#Bandido Studio

[flashfuckingflesh]

EVIL Has an Eye On You! "The Goldsmith" reveiwed! (Cinephobia Releasing / DVD)

“The Goldsmith” on DVD From Cinephobia Releasing! Childhood friends and career criminals Stefano, Arianna, and Roberto plan their next heist of an elderly couple.  Suspecting the older husband to be a jeweler with a hidden lab stashed with product, the trio work off a plan based off a third party’s overheard intel that the house is well worth the score.  Successfully penetrating the home’s…

[hello-mishki]

Rosa Reyes

Character Codex // Original Character Sheet

Rosa is my RDR2 OC which i created back in 2018 for my fanfic.

I've had my character background sheet spread over multiple google docs and I'm finally putting them all together into one entry.

So if you're interested in this kinda thing, see below the cut!

Core Identity

Birth Name: Rosa Herrera

Known As: Rosa Reyes

Age: 24 (1899)

Birthplace: Escalera, Nuevo Paraíso 1875

Nationality: Mexican

Legal Status: Married (in absentia) to Fernando "El Serpiente" Salazar in Mexico (unknown to everyone except the original members (Hosea, Dutch, John, Arthur, and Susan) and now Micah)

Heritage: Daughter of notorious jefe bandido Miguel Herrera and Maria Herrera (née Reyes)

Myers–Briggs Type Indicator: ISTP

Enneagram: 8w9

Clifton Strengths: Self-Reliance, Adaptability, Command, Strategic, Individualization

Backstory

Timeline of events

Early Life (1875-1892)

Raised in her father's grand hacienda overlooking Escalera, Rosa lived a life of privileged confinement. Miguel Herrera, known throughout Nuevo Paraíso as "El Coyote," maintained iron-fisted control over the smuggling routes through Perdido and protection rackets across Punta Orgullo. Despite their wealth, Rosa's life was strictly controlled - her father ensured she received a proper education from private tutors and the convent in Chuparosa, grooming her to be an obedient daughter suitable for a strategic marriage alliance.

Rosa's mother, Maria, provided what little warmth existed in the household, secretly teaching her daughter to read English from American books and newspapers smuggled across the San Luis River, planting dreams of freedom in the young girl's mind. However, any display of independence was met with swift punishment from her father, who saw his daughter as nothing more than a valuable bargaining chip for future alliances.

First Escape (1892)

Upon learning of her father's plans to broker a marriage alliance with a rival faction, Rosa (17) fled the hacienda. Using the English she had learned from her mother and money stolen from her father's study, she made her way north through the dangerous Perdido region. Adopting her mother's maiden name "Reyes" to conceal her identity, she crossed the San Luis River near Plainview. It was in the frontier lands where she first met Dutch van der Linde, offering her a place in his gang after seeing her knife work up close and personal.

Life with the Van der Linde Gang (1892)

In the gang, Rosa (17) found the freedom she had dreamed of, developing a particularly close bond with John Marston (19). Their connection grew deep and passionate during long rides across the frontier, sharing dreams of a different life. However, fate had other plans. When word of her mother's illness reached her.

Return to Mexico (1893)

Word reached Rosa (18) of her mother's failing health through a smuggled message from her childhood nursemaid. Despite the risks, she returned to Escalera for her mother's final days. At the funeral in the grand cathedral, Miguel Herrera violated his word of safe passage, capturing his daughter despite giving his solemn oath to his dying wife that Rosa would be free to leave.

Forced Marriage & Second Escape (1893-1894)

Miguel Herrera had already arranged Rosa's marriage to Fernando "El Serpiente" Salazar, a ruthless hacendado and bandido chief twice her age who controlled vast estates in Diez Coronas. The marriage would unite two powerful criminal empires, with Rosa as the unwilling price of peace.

A portrait taken in Escalera's finest studio captures the moment - Rosa wearing her wedding ring with empty eyes while Salazar's possessive embrace speaks volumes of her captivity. This photograph would later become a haunting reminder in her journal of the price of freedom.

Meanwhile, Dutch had hired a private investigator to track down any news of Rosa in Mexico after a month of her absence knowing she would not have deserted the gang without a word. This was because her letters to the Van der Linde gang never reached their destination - her father's spies intercepting all correspondence through a trusted servant's betrayal.

On her wedding night in Salazar's hacienda, Rosa's defiance earned her a terrible punishment - Salazar ordered her buried alive in the Perdido desert as a lesson in obedience. Through wit and determination, she escaped this fate and fled north once again, crossing the treacherous desert and the San Luis River before finally reuniting with the Van der Linde gang in late 1894.

Return to the Gang (1894-1899)

Upon her return, Rosa (19) found John (21) had relations with new gang member Abigail Roberts (17) in her absence.

The birth of young Jack in 1895 cemented their new family unit, leaving Rosa (20) to grapple with timing's cruel hand. That same year, she found brief solace in a relationship with newcomer Javier Escuella, though her unresolved feelings for John (22) prevented anything deeper from developing.

Present Day (1899)

As the gang flees the Blackwater massacre, Rosa's (24) world becomes increasingly complex. A near-fatal incident during a scouting mission in Colter with John (26) and Micah (39) ends with them separated in a brutal snowstorm. After wolves attack John and Rosa's horses, Rosa is thrown and left to freeze - until Micah Bell finds her. Their forced intimacy in an abandoned cabin, necessary for survival, reveals an unexpected depth to Micah's character and creates a complicated dynamic between them.

Finding comfort in cigarettes and her journal's pages, Rosa sketches her observations of life while carrying the weight of her secrets. The wedding portrait hidden among her drawings serves as a reminder of her legally binding ties to Salazar, a fact known only to few select people. Meanwhile, her father Miguel Herrera has allied with the Pinkertons and other bounty hunters, making escape to Mexico impossible for the gang even as the law closes in from all sides.

Rosa's present is a web of complex loyalties and emotions: her feelings towards Micah, unresolved feelings for John complicated by resentment over possible abandonment in the storm, and the ever-present shadow of her legally binding marriage to Salazar. Through it all, she remains one of the gang's most capable members as the prized scout, though the weight of her past and her father's relentless pursuit threatens to unravel everything she's built.

Physical Appearance

Natural Features

Long, raven-black hair typical of her Mexican heritage, often worn loose but sometimes in a practical braid for missions.

Striking emerald green eyes (a rare feature suggesting possible Spanish colonial ancestry).

