#Bachelor of Arts in Film Production

[the-rsace]

RSACE offering bachelor of arts in film production in Mumbai We train the students in the arts of film making For any queries visit our website or call now

[art]

Creator Spotlight: @chaaistheanswer

Hi everyone! I am Clara, but you can also call me chaa! I am a digital artist based in Auckland, New Zealand, with a bachelor’s degree in Creative Media Production. After graduating from uni, I moved out to pursue my art career and I’ve been a freelance digital artist ever since. I love concept art, especially character design! Creating characters influenced by my love for fantasy is what I live for. Thank you for stopping by, and I hope you enjoyed my art! And thank you, Tumblr, for this opportunity!

Check out our interview with Clara below!

Did you originally have a background in art? If not, how did you start?

I specialized in art in high school and have a bachelor’s degree in Creative Media Production from Massey University with an animation pathway. For our thesis film, which I worked on with several of my classmates, I took on the role of producer, art director, and concept artist. Our short film was featured in the Wellington Film Festival Terror-Fi in 2020. After graduating, I went on to become a freelance artist, but my goal is to work for the gaming industry as a character concept artist. Ever since I first picked up a pencil, I knew I wanted to become an artist!

Have you ever had an art block? If so, how did you overcome it?

Art block is quite common among artists, and unfortunately, I too have fallen prey to the affliction. I have several ways of overcoming art block: watching movies, playing games, reading, or going out for a drive with my sister. These are just a few things I love to do to help keep my creative juices flowing!

What is one habit you find yourself doing a lot as an artist?

I tend to obsessively research about completely unrelated topics while I draw. I find learning new things helps improve my concept designs, especially in creating backgrounds for my characters.

Over the years as an artist, what were your biggest inspirations behind your creativity?

Video games and anime were my biggest inspirations! Anything with a captivating story that’ll send me to the edge of my seat, and loveable characters. I’m particularly drawn to high and dark fantasy.

How has technology changed the way you approach your work?

Technology has made a huge impact on us artists over the last few years. I used to draw a lot on paper, but since getting a tablet, I find myself searching for the undo and redo buttons and even trying to zoom constantly while I draw on paper. I used to only draw for myself as well, but after posting my art online, I now have an audience to whom I can share my art. Because of this, I am able to earn a living doing what I love by creating illustrations for clients.

What is a recent creative project that you are proud of?

I am very proud of this recent commission I’ve done for a client! Fortunately, the piece turned out exactly how I wanted it to look, and my client was very happy with the result. I am also in the process of working on a Webtoon, which is going as smoothly as I hoped it would be before its re-release!

What advice would you give to younger you about making art that's personal or truthful to your own experiences?

The best advice I would give my younger self is to never hold back! Try not to think about the negatives of creating and sharing art that you believe in. Embrace vulnerability, and don’t be afraid to dig deep into your own emotions and experiences. Always explore, and don’t limit yourself to your own bubble. And most important of all, stay true to yourself! Stay true to your values and beliefs, and never compromise your own authenticity for the sake of pleasing others. Your art is a reflection of you as a person.

Who on Tumblr inspires you and why?

@yuumei-art has been an inspiration to me since my early Deviantart days. I admire how she uses her skills to focus on environmentalism and cyber activism. @nipuni is another inspiration of mine. I found her when I was in the process of recovering from Dragon Age Solavellan hell. I admire how she manages to capture faces well while also sticking to her style. Her paintings are so beautiful and very pleasing to my eyes!

Thanks for stopping by, Clara! If you haven't seen her Meet the Artist piece, be sure to check it out here. For more of Clara's work, follow her Tumblr, @chaaistheanswer!

[randy-jester]

My Imaginary Ride The Cyclone Hybrid Live-Action and Animation Feature Film that only exists in my head: Part 1

I originally wrote this in response to @sleepboysummer 's post about wanting to bring back the "imaginary rtc production in my head' trend, but it got so long I felt like it deserved it's own post. And then that got so long that I had to split it into multiple parts 😅

Anyway, here's my concept for what I would want for a Ride The Cyclone movie. This part covers everything from the beginning (Introduction + Uranium Suite) to "Talia".

The majority of the movie is shot in live-action, but colored in sepia (Think like the Wizard of Oz but while Dorothy is still in Kansas). The coloring is meant to represent how dreary the choir felt like their lives were living in Uranium.

Karnak will be a life-size animatronic creature puppet from Jim Henson's Creature shop.

The warehouse, despite presumably being abandoned for years, appears to look no worse for wear (for now). Sure, lots of old carnival stuff is stored here. Yet for some reason, nothing seems to have fallen into significant disrepair. It just looks kinda old.

Karnak's opening dialogue will have different jokes depending on whether the audience is watching the movie in theaters vs if they're watching it on home video. The theater version can keep the "armrest bit". But the home video will have it's own joke to replace it.

The first half of "Uranium Suite" is shown as a flashback. We see the choir in competition, snippets of them getting their fortunes read and enjoying the other rides at the carnival, then boarding the doomed Cyclone rollercoaster.

When Karnak says the line "hurtling the children to their deaths", we watch the choir's rollercoaster cart fly off the loopty-loop. But rather than hitting the ground, they stay floating through the air for a while. It's only when they say the lines "round and round and round" when they slowly start to descend toward the ground. Right when they're about to crash and hit the ground, the scene changes. We see the choir land in the warehouse, their souls summoned by Karnak. They get back up, almost robotically, and perform some (Karnak-controlled) choreography for the end of the song.

When it comes to the choir's individual songs, the visuals change to animation. And to reflect the individuality of the choir members, every song uses a different art style.

