#jonathan mcquarry | Explore Tumblr Posts and Blogs

kneamet · 2 years

Note

Can I request something for Lincoln Six Echo or Jonathan McQuarry. Sorry for not having an idea I had one but now I can’t fucking remember but since it’s late I probably will remember tomorrow

Illusions

Trigger Warning: yandere, obsession, stalking

Word Count: 2317

Character: jonathan mcquarry/reader

Summary: Jonathan has been watching you for a long time — even if you didn't know about his existence, and he didn't know your name. You were a sweet, desirable dream in his eyes, he longed for your love, wanted to at least talk to you... He felt separated, and Jonathan wasn't a particularly risky and brave guy to make you pay attention to him. but he wanted to protect you and that's why he walked you home every day.

In the air of the subway there was a bad smell of human sweat, fumes and wine, chocolate and those color perfumes whose owners you carefully avoid. The car, completely filled, rocked. It was not surprising — five o'clock, the end of the working day and everyone was going home, ready for dinner and a big TV, to his family, Only Jonathan, firmly grasping the silver handrail, diligently pretended to be an ordinary, normal person. A person who is expected, and not whom an empty apartment meets.

The whole life went round and round, repeated and repeated, was endless, like an endless salt bought once a long time ago or that program on an additional channel that does not even think is closed. The work occupied Jonathan's whole life, absorbed him and took away the last remnants of his life and aspirations, dreams with rough tentacles. After all, if you think about it, did he have a dream before? Was there something he coveted, maybe he kept and saved money for a long time?

No, he was a dummy.

Completely boring, an ordinary ordinary and unmarried clerk. How old was he? Thirty-five, thirty-seven? That was it... After all, it was completely unimportant, without meaning, and existence seemed monotonous, repetitive, as if on rewind, and forgettable. He's never lived, never been interested in anything. Maybe only in childhood.

The happiest moments that flashed through his head, he could only watch with a little boy in glasses, so demanding asking his mother to buy a new book. All childhood, all the memories from there, the events, were bright, meaningless and very awkward, somehow oblique, but in their own way, — so sometimes just wanted to return to native home, to the arms of mother.

Jonathan adjusts his falling glasses and blinks quickly when most of the people go out into the street of the lower district; a poor neighborhood filled with five-story houses and numerous cheap shops. He looks around again and once again hesitantly looks at the sitting girl — you. He squints out of the corner of his eye and immediately looks away when you raise your head, looking up from the ever — buzzing phone — you have a lot of friends and a lot of acquaintances, he knows. At work, you are constantly distracted by your old cracked phone when you sort through papers and fill out letters.

He sees you not for the first time, not for the first time and goes with you. The two of you are not in the same direction, but what a sincere pleasure it gives Jonathan, the pleasure of seeing you home and quietly wishing you «good night» is a recent habit, but how much it cost his empty heart. He always stood near that sprawling oak tree, clutching his briefcase, squeezing the leather handle and just sighing, watching the window open and the lights off.

You have to go to the last stop, Macquarie has known about it for a long time. Therefore, he has no choice but to sit down next to you, on the seat vacated by a large man. He put his briefcase on his knees, feeling their slight trembling and looked down at the floor in confusion, only occasionally throwing modest glances at you — and at your phone — but immediately cutting them off. Nausea and fear permeated him, completely — from head to toe — and made him feel painfully doomed.

He is not going to be with you, you absolutely will not succeed. Jonathan is not your type, absolutely not. He knows what kind of guys your type likes — self-confident, constantly getting into various adventures and coming out of them with a clear conscience, funny and sarcastic. He wasn't like that and that's why the gap between you grew bigger and bigger every day.

A satisfying name of the final street jumps on the panel and this allows you to exhale freely. Jonathan looked at you, at the way you walked to the door and couldn't help but admire you. So open, free, you were like a light butterfly, which one of his acquaintances was collecting at work. The best and most beautiful, Jonathan was sure you deserved worship and love.

And he was ready to give it to you.

As soon as the doors open, he follows you straight to the very exit, but tries to keep to himself so that he is not noticed. He hides, retreating, even if you don't think to look behind your back. As soon as he gets out of the stuffy and foul-smelling subway, a pleasant summer breeze blows over his face, with its whole essence suggesting the imminent rain, the smells of puddles, evaporated water and the body is in comfort.

Jonathan followed you, knew the way by heart, until you turned in some other direction. That's what made him doubt the correctness of his decisions for a couple of seconds, suddenly you saw him and suspected? until, however, you stopped by a small shop on a sparsely populated street and asked to make coffee. Your favorite. Even the coffee is wonderful; your taste was divine to Jonathan. He always bought a simple espresso or an Americano without sugar, just to cheer up.

And you helped him get a taste of life. There was something bright about you, something that set you apart from the crowd! Whether it was bracelets, rings or coffee, the location of the apartment or the appearance, Jonathan admired you, enjoyed and constantly recalled the incident in the subway when you accidentally spilled coffee on him — that's when he recognized your favorite. That day was, as usual, busy with work, endless cursory figures flashed before his eyes and were not remembered; he entered them into reports and immediately forgot. There was no time for personal life at work, and he didn't care about it.

It was hot and stuffy in the subway then, and there were more people than usual. Jonathan was standing close to a fat young man, the guy on the phone, and his chest to a girl with headphones holding coffee. He left work late, and it feels like he got into rush hour, like it's lunch time. How is his empty house? Can get a dog? Or a cat? There won't be enough time, he's always at work, always busy. There is no time to walk, and he gets tired. Maybe a fish? Have to clean the aquarium. How he wanted to take care of someone...

Oh!

Jonathan shuddered when he looked at the clothes with his mouth open— the white shirt turned dirty, brown, but the water was immediately absorbed. He looked at the girl and got an apologetic look, regretful. She mumbled words of apology, «I'm sorry, I'm sorry, I didn't mean to», «do you want me to do the laundry?» «Excuse me, mister», while Jonathan watched her in fascination. The girl fussed, calmly exhaling when people got off at the station and there were more places, and held out wet wipes in the hope that it would help.

Almost no one paid attention to them, and the girl herself would obviously soon forget about it. Only Jonathan ignored everything, and when she got off — at that time not at her station — he stared blankly, discouraged, missing his stop.

How beautiful you were at that moment! Like the number thirty-seven! Your jingling bracelets and rings, loose clothes, the memorable aroma of coffee and buzzing phone. Confused, shackled, with ridiculous sarcasm, then you didn't even know how deep Jonathan's heart had settled. After all, since that incident, work has ceased to seem ordinary, and lunch in the park a distraction from routine. He worked with enthusiasm and what was Jonathan's surprise when he saw you in the office — in a strict pantsuit, with sleeves rolled up to the elbow and suspenders, you were somehow very nice.

Jonathan used to go out to the park during a break, and now he went to the dining room, sat down at the far row against the wall and pretended to be engrossed in a book while looking for you. You were beaming, laughing and accidentally touching a guy in braces with your hand. Your lunch was almost forgotten and you were completely carried away by the dialogue with the person sitting. If only... If, Jonathan allowed himself to think, you sat down next to him, spoke first, would you laugh? Would there be a smile on your face? Or would you have no common topics and would you just take a break in silence?

Jonathan assumed that he would have bored you quickly.

Exhaling softly and restlessly, shaking the air with a trembling sigh, Jonathan continued to follow you, almost without meaning, along a little — known street to him — there was a school here, behind the fence, trees near the train part, and the path along which he walked with you was very crooked and oblique. In the dark, you can stumble over an inequality or a protruding stone, but Jonathan blindly followed you.

