#2021 film awards

[ingravinoveritas]

"I knew you would come through for me. You always do." "Well, you said 'trust me.'" "And you did."

| GO Season 2 vs. the night of the 2021 NTA Awards.

[courseyoulovemeyoudontknowme]

Encanto (2021, Byron Howard, Jared Bush and Charise Castro Smith)

31/05/2024

[stylestream]

Film Independent Spirit Awards

Elle Fanning | Vivienne Westwood dress • Christian Louboutin pumps

[sonknuxadow]

ok wait actually what if they finally show a trailer for the knuckles series at the game awards. im not saying its for sure going to happen but iirc the first full trailers for the second movie and sonic frontiers were shown at the game awards so its not completely impossible

[fridjitzu]

How I'm taking the fact Nope didn't get one :) single 8) nomination 8)

[havithreatendub4]

Johnny at #ssiff #September 22, 2021 #San Sebastián Film Festival in #Spain #award ceremony #with fans #spelling a name

[eurovision-facts]

Eurovision Fact #254:

The 2020 movie Eurovision Song Contest: The Story of Fire Saga was nominated for 28 awards, one of which was the Oscar for Best Achievement in Music Written for Motion Pictures (Original Song) for the song 'Husavik.' However, the song lost to Judas and the Black Messiah's 'Fight for You.'

Out of the films 28 nominations, it won six awards:

At GALECA: The Society of LGBTQ Entertainment Critics (2021), the movie won the Dorian Award for Campy Flick of the Year.

From the Hollywood Critics Association (2021), they won the HCA Award for Best Original Song, again for 'Husavik.'

At the International Online Cinema Awards (INOCA) in 2020, Fire Saga took home the Halfway Award, once again for best original song.

The movie took home the Golden Reel Award for Outstanding Achievement in Sound Editing - Feature Musical at Motion Picture Sound Editors, USA (2021).

At New Mexico Film Critics (2021), the move once again won Best original song with the NMFC Award.

Once again winning with 'Husavik,' Fire Saga won the Society of Composers and Lyricists Awards (2021)'s SCL Award for Outstanding Original Song for Visual Media.

[Sources]

Eurovision Song Contest: The Story of Fire Saga Awards, IMDb.com.

Oscars 2021, IMDb.com.

HCA Awards 2021, IMDb.com.

Awards (INOCA) 2020, IMBd.com.

USA 2021, IMDb.com.

NMFC Award 2021, IMDb.com.

SCL Awards 2021, IMDb.com.

[brian-in-finance]

Video 📹 from Twitter

Wee Jude’s first announcement per BIF Video 📹

Remember… a survey by language learning app Babbel has revealed that the Northern Irish accent is “most desired” and “most fun”… it comes as no surprise that most people across the UK wish their current spouse had or hope their future spouse has a Northern Irish accent.

Quote source: Ireland Before You Die

[itscaravel]

so idk what exactly is meant by "yuri shounen" (is it yuri that runs in a shounen magazine? or is it just like, action stuff or genre fiction? i'm assuming the latter bc yuri runs in shounen magazines not infrequently) but here's a small list of stuff off my shelf and things i've watched that maybe qualify:

Symphogear (anime)

Superwomen in Love: Honey Trap x Rapid Rabbit (manga)

Akuma no Riddle (manga/anime)

The Demon Girl Next Door (manga/anime)

The Executioner and Her Way of Life (light novel/manga/anime)

Magical Revolution of the Reincarnated Princess and the Genius Young Lady (light novel/manga/anime)

Otherside Picnic (novel/manga/anime)

SHWD (manga)

Young Ladies Don't Play Fighting Games (manga/may have anime someday)

Birdie Wing: Golf Girls' Story (anime)

Flip Flappers (anime)

Princess Principal (anime)

this is without even mentioning the entire girls with guns genre, girls' sports anime... there are so many kinds of yuri out there. shoutouts to women

there should be more Yuri Shounen 

[doyoulikethissong-poll]

Smash Mouth - All Star 1999

"All Star" is a song by the American rockband Smash Mouth, released as the first single from their second studio album, Astro Lounge (1999). It was one of the last tracks to be written for Astro Lounge, after the band's record label Interscope requested more songs that could be released as singles. In writing it, guitarist Greg Camp drew musical influence from contemporary music by artists like Sugar Ray and Third Eye Blind, and sought out to create an "anthem" for outcasts. In contrast to the more ska punk style of Smash Mouth's debut album Fush Yu Mang (1997), the song features a more radio-friendly style.

It received generally positive reviews from music critics, who praised its musical progression from Fush Yu Mang as well as its catchy tone. It was nominated for the Best Pop Performance by a Duo or Group with Vocals at the 42nd Annual Grammy Awards. Subsequent reviews from critics have regarded "All Star" favourably, with some ranking it as one of the best songs of 1999. The song charted around the world, ranking in the top 10 of the charts in Australia, Canada, and on the US Billboard Hot 100, while topping the Billboard Adult Top 40 and Mainstream Top 40 charts.

