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#cinema setting
croshnaloov · 6 months
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Tired, burnt out, sketched some ineffable husbands
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robotpussy · 10 months
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for ppl who saw across the spiderverse hobie's audio is bad because the audio mix isn't the standard most theaters/cinemas have so that's why its hard to hear what he's saying! phil lord (producer) said this about the sound issue
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"#SpiderVerse friends! if you get to the theater early and you want a fun mission ask someone to check that the theater volume is set at reference (7)! If it sounds a bit quiet, invite them to turn it up a touch to 7.5! If they give you flack... tell them we said it was okay"
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sparklejamesysparkle · 2 months
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"𝐀𝐥𝐥 𝐜𝐨𝐮𝐧𝐭𝐫𝐲 𝐠𝐢𝐫𝐥𝐬 𝐡𝐚𝐯𝐞 𝐚𝐧 𝐢𝐝𝐞𝐚 𝐨𝐟 𝐰𝐡𝐚𝐭 𝐠𝐥𝐚𝐦𝐨𝐮𝐫 𝐢𝐬, 𝐚𝐧𝐝 𝐚 𝐥𝐨𝐭 𝐨𝐟 𝐭𝐡𝐞𝐦 𝐠𝐞𝐭 𝐭𝐡𝐚𝐭 𝐭𝐡𝐫𝐨𝐮𝐠𝐡 𝐦𝐚𝐠𝐚𝐳𝐢𝐧𝐞𝐬 𝐨𝐫 𝐦𝐨𝐯𝐢𝐞𝐬. 𝐁𝐮𝐭 𝐰𝐞 𝐝𝐢𝐝𝐧’𝐭 𝐠𝐞𝐭 𝐭𝐨 𝐠𝐨 𝐭𝐨 𝐭𝐡𝐞 𝐦𝐨𝐯𝐢𝐞𝐬 𝐚𝐧𝐝 𝐰𝐞 𝐥𝐢𝐯𝐞𝐝 𝐰𝐚𝐲 𝐛𝐚𝐜𝐤, 𝐬𝐨 𝐦𝐲 𝐥𝐨𝐨𝐤 𝐰𝐚𝐬 𝐢𝐧𝐬𝐩𝐢𝐫𝐞𝐝 𝐛𝐲 𝐭𝐡𝐞 𝐭𝐨𝐰𝐧 𝐭𝐫𝐚𝐦𝐩. 𝐈 𝐭𝐡𝐨𝐮𝐠𝐡𝐭 𝐬𝐡𝐞 𝐰𝐚𝐬 𝐚𝐛𝐬𝐨𝐥𝐮𝐭𝐞𝐥𝐲 𝐛𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐬𝐡𝐞 𝐥𝐨𝐨𝐤𝐞𝐝 𝐥𝐢𝐤𝐞 𝐚 𝐦𝐨𝐯𝐢𝐞 𝐬𝐭𝐚𝐫 𝐭𝐨 𝐦𝐞, 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐬𝐡𝐞 𝐡𝐚𝐝 𝐭𝐡𝐨𝐬𝐞 𝐩𝐢𝐥𝐞𝐬 𝐨𝐟 𝐛𝐥𝐞𝐚𝐜𝐡𝐞𝐝 𝐡𝐚𝐢𝐫, 𝐫𝐞𝐝 𝐥𝐢𝐩𝐬𝐭𝐢𝐜𝐤, 𝐧𝐚𝐢𝐥𝐬 𝐚𝐧𝐝 𝐜𝐡𝐞𝐞𝐤𝐬 𝐚𝐧𝐝 𝐡𝐢𝐠𝐡 𝐡𝐞𝐞𝐥 𝐬𝐡𝐨𝐞𝐬. 