You were on the phone with some guy- or maybe it was a girl? — joking and bursting into pure laughter, like the sound of ringing bells. Gesturing violently, waving your arms, you weren't afraid to spill coffee. And Jonathan was thinking that he would definitely buy himself a coffee after he saw you off and wished you good night. Your favorite. His favorite. Fingers, sweaty with excitement, clutched the handle of the briefcase, he could smell the sweat coming from himself, and his shoes began to press in his little fingers, it became painful to walk. He wind themselves, worried.

Jonathan didn't understand what are you talking about and with whom, only occasionally, when cars weren't passing by, he noticed sarcasm or a joke. But he heard you, your voice — your alluring, forbidden and such a charming voice — was extraordinary. He brought to trembling knees and stupor in speech, sometimes Jonathan lost his way, listening to the intonation and knew that when talking to you, he would not find what to say. Will open her mouth and close it, he is not able to utter.

Jonathan's step was tense, unlike your light one, and he wished with all his heart that you would not turn around, look at him and reproach him. He would not have coped, he always gives up quickly and only now... only now decided to act, to show myself a «man». The guys from those movies on TV did so often — they went after their loved ones, gave gifts, flowers, and the richest and most expensive dresses. His wallet was incapable of that. Jonathan gave flowers, but you threw them away with the note. Probably thought it was from an obsessive fan, a stalker who molested you.

As you approached the house, Jonathan slowed down and turned the corner to a large tree with a direct view of your window. It was a large high-rise building, but he remembered the view of your window for a long time; the feature was the colorful curtains and the lighting garland. He quietly watched you from his seat: how you walk to the front door, how you throw away the paper cup and how the lights turn on in your apartment. Jonathan leaned his shoulder against the tree, adjusting his glasses and paying attention to the dark orange sunset, lowered like a puppeteer behind the skyscrapers.

The sky was calm, peaceful and empty, only occasionally there were lonely wandering clouds. Jonathan looked at his watch, realizing that he would have to stay here for a long time. The light in the apartment did not turn off before eleven in the evening, but even then he did not leave, he knew that you would be sitting on the phone and chatting; your fingers would tap on the phone and type a message, making such a strange sound, p. And he would stand, wait for your sleep and drink coffee, dream about you, think: what do you do? and to wish for a future together.

No one is waiting for him at home, and does he have a house? Not an apartment, in its usual sense, but a family, comfort, a place where you want to return and where you can hide in a moment of danger.

He has books, furniture in his apartment and nothing native, nothing close to his heart.

Tonight Jonathan was thinking about you, in a dream he imagined you in all your girlish beauty, stretching out a gentle hand and stroking his cheek, and he craved affection, missed her. His cheeks turned pink every time he laughed or stared at you, and something alive appeared in his eyes, something that had not been there for several years. And what was his most vivid recent memory? Jonathan couldn't remember, strained his mind, but everything was going to crash. He had only work and you in head.

How would Jonathan's evening have gone if he had gone home, got out earlier, at his station and stopped seeing you off, wishing you «good night»? He would remember the past, dream of an unfulfilled future together with you, holding back tears and looking at himself in the mirror, noticing a dull look, dirty skin that he would diligently rub in the shower; thin hair, an ordinary and gloomy face — as if he was a typical math teacher. Once again sat down at the reports and never finished them by nightfall, fell asleep right at the table.

Jonathan smiled, realizing that he wasn't alone — he had you. And even if you forgot about him, threw that meeting out of your head, he will be with you. Jonathan will always mutter softly under his breath:

“Good night and... Sleep well, beloved,” and go home to yourself, full of desire, delight and extraordinary happiness.

You were his sun in a meaningless and dark life.

i don't really like this work, but i hope you really liked it, and next time i'll write something more grandiose for jonathan.

today i reread "the red and the black" and remembering that there is a series based on this book, in which ewan played, i realized that i had to write something for julien sorel! he would be an ideal yandere, believe me.

and yes, @compulsivewriter111 and her post just makes me write the third part for ewan's characters. so in the near future, wait for content on his little-known characters (by the way, if there are any options who can be added, then write)

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huntmavs · 2 years

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MISSION: IMPOSSIBLE - DEAD RECKONING PART 1 parallels with other MISSION: IMPOSSIBLE movies

very excited for M:I - DR!!

My gifs, please give credits if you use them!

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callmearcturus · 11 months

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Fan Commentary Double Feature: MI3 and MI: Ghost Protocol

We did it. @interropunct and I have recorded 2 of the 6 threatened commentaries, in which we watch the Mission Impossible movies and talk over them in a way that will provide you all with a simulacrum of how insufferable we are to be in a voice chat with.

We have started with Fan Commentary: Haterade Edition and paired it with Fan Commentary: Stan Mode Edition by doing MI3 and Ghost Protocol as a double feature.

You'll want to hit play on your legal copy of MI3 at 2:58 into the commentary. This commentary includes:

Effusive love of Ethan Hunt, Autistic SuperSpy

Arc definitely not being in a kismesissitude with JJ Abrams

Punct trying to determine when the Maggie Q and Jonathan Rhys Myers' characters actually get named in dialogue in the movie

Thorough discussion of the underutilized kink potential of this movie

"Humpty dumpty sat on the wall" "(SCREAMS OF DISMAY AND AGONY)"

The gloriousness of Ethan Hunt doing physics equations on a window with chalk

The five stages of grief in audio form

The vibes are MST3k and jokes galore and fawning over Ethan Hunt, our babygirl.

However, if you don't need no holleration, hateration in this dancery, proceed directly to the Ghost Protocol commentary and hit play on your legal copy of Mission Impossible Ghost Protocol at 2:47. This commentary includes:

Punct accidentally admitting they find Tom Cruise hot on a live mic

"That's my theory, I think prison turned Ethan from a cat into a dog."

SO MANY BEHIND THE SCENES FACTS ABOUT THE MAKING OF THIS MASTERPIECE

"You know when you think about it, Cascade was the turning point in Homestuck in the same way the Burj Khalifa sequence was--"

Fawning over how small and cute Jeremy Renner is

Discussion of MILF Mode Ethan Hunt

McQuarrie's Actually Very Reasonable Explanation Of Why Hendricks Was Disguised As Wistrom At The Burj, And Goddammit He's Right

"You know what this means?" "You have to watch Teen Wolf now." "No. Fuck you. We have to watch more Tom Cruise movies and compare." "That's true, we do." "No, wait, we just have to go ask @malewifebillcage for a comparative history of Tom Cruise's chest hair."

The vibes are jubilant. We love this fucking movie.

NEXT UP: The double feature of MI2 (the worst movie on a technical level) and MI: Fallout (the best movie on a technical level)

Also I am currently putting copies of this commentary on youtube, check the reblogs later for that.