"What the World Needs" will use 3D CGI animation that has a classic Disney/Pixar look to it. This is meant to reflect multiple aspects at once (the happy/poppy style of the song, Ocean's bubbly personality, etc.)

During her number, Ocean dons a dramatic costume change. She's got a bright pink power suit (think like if Barbie was a businesswoman)

After her number, the world returns to normal (live-action and sepia). We see Ocean standing on the human pyramid wearing a loose pink necktie. This is meant to show that the animated sequences are "dreams" acted out by the choir. The costume pieces they get in real life were from storage.

"Noel's Lament" is animated in 2D black and white animation. Think like the classic Betty Boop cartoons from the 1930s. Additionally, his entire song is recorded through a radio filter (think like how Alastor sounds in Hazbin Hotel). That way it really makes him sound like he's from the "olden days".

"This Song is Awesome" will have a gritty, graffiti type art style. Whereas "Talia" will be done entirely in watercolor.

The transition from "This Song is Awesome" to "Talia" will be different from the stage version. "This Song is Awesome" will be framed like Mischa's dream bachelor party. We see him living it up as a world-famous rapper, partying with his friends, then taking the private jet to Ukraine. When he says "And then I see this girl. Shawty." at the end of "This Song is Awesome", there's a visual gap between where Mischa is standing (still in the graffiti art style) and where Talia is standing (in watercolor). We can hear the beginning notes of "Talia" being played in the background. Noel leans close to Mischa and asks, "Who's that?", referring to Talia in front of them. Mischa says, "That is my girlfriend. I was saving up to move back to Ukraine just to see her. Natalia Muruska Bolinska." As he says her name, Mischa steps between the gap, changing his appearance (and the rest of their surroundings along with him) to the "Talia" watercolor style.

EDIT: Here's the link to Part 2! Sorry for splitting it up. Tumblr literally wouldn't let me post it as one large chunk. ^^;

[mybeingthere]

Joshua Yeldham, born 1970, Sydney, Australia

1989-93 Bachelor of Fine Arts, Rhode Island School of Design. USA.

Born in Sidney, Yeldham studied in the United States, where he received his Bachelor of Fine Arts from the Rhode Island School of Design. He has exhibited mostly in Australia and China and his work is a part of international private, public and corporate collections including the Australian Stock Exchange and The University of Wollongong. For one period of his life, Yeldham was a very successful filmmaker. For his film Frailejón (1993), he has won a Student Emmy Award, been nominated for a Student Oscar and been a finalist in the Wynne, Sulman and Archibald prizes. His early childhood influenced and directed the rest of his life. When he was eight, Yeldham was sent to the boarding school, far away from home, where he was confronted with everyday bullying. A small and sensitive boy was not popular among friends and teachers. But vestiges of his childhood helped him to create his own world of art. He started to live in fantasy, painting and drawing products of his imagination.

https://arthousegallery.com.au/.../144-joshua-yeldham-in.../

[shewhoworshipscarlin]

Alvin Childress

Alvin Childress (September 15, 1907 – April 19, 1986) was an American actor, who is best known for playing the cabdriver Amos Jones in the 1950s television comedy series Amos 'n' Andy.

Alvin Childress was born in Meridian, Mississippi. He was educated at Rust College, from which he received a Bachelor of Arts degree in sociology. When he initially entered college, Childress intended to become a doctor, enrolling in typical pre-med courses. He had no thoughts of becoming involved in acting, but became involved in theater outside of classes. Childress and Rex Ingram in the Federal Theatre Project production of Haiti (1938)

Childress's first wife was the former Alice Herndon, who established herself as a successful writer and actress under the name of Alice Childress (1916–1994); the couple was married from 1934 to 1957 and had a daughter, Jean Rosa. From 1961 to 1973, Childress worked as an unemployment interviewer for the Los Angeles Department of Personnel and in the Civil Service Commission of Los Angeles County.

Childress moved to New York City and became an actor with Harlem's Lafayette Players, a troupe of stock players associated with the Lafayette Theatre. Soon, he was engaged as an actor in the Federal Theater Project, the American Negro Theater, and in all-black race film productions such as Keep Punching (1939). His greatest success on the stage was his performance as Noah in the popular drama, Anna Lucasta, which ran for 957 performances. He also worked at Teachers College of Columbia University. Childress also operated his own radio and record store in New York City. When he learned about casting for the Amos 'n' Andy television series, Childress decided to audition for a role. He was hired a year before the show went on the air.

In 1951, he was cast as the level-headed, hard-working and honest Amos Jones in the popular television series, The Amos 'n' Andy Show, which ran for two years on CBS. Childress originally tried out for the role of The Kingfish, but Charles Correll and Freeman Gosden cast him as Amos. Since he had been hired a year before the show began, Gosden and Correll turned the search for an actor to play "The Kingfish" over to Childress. In a 1979 interview, Childress shared information about some of the candidates. Cab Calloway was considered but found wanting by Gosden because of his straight hair. Childress said there were many famous men, with and without actual acting experience, who wanted to play the role. Eventually, old-time vaudeville comedian Tim Moore was cast as the Kingfish.

Shortly after the television show had ended, plans to turn it into a vaudeville act were announced in 1953, with Childress, Williams and Moore playing the same roles as they had in the television series. It is not known if there were any performances. In 1956, after the television show was no longer in production, Childress and some of his fellow cast members: Tim Moore, Spencer Williams, and Lillian Randolph along with her choir, began a tour of the US as "The TV Stars of Amos 'n' Andy". The tour was halted by CBS as the network considered this an infringement of their rights to the program and its cast of characters. Despite the threats which ended the 1956 tour, Childress, along with Moore, Williams and Johnny Lee were able to perform one night in 1957 in Windsor, Ontario, apparently without legal action. When he tried for work as an actor, Childress found none as he was typecast as Amos Jones. For a short time, Childress found himself parking cars for an upscale Beverly Hills restaurant.