Full lips and warm tan complexion characteristic of northern Mexico.

Hourglass figure combining the petite waist favored by 1890s fashion with natural curves.

Standard Attire

Fine cotton camisole in white or cream, worn in the relaxed frontier style with shoulder straps loosely draped

Handcrafted Mexican leather corset in rich brown, tooled with subtle traditional patterns

High-waisted black denim trousers

Quality black leather boots with modest heels, crafted for both riding and practicality

Often adds a fitted bolero jacket in dark leather for warmth or propriety

No spurs - relies on skilled horsemanship rather than artificial aids

Alternate Disguises

Maintains a collection of fine dresses and proper lady's attire for cons and heists

Can effectively impersonate both Mexican aristocracy and American society women

Notably uncomfortable in such fineries despite of her upbringing, wearing them only when absolutely necessary

Notable Details

Multiple concealed knife sheaths integrated into her clothing

Leather work shows subtle signs of Mexican craftsmanship

Maintains immaculate personal grooming despite camp life, she bathes daily be it in town or in the lake

Her appearance and dress reflect the complex cultural boundaries of the 1890s frontier:

Choice of trousers marks her as a woman challenging social norms

Quality of materials betrays her wealthy upbringing

Mix of Mexican and American elements in her wardrobe reflects her dual identity

Practical adaptations to outlaw life while maintaining elements of her aristocratic background

Carries herself with the natural grace of someone educated in proper deportment

Moves with the fluid awareness of a trained knife-fighter

Combination of refined features and practical dress creates a striking contrast

Beauty serves as both asset and camouflage in outlaw operations

Notable Observations

"Body built for sinning" - Micah Bell's crude but accurate description of her figure to Bill and Arthur

"Like a rose with hidden thorns" - Hosea's more gentlemanly assessment

"Moves like a lady, fights like a devil" - Common camp observation

Physiological Profile

Core Motivations

Protection of chosen family (gang)

Freedom from control: Not just from her father and husband, but freedom from all forms of constraint, including emotional bondage to the past

Reclamation of identity: Striving to define herself beyond her trauma and others' perceptions

Search for genuine connection: Yet simultaneously fears it due to previous betrayals

Need for agency: More than control—the fundamental desire to be the author of her own destiny

Pursuit of intensity: Drawn to experiences that make her feel alive when she otherwise feels like a ghost

Internal Conflicts

Life vs. Death: Resents being "forced" to live after nearly dying in Colter, creating ambivalence toward her own survival

Existence vs. Absence: Struggles with feeling present in her own life versus feeling like a spectral observer

Desire vs. Punishment: Uses relationships as self-flagellation for perceived failures

Independence vs. Belonging: Craves autonomy but yearns for connection

Past vs. Present: Cannot fully inhabit her present due to being haunted by her past

Self-preservation vs. Self-destruction: Oscillates between protecting herself and recklessly endangering herself to feel alive

Fears & Triggers

Being buried alive (from wedding night trauma)

Claustrophobia (from wedding night and childhood trauma)

Loss of control/agency

Betrayal by trusted figures

Being forced to return to Mexico

Power Dynamics

Subverts traditional female roles while maintaining feminine power

Uses beauty and refinement as weapons

Maintains control through calculated vulnerability

Employs silence as power move

Existential Concerns

The Ghost Complex: Feels she exists in a liminal space between life and death after her near-burial and near-freezing

Borrowed Time: Sense that she's living on time not rightfully hers, creating both guilt and fatalism

Displacement: Feeling of returning to a life that has moved on without her

Fragmented Identity: Uncertain if she's still the woman who left, the woman who returned, or someone else entirely

Existential Void: The sensation of being hollow, a vessel emptied of purpose and meaning after surviving things that should have killed her

Psychological Defense Mechanisms

Compartmentalization: Separates emotions from actions to function despite trauma

Risk-seeking behavior: Uses danger to feel alive when emotional numbness takes hold

Emotional detachment: Maintains distance to prevent further hurt

Strategic vulnerability: Reveals weakness selectively as a form of control

Redirection of pain: Transforms emotional pain into physical action

Defiant intimacy: Uses physical connection divorced from emotion as proof of autonomy

Relationship Patterns

Seeking punishment: Attracted to Micah partially as self-punishment, using his darkness to reflect her own

Validation through danger: Values relationships that carry risk, as they confirm her existence

Fear of replacement: Deep-seated anxiety about being substituted, triggered by John's relationship with Abigail

Trauma Responses

Suspended grief: Never properly mourned the life she lost in Mexico or the relationship with John

Hypervigilance: Constantly scanning for threats to her autonomy

Numbing: Alternating between emotional flooding and complete detachment

Physical flashbacks: Experiences claustrophobia and panic in enclosed spaces due to burial trauma

Core Beliefs

"I am a walking ghost in a life that no longer belongs to me"

"Real love is not meant for someone like me"

"To be vulnerable is to invite destruction"

"Control is survival; surrender is death"

"I am most alive when dancing with danger"

"My existence is borrowed time I don't deserve"

"Freedom demands sacrificing connection"

"Death is more honest than love" - inscribed on her blade

Self-Image Paradoxes

The Untouchable Who Craves Touch: Presents as emotionally impenetrable while yearning for genuine connection

The Survivor Who Resents Survival: Pride in her resilience conflicts with resentment at being forced to endure

The Phantom Lover: Present physically but emotionally ethereal in relationships

The Living Dead: Biologically alive but spiritually suspended between existence and non-existence

Relationships and Character Dynamics (To be updated as I write

John Marston: A profound, unresolved love marked by tragic timing and missed opportunities; a connection that pulls them like magnets despite their circumstances keeping them apart.

Javier Escuella: A relationship built on shared cultural understanding and genuine care; he offers Rosa comfort and connection to her heritage, while she values his devotion despite her heart belonging elsewhere.

Micah Bell: A volatile, complex dynamic marked by mutual recognition of shared darkness; she's drawn to his brutal honesty and decisive action, using their dangerous attraction as a form of self-punishment.

Arthur Morgan: A deep, protective friendship with unspoken depths; he serves as her confidant and voice of reason, seeing her true self while harboring feelings he never expresses.

Dutch van der Linde: Respect mixed with growing wariness; she values his vision but increasingly questions his judgment.

Hosea Matthews: Mutual respect and paternal care; he recognizes her intelligence and offers wisdom without judgment.

Abigail Roberts: Tense resentment and rivalry; their relationship is strained by Abigail's perception of Rosa as a threat to her family with John.