#mission impossible #mission impossible fun facts #ethan hunt #my fic #(well not really but for organizational purposes)#we worked really hard on this okay pls clap etc

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01sentencereviews · 5 months

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2023

Anatomy of a Fall (Justine Triet)

Are You There God? It’s Me, Margaret. (Kelly Fremon Craig)

Beau Is Afraid (Ari Aster)

The Curse, "Land of Enchantment" [S01.E01] (Nathan Fielder)

Gush (Fox Maxy) @ New Directors/New Films 2023

How to Blow Up a Pipeline (Daniel Goldhaber)

I Thought the World of You (Kurt Walker) @ Persistent Visions Program 1: Always and Only Place, MoMI

Killers of the Flower Moon (Martin Scorsese) [+ its teaser trailer]

Knock at the Cabin (M. Night Shyamalan)

May December (Todd Haynes) @ Opening Night, NYFF61

Mission: Impossible – Dead Reckoning Part One (Christopher McQuarrie) in IMAX

My Own Private Final Destination (Alexandra McVicker & Zach Donovan) @ KGB Red Room (09/13/2023)

Oppenhemier (Christopher Nolan) in IMAX 70MM

Our Home Out West (Drew Tobia)

The Outwaters (Robbie Banfitch) [+ Card Zero & File VL-624 (Robbie Banfitch)]

Passages (Ira Sachs)

Priscilla (Sofia Coppola)

Renaissance World Tour (Beyoncé) @ SoFi Stadium, Inglewood, CA (09/01/2023)

Saint Omer (Alice Diop)

Stop Making Sense - IMAX (Jonathan Demme)

Succession, “With Open Eyes” (Mark Mylod & Jesse Armstrong)

Sunset Boulevard (Jamie Lloyd), West End Production (10/17/2023)

The Swan (Wes Anderson) [+ Asteroid City (Wes Anderson)]

Vanderpump Rules, “#Scandoval” [S10.E15]

The Zone of Interest (Jonathan Glazer)

+++

Birth/Rebirth (Laura Moss)

Creed III (Michael B. Jordan)

The Boy and the Heron (Hayao Miyazaki)

the crash sequences in Ferrari (Michael Mann)

The Holdovers (Alexander Payne)

John Wick: Chapter 4 (Chad Stahelski)

The Killer (David Fincher)

Master Gardener (Paul Schrader)

Monster (Hirokazu Kore-eda)

PARADISE LOST (Richard Hines) @ Daniel Cooney Fine Art

Poor Things (Yorgos Lanthimos)

Reality (Tina Satter)

Rotting in the Sun (Sebastián Silva)

Smoking Causes Coughing (Quentin Dupieux)

SPRING/BREAK Art Show 2023

Suzume (Makoto Shinkai)

Teen Art Salon - A Protospective @ MoMA PS1

Thanksgiving (Eli Roth)

To Catch a Killer (Damián Szifron)

“Very Delta #65 "Are You A Forever Eye-Con Like Me?” (w/ Raja)”

the 3D sequences in A Woman Escapes (Blake Williams, Sofia Bohdanowicz, & Burak Çevik)

-----------------------

Performances, 2023:

Dave Bautista - Knock at the Cabin

Robert De Niro - Killers of the Flower Moon

Cole Escola - Our Home Out West

Mia Goth - Infinity Pool

Elle Graham - Are You There God? It’s Me, Margaret.

Sandra Huller - Anatomy of a Fall & The Zone of Interest

Soya Kurokawa - Monster

Guslagie Malanda - Saint Omer

Rachel McAdams - Are You There God? It’s Me, Margaret.

Julianne Moore - May December

Natalie Portman - May December

Addison Rae - Thanksgiving

Judy Reyes - Birth/Rebirth

Margot Robbie - Barbie

Franz Rogowski - Passages

Mark Ruffalo - Poor Things

Kamiki Ryunosuke - Godzilla Minus One

Dominic Sessa - The Holdovers

Nicole Scherzinger - Sunset Boulevard

Cailee Spaeny - Priscilla

Emma Stone - The Curse

Alyssa Sutherland - Evil Dead Rise

Sigourney Weaver - Master Gardner

Sophie Wilde – Talk to Me

Teo Yoo - Past Lives

#best of 2023 #lists #personal #best of #renaissance #anatomy of a fall #Are You There God? It’s Me Margaret.#knock at the cabin #may december #my own private final destination #the outwaters #priscilla #stop making sense #sunset boulevard

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clonewarsarchives · 2 years

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CREATING CLONES (#107, FEB 2009)

A veteran of the Star Wars prequels, respected animation director Rob Coleman was a natural choice when George Lucas needed an animation supervisor to work on his ambitious new TV show, Star Wars: The Clone Wars! Although he has since moved on from Lucasfilm animation, he still found time to look back on his groundbreaking work on the show. Words: Jonathan Wilkins

When did you first get involved in Star Wars: The Clone Wars?

I worked very closely with George Lucas on the prequel films and we had conversations about setting up an animation division while we were shooting Revenge of the Sith. That was around 2003.

I didn’t officially become involved until I completed all the animation on Revenge of the Sith. I started talking to Gail Currey, who I’d worked with at ILM [Industrial Light and Magic] and who was putting together Lucasfilm Animation at that point. She and George invited me to come aboard and help set it up. My first job in May 2005 was to fly over to Singapore to hold a presentation to help attract talent in order to build the studio there.

What are the day-to-day challenges of an animation consultant?

Dave Filoni, the series’ supervising director, and Catherine Winder, our launch producer, had both worked in animation before but had not worked in the Star Wars universe. George Lucas asked me to meet with them and immerse them in the world of Star Wars. The role of animation consultant came out of that early working relationship with Dave Filoni.

Dave is a very talented storyboard artist, and he’d come from doing the 2-D animated Avatar: The Last Airbender, but he’d not worked in computer graphics before, and he’d not worked with Star Wars characters. He is a huge Star Wars fan, as the world now knows, but we crafted the role of animation consultant so that I would be able to give input, and critique all animation coming in from our overseas studios. The day to day work was to review the animation and give feedback on the performances. I also worked with Dave to find the right balance of time spent on the animation. For me, that first year, 2005, was tough. We were trying to find the right movement for these characters. George talked about a stylized East-meets-West anime influence, but animated for a North American audience. As an animation consultant, I worked very closely with Dave to craft what that ultimately ended up being the look.

Was Thunderbirds ever an influence?

I’m a big fan of Thunderbirds and I’ve actually got some Gerry Anderson stuff here in my home studio, but it wasn’t really. I think once people started seeing the images they made an instant connection to Anderson’s Supermarionation style, but what Dave Filoni and the art directors were doing in the early days was trying to capture a stylized version of Ralph McQuarrie’s inspirational concept paintings for the original Star Wars trilogy. As we stylized the animation it became more like Supermarionation with more articulated faces, but it wasn’t something that we pinned up on the board [as an idea].

Was it easier to make a fully animated show as opposed to integrating CGI into live action footage?

It wasn’t easier, because we were building a studio from scratch in Singapore and teaching a very green, but very talented, group of people who had never worked at this level before.

I’d helped build the animation teams at ILM for years and it’s a long process. Once we had those established, actually doing the movies was easier because I had people who understood what it was to work at that level. Initially the TV series was harder because not only was I trying to immerse them in the world of Star Wars, I was training them on how to actually animate to the level I wanted.

It is easier animating something that exists only in an animated world, because you can control all the physics and how characters move, as opposed to a live-action and animation combination where you have to be true to the physics and the weight of the human characters. When we were working on Yoda fighting or walking, we were always thinking about gravity, and what does his cloth look like, and what does his skin look like? It had to be photo-realistic. On a stylized animation show like The Clone Wars, those problems just aren’t there.

How did you make sure the show felt like Star Wars?

George Lucas remains very involved and he was extremely involved in the early days, working with Dave Filoni, the writers, and the various episodic directors in describing to us what he was looking for. I was always coaching directors to go and look at the original Star Wars movie, so they had an idea of the kind of framing and cutting that George likes. What Dave and Henry Gilroy tried to do in the early days was to recapture that 1977 feel, so—and this is the fun part—there was a lot of homework going back and looking at the old movies and really studying them from a stylistic and directing-choice point of view. We looked at camera choices, cutting choices. George uses a certain kind of lens and there is a certain kind of cutting that he does. Once you become well-versed in that, you can make him very happy. I’d worked side by side with him for so many years that I had an advantage over the other episodic directors. I already knew how to communicate with George. I was very fluent in George Lucas, let’s put it that way!

So you knew what to expect?

Yes. But I was also trying to find a balance. This is Dave Filoni’s show. Being asked to be the animation consultant and directing some episodes helped to move the series along. I went over and taught classes in Singapore. I ended up doing the Downfall of a Droid and Duel of the Droids episodes, which were the very first two shows to come out of Singapore. They wanted me to help shepherd them along, which I was happy to do. They are probably the roughest shows that we did, because they were the first two out of the gate. I’ve directed three more since then and they are much stronger because the team had more experience and more familiarity with the characters and the cameras than they did in those two episodes.