Childress also appeared in roles on the television series Perry Mason, Sanford and Son, Good Times and The Jeffersons and in the films Thunderbolt and Lightfoot (1974) and The Day of the Locust (1975). When Childress appeared as a minister in a 1972 episode of Sanford and Son, he was reunited with two former cast members: Lillian Randolph of Amos 'n' Andy in the role of Aunt Hazel and Lance Taylor, Jr. of Anna Lucasta, with the role of Uncle Edgar.

Childress suffered from diabetes and other ailments. He died at age 78 on April 19, 1986, in Inglewood, California. He was buried at National Memorial Harmony Park in Landover, Maryland.

[brian-in-finance]

Beyond filming and cast, there's nothing about The Cut. I may venture a guess that until a studio buys the rights and distribution, we won't get much else. It certainly looks like an independent venture and will be classified as such. It will be interesting to learn when and where it will premiere. I trust that if Cait chose the project it's another good choice and look forward to it. Thoughts?

Thanks for the message, Anon. 😃

Yes, little information about the film is available, including a release date, but sometimes less is more. 😉

I think there’s a lot to look forward to. How could you go wrong with Orlando Bloom, Caitríona Balfe, John Turtuuro, Clare Dunne, Sean Ellis… This Instagram post is fresh ⬇️

Instagram

Who is Jeff Bowler?

His company is one of the film’s three production companies:

1. Wonderfilm is an award winning (Emmy, Oscar and Peoples Choice) global media company with offices in Hollywood, New York City, Boston and London.

Wonderfilm focuses on the finance, production and sales of high-quality feature films and episodic television that offer international appeal through the Company's commitment to elevated storytelling.

Wonderfilm Media Jeff Bowler

2. With the human spirit at the core of our work, Amazing Owl is an L.A. based production company specializing in conscious and evolving stories that examine, and seek to elevate, the human condition. Founded in 2020 by Orlando Bloom and currently partnered in a first-look deal with Amazon Studios, our active projects in feature films, television, and docuseries, span across the U.S. and U.K. alike.

Amazing Owl Orlando Bloom

3. Established in 2010, Tea Shop is a film production company based in London and Los Angeles. We love unique genre stories from brilliant filmmakers.

Tea Shop Productions Leonora Darby

I look forward to hearing about premiere and cinema release dates, and also to any opportunities Caitríona may have to promote the film. 2024 is a busy year for her, with two films in the can and a directorial debut in a Season 8 Outlander episode. Can’t wait to see all three productions. 🍿🍿🍿

Twitter

Remember… I trained for three years at drama school to be an actor - not a celebrity. — Orlando Bloom

Orlando Bloom graduated with a Bachelor of Arts in Acting from the Guildhall School of Music and Drama in 1999.

[justforbooks]

The director and producer Norman Jewison, who has died aged 97, had a career dedicated for the most part to making films that, while entertaining, included socio-political content. His visual flair, especially in the use of colour, spot-on casting and intelligent use of music, enabled him to raise sometimes thin stories into highly watchable films.

He hit the high spot critically and commercially with In the Heat of the Night (1967), which starred Sidney Poitier as a northern US city police detective temporarily held up in a small southern town and Rod Steiger as the local sheriff confronted with the murder of a wealthy industrialist. The detective mystery plot was perhaps mainly the vehicle for an enactment of racial prejudices and hostilities culminating in a grudging respect on both sides, but it worked well. The final scene, much of it improvised, in which the two men indulge in something approaching a personal conversation, was both moving and revealing.

The film won five Academy awards – for best picture, best adapted screenplay, best editing, best sound and, for Steiger, best actor – and gave Jewison the first of his three best director nominations; the others were for Fiddler on the Roof, his 1971 adaptation of the Broadway musical, and the romantic comedy Moonstruck (1987). In 1999 Jewison was the winner of the Irving G Thalberg memorial award from the academy for “a consistently high quality of motion picture production”.

The son of Dorothy (nee Weaver) and Percy Jewison, he was born and brought up in Toronto, Ontario, where his father ran a shop and post office. Educated at the Malvern Collegiate Institute, a Toronto high school, Jewison studied the piano and music theory at the Royal Conservatory in the city, and served in the Canadian navy during the second world war. On discharge, he went to the University of Toronto, paying his way by working at a variety of jobs, including driving a taxi and occasional acting.

After graduating with a bachelor of arts degree, in 1950 he set off with $140 on a tramp steamer to the UK, where he landed a job with the BBC, acting and writing scripts. On his return to Canada two years later, he joined the rapidly expanding television industry, producing and directing variety shows for the Canadian Broadcasting Corporation.

Jewison was spotted by the William Morris talent agency and invited to New York, where he signed with CBS and was given the unenviable task of rescuing the once successful show Your Hit Parade, which was by then displaying signs of terminal decline. He revamped the entire production and took it back to the top of the ratings. He directed episodes of the variety show Big Party and The Andy Williams Show, and specials for Judy Garland, Frank Sinatra, Harry Belafonte, Jackie Gleason and Danny Kaye.

On the Belafonte special, Jewison had white chains dangling above the stage, an image that displeased many southern TV stations, which refused to screen the show. This was the first indication of his stance on racism.