𝐈 𝐥𝐢𝐤𝐞𝐝 𝐡𝐨𝐰 𝐬𝐡𝐞 𝐥𝐨𝐨𝐤𝐞𝐝 𝐚𝐧𝐝 𝐢𝐭 𝐬𝐞𝐞𝐦𝐞𝐝 𝐭𝐨 𝐟𝐢𝐭 𝐦𝐲 𝐢𝐧𝐧𝐞𝐫 𝐬𝐞𝐥𝐟 𝐚𝐧𝐝 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐢𝐭𝐲. 𝐈 𝐰𝐚𝐧𝐭𝐞𝐝 𝐦𝐚𝐤𝐞𝐮𝐩 𝐚𝐧𝐝 𝐚𝐥𝐥 𝐭𝐡𝐚𝐭 𝐠𝐥𝐚𝐦𝐨𝐮𝐫 𝐚𝐧𝐝 𝐭𝐡𝐚𝐭 𝐢𝐬 𝐡𝐨𝐰 𝐦𝐲 𝐥𝐨𝐨𝐤 𝐜𝐚𝐦𝐞 𝐚𝐛𝐨𝐮𝐭. 𝐀 𝐥𝐨𝐭 𝐨𝐟 𝐩𝐞𝐨𝐩𝐥𝐞 𝐭𝐡𝐨𝐮𝐠𝐡𝐭 𝐈 𝐰𝐨𝐮𝐥𝐝 𝐡𝐚𝐯𝐞 𝐝𝐨𝐧𝐞 𝐛𝐞𝐭𝐭𝐞𝐫 𝐚𝐧𝐝 𝐛𝐞𝐞𝐧 𝐭𝐚𝐤𝐞𝐧 𝐦𝐨𝐫𝐞 𝐬𝐞𝐫𝐢𝐨𝐮𝐬𝐥𝐲 𝐚𝐬 𝐚 𝐬𝐨𝐧𝐠𝐰𝐫𝐢𝐭𝐞𝐫 𝐢𝐟 𝐈 𝐝𝐢𝐝𝐧’𝐭 𝐥𝐨𝐨𝐤 𝐭𝐡𝐞 𝐰𝐚𝐲 𝐈 𝐥𝐨𝐨𝐤𝐞𝐝. 𝐁𝐮𝐭 𝐲𝐨𝐮 𝐜𝐚𝐧'𝐭 𝐭𝐚𝐤𝐞 𝐦𝐲 𝐡𝐢𝐠𝐡 𝐡𝐞𝐞𝐥𝐬 𝐟𝐫𝐨𝐦 𝐦𝐞, 𝐲𝐨𝐮 𝐜𝐚𝐧'𝐭 𝐡𝐚𝐯𝐞 𝐦𝐲 𝐥𝐨𝐧𝐠 𝐟𝐢𝐧𝐠𝐞𝐫𝐧𝐚𝐢𝐥𝐬, 𝐲𝐨𝐮 𝐜𝐚𝐧'𝐭 𝐭𝐚𝐤𝐞 𝐚𝐥𝐥 𝐭𝐡𝐢𝐬 𝐡𝐚𝐢𝐫 𝐟𝐫𝐨𝐦 𝐦𝐞, 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐢𝐭'𝐬 𝐩𝐚𝐫𝐭 𝐨𝐟 𝐭𝐡𝐢𝐬 𝐭𝐡𝐢𝐧𝐠 𝐭𝐡𝐚𝐭 𝐈'𝐯𝐞 𝐛𝐞𝐜𝐨𝐦𝐞. 𝐈 𝐰𝐨𝐮𝐥𝐝𝐧'𝐭 𝐰𝐚𝐧𝐭 𝐭𝐨 𝐠𝐢𝐯𝐞 𝐚𝐧𝐲 𝐨𝐟 𝐢𝐭 𝐮𝐩. 𝐈 𝐝𝐫𝐞𝐬𝐬 𝐭𝐨 𝐛𝐞 𝐜𝐨𝐦𝐟𝐨𝐫𝐭𝐚𝐛𝐥𝐞 𝐟𝐨𝐫 𝐦𝐞, 𝐚𝐧𝐝 𝐲𝐨𝐮 𝐬𝐡𝐨𝐮𝐥𝐝𝐧'𝐭 𝐛𝐞 𝐛𝐥𝐚𝐦𝐞𝐝 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐲𝐨𝐮 𝐰𝐚𝐧𝐭 𝐭𝐨 𝐥𝐨𝐨𝐤 𝐩𝐫𝐞𝐭𝐭𝐲. 𝐈 𝐡𝐨𝐩𝐞 𝐛𝐲 𝐧𝐨𝐰 𝐩𝐞𝐨𝐩𝐥𝐞 𝐫𝐞𝐚𝐥𝐢𝐳𝐞 𝐭𝐡𝐞𝐫𝐞'𝐬 𝐚 𝐡𝐞𝐚𝐫𝐭 𝐛𝐞𝐧𝐞𝐚𝐭𝐡 𝐭𝐡𝐞 𝐛𝐨𝐨𝐛𝐬 𝐚𝐧𝐝 𝐚 𝐛𝐫𝐚𝐢𝐧 𝐛𝐞𝐧𝐞𝐚𝐭𝐡 𝐭𝐡𝐞 𝐰𝐢𝐠." -𝐃𝐨𝐥𝐥𝐲 𝐏𝐚𝐫𝐭𝐨𝐧 Happy birthday to singer, songwriter, actress, author, philanthropist, literacy advocate, lgbtq+ ally, and living legend Dolly Parton, born on January 19th, 1946 in a one room cabin located on the banks of the Little Pigeon River in Pittman Center, Tennessee. ❤ Gifs of Dolly as Mona Stangely, the madam with a heart of gold, from the Universal Pictures/Colin Higgins musical comedy The Best Little Whorehouse in Texas, 1982. Dolly's glamorous gowns in the film were designed by Theadora Van Runkle.