Is there anything you would change about them?

There is so much I would change! The hardest thing to do as a director is to say, “That’s good enough.” If you don’t start approving work, and you don’t have a vision of what you want the show to look like, it will never be finished! I think where I was successful with George was that I was always able to step into the river and say, “That’s good enough.” The river keeps flowing past you, and you’ll see better work coming later on, but you have to stick with what you did before. There are certainly shots in those episodes that I would love to have back, but I don’t regret it because we had to deliver the show.

The show is animated in about a fifth of the time of a feature film, so we didn’t get the subtlety and fidelity in the faces and lip-synching in those earlier shows. Later episodes are far better, because I was able to spend time and really hone the team’s awareness of what was important in the face. In those earlier episodes it was all hands on deck!

How is an episode put together?

Dave Filoni is the supervising director. He works directly with George Lucas and the writers to create an overall plan for all of the episodes each season. He’s there at the beginning with the producer. It usually takes a couple of days to a week, and they plan out in very rough form what will happen.

They come up with episode synopses which are about a paragraph long for each episode, and describe what happens to the heroes, what the problems are, and what gets solved.

The writing team divides up the episodes between them and they start writing. Once the first drafts come in, Dave and George read them and make notes and decisions. Then they start choosing episodes that are actually going to be made. That’s when an episodic director gets involved. They’d call the director in and say, “Rob we’ve got an R2-D2 show coming up”—in my case it was a two parter—“and here’s an early draft”.

The director gives notes, as a fresh pair of eyes to the story. Then in maybe a few days or a week a shooting draft is ready. At that point, the episodic director works with the storyboard artists, doing storyboards on paper or computer, or in my case going straight to 3-D computer graphics to map out what the scenes are going to look like. You spend maybe six weeks mapping out the whole show, so you have a version of the show done in storyboards or in computer animatics that describes visually what the show’s going to look like.

There might be a still image of Anakin standing, and I would record people in the studio for temp dialogue and work with editor Jason Tucker to cut it all together, so it’s to length, but nothing’s animated at that stage, and nothing’s got color. It’s usually just black and white or gray. I’d present that to George, and then he would give me notes. I’d do a revision on that and present it for a final look. Then George would sign off on it.

As an episodic director you “package up the show.” This means you make shot-by-shot directing notes on what you want to see happening. You might say Anakin walks onto the bridge of the Twilight. Ahsoka’s sitting there with Artoo, and turns to him and says the line. You give director points, like “Anakin’s angry at this point because he’s just come from such-and-such a place and he’s irritated by this or that.” When the animators get it in Singapore they understand, because otherwise it could be animated completely out of context. Animators might get five shots in a row, but they may not know what’s come before so it’s very important as a director that you tell them. Normally an episodic director would then leave that process and go onto the next show, but I then critiqued not only the animation coming in for my show, but also for the other four episodic directors.

Were there any examples where it was completely off and they had to start again?

Yes, of course. That was the biggest challenge. It was something I had to get used to. I’d spent 12 years at ILM with my animation crew down the hallway. I could walk into their offices and talk to them at anytime. Now I was in a situation where my animators were on the far side of the Pacific Ocean and I had to wait hours to talk to them because of the time difference! Although they all spoke English beautifully, there were occasionally communication issues. To be fair to them, I was used to working with some of the most experienced animators in the world and had a shorthand with them. Now I was dealing with some very talented up-and-coming people, but they didn’t have the vocabulary that I was used to. I had to fly over there a few times, and then we got better and better. You’ll see as the season goes on, the animation really improves—but that was a learning process for me.

Your episodes feature Ron Perlman as Gha Nachkt—what was he like to work with?

I never got to meet him! Dave Filoni gets all the fun working with the actors. As the supervising director, he directs all the voice talent for all of the shows and it’s all done in Los Angeles. I’m holding the fort critiquing all the animation coming in from overseas, and he’s down in L.A. meeting Ron Perlman! Dave did get me an autograph though! Ron did a great job in the show. I didn��t meet many of the voice talent for Star Wars. I never got to meet Andy Secombe, who did the voice of Watto. I never met Brian Blessed who played Boss Nass, so it’s not totally out of the norm. I did get to spend so much time with Frank Oz, who played Yoda, that he’s become a friend of mine, so that’s an added bonus of being the animation director!

What are your favorite scenes from the show?

I really like the writing on those shows, and to be able to see Artoo becoming a tougher little guy was a lot of fun for me. I would say the scene - with him fighting with the other droid was a favorite. It was fun to figure out how to shoot that and what was going to happen there. The writers had outlined the entire fight, but as a director you get to pick all the angles, which was fun. The assassin droids coming to life in the hold of the ship was really fun to direct, and to invent how we saw the IG-88s jumping around. We’d only ever seen them standing still in The Empire Strikes Back, so to get them to jump and leap an. spin their heads around was a highlight for me.

How did you come up with that extreme style of complicated movements?

I was trying to go with the opposite of what the character looked like. If you have a toy or you saw it in the movies, he’s just standing there not doing anything. He just looks so rigid, and I thought from an animator’s point of view “Let’s take that rigidity and just throw it away!” Let’s really surprise the fans, so that when these thing leap up they’re actually much more flexible than their “Tin Man” appearance would allude to. What I was able to do is make it into a vertical fight. I didn’t want to just have a fight on the ground; we’ve seen that so many times. I had this set that had been already outlined in the script where it was described as this big warehouse with shelves upon shelves of droid parts. I went up to the Home Depot store and walked around the aisles. I was thinking, “Wouldn’t it be cool to look up and see those droids jumping and leaping from side to side?” So that’s how that started. I thought that was just a neat image.

There’s some very creative lighting schemes, such as the sequence where Anakin awakens in the medical bay.

That was harder in the early days when we were doing those droid episodes. Andrew Harris was the Lighting Supervisor for those. All of the color and ideas for the lighting comes through the art department, which Dave Filoni supervises. I can’t recall exactly who did the concept paintings for those early shows, but they did some beautiful work. I inherited such beautiful paintings from those guys that I did very few tweaks from a directorial point of view. I really loved what they were doing artistically. The paintings had come with that bleached-out art direction, and I relied heavily on Andrew to pull that off with the Singapore crew.

It’s quite surprising to see that sort of detail in an animated show.

You’ve touched on something that was very important to George, Dave, and myself. I keep using the word “shoot” when I talk about making the show because we kept talking about it that way. We thought about it as shooting it with real cameras. This is still an animated world that exists in our imaginations, but we used cinematic tricks that we would use if it were a live-action film. We see lens-flares and exposures as if you’re in a dark room and shooting up to a bright window so that everything goes into silhouette. George loves that kind of stuff. So we used the language of real film and applied it to the show

What kind of scenes do you prefer working on? Big action sequences, like space battles, or mailer, character-based scenes?

I don’t actually have a preference. I think every episode or movie has to have a balance. I tended to spend most of my brain power on the quieter character-based scenes, because it was imperative that the animated characters came up to the same level as the real actors. But it was certainly fun to work on the opening space battle in Revenge of the Sith.

These TV shows have a lot of action because of the audience we’re going for, but it’s a real blend. There’s a Mace Windu episode that I directed that’s coming up later in the season, and that was a real combination of action and character. I’m really proud of that episode. It turns out that they liked it enough to make it the season finale. We were really doing well by the time we got to that show. It’s a real blend of big action sequences and smaller character pieces.