Jack Marston: Gentle nurturing; she teaches him and shows him patience, perhaps seeing in him the child she might have had with John.

Susan Grimshaw: Mutual respect and understanding between strong women; they share a code of looking out for each other without needing words.

Charles Smith: Deep kinship built on mutual respect and shared temperaments; they enjoy a comfortable silence together free from pretense, often hunting as a pair where neither feels pressured to fill the quiet with empty words. While Rosa's scouting skills have earned her reputation in the gang, she privately acknowledges how much her tracking abilities have improved under Charles' patient guidance, creating a bond of reciprocal appreciation and trust.

Mary-Beth: Sisterly affection; Rosa humors Mary-Beth's romantic notions while protecting her from harsher realities.

Karen Jones: Frank camaraderie; they share blunt honesty and a taste for whiskey, appreciating each other's no-nonsense approach.

Molly O'Shea: Complex sympathy mixed with frustration; Rosa sees in Molly's devotion to Dutch echoes of her own past with powerful men, recognizing how her youth and potential are being wasted, while simultaneously resenting how Molly directs her insecurities at other women instead of confronting the real problems in her relationship with Dutch.

Reverend Swanson: Cold contempt; Rosa has little sympathy for his self-destructive behavior and sees his religious position as hypocritical given his constant state of intoxication.

Leopold Strauss: Deep moral opposition; she actively despises his predatory loansharking practices and has repeatedly lobbied Dutch to remove him, offering to personally replace his income through more honorable means to support the camp.

Combat Style, and Weapons

While Rosa carries a Cattleman revolver like other gang members, this is purely for self defense rather than carrying out jobs. Her true expertise lies with bladed weapons. Her preference for knives reflects both her upbringing among Nuevo Paraíso's criminal families and her philosophy that violence, when necessary, should be witnessed up close rather than from the safe distance of a gun barrel.

Primary Weapon

Her signature weapon is an ornate dagger inherited from her maternal grandmother, who survived the bloody feuds between the powerful families of northern Mexico. The blade is Damascus steel, imported from Europe by her grandfather, with intricate gold inlay work depicting serpents winding around the blade - a common motif among the wealthy families of Nuevo Paraíso. The handle is carved obsidian from the mountains of Diez Coronas, polished to a mirror finish. Along the spine of the blade, elegant Spanish script reads "La muerte es más honesta que el amor" (Death is more honest than love).

Combat Philosophy

Rosa's fighting style emerges from the traditions of Mexican knife-fighting families, particularly the techniques passed down through generations of women who needed to defend themselves in a world dominated by violent men. She employs the "estilo tapado" (concealed style) - using her appearance and perceived vulnerability to get within striking distance. She has earned a reputation for ending conflicts before they truly begin, her blade finding its mark while her target is still underestimating the beautiful girl before them.

Psychological Elements

The necessity of close combat forces her to confront death directly, reflecting her broader philosophy about facing rather than fleeing from difficult truths

Her expertise with knives represents a reclamation of power—the same proximity that once made her vulnerable now becomes her strength

The grandmother's dagger serves as a connection to her mother's lineage of strong women, helping her maintain her identity despite her father's and husband's attempts to break her spirit

Her preference for killing up close comes from a need to witness and own her actions fully, refusing the emotional distance that firearms provide

The blade's inscription about death being more honest than love reflects her experiences with betrayal, from her father's broken promises to her forced marriage, to John moving on with Abigail while she was trapped in Mexico fighting for her life.

Impact on Relationships

Her weapon choice affects her interactions within the gang in profound ways. Those who witness her fight often find themselves unnerved not by the violence itself, but by the intimate, almost gentle way she approaches it. Her ability to maintain complete calm composure while engaging in close-quarters combat creates a dissonance that many find disturbing, particularly given her refined upbringing and seemingly reserved demeanor.

Notable Aspects

Carries multiple concealed blades in traditional Mexican fashion: one in her boot, another at her lower back

Known for throwing knives with lethal accuracy, a skill learned from her grandmother's house servants

Takes meticulous care of her grandmother's dagger, cleaning and sharpening it daily in an almost meditative ritual

Has never lost her grandmother's blade in a fight, viewing it as an extension of her family's legacy of survival

Her killing style reflects the fury she conceals towards men in particular - a particularly brutal knife-fighting technique of multiple rapid stabs, designed to ensure the target cannot survive to seek revenge

Fighting Style

Her combat approach relies heavily on speed and misdirection rather than brute force, incorporating elements of both European fencing (learned during her privileged upbringing) and traditional Mexican knife-fighting techniques. She moves with the grace of someone trained in proper dancing - a skill required of wealthy Mexican ladies - using her opponent's momentum against them while closing to knife-fighting distance. Her style particularly reflects the "baile de los cuchillos" (dance of knives) tradition passed down through generations of Mexican women who had to learn to defend themselves while maintaining the appearance of proper ladies.

[bbdoll]

“saw this legacy challenge in the tags under @ssoulpeace. Since I can’t play a legacy to save my life I tweaked it to my pov and needs so...”

Studio Ghibli Challenge

Year 1 Kiki’s Delivery Service (tweaked)

You’ve spent your entire life living in the bustling suburbs and crave the slower pace of a peaceful homestead in the countryside The catch is that the serene country is bombarded with mundane task and chores, and you have only one suitcase of items and your beloved cat. How will this work out? Maybe that weird sim you keep running into could help you out…

Reward Traits: Creative Visionary, The Knowledge, Marketable  Aspiration: Lady of the Knits

- Start in Henford-of-Bagley - You must live in a cottage with three negative lot traits, and you cannot move or change this said lot traits - Any positive lot traits are banned. - You must start with a cat in your household. - Max your canning, floral and knitting skills (for daily deliveries). - Buy a bee box + bike for deliveries. - Carry forward the Daily Fairing Friend Tradition - offering Finchwick favors. - Attend all Finchwick festivals, and I do mean all of them, unless something more important gets in the way (i.e. work or parenting). - You can have two kids maximum.

Posting extremely relaxed gameplay from time-to-time. If that’s not your thing, just block the tag sgc. 🌻

“the distinguished gentleman fur baby is an edit of Bandido by @saartje77 and he owns my blog now.”