Success brought him to the notice of Tony Curtis, who had his own production company at Universal, and Jewison began a three-year contract with 40 Pounds of Trouble (1962), starring Curtis. This was followed by the likable but light Doris Day comedies The Thrill of It All (1963), Send Me No Flowers (1964) and The Art of Love (1965).

In 1965 he got out of his contract to make the first film of his choice, MGM’s The Cincinnati Kid, starring Steve McQueen (the Kid) and Edward G Robinson (the Man) and centring on a professional poker game between the old master and the young challenger. He took over the project from Sam Peckinpah, tore up the original script by Paddy Chayefsky and Ring Lardner, and commissioned Terry Southern, the result getting him noticed as a more than competent studio director.

In 1966 he made the beguiling but commercially unsuccessful comedy The Russians Are Coming, The Russians Are Coming, about a Russian submarine stranded off the coast of Cape Cod. This was at the height of the cold war and gained him a reputation for being a “Canadian pinko”, although it was nominated for a best picture Oscar.

In the Heat of the Night was followed by The Thomas Crown Affair (1968) in which McQueen and Faye Dunaway played thief and insurance investigator respectively and engaged in a chess game that evolved into one of the longest onscreen kisses, as the camera swirls around and around above their heads. The theme song, The Windmills of Your Mind, was a hit and the film a success.

Fiddler on the Roof, with a silk stocking placed by Jewison across the camera lens to provide an earth-toned quality, won Oscars for cinematography, music and sound, and a nomination for Chaim Topol in his signature role of Tevye.

Jesus Christ Superstar (1973), his adaptation of Andrew Lloyd Webber’s rock opera, and Rollerball (1975), starring James Caan, were followed by F.I.S.T. (1978), a tale of union corruption starring Sylvester Stallone as an idealistic young organiser who sells out, and And Justice for All (1979), starring Al Pacino, a deeply ironic portrayal of the legal world.

A Soldier’s Story (1985), based on the Pulitzer prize-winning play and including an early performance from Denzel Washington, dealt with black soldiers who risked their lives “in defence of a republic which didn’t even guarantee them their rights”, and some of whom had internalised the white man’s vision of them.

Moonstruck, a somewhat daft love story but a tremendous box office success and for the most part a critical one, won the Silver Bear and best director for Jewison at the Berlin film festival and was nominated for six Oscars, winning for best screenplay, best actress for Cher and best supporting actress for Olympia Dukakis.

Then came Other People’s Money (1991), a caustic and amusing comedy on the new world of corporate finance and takeovers, in which Danny DeVito played a money hungry vulture, made largely in response to Reagan’s era of deregulation, and The Hurricane (1999) in which Jewison again worked with Washington, who played the real life boxer Rubin “Hurricane” Carter, falsely convicted of a triple murder and imprisoned for years before the conviction was quashed. The latter film aroused controversy over its alleged manipulation of some facts and, despite its undoubted qualities, this fracas probably contributed to it being commercially disappointing.

In the early 1990s, Jewison had begun preparations for a film on the life of Malcolm X, and had secured Washington to play the title role, when Spike Lee gave his strongly expressed opinion that only a black film-maker could make this story. The two met, and Jewison handed over the film to Lee.

Jewison’s last film, The Statement (2003), starred Michael Caine as a Nazi war criminal on the run. He was also producer for films including The Landlord (1970), The Dogs of War (1980), Iceman (1984) and The January Man (1989).

He had returned to Canada in 1978, living on a ranch north of Toronto with his wife Dixie, whom he had married in 1953. There he reared Hereford cattle, grew tulips and produced his own-label maple syrup. In 1988 he founded the Canadian Centre for Advanced Film Studies, now known as the Canadian Film Centre, in Toronto.

He was a confirmed liberal, a man of integrity who turned in his coveted green card in protest at the Vietnam war and saw film not only as entertainment but also as a conduit for raising serious issues.

Dixie (Margaret Dixon) died in 2004. In 2010 he married Lynne St David, who survives him, as do two sons, Kevin and Michael, and a daughter, Jennifer, from his first marriage.

🔔 Norman Frederick Jewison, film director, producer and screenwriter, born 21 July 1926; died 20 January 2024

Daily inspiration. Discover more photos at Just for Books…?

[fakeosirian]

post-school school/career headcanons (non-exhaustive, will make a part two eventually), for your consideration:

nina goes to undergrad for literature with a concentration in creative writing. hasn't picked a medium yet, and regardless it's not like making it in screenwriting is that much easier than traditional publishing, so she writes by night and is an office temp by day (she is aware of the irony of being the "permanent new girl" as a job description. it was funny the first time someone pointed it out. the first time.)

fabian gets a bachelor's in history and immediately goes to grad school for...library/information science. he has to spend a good bit explaining to people that yes, that's a real major, and no, "the books don't start reacting with each other -- a science is a system of ideas, not just when something blows up." he works as a TA and is torn between if he wants to stay in academia or find more "practical" work (this is where i mention this is background work for a story where he goes back to the school to teach <3)

amber might go to a post-secondary fashion school, but even if she does, she's absolutely going for the connections and dropping out the second she gets an industry job, most likely in nyc (which considering how well off she is...probably didn't take long). idk she's thriving (though if she's surrounded by work/kind of by herself socially i could see her getting to a breaking point and claiming she needs roommates to afford rent (lie) just so she can have people around lol)

patricia actually DOES become a guidance counselor. LOL. i can't resist this one -- more specifically, i could see her going to a liberal arts undergrad without a direction in mind but knowing she "needs to figure one out," taking a couple psychology classes, realizing She Cares, declaring a major in psych, and after discounting the clinical track (too close to med school) and the research track (too creepy), she ends up working on an MA in social work