I think a strong director is someone who is able to play to people’s strengths, because not everybody is good at both of those kinds of scenes. There were specific animators I would give action work to, and other animators I would give acting to, and there’s a smaller group who can handle both.

How many episodes did you direct?

I did three more episodes after the two we’ve talked about. Two of them will be seen in this first season and one of them has been moved to the second season. I’m proud of the droid ones, but there are better ones coming! They do have guest director spots that come up every once and a while, and I would certainly be keen to direct another one. It’s all to do with timing and schedule.

SELECTED CREDITS

Star Wars: Episode III Revenge of the Sith (2005) (animation director)

Signs (2002) (animation supervisor)

Star Wars: Episode II Attack of the Clones (2002) (animation director)

Star Wars: Episode I The Phantom Menace (1999) (animation director)

Men in Black (1997) (animation supervisor)

Dragonheart (1996) (supervising character animator)

Star Trek Generations (1994) (computer effects artist)

The Mask (1994) (computer graphics animator)

Captain Power and the Soldiers of the Future (animation coordinator) (22 episodes, 1987-1988)

SPOTTING COLEMAN?

Coleman Trebor one of the many Jedi slain by Count Dooku in Attack of the Clones, is named after Rob Coleman. The man has cameos in

Star Wars: Episode III Revenge of the Sith (2005) Opera house patron

Star Wars: Episode I The Phantom Menace (1999) Podrace spectator in Jabba’s private box

#Rob Coleman #i107 #insider #crew #the clone wars #guest directors #<-(1 of 3)#detailed insights about the process of making an episode!

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mylifeincinema · 4 months

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My Best of 2023: My Top 10 Films!

Finally! It’s time for My Top 10 Films of 2023! 2023 was another weird year for me in terms of film. As usual, I had a few I championed, but, yet again, a lot of the big guns didn't land the way I'd expected or hoped. As a quick reminder - My Top 10 Films isn’t necessarily a list of the ‘best’, or ‘my favorite’, but rather a mix of the two that takes both sides of the A&E into as equal consideration as humanly possible. Definitely keep that in mind, especially the fact that how re-watchable each film is weighs in significantly. So, in terms of all that, this list nails my 2023.

First, here are some Honorable Mentions (in no real order), most of which spent at least a little time in the Top 10: Jonathan Glazer's The Zone of Interest (which really deserves that 10 spot, but it's about as far from re-watchable as it gets); David Fincher's The Killer; Sofia Coppola's Priscilla; Kelly Fremon Craig's Are You There God? It's Me, Margaret.; and Takashi Yamazaki's Godzilla Minus One. Any of these could easily claim that 10 spot on another day. As for Martin Scorsese's Killers of the Flower Moon? Sorry, y'all, but it barely cracked my Top 20. No matter how incredibly well-made it was, it was still a solid hour too long. And worst of all, it felt it!

Okay, without further ado, here they are…

My Top 10 Films of 2023!!

10. Danny & Michael Philippou's Talk to Me

Damn. This was fantastic. I’m still really pissed I missed it in cinemas. Such a super creepy, perfectly executed premise fueled by surprisingly good performances and genuinely terrifying moments, throughout. I especially love that it never heavily relies on jump-scares and just how brutal these spirits get. The desperation and hopelessness of the third act is just the cherry on top.

9. Greta Gerwig's Barbie

Hilarious. Bold. Heartwarming. And not at all subtle. Margot is perfection, which doesn’t always work in the film’s favor, but it knows and acknowledges that, and becomes more interesting by doing so. Gosling is hilarious and interesting and delivers one of the most absurdly audacious performances of the year. Gerwig’s vision, here, is dazzling not only in its use of practical effects, but also its brazen approach to the film’s message.

8. Christopher McQuarrie's Mission: Impossible - Dead Reckoning Part 1

Tom Cruise is out here doing the important work in a time when said important work is more essential than ever. This is a big-screen spectacle of an action film with exciting fights and chases and stunts that get more and more impressive, wild and outlandish throughout. As to be expected from the franchise, the cast all deliver rock-solid performances, and McQuarrie’s work behind the camera is every bit as good as Fallout, despite Fallout still probably being the better of the two films, overall. The plot, action, and editing here are all perfectly intense, working beautifully together to create a truly jaw-dropping piece of action cinema. Once again Cruise and friends prove decisively that popcorn flicks can be art, too, folks. Big, loud, crazy, fun art. So damn good.

7. James Gunn's Guardians of the Galaxy: Vol. 3

Loved it. Every single moment is earned. The needle drops get better and better and build up to a joyous, cathartic, downright amazing moment at the end. James Gunn directs the hell out of his pitch-perfect script, allowing these characters to evolve in a manner as interesting as it is entertaining as it is organic. The Winter Soldier is still the best single film in the MCU, but this trilogy is its heart and soul. Finally… Cosmo is such a Good Dog.

6. Wes Anderson's Asteroid City

There’s good reason why Wes Anderson is one of my very favorite living directors. Asteroid City is a fine example of pretty much all of them. It’s visually stunning (How the f*ck did that production design not get nominated?!) , superbly acted, and written with as much quirky humor as it is raw emotion as it is perfectly balanced existentialism. I may still not quite be fully sold on the framing device, but all-in-all, this is a purely Andersonian oddity, and I loved every minute of it. Plus, I really want to be friends with that roadrunner.

5. Alexander Payne's The Holdovers

Genuinely hilarious and sneakily heartfelt. The tender moments play out so naturally that they pack an emotional wallop, then the brilliant Paul Giamatti or Da'Vine Joy Randolph lets out a perfectly delivered line that’ll absolutely floor you. And I just love the look of it, every single piece of this film looks and feels like it’s straight out of the ‘70s. So good. Probably my favorite Payne?

4. Yorgos Lanthimos' Poor Things

Despite being significantly overlong, Lanthimos' Poor Things is still just so damn good. I hate that Emma Stone’s odds are going down, as she delivers what will likely remain a favorite ‘til the end of the decade. Mark Ruffalo is also a blast, and is very much the upset I'm hoping for most come March 10. I honestly didn’t think he still had a performance like this in him. Dafoe is magnificently weird, and every time he graced the screen was a treat. Yorgos went off, here. This is probably his best work yet. It’s also one of the most visually interesting films of the year. I absolutely loved how this movie was shot. And it’s very easily better than the book. So, y’know, there’ that too.

3. Dos Santos, Powers & Thompson's Spider-Man: Across the Spider-Verse

A masterful amalgamation of animation styles, narrative ideas and next-level voice performances. As visually breathtaking as it is emotionally ambitious as it is structurally exciting and entertaining. This is the exact type of comic book movie that still has me excited for comic book movies.

2. Wes Anderson's The Wonderful Story of Henry Sugar & Three More

I'm kinda cheating, here, as this is technically a collection four individually released short films, and not the originally planned anthology feature. But I don't care. These are all fantastic; masterclasses in adaptation, blocking, production design and acting, the lot of 'em. I want so badly for Wes Anderson to just adapt Dahl's entire bibliography. Head HERE for my full thoughts.

And The Best Film of 2023 is…

1. Christopher Nolan's Oppenheimer

A truly staggering achievement. As ambitious and bold a biopic as we’ve gotten in a very long time. Nolan understands the mechanics of this man and his story in a way that's so philosophically nuanced, and directs scene-after-scene of characters discussing physics and politics in a that makes it edge-of-your-seat shit.

Thank you for reading!

-Timothy Patrick Boyer.

More of My Best of 2023...