[danielwege-blog]

revólveres, fuzis, matemática e explosões

News https://portal.esgagenda.com/revolveres-fuzis-matematica-e-explosoes/

revólveres, fuzis, matemática e explosões

Divulgação: 20th Century Studios

O personagem central de Operação Vingança não usa revólveres ou fuzis, ele prefere a matemática como sua maior arma

Operação Vingança: revólveres, fuzis, matemática e explosões.O justiceiro de Operação Vingança acrescenta uma nova arma na caçada aos bandidos, além dos tradicionais fuzis e revólveres que costumamos ver nos filmes de ação. A pistola automática ainda aparece na tela, mas a arma favorita dele é a matemática e muitos explosivos.

Veja também:

Os atores Rami Malek, Laurence Fishburne, Rachel Brosnahan e Caitríona Balfe conversaram, via Zoom, desde Los Angeles, com um grupo de jornalistas localizados em diferentes países. O Observatório dos Famosos estava presente. A produção não permitiu o uso do vídeo e do som da coletiva de imprensa.

O submundo de Londres, Paris, Istambul

O ator Rami Malek ganhou o Oscar pela interpretação do líder da banda Queen, Fred Mercury, no filme Bohemian Rhapsody.

É a primeira vez que o intérprete trabalha como produtor. Ao escolher os locais das filmagens, ele preferiu evitar os conhecidos cartões postais que costumamos ver em filmes de espionagem. A opção dele foram lugares que retratam mais a marginalidade daquelas cidades, que raramente aparecem nos filmes e que os turistas não costumam freqüentar. 

ASSISTA o trailer legendado de Operação Vingança

RAMI: Havia vários lugares onde poderíamos ter filmado, predominantemente, o núcleo do filme. Mas eu decidi que, se conseguíssemos fazer de Londres nosso centro, isso seria um feito extraordinário. Algumas das melhores equipes que você poderia pedir. A história cinematográfica de Londres remonta a —

LAURENCE: Sim. Sim.

RAMI: Quero dizer, quais são os seus favoritos?

LAURENCE: Remonta aos anos trinta.

RAMI: Os anos trinta. Sim.

LAURENCE: Quero dizer, isso remete aos primeiros dias de Hitchcock (Alfred Hitchcock, mestre de filmes de suspense como Disque M Para Matar e Janela Indiscreta, entre outros).

RAMI: Certo. Sim.

LAURENCE: Sabe, filmagens em Londres.

RAMI: Sim.

LAURENCE: Mas sim, quero dizer, como um centro, as equipes são algumas das melhores do mundo.

RAMI: Sim.

LAURENCE: Sempre foram. Obviamente, Paris é outra grande cidade cinematográfica. Eu amei o uso de [risos] você sabe, Virginia. [Risos] Tipo, Langley, Virginia, quem faz isso? Ninguém faz isso.

RAMI: Ninguém faz isso.

LAURENCE: Sabe? Então, sim. Quero dizer, uma das coisas que torna este filme muito empolgante é que ele se passa em todo o mundo e te leva a lugares que você nunca visitou antes.

RAMI: E quero dizer, também, com James Hawes, nosso diretor, que você conhece de Slow Horses, que eu acho que todos nós ficamos tão impressionados.

LAURENCE: Mm-hmm.

RAMI: Não eram aquelas fotos típicas e icônicas de cartão-postal da Catedral de São Paulo.

LAURENCE: Certo. [risos]

RAMI: Quero dizer, você vê a St. Pancreas em Londres, mas não está vendo a Torre Eiffel. Você vê um pouco mais de dureza de cada cidade que visitamos, de Marselha, Istambul. Em cada cidade que visitamos, tentamos capturar elementos que você normalmente não fotografa.

LAURENCE: Certo.

PRODUTOR X ATOR

Rami Malek conta que trabalhar ao mesmo tempo como produtor e ator no filme teve um impacto na atuação dele.

RAMI: Eu acho que isso teve um impacto na minha performance como ator de várias maneiras. Mas eu simplesmente adoro ver as coisas do começo ao fim, passando por cada elemento. Espero que não seja um aspecto perfeccionista, mas percebi, estávamos falando sobre isso, em “Bohemian” e “Bond”, lembrando momentos em certas câmeras, certas lentes em outros atores com quem eu conversava com os diretores, ou na pós-produção, querendo ter certeza de que conseguimos o melhor do melhor.

LAURENCE: Mm-hmm.

RAMI: E eu acho que ouço muitos atores que entram na sala de edição, e pensei, como eu poderia fazer isso sem ter que fazer de uma maneira meio sorrateira nessa situação?

LAURENCE: Certo. Sem ser um intruso.

RAMI: Bem, exatamente.

LAURENCE: Sim.

RAMI: Sim.

LAURENCE: Exatamente. Sim.

RAMI: Sim. E a maneira de fazer isso foi começar pela iteração. E foi bom ver isso se desenvolver, trabalhar no roteiro com Dan Wilson e, claro, com o grande Hutch Parker e James Hawes, sentar dia após dia e tentar fazer com que isso parecesse o mais autêntico e único possível do começo ao fim.

RAMI: E não há nada como entrar em uma mixagem de som no final do filme e ver como você pode elevar isso para a tela grande também.

Hacker

Na produção atual, o astro Rami Malek tem a oportunidade de voltar a um tipo de personagem que colocou a carreira dele no mapa. Foi na série Mr. Robot, Sociedade Hacker, no ar de 2015 a 2019. Rami vivia um jovem engenheiro de segurança cibernética em Nova Iorque.Ele é recrutado por um indivíduo misterioso conhecido como Mr. Robot. O objetivo do grupo é cancelar todas as dívidas dos consumidores,numa revolta contra a ganância do mundo das grandes corporações.

O ator comentou a volta ao mundo cibernético, agora numa escala maior no cinema.

RAMI: Eu me lembro que houve um momento de despedida daquele personagem, Elliot Alderson, que foi bastante triste, pois sei que todos nós já tivemos esses momentos —

LAURENCE: Sim.

RAMI: — em que você meio que tem que se afastar. Ou eles vivem com você até certo ponto, e você os carrega com você. Eu não sei como todos nós lidamos com isso. Mas eu estava um pouco relutante em deixá-lo ir. E não vou dizer que é uma iteração, mas há semelhanças, é claro. Eu me atraio por aqueles personagens que estão nessas, você sabe, interseções frágeis de se sentir quebrado, talvez brilhante ao mesmo tempo.

LAURENCE: Mm-hmm. Mm-hmm.