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spicyclematis · 2 months
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love wins all (2024) | spring day (2017)
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389 · 7 months
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Colin Farrell on the set of Alexander, 2004
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mabellonghetti · 7 months
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Juliette Binoche photographed by François Le Diascorn on the set of 'Les Amants du Pont-Neuf', 1990.
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hydravns · 6 days
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MIGUEL O'HARA
SPIDER-MAN: ACROSS THE SPIDERVERSE (2023)
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luckypluckychair · 1 month
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Rope | 1948 | USA
Director: Alfred Hitchcock
Set decorator: Howard Bristol and Emile Kuri
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rogerdeakinsdp · 1 year
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HORROR FILMS + LANTERNS/KEROSENE LAMPS
THE AWAKENING (2011) dir. Nick Murphy THE EVIL DEAD (1981) dir. Sam Raimi TAKE SHELTER (2011) dir. Jeff Nichols THE WITCH (2015) dir. Robert Eggers THE EVIL (1978) dir. Gus Trikonis INSIDIOUS (2010) dir. James Wan ANNABELLE: CREATION (2017) dir. David F. Sandberg THE BROTHERS GRIMM (2005) dir. Terry Gilliam THE NUN (2018) dir. Corin Hardy DEAD SILENCE (2007) dir. James Wan THE REAPING (2007) dir. Stephen Hopkins THE FINAL GIRLS (2015) dir. Todd Strauss-Schulson FEAR STREET PART THREE: 1666 (2021) dir. Leigh Janiak SILENT HOUSE (2011) dir. Laura Lau & Chris Kentis BRAM STOKER’S DRACULA (1992) dir. Francis Ford Coppola THE OTHERS (2001) dir. Alejandro Amenábar WINCHESTER (2018) dir. The Spierig Brothers
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53v3nfrn5 · 11 days
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Atom Egoyan: ‘Family Viewing’ (1987)
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elderwisp · 2 months
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ℑ 𝔥𝔞𝔡 𝔞 𝔡𝔯𝔢𝔞𝔪 𝔩𝔞𝔰𝔱 𝔫𝔦𝔤𝔥𝔱 𝔞𝔫𝔡 𝔶𝔬𝔲 𝔴𝔢𝔯𝔢 𝔦𝔫 𝔦𝔱
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autism-alley · 2 months
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hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.
the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.
the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.
so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.
something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?
the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.
it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.
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Eartha Kitt as fashion designer Madame Rena in the American International Pictures/Arthur Marks comedy drama Friday Foster, 1975.
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pianokantzart · 2 months
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For cinematic reasons, I think Mario should get as much screen time in the Luigi's Mansion movie as Luigi got in the Super Mario Bros movie.
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elisefrost · 3 months
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ANGELINA JOLIE as EVELYN SALT Salt (2010) - Dir. Phillip Noyce
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thestorycastaway · 1 year
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tiny movie sets. by jordan bolton
films on pictures: pulp fiction (1994) dir. quentin tarantino l the grand budapest hotel (2014) dir. wes anderson l fantastic mr. fox (2009) dir. wes anderson l breakfast at tiffany’s (1961) dir. blake edwards l a single man (2009) dir. tom ford l moonrise kingdom (2012) dir. wes anderson l her (2013) dir. spike jonze l the royal tenenbaums (2001) dir. wes anderson l amélie (2001) dir. jean-pierre jeunet l carol (2015) dir. todd haynes
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