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filmspun · 1 year

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2023 Oscar nominations :

Best Picture

“All Quiet on the Western Front,” Malte Grunert, Producer

“Avatar: The Way of Water,” James Cameron and Jon Landau, Producers

“The Banshees of Inisherin,” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers

“Elvis,” Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers

“Everything Everywhere All at Once,” Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers

“The Fabelmans,” Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers

“Tár,” Todd Field, Alexandra Milchan and Scott Lambert, Producers

“Top Gun: Maverick,” Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers

“Triangle of Sadness,” Erik Hemmendorff and Philippe Bober, Producers

“Women Talking,” Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

Best Director

Martin McDonagh (“The Banshees of Inisherin”)

Daniel Kwan, Daniel Scheinert (“Everything Everywhere All at Once”)

Steven Spielberg (“The Fabelmans”)

Todd Field (“Tár”)

Ruben Östlund (“Triangle of Sadness”)

Best Lead Actor

Austin Butler (“Elvis”)

Colin Farrell (“The Banshees of Inisherin”)

Brendan Fraser (“The Whale”)

Paul Mescal (“Aftersun”)

Bill Nighy (“Living”)

Best Lead Actress

Cate Blanchett (“Tár”)

Ana de Armas (“Blonde”)

Andrea Riseborough (“To Leslie”)

Michelle Williams (“The Fabelmans”)

Michelle Yeoh (“Everything Everywhere All at Once”)

Best Supporting Actor

Brendan Gleeson (“The Banshees of Inisherin”)

Brian Tyree Henry (“Causeway”)

Judd Hirsch (“The Fabelmans”)

Barry Keoghan (“The Banshees of Inisherin”)

Ke Huy Quan (“Everything Everywhere All at Once”)

Best Supporting Actress

Angela Bassett (“Black Panther: Wakanda Forever”)

Hong Chau (“The Whale”)

Kerry Condon (“The Banshees of Inisherin”)

Jamie Lee Curtis (“Everything Everywhere All at Once”)

Stephanie Hsu (“Everything Everywhere All at Once”)

Best Adapted Screenplay

“All Quiet on the Western Front,” Screenplay by Edward Berger, Lesley Paterson & Ian Stokell

“Glass Onion: A Knives Out Mystery,” Written by Rian Johnson

“Living,” Written by Kazuo Ishiguro

“Top Gun: Maverick,” Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks

“Women Talking,” Screenplay by Sarah Polley

Best Original Screenplay

“The Banshees of Inisherin,” Written by Martin McDonagh

“Everything Everywhere All at Once,” Written by Daniel Kwan & Daniel Scheinert

“The Fabelmans,” Written by Steven Spielberg & Tony Kushner

“Tár,” Written by Todd Field

“Triangle of Sadness,” Written by Ruben Östlund

All Quiet on the Western Front”, James Friend

“Bardo, False Chronicle of a Handful of Truths,” Darius Khondji

“Elvis,” Mandy Walker

“Empire of Light,” Roger Deakins

“Tár,” Florian Hoffmeister

Best Documentary Feature Film

“All That Breathes,” Shaunak Sen, Aman Mann and Teddy Leifer

“All the Beauty and the Bloodshed,” Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov

“Fire of Love,” Sara Dosa, Shane Boris and Ina Fichman

“A House Made of Splinters,” Simon Lereng Wilmont and Monica Hellström

“Navalny,” Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris

Best Documentary Short Film

“The Elephant Whisperers,” Kartiki Gonsalves and Guneet Monga

“Haulout,” Evgenia Arbugaeva and Maxim Arbugaev

“How Do You Measure a Year?” Jay Rosenblatt

“The Martha Mitchell Effect,” Anne Alvergue and Beth Levison

“Stranger at the Gate,” Joshua Seftel and Conall Jones

Best Film Editing

“The Banshees of Inisherin,” Mikkel E.G. Nielsen

“Elvis,” Matt Villa and Jonathan Redmond

“Everything Everywhere All at Once,” Paul Rogers

“Tár,” Monika Willi

“Top Gun: Maverick,” Eddie Hamilton

Best International Feature Film

“All Quiet on the Western Front” (Germany)

“Argentina, 1985” (Argentina)

“Close” (Belgium)

“EO” (Poland)

“The Quiet Girl” (Ireland)

Best Original Song

“Applause” from “Tell It Like a Woman,” Music and Lyric by Diane Warren

“Hold My Hand” from “Top Gun: Maverick,” Music and Lyric by Lady Gaga and BloodPop

“Lift Me Up” from “Black Panther: Wakanda Forever,” Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler

“Naatu Naatu” from “RRR,” Music by M.M. Keeravaani; Lyric by Chandrabose

“This Is a Life” from “Everything Everywhere All at Once,” Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne

Best Production Design

“All Quiet on the Western Front,” Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper

“Avatar: The Way of Water,” Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole

“Babylon,” Production Design: Florencia Martin; Set Decoration: Anthony Carlino

“Elvis,” Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn

“The Fabelmans,” Production Design: Rick Carter; Set Decoration: Karen O’Hara

Best Visual Effects

“All Quiet on the Western Front,” Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar

“Avatar: The Way of Water,” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett

“The Batman,” Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy

“Black Panther: Wakanda Forever,” Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick

“Top Gun: Maverick,” Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Animated Feature Film

“Guillermo del Toro’s Pinocchio,” Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley

“Marcel the Shell With Shoes On,” Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey

“Puss in Boots: The Last Wish,” Joel Crawford and Mark Swift

“The Sea Beast,” Chris Williams and Jed Schlanger

“Turning Red,” Domee Shi and Lindsey Collins

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse,” Charlie Mackesy and Matthew Freud

“The Flying Sailor,” Amanda Forbis and Wendy Tilby

“Ice Merchants,” João Gonzalez and Bruno Caetano

“My Year of Dicks,” Sara Gunnarsdóttir and Pamela Ribon

“An Ostrich Told Me the World Is Fake and I Think I Believe It,” Lachlan Pendragon

Best Costume Design

“Babylon,” Mary Zophres

“Black Panther: Wakanda Forever,” Ruth Carter

“Elvis,” Catherine Martin

“Everything Everywhere All at Once,” Shirley Kurata

“Mrs. Harris Goes to Paris,” Jenny Beavan

Best Live Action Short

“An Irish Goodbye,” Tom Berkeley and Ross White

“Ivalu,” Anders Walter and Rebecca Pruzan

“Le Pupille,” Alice Rohrwacher and Alfonso Cuarón

“Night Ride,” Eirik Tveiten and Gaute Lid Larssen

“The Red Suitcase,” Cyrus Neshvad

Best Makeup and Hairstyling

“All Quiet on the Western Front,” Heike Merker and Linda Eisenhamerová

“The Batman,” Naomi Donne, Mike Marino and Mike Fontaine

“Black Panther: Wakanda Forever,” Camille Friend and Joel Harlow

“Elvis,” Mark Coulier, Jason Baird and Aldo Signoretti

The Whale,” Adrien Morot, Judy Chin and Anne Marie Bradley

Best Original Score

“All Quiet on the Western Front,” Volker Bertelmann

“Babylon,” Justin Hurwitz

“The Banshees of Inisherin,” Carter Burwell

“Everything Everywhere All at Once,” Son Lux

“The Fabelmans,” John Williams

Best Sound

“All Quiet on the Western Front,” Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte

“Avatar: The Way of Water,” Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges

“The Batman,” Stuart Wilson, William Files, Douglas Murray and Andy Nelson

“Elvis,” David Lee, Wayne Pashley, Andy Nelson and Michael Keller

“Top Gun: Maverick,” Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor

#oscars #oscar nominations #2023 oscars #academy award nominations #oscar nods

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crucifiix · 6 months

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#ewan mcgregor #jonathan mcquarry #deception #deception 2008 #( my gifs. )

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rivertalesien · 1 year

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Some Oscar predictions for fun: in bold is what I think the Academy will pick. In italics is what I'd pick. If I leave italics off, I have no opinion or I don't think any of the nominees were that great. If I cross them out, I'm wondering why they were mentioned in the first place (Top Gun? Avatar? Really?).