alfie seems like a guy who would have his fingers in like 5 different pies at all times -- depending on who he's talking to/if he feels he needs to impress them, he says one of the following: "business partner" (jerome's business -- more on that later -- alfie's more of an ideas/production guy than a """business guy""" but you don't need to know that if he's telling you this), freelance film crew (prop master/art department), Professional Artist (has a studio where he makes the stuff he uses for his various pursuits), comic author (i feel like he has a weird janky webcomic he makes for himself. i can't explain it. he has a couple thousand readers), etc. he's always picking up a new thing and finding a way to use it until he gets bored and does something else. he just tells his dad "jerome and i are making A Profit" to keep him off his back

speaking of jerome: i've always been fond of the idea that he and his dad go into business together at some point, so it'd be some sort of thing they could do together that alfie's artistic skills would be of use for. despite the fact that jerome very much would like to bend some rules here and there, his dad is not keen on the idea of going back to prison so unfortunately, no white collar crimes for him. (for now.) they're doing well all things considered, but jerome refuses to get a job to fund the business ("what's the point in doing all this if i'm going to let someone else be my boss anyway"), so he's definitely having to find creative ways to squeeze more money out of the business to, y'know. Survive

i'm not 100% settled on this joy idea but communications/PR? definitely gets her start somewhere more corporate, but i could see her getting creeped out by stuff she'd have to spin/help cover for, so she switches to nonprofit (which is also depressing, arguably moreso sometimes, but it's a bit easier to stomach). isn't directly involved in jerome's business, but she does "consult" (not without something in return. preferably, y'know. Money. but sometimes she starts a casual conversation without realizing she should have written up a contract first, and that's the only way that jerome will actually pay you)

[watchmenanon]

Chris Trujillo On Set Designing the 80’s In ‘Stranger Things’

by Robin Write  July 13, 2017

Awards Daily TV talks to Chris Trujillo about establishing the look and feel of Stranger Things‘ 80’s era interiors and its imaginative Upside Down.

Part of the magic that makes Stranger Things so compelling and popular are the foundations created by a super-talented technical team in designing an 80’s world we all recognize. The production design team integrates some magic touches of fantasy and horror as well as the familiar surroundings of childhood homes.

One key figure in Stranger Things‘ excellence is production designer Chris Trujillo. On the back of some memorable contemporary work on feature films, he brings that infamous decade to life with some outstanding set design. I was privileged to find out more.

What inspired you to work in production design, and how did you break into that field?

To begin with I did a bachelor of fine arts at the University of Florida. I wasn’t entirely sure what I was going to do with myself for a long time. I thought I would go more in the direction of opening a gallery, but when I moved to New York I realized very quickly that without a silver spoon or a legacy in the art world it would be very difficult to make a living, unless you are very wealthy.

Anyway, I was running a screen printing shop and had a friend who knew I had an art background and carpentry background and got me to work on a couple of music videos. I pretty much instantaneously knew where all my interests were creatively. As soon as I got the opportunity, I learned what the art department was all about and changed my focus completely, worked any art department jobs I could find. That got me into the New York indie world, which was a pretty incredible boot camp.

I was learning how the film business works and the art departments. I made the most of every job that came along. I started production designing small stuff, a whole bunch of little kitchen sink stuff, learned the ropes that way. And I got a bit of a name and a resume, that was it. Started to get some bigger jobs, a series of fortunate events and a lot of hard work. Basically it all came from the art background and the kind of carpentry design background, combined with my lifelong love of movies – being the right time and right place.

Do you feel production design has a misconception that is it more about pretty period sets? Do you find that?

You don’t often notice a production designers work as much unless it is a period set. In a weird way most people see the costumes, the hair and make-up, swords and sandals, Victorian outfits, or sci-fi of course – people are like “Oh wow, they have to create that world.” That is why some production designers are overlooked. You put in just as much work creating the space for a very specific character in a present day script.

A lot of your work is contemporary. I have seen a lot of it. Kiss of the Damned, Nerve, Honeymoon, Viral, Tiny Furniture. Those are all very different, even though they are modern day, they must have been different experiences.

Very much so. On every level of these experiences they are different – budgets, time frames, settings, like a New York setting is different to Pittsburgh or New Orleans. There are so many factors with every project that make them totally different experiences and challenge you differently. Obviously, the approach creatively is the same. After meeting the director, reading the script, you try to realize and understand who the characters are and the world they live in. If it is a more stylized picture like Nerve you approach it differently to, say, Tiny Furniture. How it gets created and the relatively small team of people. There is an order of operation. It is the same even if the creative things we are trying to accomplish are different.

So Stranger Things came about through the director of Honeymoon right as Leigh [Janiak] is married to one of the creators [Ross Duffer]?

Yeah, we did Honeymoon. We both had a pretty scary vision for that movie, and we were able to realize it with our resources. We spoke a similar language creatively. When I was in L.A. making Viral, I happened to be living around the corner from Leigh. We were catching up every now and then, having a meal together. And I think Ross came and was kind of pitching a pipe dream idea that I fell in love with, which was then called Montauk and would become Stranger Things.

At that point they were a bunch of thirty-somethings with a dream to make such an outlandish thing with a bunch of kids set in the 80’s. I said if it ever came to fruition it would be a dream for a production designer. Two years later they called me and said it had the green light, and they could get me on the project. It was a struggle to get on as my credits were smaller, but I had just finished Nerve which was a big enough resume bump. And Allison Shearmur, who was the producer on that, had enough clout in the movie world of big budget film-making that she told the line producer it would be in good hands. And it was all go from there.