RAMI: E passando por algum tipo de luto e perseverando. Tantos elementos nele eram ricos e complexos, me lembraram o Elliot, mas de uma maneira diferente.

RAMI: Tantos elementos nele eram ricos e complexos. Me lembraram o Elliot, mas de uma maneira diferente. Ele tem essa esposa magnética e incrível que permitiu essa linda história de amor. E o que a Rachel faz de forma tão fluida, fácil e brilhante, apenas por conta de sua presença na tela e, como intérprete, eleva isso a um nível que, sim, é quase sobrenatural às vezes. Então eu pensei que ela seria a parceira perfeita.

RAMI: E isso leva a um lugar onde, você sabe, o Elliot provavelmente não seria capaz disso, e o Charlie é capaz. E ela vê algo nele que é igualmente magnético de certa forma, que parecia muito real. E se você pudesse pegar tudo isso e permitir que, apenas a combinação de tudo, galvanizasse e colocasse em um thriller de ação.

RAMI: Eu pensei, que maneira de transcender o gênero e torná-lo autêntico.

Vingança x Limites humanos

O ator Laurence Fishburne lembra que o filme não é apenas uma estória sobre vingança. A trama mostra também como os seres humanos são capazes de superar os seus limites e seguir em frente, mesmo quando enfrentam grandes obstáculos a sua frente e as chances de sucesso são poucas.

LAURENCE: Uma pessoa comum seria colocada em um conjunto extraordinário de circunstâncias, certo? Essa é uma das coisas que todos nós, como atores, estamos buscando. É uma das coisas que achamos realmente atraente, contar as histórias de pessoas aparentemente comuns que precisam se elevar a circunstâncias extraordinárias, como todos os seres humanos têm que fazer na vida, e, você sabe, isso acontece.

LAURENCE: São todas as grandes coisas que temos a oportunidade de fazer como atores repetidamente, então sim.

LAURENCE: Sim. Cada um desses personagens tem uma trajetória. Cada um desses personagens realmente precisa mudar. Sim, e crescer.

CAITRIONA: Sim, quero dizer, acho que uma das coisas bonitas sobre o filme é que ele levanta essa questão sobre, você sabe, vingança e justiça e qual é a diferença? E a vingança é a coisa que vai te trazer consolo? Quero dizer, acho que quando você está com dor e quer que alguém responda pelo terrível ato que cometeu, às vezes você pode seguir cegamente em busca de vingança.

CAITRIONA: E eu acho que é uma pergunta tão interessante que eles fazem neste filme, se esse é o caminho certo, ou se a justiça é a coisa que, no final das contas, vai te dar algum consolo? E eu acho que a jornada de Heller nessa descoberta é realmente interessante.

RACHEL: É realmente inspirador ver alguém que é tão inesperado em um papel como este, não apenas enfrentar o desafio ou ser levado ao limite, mas também fazê-lo de uma maneira que utilize seu conjunto de habilidades único.

CAITRIONA: Mm-hmm.

RACHEL: Sabe, Heller se mantém fiel a quem ele é ao longo de todo o filme, mesmo quando isso é questionado. E assim, o jeito dele não é o mesmo que o jeito de Laurence, sabe? E há uma espécie de confiança em si mesmo. E eu acho que para o público, é bastante inspirador ver alguém fazer isso em um filme como este.

Qual é a trama do filme?

Charles Heller, interpretado pelo ator Rami Malek, é um criptógrafo da CIA. A especialidade dele é codificar e decoficar informações, ou seja, ele transforma dados em códigos que só podem ser lidos por quem tem autorização. Quando a esposa dele é assassinada por um grupo terrorista em Londres, ele descobre que seus chefes não vão fazer nenhum esforço para capturar os responsáveis para proteger outros interesses.

Ao descobrir que o chefe e o supervisor estão escondendo uma operação military ilegal, ele usa a informação para receber treinamento para ir a campo atrás dos bandidos. Sózinho e agora perseguido por agentes corruptos da central de espionagem americana, Charles embarca em uma missão para caçar os assassinos de sua esposa.

Quem está no elenco?

Rami Malek (Bohemian Rhapsody, Mr.Robot) faz o papel principal.Ele também é um dos produtores. O elenco tem também Laurence Fishburne (Matrix), Rachel Brosnahan (Maravilhosa Sra Maisel), Caitriona Balfe (Belfast), Jon Bernthal (O Contador 1 e 2), entre outros.

O diretor inglês James Hawe é conhecido pelo seriado de espionage Slow Horses. Outros trabalhos dele incluem o seriado Black Mirror (Espelho Preto), Penny Dreadful e Doctor Who, entre outros.

Mais detalhes sobre o filme Operação Vingança:

https://disney.fandom.com/pt-br/wiki/Operação_Vingança

Jânio C.V.Nazareth, Los Angeles

Source link

[twohitgames]

Bandit Trap es anunciado y publica su beta abierta

Durante la presentación de primavera de Future Games Show, PM Studios y la desarrolladora PICOMY revelaron que Bandit Trap, un juego de búsqueda de tesoros 3 contra 1 donde los jugadores asumen el papel de bandidos conspiradores o de malvados defensores del hogar, ha abierto el registro para su próxima beta pública. Un nuevo tráiler que muestra la jugabilidad diabólicamente divertida acompañó el…

[fuckedbunny]

A day in the studio with: Bondoso Bandido aka Henrique Hermes

[bruneiros]

notes on 'birthday' (1994)

Birthday (Sünnipäev) is a short film by janno põldma, apparently drawn by children. i haven't found much in the way of information about this short, the process of its creation and so on and so forth. that piece of information, however, is part of what makes it as significant as it is to me.

Matou a família e foi ao cinema is a film by júlio bressane. it is roughly an hour long, and is an important work in the cinema marginal/de invenção movement in brazil. violence is a constant throughout this film, which feels very narratively and structurally loose. the same can be said about other films within this movement, such as those by rogério sganzerla (O bandido da luz vermelha; Sem essa, Aranha). watching Birthday, i asked myself what would someone like Sganzerla or Bressane would think of the short.

children's media can often misunderstand children. that is especially the case when it's made by adults who have forgotten what was it like to be a child and see it strictly through the lens of profit, pedantic pedagogy and so on. last week, i saw a lecture by a studio's producer who showed those in attendance a few shorts made for children about my city's history. robotic voice acting, lifeless writing, sloppy animation, etc. when the credits rolled, i was impressed at how many people were involved in the process and that that was sponsored by quite a few companies. that felt disrespectful to children or to a younger audience, who deserve more than just slop that fails to take into account their intelligence, sensibilities and so on.