Best Picture (way too many nominees)

All Quiet on the Western Front — Malte Grunert, Producer Avatar: The Way of Water — James Cameron and Jon Landau, Producers The Banshees of Inisherin — Graham Broadbent, Pete Czernin and Martin McDonagh, Producers Elvis — Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers Everything Everywhere All at Once — Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers - WINNER The Fabelmans — Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers Tár — Todd Field, Alexandra Milchan and Scott Lambert, Producers Top Gun: Maverick — Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers Triangle of Sadness — Erik Hemmendorff and Philippe Bober, Producers Women Talking — Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

Best Directing

The Banshees of Inisherin — Martin McDonagh Everything Everywhere All at Once — Daniel Kwan and Daniel Scheinert - WINNER The Fabelmans — Steven Spielberg Tár — Todd Field Triangle of Sadness — Ruben Östlund

Best Actor in a Leading Role

Austin Butler in Elvis Colin Farrell in The Banshees of Inisherin Brendan Fraser in The Whale - WINNER Paul Mescal in Aftersun Bill Nighy in Living

Best Actress in a Leading Role

Cate Blanchett in Tár Ana de Armas in Blonde Andrea Riseborough in To Leslie (if she wins it will be entirely bc of white Hollywood women campaigning for her) Michelle Williams in The Fabelmans Michelle Yeoh in Everything Everywhere All at Once - WINNER

Best Actor in a Supporting Role

Brendan Gleeson in The Banshees of Inisherin Brian Tyree Henry in Causeway Judd Hirsch in The Fabelmans Barry Keoghan in The Banshees of Inisherin Ke Huy Quan in Everything Everywhere All at Once - WINNER

Best Actress in a Supporting Role

Angela Bassett in Black Panther: Wakanda Forever Hong Chau in The Whale Kerry Condon in The Banshees of Inisherin Jamie Lee Curtis in Everything Everywhere All at Once - WINNER Stephanie Hsu in Everything Everywhere All at Once

Best Adapted Screenplay

All Quiet on the Western Front — Screenplay by Edward Berger, Lesley Paterson & Ian Stokell Glass Onion: A Knives Out Mystery — Written by Rian Johnson Living — Written by Kazuo Ishiguro Top Gun: Maverick — Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks Women Talking — Screenplay by Sarah Polley - WINNER

Best Original Screenplay

The Banshees of Inisherin — Written by Martin McDonagh Everything Everywhere All at Once — Written by Daniel Kwan & Daniel Scheinert - WINNER The Fabelmans — Written by Steven Spielberg & Tony Kushner Tár — Written by Todd Field Triangle of Sadness — Written by Ruben Östlund

Best Animated Film

Guillermo del Toro’s Pinocchio — Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley - WINNER Marcel the Shell With Shoes On — Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey Puss in Boots: The Last Wish — Joel Crawford and Mark Swift The Sea Beast — Chris Williams and Jed Schlanger Turning Red — Domee Shi and Lindsey Collins

Best Original Song

“Applause” from Tell It Like a Woman; Music and Lyric by Diane Warren “Hold My Hand” from Top Gun: Maverick; Music and Lyric by Lady Gaga and BloodPop “Lift Me Up” from Black Panther: Wakanda Forever; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler “Naatu Naatu” from RRR; Music by M.M. Keeravaani; Lyric by Chandrabose - WINNER “This Is a Life” from Everything Everywhere All at Once; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne

Best International Feature Film

All Quiet on the Western Front — Germany - WINNER Argentina, 1985 — Argentina Close — Belgium EO — Poland The Quiet Girl — Ireland

Best Film Editing

The Banshees of Inisherin — Mikkel E.G. Nielsen Elvis — Matt Villa and Jonathan Redmond Everything Everywhere All at Once — Paul Rogers - WINNER Tár — Monika Willi Top Gun: Maverick — Eddie Hamilton

Reblogged with the actual winners.

The only big surprise was Jamie Lee Curtis, but I guess they just had to give it to a white chick instead of Angela Bassett who has been shut out of a win for like, 30 years.

And Jimmy Kimmel can keep his day job. The Will Smith jokes were tasteless and too much tonight underlined all the racist/anti-Black sentiment out there (wasn't helped by that Entertainment Weekly set of anonymous interviews this past week).

But EEAAO making a clean sweep? Outstanding.

#oscar predictions #white hollywood always pulls some bs #like totally shutting out The Woman King #that is some serious BS #I think Stephanie Hsu absolutely kills it #but Angela Bassett deserves her flowers #Viola Davis should have been up there too #not that Andrea whatshername all those white actresses went to bat for #but watch them divvy out the awards so EEAAO gets the top spot #trivial pursuits

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karlzambrano · 1 year

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NOMINEES TO BEST PICTURE

ALL QUIET ON THE WESTERN FRONT (Malte Grunert, Producer)

AVATAR: THE WAY OF WATER (James Cameron and Jon Landau, Producers)

THE BANSHEES OF INISHERIN (Graham Broadbent, Pete Czernin and Martin McDonagh, ProducersELVISBaz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers)

EVERYTHING EVERYWHERE ALL AT ONCE (Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers)

THE FABELMANS (Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers)

TÁR (Todd Field, Alexandra Milchan and Scott Lambert, Producers)

TOP GUN: MAVERICK (Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers)

TRIANGLE OF SADNESS (Erik Hemmendorff and Philippe Bober, Producers)

WOMEN TALKING (Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers)

#oscars #oscars 2023 #oscars noms #all quiet on the western front #avatar: the way of water #the banshees of inisherin #everything everywhere all at once #TÁR #the fabelmans #top gun: maverick #triangle of sadness #women talking

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twiststreet · 4 months

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Jason Reitman has gathered more than two dozen filmmakers to help acquire Westwood’s historic Village Theater, which will program first-run and repertory programming. The group includes JJ Abrams, Judd Apatow, Damien Chazelle, Chris Columbus, Ryan Coogler, Bradley Cooper, Alfonso Cuarón, Jonathan Dayton, Guillermo del Toro, Valerie Faris, Hannah Fidell, Alejandro González Iñárritu, James Gunn, Sian Heder, Rian Johnson, Gil Kenan, Karyn Kusama, Justin Lin, Phil Lord, David Lowery, Christopher McQuarrie, Chris Miller, Christopher Nolan, Alexander Payne, Todd Phillips, Gina Prince-Bythewood, Jay Roach, Seth Rogen, Emma Seligman, Brad Silberling, Steven Spielberg, Emma Thomas, Denis Villeneuve, Lulu Wang, and Chloé Zhao.