The song's accompanying music video features characters from the 1999 superhero film Mystery Men, which itself prominently featured "All Star". The song became ubiquitous in popular culture following multiple appearances in films, most notably in DreamWorks Animation's 2001 film Shrek. It received renewed popularity in the 2010s as an internet meme and has ranked as one of the most-streamed rock songs from 2017 to 2021 in the US. In June 2019, the music video was remastered in high definition and received subtitles in commemoration of its 20th anniversary. By that point, it had received over 219 million views on Youtube. In 2020, The New York Times listed the song as #1 in their top ten climate change songs.

"All Star" received a total of 90,9% yes votes!

[courseyoulovemeyoudontknowme]

Pollyanna (1960, David Swift)

20/09/2024

[silverscreenclassics2016]

Winner Of The 2023 CMBA Best Classic Movie Blog Event

I am absolutely thrilled to announce that I have received the 2023 CMBA Award For Best Classic Movie Blog Event. It is the first ever such award from peers in the classic movie community and I am very humbled to receive it. The Award was for the Classic Film On Literature Blogathon which has run for four years now and will certainly run again next year. I cannot thank enough those wonderful…

[cloveroctobers]

JAMES EARL JONES

James Earl Jones was an American actor known for his iconic voice acting roles and for his work in theater. Over his career, he received three Tony Awards, two Emmy Awards, and a Grammy Award. Born in Arkabutla, Mississippi in 1931, he had a stutter since childhood. Jones said that poetry and acting helped him overcome the challenges of his disability. A pre-med major in college, he served in the United States Army during the Korean War before pursuing a career in acting. Jones made his film debut in Stanley Kubrick's Dr. Strangelove (1964). He received a Golden Globe Award nomination for Claudine (1974). Jones gained international fame for his voice role as Darth Vader in the Star Wars franchise, beginning with the original 1977 film. Jones' other notable roles include in Conan the Barbarian (1982), Matewan (1987), Coming to America (1988), Field of Dreams (1989), The Hunt for Red October (1990), The Sandlot (1993), and The Lion King (1994). Jones reprised his roles in Star Wars media, The Lion King (2019), and Coming 2 America (2021).

He was described as "one of America's most distinguished and versatile" actors for his performances on stage and screen, and "one of the greatest actors in American history.”

( January 17th, 1931 — September 9th, 2024)

Rest well.

[a-little-revolution]

It seems like you're a big fan of Warwick Davis, I was wondering if there are any other little people actors you really like, especially women and trans/nb actors?

Hello! Yes I do enjoy Warwick Davis! Willow (1988) remains one of my favourite LP films, and I've really enjoyed his career of fantastical characters.

Like a lot of industries, white men make up a lot of the most famous Little actors (Warwick Davis, Peter Dinklage, Danny Woodburn, Martin Klebba, Verne Troyer), so I'm happy to mention some of my favourites outside that group!

Linda Hunt is a favourite of mine - she's a Hollywood veteran best known for her role in The Year of Living Dangerously (1982) where she was the first actor to win an academy award for playing someone of the opposite sex!! She's been on Broadway, done tv, film, and voice acting! You may know her as Lady Proxima in Solo: A Star Wars Story (2018).

If you think you don't know Deep Roy, chances are you do! He's been a scale actor in countless award winning films including Star Wars (1980), Star Trek (2009-2016), The Never Ending Story (1984), Charlie and the Chocolate Factory (2005) and so many more! We owe so many beloved characters to scale actors and people hardly know it - Deep Roy has been responsible for dozens of them, I adore him.

Despite Patty Maloney's vast career in acting, I know her as Lois Addams from The Addams Family (1991)! Before my time she was in a variety of tv shows and films including Star Trek Voyager (1996), Little House on the Prairie (1982), and The Lord of the Rings (1978).

Cara Mailey is a young actress, author, presenter and activist! She's known for her role in Derry Girls (2018) and Read all About It! (2021), as well as her ebook "I Got This" - which speaks on her experience living with Achondroplasia. I wanted to be sure to give her an honourable mention because at only fifteen she's already become an activist for the LP community! I'm excited to see how her career evolves!

Thank you for the ask! Be sure to check these folks out!

[havithreatendub4]

#BCN #Minamata #BCNFilmFest2021 #Andrew Levitas director #Barcelona Spain 🇪🇸 #premiere hear Johnny's #award acceptance video #April 2021

[fuckyeahgoodomens]

Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.  

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.  

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.  

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.” 

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series  Hogfather ��(2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010). 

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”  

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop. 

From start to finish 

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.  

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.” 

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.  

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.” 

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).” 

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.  

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes 

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.  

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities. 

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”  

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures. 

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”  

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.” 

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.” 

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit 

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.” 

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.” 

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots. 

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”  

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.” 

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.