Birthday is an onslaught of cartoonish violence with a strong melancholy hovering over it. it reminds me of the aforementioned Sganzerla and Bressane, but also reminds me of the traffic jam sequence at the very start of Godard's Weekend.

our protagonist is at their birthday party, which is soon interrupted by a strange force that leads to violence. the atmosphere prior to that is already disconcerting by the odd framing choices and the high-pitched squeals that make for the character's voices.

as the film progresses, car crashes, shootouts and an overall bleak atmosphere is constant. whatever joy this film had is over, and the melancholy becomes even more apparent: whenever the main character is alone, their movements are slow, taking time to go from one point of the screen to another, with specific scenes being arranged from a top-down perspective reminiscent of some indie games i'd download for free years ago.

when it all ends, the children who drew this show up onscreen. make of this film what you will, but i'll try to resist any temptations to look at this from a "loss of innocence" angle. too cliched, and i know i was a kid and i know there's a couple of things about children that didn't change. some things, like violence, can have little to no weight, especially when in the context of a cartoon. and for as madcap as the mayhem on this short is, it's still melancholic. i wonder if that is a side-effect, a result of me looking at this from the lens of an adult.

[chaienes]

Lee #ElHombreFantasma 2 - El Libro de Los Muertos.

"Drácula conoce a Harry Potter".

XV - LA MAGIA DEL BIEN

EXTRACTO

De repente, el joven se materializó. Su cabello se volvió blanco y, como se recibieran electricidad estática, se pusieron de punta. Las pupilas doradas y los ojos llenos de fuego expresaban un poder jamás visto por aquellas personas llenas de terror.

— ¿Qué está pasando? ¿Es un demonio venido del infierno?

Alexia respiraba hondo para no desmayarse. Creyó que su novio estaba realmente poseído cuando le vio flotar por el aire elevándose por encima de todos.

— ¡Disparad! ¡Vamos! ¡Disparad! — Decía el jefe aterrorizado.

Phillip dijo con los ojos fijos mostrando autoridad:

— ¡Basta!

Levantó las dos manos con las palmas giradas para arriba levantando a los bandidos a varios metros de altura. Miró firmemente las armas que se volvieron incandescentes haciendo que todos ellos las soltaran de sus manos. Después, con un nuevo gesto, torció los cañones del armamento. Como por encanto, hizo que los hilos de los postes próximos se soltaran y amarró a los sujetos...

#scifi #fantasy #ott #studios #book #film #booktok #booktokbrasil #booktokes #booktokesp #booktokespanol #booktokusa #webtoon #scenicrights #originalcontent #publisher #hbo #netflix #kindle #disneystudios #paramount #transmedia #amreading #editora #reading #wattpad

https://lnkd.in/dfQ6_ebY

https://lnkd.in/g-xSfi4

[agendaculturaldelima]

#ProyeccionDeVida

🎬 “BORDERLANDS”

🔎 Género: Ciencia Ficción / Acción / Comedia / Futuro Post-Apocalíptico / Videojuego

⌛️ Duración: 102 minutos

✍️ Guión: Eli Roth, y Joe Crombie

📘 Historia: Eli Roth

📷 Fotografía: Rogier Stoffers

🎼 Música: Steve Jablonsky

🗯 Argumento: Lilith, una infame cazatesoros con un misterioso pasado, regresa a su planeta natal Pandora para encontrar a la hija desaparecida del poderoso. Así forma una inesperada alianza con un heterogéneo equipo de inadaptados: Roland, un antiguo mercenario de élite ahora desesperado por la redención; Tiny Tina, una demolicionista salvaje preadolescente; Krieg, el musculoso protector de Tina; la científica Tannis; y Claptrap, un robot muy peculiar. Héroes extraños que tienen que luchar contra monstruos alienígenas y peligrosos bandidos para buscar y proteger a la niña desaparecida, que puede tener la clave de un poder inimaginable. El destino del universo podría estar en sus manos, pero lucharán por algo más: el uno por el otro.

👥 Reparto: Ariana Greenblatt (Tiny Tina), Gina Gershon (Mad Moxxi), Cate Blanchett (Lilith), Bobby Lee (Larry), Jamie Lee Curtis (Dr. Patricia Tannis) y Kevin Hart (Roland).

📢 Dirección: Eli Roth

© Productoras: Arad Productions, Picturestart, Gearbox Studios, Lions Gate Films & Media Capital Technologies.

🌎 País: Estados Unidos

📅 Año: 2024

📌 ESTRENO:

📆 Jueves 08 de Agosto

📽 Cartelera Nacional: Cineplanet / Cinemark Perú / Cinépolis / Multicines Cinestar

[angeldecuir]

BANDIDOS - beer labels by Natasza Salanska and ONiONA Studio

Ideas and inspiration blog

https://www.angeldecuir.com.mx

[chaienes]

Lee #ElOtroLado de #ChaieneSantos.

XVIII - UN NUEVO ROMANCE

EXTRACTO

— Por favor, no hagas eso. Este colgante tiene un gran valor sentimental para mí.

El bandido se rio burlonamente y soltó la mejilla de Bruna, arrancándole el cordón precioso del cuello. En este momento, otro hombre entró en el local. Un extraño con gafas de sol.

— ¡Eh, eh! Calma. No puedes ir entrando así. ¡Levanta las manos que esto es un asalto! – dijo uno de los marginales apuntándole el arma al extraño que había entrado en la cafetería.

— Esta área es mía y estáis invadiendo mi territorio – dijo Samuel con la voz firme de un hombre que usaba gafas de sol, barba y gorra como disfraz.

— ¿Quién te piensas que eres, tontorrón? Nosotros robamos donde queremos. Levanta las manos o te mando plomo. – dijo el jefe de la cuadrilla sabiendo que había uno más de ellos allí afuera como elemento sorpresa.

— Lo siento mucho, pero voy a acabar con todos vosotros. – dijo Samuel girándose la visera de la gorra hacia atrás.

— ¡Eres un bocazas, payaso!

Tom, que llevaba un revólver acoplado al tobillo, y Bruna, se asustaron y, ante la eminencia de una pelea, se agacharon detrás de la mesa, así como los otros clientes.

