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llpodcast · 7 months

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(Literary License Podcast)

Trick 'r Treat is a 2007 American anthology horror comedy film written and directed by Michael Dougherty and produced by Bryan Singer. The film stars Dylan Baker, Rochelle Aytes, Anna Paquin and Brian Cox. It relates four Halloween horror stories with a common element in them: Sam, a trick-or-treating demon wearing orange footie pajamas with a burlap sack over his head. The character makes an appearance in each of the stories whenever one of the other characters breaks a Halloween tradition.

Despite being delayed for two years and having only a limited number of screenings at film festivals, the film received much critical acclaim and has since garnered a strong cult following.

Tales of Halloween is a 2015 American comedy horror anthology film consisting of ten interlocking segments, each revolving around the titular holiday. Segments were directed by Neil Marshall, Darren Lynn Bousman, Axelle Carolyn, Lucky McKee, Andrew Kasch, Paul Solet, John Skipp, Adam Gierasch, Jace Anderson, Mike Mendez, Ryan Schifrin, Dave Parker and, in his film debut, Jack Dylan Grazer.

The film premiered on July 24, 2015, at the Fantasia International Film Festival, before receiving a limited theatrical release and through video on demand on October 16, 2015, by Epic Pictures.

Opening Credits; Introduction (1.00); Background History (43.50); Trick ‘R Treat (2009) Film Trailer (45.33); Featuring the Presentation (48.07); Let's Rate (1:19.42); Introducing a Film (1:26.34); Tales of Halloween (2015) Film Trailer (1:26.57); Lights, Camera, Action (1:29.02); How Many Stars (2:08.17); End Credits (2:18.01); Closing Credits (2:20.35)

Buy the Track or Album Here: Everyday Is Halloween | LVCRFT (bandcamp.com)

Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.

All songs available through Amazon Music.

#SoundCloud #music #Literary License Podcast #Horror #Anthologies #Trick ' R Treat #Tales of Halloween

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kindhit-blog · 6 years

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The post A union between epic fantasy and literature appeared first on Kind Hit.

#IFTTT #WordPress

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maggiodigitalaesthetics · 7 years

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HBO Westworld - Main Titles

Director: Patrick Clair

Lead Animator / Compositor: Raoul Marks

Design & Visual Research: Paul Kim, Jeff Han, Felix Soletic, Maxx Burman, Henry DeLeon, Dan Alexandru.

Storyboard Artist: Lance Slaton

Lighter: Shamus Johnson

Animator / Compositor: Yongsub Song

Head of CG: Kirk Shintani

3D Artists: Jose Limon Jessica Hurst, Dustin Mellum, Rie Ito, Joe Paniagua, Mike Kash, Ken Bishop

3D Rigging: Josh Dyer

Reference Photography: David Do

Producer: Ben Foster

Supervising Producer: Carol Salek

Head of Production: Kim Christensen

Managing Partner: Jennifer Sofio Hall

Concept

As a opening title sequence the main goal of Patrick Clair’s intro for Westworld is to present and explore some of the mysterious messages and hidden elements of the actual story.

On the other hand, in this specific case he decided to take a more explicit approach, condensing the show’s own design elements into something both simple and symbolic. Every frame is calculated, nothing is left to the case. Each element act as a connection point to the series’ deeper meanings.

Clair describes the interesting conceptual approach to the show as a complete perceptional shift. As a matter of fact, Westworld itself represents an unconventional point of view by showing the life of the hosts, and that immanently gave birth to a deeper cognitive study of these people. This psychological reflection depicts dark themes such as primitive sins, human temptation and mutual exploitation. It’s almost like a whole unexpected darker side of humanity took over this epic opening titles.

Instead of trying to abstract newer design elements from scratch, Clair utilised some of the most poetic version of specific details from the show, such as the white translucent liquid, robot arms, sculpting machines and the same way the android hosts turn in the circular device. To make sure that the final composition wouldn’t result in a simple showreel of Westworld’s ready-made 3d models, Clair and Elastic’s team purposely recreated newer versions of those objects.

Elements

.The player piano.

The player piano is a primitive form of robot, that Clair used to explore the difference between animal, man and machine in a very fascinating way. The player at the piano represent the unique strange essence of someone being created to be effectively unnecessary, and that is something that he thinks could be perceived as relatable to everyone. It acts exactly in the same way as any type of phenomenon that generates stories as it happens.

.The White Translucent Liquid.

The milk look alike liquid is one of the element that Clair describes as one of the most aesthetically exciting. The milky, glue-like, white substance to which the director never gave a name, represent a fictional antithesis to the dirty, dusty Wild West. The modern, clean, robotic sci-fi reality is placed in juxtaposition with the dirty and dusty heritage of the Wild West. The relationship between the two opposite genres is crucial to the series’ story as it acts as a primary point to analyse the contrast between real and fake people.

.The Vitruvian Man people turning in the circle.

The Vitruvian Man, directly refers to Da Vinci’s drawings, and it gives the story an epic understanding on the anatomy of human beings. One of the key elements that conceptually frame the show is the unusual representation of the naked human body. As a matter of fact, the human body becomes strange and alienating, cold and mechanical, which makes us think about the body itself and the way people use it.

