Let’s film tHe cOmmAnd and cOntRoL EXecUtIvE officER messing with his frenemy
19 notes
·
View notes
Idea: The in-universe explanation for Jesse McCree changing his name to Cole Cassidy is that someone stole his identity when he went underground and got a bunch of warrants out for serious crimes. He got spotted out in public one day, got arrested for a bunch of shit he didn't do, and it took at least 3 months in jail for the rest of Overwatch to get him out. Poor bastard had to change his legal name and everything. D.Va thought it was hilarious and kept making memes about "arrested for cowboy crimes." 76 kept looking with disappointment about not securing his data like the human embodiment of an identity protection commercial. Even Tracer and Genji thought it was funny, even as they're fighting for his release, because there's a mountain of actual shit they could've bagged the cowboy for and he hadn't even done the stuff he's actually in jail for!
23 notes
·
View notes
Montgomery Clift in I Confess (Alfred Hitchcock, 1953)
Cast: Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne, O.E. Hasse, Roger Dann, Dolly Haas, Charles Andre. Screenplay: George Tabori, William Archibald, based on a play by Paul Anthelme. Cinematography: Robert Burks. Art direction: Ted Haworth, John Beckman. Film editing: Rudi Fehr. Music: Dimitri Tiomkin.
I Confess is generally recognized as lesser Hitchcock, even though it has a powerhouse cast: Montgomery Clift, Anne Baxter, and Karl Malden. It also has the extraordinary black-and-white cinematography of Robert Burks, making the most of its location filming in Québec. Add to that a provocative setup -- a priest learns the identity of a murderer in confession but is unable to reveal it even when he is put on trial for the murder -- and it's surprising that anything went wrong. I think part of the reason for the film's weakness may go back to the director's often-quoted remark that actors are cattle. This is not the place to discuss whether Hitchcock actually said that, which has been done elsewhere, but the phrase has so often been associated with him that it reveals something about his relationship with actors. It's clear from Hitchcock's repeat casting of actors like Cary Grant and James Stewart that he was most comfortable directing those he had learned he could trust. Clift's stiffness and Baxter's mannered overacting in this film suggest that Hitchcock felt no rapport with them. But I Confess also played directly into the hands of the censors: The Production Code was administered by Joseph Breen, a devout Catholic layman, and routinely forbade any material that reflected badly on the clergy. In the play by Paul Anthelme and the first version of the screenplay by George Tabori, the priest (Clift) and Ruth Grandfort (Baxter) have had a child together, and the murdered man (Ovila Légaré) is blackmailing them. Moreover, because he is prohibited from revealing what was told him in the confessional and naming the real murderer (O.E. Hasse), the priest is convicted and executed. Warner Bros., knowing how the Breen office would react, insisted that the screenplay be changed, and when Tabori refused, it was rewritten by William Archibald. The result is something of a muddle. Why, for example, is the murderer so scrupulous about confessing to the priest when he later has no hesitation perjuring himself in court and then attempting to kill the priest? No Hitchcock film is unwatchable, but this one shows no one, except Burks, at their best.
gifs: tennant
33 notes
·
View notes
three of my friends have now texted me asking if i stole the bobbleheads. being a penguins fan is currently my only personality trait so i guess that’s fair. Also it was definitely me
6 notes
·
View notes
Record Label History: Go-Feet Records (FEET 16)
The Beat
I Confess (1982)
8 notes
·
View notes
tbh, despite that i don’t like poppy playtime, i love smiling critters
thx for coming to my ted talk
14 notes
·
View notes