goonsinging

[goonsinging]

If a history-based work is good and inaccurate it’s because it’s a piece of art that sacrificed some points of accuracy for the sake of storytelling and conveying themes deeper and more important than a straightforward recounting of facts. If it’s bad and inaccurate then that’s just another reason why it sucks

[goonsinging]

Goncharov (1973) dir. Martin Scorsese

“The greatest mafia movie (n)ever made.”

[goonsinging]

My screenwriting teacher in college asked us to read a story, watch the movie adaptation and then write an essay. I choose The Name of the Rose (story by Umberto eco, movie by Jean-Jacques Annaud in 1986).

The final point he made us to answer was "what would you do to adapt the story?" My take was to deviate even further from the original story, because of certain reasons that i don't remember now. He gave me an A+.

So... what would you do? Would it be a good movie?

I can’t do this anymore

[goonsinging]

"sex scenes have no narrative purpose" is such a funny take on so many levels. people will really believe that the whole human experience is valuable to portray artistically except sex, which of course has never held emotional weight or significance for anybody

[goonsinging]

[goonsinging]

it's simple really: october is for horror movies with highly stylized villains and iconic monsters because they make for good costumes. early november is for gothic horror because of the fog and decay etc. late november is for zombies (commentary on consumerist culture). december is for psychological horror and stuff where they're trapped in a room because that's when you have to go to holiday parties with your family.

[goonsinging]

When it's a woman directing the film

"What is LIKE to be A WOMAN directing? It's a MAN'S WORLD innit"

questions at film festival director Q&As are like

"when the main character says she likes bread, does this mean that she likes bread?"

"is this movie based on true events that happened to you irl?"

"is the villain based on a real person? could you verbally confirm the identity of the real person you based the villain on, publicly and on record?"

"this movie reminds me of some other movie. does it also remind You of that movie?"

"this film was shot with a camera. do you think im intelligent for noticing this?"

"did you Suffer while working on this movie? how much did you Suffer?"

"sequel???????????????"

"some of the characters are pretty nuanced & gray. should i Like them, or should i Dislike them?"

and then if it's a "foreign film" you get all of those and also:

"what's it like in your exotic foreign homeland?"

"frightening & disturbing things happen in this movie, does that stuff happen every minute of every day in your exotic foreign homeland?"

"did your Oppressive Culture make it more difficult to make a movie?"

[goonsinging]

Sofia Coppola and Cailee Spaeny during the filming of ‘Priscilla’ (2023).

[goonsinging]

:-)

[goonsinging]

«A Robe', che te frega delle tristezze. Lo sai qual è l'età più bella? Te lo dico io qual è. È quella che uno c'ha giorno per giorno. Fino a quando schiatta, si capisce...»

Il Sorpasso

[goonsinging]

John Garfield as Frank Chambers in The Postman Always Rings Twice (1946)

[goonsinging]

These dining chairs, seen in the 1974 horror comedy 𝒀𝒐𝒖𝒏𝒈 𝑭𝒓𝒂𝒏𝒌𝒆𝒏𝒔𝒕𝒆𝒊𝒏, were later reused in the 2003 film 𝑷𝒊𝒓𝒂𝒕𝒆𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑪𝒂𝒓𝒊𝒃𝒃𝒆𝒂𝒏: 𝑪𝒖𝒓𝒔𝒆 𝒐𝒇 𝒕𝒉𝒆 𝑩𝒍𝒂𝒄𝒌 𝑷𝒆𝒂𝒓𝒍 before making their way to 2015’s 𝑪𝒓𝒊𝒎𝒔𝒐𝒏 𝑷𝒆𝒂𝒌.   Where else have these chairs been used, and where are they now? Find out! Bit.ly/props001      

[goonsinging]

Goncharov (1973)

[goonsinging]

method actor this method actor that. toshiro mifune played a guy getting shot at by arrows by getting shot at by arrows

and yeah i believe it. ^ this is the face of a guy getting shot at by arrows

[goonsinging]

Reblog and write the opposite of your URL

thatwasnotveryravenofyou → itisextremelypigeonofthem

[goonsinging]

Sofia Coppola and Cailee Spaeny during the filming of ‘Priscilla’ (2023).

[goonsinging]

Barbara Stanwyck as Phyllis Dietrichson in Double Indemnity (1944) dir. Billy Wilder