So you had your own idea of 80’s America, then. What did you bring from your own experience to your work on Stranger Things?

I literally was able to get family photos and get my own case from my actual childhood, photos of the suburban home I grew up in. When I think of running around as a kid, it was very much like the ones we created in the show. And all the movies we referenced kind of made up my childhood. That was like second nature, bringing those childhood experiences to the show. Like walkie talkies, riding with my buddies on bicycles, all that was there, and my heart was in it.

Any other show could have gone overboard with the 80’s stuff, it could have become a bit kitsch. Where did you draw the line?

For us it was like as long as it was believable, in the characters worlds, in their homes, we wanted to squeeze in little winks and nods to things like specific movies, with the big Jaws poster, and all the stuff that inspired us. Otherwise it was a matter of taking a real look and going back to the way I would approach a TV drama set in the present day. It is about bringing these characters out, through the scripts, and conversations with the Duffer brothers like who they are socioeconomically, psychologically, what they have been through. And from there we were thinking what should the house look like, would the furniture be from the 70’s.

There are a lot of really great vintage and set dressing places, estate sales. The set decorator and her team are always really great about going out, going above and beyond in finding mountains of vintage furniture. Going through junk draws at estate sale and buying everything. When it came to me to put a life layer into a set, we literally had like a storeroom full of real, vintage, worn in, lived in, 80’s stuff – or 70’s in a lot of cases. That was our approach, and our philosophy was to really make it super real and not distracting to the audience.

We want people to have a smile and take note of a particular element. It’s the same approach I have with indies, which is creating really real spaces that have gravity and texture. Ultimately the set kind of informs the character as opposed to just showing people what cool 80’s shit you can put on a set.

It’s the little details, like what is in the cupboards, or on the kitchen worktops.

Yeah, all that stuff. We tried not to overlook anything or gloss over things. It’s taking every room seriously. Even if we are not going to see that corner of the set, making sure that corner is integrated into the rest. There is no stone unturned.

Did you have much creative input in other aspects of the production, like where the camera would go, character movement?

The creative triad is usually the director, cinematographer, production designer, knowing the scripts backward and forwards. I spent a lot of time with the directors, and the DP Tim Ives, Tod Campbell, and we all approach it in this very collaborative, creative way. When I go into designing a set it is always with the script in mind, and with the style of shooting, a lot of deliberate camera movement, well thought out shots, going into creating.

I am very conscious of this is what we can expect to take place, and we want to give cinematographers, the Duffers, as much room to move. To give many interesting angles and how one doorway of one room frames another room and how the action can flow from the kitchen through the dining room and into the living room. A lot of what you build is with camera motion, actor blocking in mind, and of course lighting. We try to find as much practical lighting as possible. Feels much more cinematic.

Was there something specifically challenging? What did you learn?

The learning is constant. The pace of TV is a little bit different. Some of the most challenging stuff was more logistical, like the process of the metamorphosis of the Byer House goes through – the Christmas lights, Joyce’s breakdown, the monster – they required quite a lot of logistical pre-planning and a lot of inter-department co-operation. We shot it all on one space and had a fairly tight schedule, so making all that happen was tricky, having a set undergo such a radical change through the course of a season. Also the look and the feel, and the material process of creating the Upside Down, deciding on what that would look like. How we would achieve it. Kind of a broad collaborative thing.

It is easy to talk about, but it is super abstract. And it is not just a matter of putting furniture and a life layer into an otherwise pedestrian world. It was about creating this strange other worldly space. That was creatively probably the most challenging thing as it was a total cooperation between so many different departments. In a lot of cases we were figuring it out as we went. When we were shooting the first block of episodes, we were still testing materials for the third and forth. So that was really challenging.

The success of Stranger Things is that you have taken people back, like myself, and I recognize a lot of it, and that is down to the production design and the team. That is what people have fallen in love with as well as the story. So congratulations on that.

Thanks a lot, I really appreciate you saying that.

Stranger Things Season 1 streams on Netflix. Season 2 drops in October 2017.

[bellsrung]

breaking news !  this musician just went viral for walking out mid - date with the internet's newest star . . . elinor tai is a twenty - seven year old representing baton rouge , lousiana , who is frequently seen rocking hermès . they enjoy frequent antique shops in their free time , but have said to hate raya dates with social climbers . they seem to be self - assured , but others have said they are are quite turbulent as well . that makes sense , considering they are often labeled as the jaded .

☆ — next page : the connections .

— … 𝙩𝙝𝙚 𝙗𝙖𝙨𝙞𝙘𝙨 !

full name : elinor margaret tai aubert.

nickname(s) : eli, tai .

gender & pronouns : demi-woman & she/they .

orientation : bisexual, biromantic .

age : twenty seven .

birthdate : january 7th, 1997 .

sun sign : capricorn .

— … 𝙩𝙝𝙚 𝙗𝙖𝙘𝙠𝙜𝙧𝙤𝙪𝙣𝙙 !

ethnicity : chinese-american .

nationality : american .

place of birth : baton rouge, louisiana, usa .

education : bachelor of fine arts in music theory and composition from the berklee college of music .

current occupation : singer-songwriter signed to rca records .

— … 𝙩𝙝𝙚 𝙥𝙚𝙧𝙨𝙤𝙣𝙖𝙡𝙞𝙩𝙮 !

positive traits : self-assured, advocating, justice-oriented .

negative traits : turbulent, short-tempered, impulsive .