.The eye.

With the archetype of the eye Clair looked for an unusual way to connect the traditional Western landscape to this fictional robotic world. He describes the human eye as an marvellous emotional feature: “A lot of our brains are dedicated to figuring out the emotional connections that we feel when we look in someone’s eyes, that truism that the eyes are the window to the soul”. With Clair’s extreme close-up, the eye becomes fascinating, abstract, cold, as a whole landscape is visible inside the iris. The eye act as a perfect element to make a parallel between the iris and the park itself using the perpetual repetition of circular forms.

.Robots, guns.

“Violent delights have violent ends.”

This concept summarises the idea that Clair had towards the series. He was particularly fascinated by the possibility that two of the hosts could have been in love and engage in sex, when in contrary, they where the machines purposely created to have sex with the human guests. In Westworld these robots are created to be destroyed, killed or to have sexual relationships with the guests. It is a dark and powerful thought that both Clair and JJ Abrams use to convey a new perception of the world that shift towards a darker area of the human consciousness, such as our willingness to use people, or good that are like people.

.Half-finished half-skeletal face.

Clair shaped this face with the idea of creating a strong first element of excitement, something that the viewer could enjoy watching for the first time, but as the show proceeds the more the face reflects the story and its significance.

References

Desowitz, B. (2017). ‘Westworld’: How Elastic Created Those Spectacular Main Titles. [online] IndieWire. Available at: http://www.indiewire.com/2017/06/westworld-main-title-design-emmy-1201840709/ [Accessed 12 Aug. 2017].

Epstein, A. (2016). The golden age of opening credits: Westworld’s eerie title sequence is a meticulously crafted short film. [online] Quartz. Available at: https://qz.com/811513/westworlds-uncanny-intricate-opening-credits-sequence-wants-to-disorient-you/ [Accessed 12 Aug. 2017].

Jennifer Vineyard, J. (2016). The Secrets Behind Westworld’s Opening Title Sequence. [online] Vulture. Available at: http://www.vulture.com/2016/10/westworld-title-sequence-secrets.html [Accessed 12 Aug. 2017].

#westworld #patrick clair #cgi #opening #titles #hbo #analysis #concept #elements #narrative #robots #conceptual #colors #look #future

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finishinglinepress · 7 years

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FINISHING LINE PRESS CHAPBOOK OF THE DAY: Gliding by Peter Solet $14.99, paper https://www.finishinglinepress.com/product/gliding-by-peter-solet/ Pete Solet’s fiction and poetry have appeared in the Asheville Poetry Review, Quiddity, Ars Medica, the Great Smokies Review, Gravel Magazine, and elsewhere. He is on the editorial staff of the Smoky Blue Literary and Arts Magazine and lives in the mountains of Western North Carolina with his wife, Katherine. Pete Solet‘s fine new chapbook Gliding spans time in a quizzically almost epic manner…such masterful economy is allowed only through a language that is elegantly elastic and exact at once. But this tale is more than of a boy’s coming manhood. Generations stand honestly in place and do not falter. Mother, father, lover—lyric instances that flash like knives in the starlight. These are the lives that kept on walking (and confronting) cold and solitary terrain, as one by one the characters try on the underworld: that secret place that only the child suspects fully, and for true— for it is that boy or girl who has lived within It. Solet generously makes room for the living and the dead, and each owns a resilience that: …”even a thousand knifes couldn’t do you in/ anymore than wakefulness can kill a dream.” Experience this dream uniquely written. Nowhere else might one discover twenty-six pages that shimmer with such textured and ancient portraiture. —Katherine Soniat, author of Bright Stranger and The Swing Girl Peter Solet has given us such poems in Gliding. With discipline and grace, Solet takes up subjects both urban and rural, tracing the ancient ways of love and grief, of hope, of steadfastness and faith, in poems that speak to us in an intimate tone that makes us feel their many insights are our own. What a beautiful book. — Richard Hoffman, Author of Gold Star Road, Emblem, and Noon until Night These poems are like one of those shrugs a man gives when you’ve asked him a question whose answer is too wide and deep for the words it might manage. You know that the meals, the stories, the captured moments, and blunt interrogations of the divine that fill this book are the carefully unpacked contents of that shrug, and you are honored to be let in on these answers. They are earned answers, answers that balance their explorations and hungers the way a tree’s crown and roots are balanced—by necessity and by nature. Like the kid in “Soliloquy,” the poems all accept the world in its streetlamp half-light as well as its examination-room-glare: “this place is ok / i go along.” They may “weep for the love of the bearing..,” but they also lift the bearing upwards, always, always toward light. -Devon Miller-Duggan, Author of Pinning the Bird to the Wall and Neither Prayer, Nor Bird PREORDER PURCHASE SHIPS JULY 7, 2017 RESERVE YOUR COPY TODAY https://www.finishinglinepress.com/product/gliding-by-peter-solet/ #poetry

#poetry

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