Lord of the Rings
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Commentaries on this disc:
Creator Todd McFarlane, director Mark A.Z. Dippé, producer Clint Goldman, and visual effects supervisor Steve 'Spaz' Williams
Rating:9.0/10 (3 votes) [
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Reviewed by psj77 on June 15th, 2004
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The first two DVD's I ever bought was this and U.S. Marshal. Luckley
I listend To this Commentary First. It is right up there with clerks and Mallrats.
Reviewed by lancepr on July 10th, 2004
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Todd McFarlane is very into this character. He goes into great detail about what went right and wrong in this movie. Highly recommended.
Reviewed by frankasu03 on June 18th, 2016
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This is one of those classic "New Line" Commentary tracks from the early days of digital home video. Well-paced, edited to allow the participants to comment on the on-screen action, and very candid in tone. Todd McFarlane is flying solo, as is Steve "Spaz" Williams, while the Director Mark Z. Dippe and Producer Clint Goldman are paired together. The latter duo provide some genuine "guffaws" as their chat is very frank and, at times, devious in their repartee. Dippe relates how the effects company got their name "Banned from the Ranch" by regaling us with hijinks that occurred on the eponymous "Skywalker Ranch." From there, the Director acknowledges the anime influences that helped bring "Spawn" to visual life, while slagging off JCVD. That's right, Van Damme is basically the Albatross that burdens all the Hong Kong directors who attempt to break into the U.S. market. His producer is quick to add that he'll gladly work with him in the future, and that Dippe is only jesting. McFarlane helpfully points out his cameo, and assures us that he is not the victim of his own creation, "The Violator." Prior to that scene, Todd establishes the origins of "Spawn," his attempts to bring it to the "big screen," and the obvious character-references to his own personal life. After initialing bringing "Spawn" to "Columbia," Todd felt that creative control would ultimately be sacrificed. Thus, a move to "New Line," with a $40 million dollar budget, and the production/EFX behind "The Mask" was enlisted to faithfully adapt the first 12 issues of the "Image" icon for release. Throughout the track, Steve "Spaz" Williams painstakingly details all of the minutiae behind the computer-generated effects. And while, admittedly, many of those sequences just cannot hold up to today's visual artistry, you come away with a real appreciation for the CGI "wizards" who worked on genre fare in the '90s. But, boy, those "Malebolgia" sequences are really an eye-sore. Back to Dippe and Goldman; the most engaging bits of trivia come as the two describe the exact cuts to dialogue and action necessary for that desired "PG-13" rating. The victim, sadly, being some of the great, and tawdry, lines delivered by Leguizamo as "The Clown/Violator." Who knew that "bright pink pony" would be such a salacious term? And loads of credit is given to Leguizamo, for inhabiting the mischievous character "The Clown." John dined on Pizza topped with maggots, and essentially performed the entire picture squatting while entombed in layers upon layer of heavy silicone makeup. A real trooper, Leguizamo was, and he is deservedly given tons of credit. All in all, a quality listen that enhances an oft-forgotten entry in the history of "Comic Book" cinema. Hard to imagine in today's Superhero Surplus, that "Spawn" dared to be a dark vigilante a year before "Blade," and while Joel Schumacher still had the Dark Knight in Neon and hard nipples. 9/10
Reviewed by grimjack on September 3rd, 2017
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Definitely interesting in places, and especially for how they likely merged quotes from the original and directors edition together.
There are moments where they talk about lines cut from the film, right before a character says it. And places where they talk about things they wanted to show but cannot for the PG-13, right after they have been shown. (And no, it isnt like they are saying I am glad to see this part added back in. I am certain it was from commentary on the original release.
More than a few adult comments and stories. If anything it tells you of the movie they wanted to make, but how the technology, budget, and studio heads really wouldnt let them.
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