— ... 𝙩𝙝𝙚 𝙨𝙪𝙧𝙛𝙖𝙘𝙚 !

faceclaim : havana rose liu .

height : 5ft 8in .

hair color : switches between auburn and light brown .

eye color : hazel .

tattoo(s) : the three of swords tarot symbol behind left arm ( image ) .

piercing(s) : single lobe on each ear .

scar(s) : the faint remnant of a line going through the bottom of left knee .

𝙛𝙪𝙡𝙡 𝙗𝙞𝙤𝙜𝙧𝙖𝙥𝙝𝙮.

to be continued when i have braincells ...

tldr — elinor comes from two prominent hollywood figures. her mother, a former head animator at a renowned studio. their father, an award-winning costume designer for various films and broadway productions. both have since retired but continue their legacy through them which elinor hates. they had an average childhood, one that was relatively quiet and lowkey, yet still lavish, and it wasn't until their song blew up on tiktok three years ago when she was really forced into the limelight. elinor's beginnings mirrored a lot of singer-songwriters, similar to mitski, lizzy mcalpine, and laufey, though they quickly descended into scandals after dating rumors and subsequent online hate wore them down. her biggest moment of infame was a bar fight with an ex that was filmed by onlookers and posted everywhere. they're hoping this experiment with berry can give them some good press, but we'll see how that really pans out ...

character parallels : corey mason (empire records), kat stratford (ten things i hate about you), ivy (poison ivy), norah (nick & norah's infinite playlist), ted theodore logan (bill & ted's excellent adventure), kim pine (scott pilgrim vs. the world), shane gray (camp rock)

[the-rsace]

undefined

Faculty Experience at Ramesh Sippy Academy

During the convocation ceremony of our Institute, Our faculty (Mr. Ryan Demello) shared his teaching experience with the students of Ramesh sippy Academy of Cinema & Entertainment.

[jamieroxxartist]

✔ Mark Your Calendars: Thurs Mar 28, 2024 on 🎨#JamieRoxx’s Pop Roxx Radio 🎙️#TalkShow and 🎧#Podcast w/ Featured Guest:

Stephonika W. Kaye (#Filmmaker, #Artist #Writer

☎ Lines will be open (347) 850.8598 Call in with your Questions and Comments Live on the Air.

● Click here to Set a Reminder: http://tobtr.com/12323834

Pop Art Painter Jamie #Roxx (www.JamieRoxx.us) welcomes #StephonikaWKaye, Filmmaker, and Artist to the Show!

● WEB: www.stephonikawkaye.com ● WEB: twilightprincessnovel.weebly.com ● IG: @stephonikawkaye ● LT: linktr.ee/stephonikawkaye ● FB: @sabrina.branham.7 ● IMDB: www.imdb.com/name/nm4464803

Stephonika was born in small town West Virginia. She graduated with a bachelor's degree cum laude from Ohio University in 2011, and has since been working in Ohio and across the U.S. as a production designer and set decorator. She has been a member of IATSE Local 209 since 2014. Along with her focused work in art and set decoration departments, she is a writer and director as well as an actor.

Her first major film credit was as the set decorator on the Wrong Turn (2021) reboot, which she attributes to opening up many opportunities thereafter.

She is also a self-taught artist and craftsperson / prop maker. With her skills in art, she founded her small Etsy shop Onika Arts & Oddities.

[mashasnaill]

Alexander Skarsgård Is A Better Werner Herzog Than Werner Herzog

By:

Keegan Kelly

October 20, 2022

Documentary Now! has returned to IFC for its long-awaited fourth season, and the documentary parody anthology certainly didn’t disappoint the film nerds and comedy fans who had waited three long years for more episodes of the Bill Hader, Fred Armisen and Seth Meyers-led series that dares to ask, “What if Werner Herzog made a multi-camera sitcom?”

The first two episodes of Season Four, titled “Soldier of Illusion: Part I and II,” satirize the controversial “making of” documentary, Burden of Dreams, which chronicled the chaotic production of Werner Herzog’s epic adventure film Fitzcarraldo. Playing the monotone Bavarian auteur is Alexander Skarsgård, fresh off of the starring role in A24’s Viking epic The Northman. Skarsgård's performance is as impassioned, transfixing, and grimly absorbing as every Herzog film put together. He’s somehow more Herzog than Herzog.

The two-part episode opens in the modern day on a desolate landscape nestled in the mountains of Eurasia where Skarsgård’s Herzog character recollects one of the most ambitious and confusing undertakings of his career: In the 1980s, he attempted to simultaneously film a documentary about the native people during the mating season of the goats on which they have built the foundation of their meager existence, and a CBS sitcom pilot called Bachelor Nanny about a free-wheeling ladies’ man who is forced to adopt his twin nieces. As Skarsgård utters gravely, “He must juggle babies and babes.”

“Soldier of Illusion” uses its surreal setup merely as a launching pad as it careens wildly between different touchpoints in Herzog’s exhaustive filmography — at one point, the production crew of the sitcom/documentary are assaulted by a pair of Kamchatka brown bears, only for the beasts to be butchered by a sleepless monk wielding a bowie knife. In his perfect Herzog deadpan, Skarsgård poetically laments the bears, saying, “The Kamchatka bear and his girlfriend would survive 68 stab wounds before escaping to the safety of death.”

Skarsgård is pushed to find the outer limits of his Herzog embodiment at the act break between the two episodes with the arrival of the Klaus Kinski character, played by August Diehl, best known to American audiences for his role as a formidable Nazi officer in Quentin Tarantino’s Inglorious Basterds. The chemistry between Skarsgård and Diehl is as violent and electric as that of Kinski and Herzog, who, on more than one occasion, came deathly close to ending each other’s lives.

