encapsulation of Cowboy Bebop.
Thank you, I didnt know what those wide shots in westerns were called pillow shots. I was talking about the lack of pillow shots in the live action show with friends. Those wide shots give a lot of information of the setting, were thee characters are, and the direction they are going either in a real of narrative sense. I ultimately came to the conclusion that the live action couldnt readily do it because tv shows have strict and low budgets and they must cut costs to make the sets smaller and use camera angles to hide their lack of resources...either that or they werent competent to do that.
I have to apologise then. When I talked about Westerns, I wasn’t trying to say that the epic wide shots were pillow shots. More so, I was trying to say that Cowboy Bebop was influenced by so many genres, including Westerns. And then I used the example of having a Director and a Composer work so closely together like Sergio Leone and Ennio Morricone did to then focus on the partnership between Watanabe and Kanno. But what I love about Watanabe and Kanno’s partnership is that the way they use music together gives me a similar feeling to the pillow shows that Ozu and Oshii used in their films. The main difference between what Ozu and Oshii do and what Leone does in his Westerns is that the music in the latter is always there to enhance the narrative and the events, mainly used as a build up to a climax. I never feel like I’m drifting away from the movie, quite the opposite. I’m even more focused to everything that is going on. Whereas in Ozu and Oshii’s films, you almost feel like the pillow shots scenes don’t need to be there at all, especially with Ozu. But that’s the beauty of those shots placing you in a state of mind that is almost unrelated with the movies themselves. With Cowboy Bebop, even though I can’t exactly call them Pillow Shots scenes because each scene is quite strongly connected to the narrative, I feel there is a correlation in the sense that I’m almost drifting away from what’s going on due to how the music and shots are being used. And that’s where my comparison comes from. Hopefully that makes sense.
I hope Netflix adaptation doesn't disappoint
Same. Will watch it this weekend.