The Village Theater! What a relief-- that would be such a loss if it had gotten thrown away, the way the Dome has. Happy memories there, and I've been wanting to go there more. (X)

#los angeles

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alexlacquemanne · 11 months

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Juillet MMXXIII

Films

Indiana Jones et le Cadran de la destinée (Indiana Jones and the Dial of Destiny) (2023) de James Mangold avec Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, John Rhys-Davies, Thomas Kretschmann et Boyd Holbrook

Un mariage de rêve (Easy Virtue) (2008) de Stephan Elliott avec Jessica Biel, Ben Barnes, Kristin Scott Thomas, Colin Firth, Kimberley Nixon, Katherine Parkinson et Kris Marshall

Douze Heures d'horloge (1959) de Géza von Radványi avec Lino Ventura, Laurent Terzieff, Hannes Messemer, Eva Bartok, Lucien Raimbourg, Suzy Prim, Gert Fröbe et Guy Tréjan

Dies iræ (2003) d'Alexandre Astier avec Tony Saba, Thomas Cousseau, Lionnel Astier, Alexis Hénon, Nicolas Gabion, Franck Pitiot, Jean-Christophe Hembert, Alexandre Astier, Jean-Robert Lombard et Jacques Chambon

La Vérité sur Bébé Donge (1952) d'Henri Decoin avec Jean Gabin, Danielle Darrieux, Gabrielle Dorziat, Claude Génia, Marcel André, Jacques Castelot et Daniel Lecourtois

Sorcerer (1977) de William Friedkin avec Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou, Ramon Bieri, Peter Capell, Karl John et Friedrich von Ledebur

La moutarde me monte au nez (1974) de Claude Zidi avec Pierre Richard, Jane Birkin, Claude Piéplu, Jean Martin, Danielle Minazzoli, Vittorio Caprioli, Julien Guiomar et Henri Guybet

Mission impossible : Dead Reckoning, partie 1 (Mission: Impossible – Dead Reckoning Part One) (2023) de Christopher McQuarrie avec Tom Cruise, Simon Pegg, Rebecca Ferguson, Ving Rhames, Vanessa Kirby, Hayley Atwell et Pom Klementieff

Demain ne meurt jamais (Tomorrow Never Dies) (1997) de Roger Spottiswoode avec Pierce Brosnan, Jonathan Pryce, Michelle Yeoh, Teri Hatcher, Ricky Jay, Götz Otto et Joe Don Baker

Plus dure sera la chute (The Harder They Fall) (1956) de Mark Robson avec Humphrey Bogart, Rod Steiger, Nehemiah Persoff, Mike Lane, Jan Sterling et Max Baer

La Guerre des polices (1979) de Robin Davis avec Claude Brasseur, Claude Rich, Marlène Jobert, Georges Staquet, Jean-François Stévenin, Étienne Chicot, David Jalil, Gérard Desarthe, Jean Rougerie et Jean-Pierre Kalfon

Oppenheimer (2023) de Christopher Nolan avec Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek et Kenneth Branagh

L'Odyssée de Pi (Life of Pi) (2012) d'Ang Lee avec Suraj Sharma, Irrfan Khan, Ayush Tandon, Tabu, Adil Hussain, Ayan Khan, Vibish Sivakumar et Rafe Spall

L'Histoire d'Adèle H. (1975) de François Truffaut avec Isabelle Adjani, Bruce Robinson, Sylvia Marriott, Joseph Blatchley, Ivry Gitlis et Ruben Dorey

Meurs un autre jour (Die Another Day) (2002) de Lee Tamahori avec Pierce Brosnan, Halle Berry, Toby Stephens, Rosamund Pike et Rick Yune

La Tulipe noire (1964) de Christian-Jaque avec Alain Delon, Virna Lisi, Dawn Addams, Akim Tamiroff, Adolfo Marsillach, Robert Manuel et Francis Blanche

Séries

Friends Saison 10

Celui qui n'arrivait pas à se confier - Celui qui allait très bien - Celui qui avait décidé de bronzer - Celui qui transformait le gâteau d'anniversaire - Celui qui écrivait une lettre de recommandation - Celui qui a failli avoir la subvention - Celui qui bluffait l'assistante sociale - Celui qui ratait Thanksgiving - Ceux qui rencontraient la mère biologique - Celui qui se faisait coincer - Celui qui trahissait le pacte - Celui qui jouait le rôle du père - Celui qui baragouinait - Celui qui n'aimait pas la maison - Celui qui faisait tout pour retenir Rachel - Celui qui n'aimait pas les adieux - Ceux qui s'en allaient

Inspecteur Barnaby Saison 10

Danse avec la mort - L'Oncle d'Amérique - La Chasse au trésor - Le Blues de l'assassin - Le Flash de la mort - Le Télescope de la mort

Coffre à Catch

#122 : Finlay prend la trique et Ichtou jette l'éponge ! - #123 : Finlay à domicile pour le titre ECW ! - #124 : Les Survivor Series : Des bangers en veux-tu en voilà! - #125 : Beliaroth INFILTRE l'Univers d'Agius! - #126 : MVP et Matt Hardy: de partenaires à adversaires !

Kaamelott Livre I

Le Duel - L'Invasion viking - La Bataille rangée - La Romance de Perceval - Les Funérailles d'Ulfin - Le Chevalier femme - La Carte - Le Repas de famille - Le Répurgateur - Le Labyrinthe - Heat - Les Tartes aux myrtilles - La Table de Breccan - Le Chevalier mystère - Le Fléau de Dieu - Le Garde du corps - Des nouvelles du monde - Codes et Stratégies - Le Maître d’armes - Le Négociateur - Dîner dansant - Le Sixième Sens - Arthur et la Question - Monogame - Les Défis de Merlin - Le Banquet des chefs - Le Signe - En forme de Graal - Le Repos du guerrier - La Dent de requin - La Taxe militaire - La Queue du scorpion - La Potion de fécondité - L’Interprète - Le Sacrifice - À la volette - De retour de Judée - La Botte secrète - L’Assassin de Kaamelott - Le Trois de cœur - Basidiomycètes - L’Imposteur - Compagnons de chambrée - La Grotte de Padraig - Ambidextrie - Raison d’argent - La Romance de Lancelot - Merlin et les Loups - Le Cas Yvain - L’Adoubement - Arthur et les Ténèbres - Le Zoomorphe - La Coccinelle de Madenn - Patience dans la plaine - Le Oud - Le Code de chevalerie - Létal - Azénor - Le Sort de rage - Les Nouveaux Frères - Enluminures - Haunted - Le Secret de Lancelot - Le Serpent géant - Guenièvre et les Oiseaux - Le Dernier Empereur - Perceval relance de quinze - Le Coup d’épée - La Jupe de Calogrenant - Le Prodige du fakir - Un bruit dans la nuit - Feu l’âne de Guethenoc - Goustan le Cruel - Le Chaudron rutilant - La Visite d’Ygerne - Les Clandestins - La Kleptomane - Le Pain - La Mort le Roy Artu - Le Problème du chou - Un roi à la taverne - Les Fesses de Guenièvre - Le Billet doux - Guenièvre et l’Orage - Eunuques et Chauds Lapins - Choc frontal - Le Forage - Le Discobole - L’Expurgation de Merlin - Les Volontaires - Polymorphie - Décibels nocturnes - La Fête de l’hiver - Gladiator - La Blessure mortelle - Le Dragon des tunnels - Retour de campagne - L’Escorte - Tel un chevalier - La Pâte d’amande - La Fureur du dragon - Vox populi - Unagi - L’Éclaireur - Lacrimosa - La Quête des deux renards - Agnus Dei - Le Tourment - La Retraite - La Vraie Nature du Graal

Affaires Sensibles

Le Tour de France fantôme - Tom Simpson : une funeste passion - Lance Armstrong, le héros déchu - 21 juillet 1969 : objectif Lune

Castle Saison 2

Une rose pour l’éternité - Le Contrat - Le Troisième Homme - Le Batteur battu - Journal d'une dominatrice - Messages par balles - La Mort de Nikki - La Malédiction de la momie

Orgueil et Préjugés

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Raison et Sentiments

Episode 1 - Episode 2 - Episode 3

Spectacles

John Fogerty : Premonition (1997)

Eddy Mitchell au Casino de Paris (1990)

Livres

Pourquoi vous faisez ça ? de Pablo Mira

Gaston , Tome 2 de André Franquin et Jidékeur

Le péplum, un mauvais genre de Claude Aziza

Hero Corp, Tome 2 : Chroniques de Simon Astier, Louis et Stéphane Créty

#mediatheque #juillet23

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atlfilmcritics-blog · 11 months

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AFCC member Jonathan reviews the new Mission Impossible film

#films #movies #film reviews #movie reviews #afcc #moviereviews

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1apiwe · 1 year

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See the Oscar nominations below.