El personal que trabajaba allí corrió y todos se metieron detrás de la barra del bar, pues sintieron que la cosa se iba a poner fea, y uno de los bandidos que apuntó el revólver en la dirección del extraño disparó. Él, con un movimiento rápido se giró, dejando pasar la bala. Los marginales abrieron los ojos de par en par al ver aquello. Los clientes también...

Más tiros y de nuevo él esquivó los proyectiles como si los viera moverse en cámara lenta, sabiendo la trayectoria de estos. Bajó el tronco, dejando la bala pasar y se desviaba de los disparos que venían en su dirección.

#cienciaficción #scifi #Paramount #Wattpad #amazonkindle #ott #streaming #editora #publisher #livros #studios #film #amreading #booktok #booktokbrasil #booktokespanol #HBO #Sonypictures #disneystudios #Netflix #fantasy #scenicrights #executiveproducer #amazon #kindle

https://lnkd.in/dWNd-i9H

[stephangiannini]

A throwback to my Camino de Santiago adventures, painted on location in Larrasoana,Spain, in the Basque region. This town is in the foothills of the Pyrenees mountains, one of the first places you stop if you start the Camino France from Saint Jean de Pied de Port, France. This bridge is called the Puente los Bandidos, or the bridge of the bandits. This was a common place for medieval pilgrims to get robbed. It looks very romantic, although I was standing next to a huge construction dumpster and parking lot. I touched this up just a little bit in the studio and was much happier with it. 9 x 10” or 22 x 25 cm, oil on paper.

[anniversary-magazine]

The Past, Present, and Future of UNNO

From Uno, the Spanish word for one comes unno: UNNO.

UNNO refers to the idea that Latin American cultures, countries, and peoples share a common heritage that unites them. It aims to reach back to the discoverers, the makers, and the narrators who came before them, bringing the brilliance and ingenuity of their forebears into the modern landscape of collectible design.

Founded by María Dolores Uribe and Laura Abe Vettoretti in 2019, UNNO is a synergetic partnership between two enterprising women, as much as a partnership between art and design, classicism and modernity, and cultural and historical significance.

A regarded designer, interior design director, and sculptor, the influence of Laura Abe Vettoretti's creative sensibilities are plain to see in the oeuvre of UNNO. The sentimentality and reverence for her heritage are evident in her material work, a significant facet of her curatorial efforts.

María Dolores Uribe's background is also in design, being herself the co-founder of a thriving textile and furniture showroom studio. Uribe's deftness at navigating the commercial design industry's glut is of particular value when it comes to the refined nature of UNNO's vision and in establishing the clarity of the project's overarching ethos.

UNNO launches later next month, taking the shape of an innovative online project — the first digital design gallery of its kind. It is a virtual exhibition space that intends to defy borders both geographic and individual, purpose made to highlight and celebrate contemporary Latin American design.

“Since we are all citizens of the world,” says UNNO co-founder Laura Abe Vettoretti. “The project aims to share with every one of us — regardless of our nationality — the exquisite potential of contemporary Latin American artists, as well as the millenarian wisdom and craftsmanship that influences their work.”

UNNO’s debut exhibition is called Leitmotif — Life to the Myth. A celebration of shared identity and rich and storied heritage, Vettoretti and Uribe have curated a revelatory collection that, in their words, "…keeps our ancestors alive through their tectonic significance, adding the power of our authentic identity as inhabitants of the contemporary world."

The collection was shot at 32 General Prim, a Porfirian house from the beginning of the twentieth century located in the Colonia Juarez neighbourhood of Mexico City. The house survived the Mexican Revolution and later became the home of a tobacco brand, before being restored by renowned architect Alberto Kalatch in 2014.

Chosen by Uribe and Vettoretti as the perfect frame for their ideas, the space, they say, “is a place that celebrates historical, cultural, and artistic values. Its main courtyard, double heights, and vegetation rooted in the building caught our eye,” says Vettoretti. “This house immediately established a connection with the mysterious and poetic aura that characterizes UNNO.”

Among the talented artisans and makers showcased in the exhibition will be Mexican design studio Bandido Studio, C. S. Nuñez, an industrial and interior designer, Abe Vettoretti — the artist alias of Laura Abe Vettoretti — along with Ian Felton.

Bandido Studio was founded in 2016 by Alejandro Campos and Joel Rojas, who are both industrial designers. Based in Puebla in south-central Mexico, the studio's primary focus is lighting and furniture design inspired by the pair's shared cultural heritage, with a dedication to promoting the local economy and the development of Mexican craftsmanship.

C. S. Nuñez, also based in Mexico, aims to create timeless yet contemporary pieces that add value to posterity. His collection in the showing is devoted to the sensations and experiences of human nature, discovering vestiges of ancestral cultures, and bonding those feelings with the modern era.

Brooklyn-based multi-disciplinary creative Ian Felton's work integrates industrial design, furniture design, and sustainable design. Felton's recent work has seen a focus on exploring the juxtaposition of pre-Colombian animism with the modern urban landscape we encounter today.

The interconnected values, techniques, and intentions behind each facet of the overall Leifmotif 2020 UNNO collection are a mindful and loving dedication to the makers and traditions that came before. In a bare sense, it seeks to connect the modern-day with ancestral traditions through practical methods and primary materials.

Some of the materials consciously used throughout the collection — which contains pieces including lamps, tables and side-tables, screens, shelves, floor and wall textiles, and various objets d'art — are metals, local stone, jade, obsidian, lava rock, and fiberglass. 

In celebration of their opening and debut collection, we spoke with UNNO co-founders María Dolores Uribe and Laura Abe Vettoretti about bringing Leifmotif 2020 — Life to the Myth together, and their hopes for the future of the platform:

Tell us a bit about yourselves, your backgrounds, and how you came together as UNNO?

Laura is an architect and artist with a high sensitivity for life poetics through design, which translates to every aspect of her life.

Maria Dolores is a designer who travels the world looking for the most exquisite designs and pieces of art.

We came together as UNNO after lengthy discussions about design, and noticing the portrait of Latin American design to the world is not always how we see it — pure, deep, raw, mystic, and elegant. We aimed to connect and capture our transcendental roots and give rise to a cultural breaking point, portraying the intellectual assets of our represented designers as a reliable sample of contemporary collectible design.

You collaborate with a lot of young and upcoming designers; what is it like working with emerging talents? How do you select the creatives you work with?

It has been a fantastic journey. The gallery is run by and for young talents and conveys a constant exchange of ideas, which has nurtured the gallery itself.