Also appearing in “Soldier of Illusion” is Skarsgård’s Succession castmate Nicholas Braun, television’s go-to guy whenever they need to cast a 6-foot-7 sad sack. Braun plays a washed-up child star looking to revive his career on Bachelor Nanny.

The entire two-part episode is as whimsical and grim as we could have ever hoped for once Documentary Now! inevitably set its sights on Germany's most doleful documentarian. Of all the powerful performances in the history of the parody series, none has been more accurate, more focused and more artful than that of Skarsgård’s Herzog. Skarsgård does not just do a good Herzog impression — he captures the filmmaker’s very being, and shows us what it would be like to witness Werner Herzog greeting a live studio audience by reading off a list of all crewmembers who had died during the filming of a family sitcom.

Later this season on Documentary Now!, we will be treated to “My Monkey Grifter,” a parody of My Octopus Teacher, and “How They Threw Rocks,” based on When We Were Kings — new episodes will come out Wednesdays on IFC

source : https://www.cracked.com/article_35743_alexander-skarsgard-is-a-better-werner-herzog-than-werner-herzog.html

[heyiwrotesomethings]

That's alright, I get what you mean about the work situation since I also had a bad experience too since all of 2022 - 2023 I was working all the time, even on weekends the only times I'd not work is when I caught Covid.. and I was hella exhausted by the work hours they had me do.

So this year I'm just gonna study with how much money I saved up,

So with Film Course - It's a diploma of film, it's the lowest course and if I want to do it more next year it'll be called the Associate Degree of Film then Bachelor of Film then Master of Creative industries.. (That's if I pass D:

It's been fun, it's not like we sit in one room all the time, so yeah we kinda like movie around work on personal products, Do a lecture, Have other film makers tell us important stuff on what and not to do in the film making business, you know show us the ropes.

The only thing I don't like that, IS THE LONG EDITING HOURS 😭 But everything else is Fun.

-- But nah it's been chill 😎 the school I'm going to just focuses on Entertainment, Like film making, 3D & VFX for Film, Gane art & Animation, Game Design & Production And Game programming..

Okay enough about me, might be over stepping my boundaries here but Do take care of yourself, Being honest with yourself is really great because you don't want to fall into a depressing spiral. Okay?

Hope you have the great rest of your week and give yourself a break every once in a while 😊

Sounds interesting. My sister is getting a degree in editing and I do not know how she does it. Soooo much time and effort!

The animation and game programming/ art sounds cool. Good luck in all your studies, I’m sure you’ll do great!

Thank you, I am taking care of myself and you had best do the same! Have a good day/night😊

[valoale]

8 and 12 please 🤩

8. What is your dream job? Honestly I just want to do everything creative, and I am in luck, because I am 1,5 years away from graduation and getting a degree in graphic design and media production (the art of visual storytelling through film and sound in Finland). I just want to do designs and illustrations and continue my photography business but I also want to study further and get the Bachelor's in Culture and Arts and also do film production or designs for video games amongst other things, maybe teach one day

12. Where is somewhere you'd like to visit? SO MANY PLACES I love traveling and I yearn to see and experience so much (and photograph as much as I can lmao obv) but definitely the next place I want to visit is Italy and make a trip to various places there and enjoy art, architecture, nature and history Thank you for these asks 💞

[radellama]

Tagged by @kanonavi for 15 questions for 15 mutuals! Thanks >:)

~~

1 - Are you named after anyone?

No...

2 - When was the last time you cried?

Um. A few tears escaping while I hack my lungs out doesn't count, does it? Haha...

I honestly don't remember, I don't really cry that often.

3 - Do you have kids?

Just my ocs :')

4 - Do you use sarcasm a lot?

Yeah, hyperbolic humour is one of my most common kinds of jokes, and that kinda needs sarcasm to work. That's not a bad thing tho

5 - What sports do you play/have played?

.... Wii Sports.

Lmao. Fr, I don't really play sports, never been good at them, hated the environment/culture within pretty much every sports space I've interacted with, and don't care about them to be quite honest. I did ballet when I was younger and had a blast with that, and I enjoy swimming, but definitely not competitively.

6 - What's the first thing you notice about people?

Usually their voice/way of speaking or their vibe/presence, mainly from demeanor and outfit and such...

7 - Eye colour?

8 - Scary movies or happy endings?

Both? Whatever feels most appropriate for the narrative. I enjoy scary stuff (mainly on the psychological thriller side) and I enjoy happy endings (across most genres)

This doesn't really feel like an evenly balanced either or to me haha

9 - Any special talents?

Professional complainer™ 😎👍

Fr tho, things I've worked hard at, such as my writing or art skills, even video editing and such. I like being creative (and I like being critical LMAO)

10 - Where were you born?

The capital city in one of the states of Australia

11 - What are your hobbies?

Gaming, art, writing, reading, thinking too much about things. Most things creative + gaming.

12 - Do you have any pets?

No, but I am looking after my dad's cats long term for a bit

13 - How tall are you?

170cm

14 - Favourite subject in school?

Japanese or Studio Arts. Multimedia was mostly good too, and philosophy had it's moments.

15 - Dream job?

Something that can utilise my skills in video/film production without being detrimental to my health or creativity. Also unionised.

That's the vague dream job for now, I got a Bachelor in film and video, I wanna put those skills to use and be a director/writer/AD/editor/whatever... But thinking more long term and in huge hypotheticals, it might be really nice to start my own company and help produce more Aussie entertainment in the future :)

~~

Tagging @cherrymegablaster @future-dregs @woogly-boogly and whoever else would like to. Can't be assed thinking of 15 haha