We select our creatives when we notice unique poetry in them and an authentic passion for design. Getting to know them in person is groundbreaking for us; the way they communicate their drive for design and life itself is essential.

We seek perfection in execution, a break from the status quo, and experimenting with unique materials.

What would you describe as the connecting tissue between the designs and pieces that come together under UNNO? What elements or ideas are consistent or defining?

All the pieces under UNNO are in homage to our culture and land: the abstraction and rawness of the visual language inherited by our forefathers resulting in design pureness; the connection between time, space, and art, resulting in pieces that speak of spatial and sempiternal memories; historical, essential tremors; and the perfection of executing pure poetry.

Are the designers' pieces exclusive to UNNO, or can they also be curated from the designer's pre-existing works?

Most of them have been created exclusively for UNNO, and the pieces added from pre-existing collections aim to bring a curatorial contrast.

Once chosen to be part of the collection, is UNNO involved in the production process of a piece, or are you only acting from a design standpoint?

We are very involved in the production process. We like to learn about the pieces creation process so that we can translate it to our clients. Also, working hand in hand with the maestros and their millenarian knowledge is a pleasure. 

Do you follow any fundamental principles or guidelines when curating pieces, or would you say it is more of a subjective, organic process? Or perhaps somewhere in between?

It's a little bit of both. We have specific guidelines, but then when you see the pieces and start noticing particular dialogues between them, it becomes very organic. It is best to have a plan, but then the symphony creates itself with all the elements involved — such as the architecture of a space and natural light.

Any hopes or desires for the future of UNNO?

We hope to keep nurturing our communities and placing Latin America at the top of collectible design and to add value to the collections of renowned collectors. To create amazing bespoke projects along with the best architecture and design firms, expose in the top exclusive art and design fairs, and open our next physical galleries in Italy, in the Middle East, Asia, and the US.

All images by Alex Lesage, unless credited otherwise.

[tenderlysharpmidain]

El Bandido Dimensional

a zombie mariachi playing the guitar, coco style, remember me ::5 Character Concept Art::4 creative, expressive, detailed, colorful, stylized anatomy, digital art, 3D rendering, unique, award-winning, Adobe Photoshop, 3D Studio Max, V-Ray, professional, glibatree style, well-developed concept, distinct personality, consistent style::3 deformed, simple, undeveloped concept, generic personality, inconsistent style::-2 --ar 2:3 --v 4

midjourney

[odk-2]

Georgie Fame and The Blue Flames - Get Away (1966) (AKA "Getaway") Clive Powell (Georgie Fame) from: "Get Away" / "El Bandido" (Single) "Get Away" (LP)

R 'n' B | Jazz/Pop

JukehostUK (left click = play) (320kbps)

Personnel: Georgie Fame: Vocals / Hammond Organ Colin Green: Guitar Glen Hughes: Baritone Sax Peter Coe: Alto Sax Eddie "Tan Tan" Thorton: Trumpet Cliff Barton: Bass Speedy Acquaye: "African" Percussion Mitch Mitchell: Drums (Later of The Jimi Hendrix Experience)

Produced by Denny Cordell

Recorded: @ The EMI Studios (?) in London, England UK

Album Released: March, 1966

Single Released (UK) June 17, 1966

Columbia Records (UK) Imperial Records (USA)

[tarditardi]

Meet Music 2021, 7 e 8 settembre: qual è il futuro della musica?

Meet Music torna a mettere in contatto giovani talenti con artisti e professionisti d'esperienza. L'edizione che prende vita martedì 7 e mercoledì 8 settembre in diretta su Facebook.com/meetmusic.it  dal Teatro Fonderia Leopolda di Follonica (GR) mette insieme come sempre artisti, discografici, dj, musicisti, PR, giornalisti (...).  

Il 'format' di Meet Music ogni anno cambia, ma il focus in fondo è sempre lo lo stesso: chi da tempo lavora in ambito musicale sul palco, in console o dietro le quinte si mette a disposizione di chi solo oggi si sta affacciando sulla scena musicale. Nato come evento dedicato a dj e club, Meet Music oggi abbraccia ogni scena musicale.

Quello che accade durante la manifestazione è uno scambio reciproco di energie, di know how e di sorrisi che spesso dà via a rapporti personali e di lavoro che si consolidano nel tempo. Negli anni, tra gli altri, hanno partecipato al Meet Music artisti come Claudio Coccoluto, Benny Benassi, Albertino, Ralf, Tommy Vee, Simon De Jano e Luke Degree (Meduza), Federico Scavo e professionisti come Livia Iacolare (Strategic Partnerships Manager Media di Facebook) e Matteo Fedeli (direttore sezione Musica di SIAE).

L'edizione 2021 di Meet Music, la quinta, dopo il posticipo da giugno a settembre 2021 dovuto ad un problema tecnico alla location, prenderà vita in un teatro vuoto. Perché solo una parte del mondo dello spettacolo è già in qualche modo ripartita. Sono ancora troppi coloro che nella complessa filiera di musica, locali ed eventi non hanno ancora ritrovato il loro spazio.

"Parlare di ripartenza dopo il Covid-19, per musica e locali credo sia ormai purtroppo un'utopia. La scena è dovuta ridimensionare perché il mercato è cambiato e con il mercato sono forse cambiate anche la aspettative del pubblico", spiega Luca Guerrieri, da sempre anima di Meet Music. "I cambiamenti, però, non sono certo tutti negativi. Ci sono tante nuove opportunità, tra online e offline, e di quelle parleremo al Meet Music. Tutto questo grazie al supporto di MINI Italia, per noi fondamentale, così come quello del Comune di Follonica e del Cantiere Cultura Follonica, oltre ovviamente alla voglia di raccontarsi di tanti protagonisti del business musicale. Senza le energie dei ragazzi che sognano un giorno di vivere di musica tutto sarebbe però inutile", conclude Luca Guerrieri.

I tavoli online di Meet Music 2021 sono tanti, ben 15, e tutto il programma è disponibile sul sito ufficiale di Meet Music: https://www.meetmusic.it/speakers-e-programma/.

Tutti gli approfondimenti però partono tutti da un interrogativo comune: quale sarà il futuro dell'industria musicale e di tutto lo show biz? In che modo Covid-19 sta cambiando la situazione? Le esigenze di chi i concerti e le disco vuol tornare a viverli in prima persona si sono evolute? Come è possibile creare sinergie tra musica online, che sembra sempre più importante, ed eventi da vivere di persona?

Tra i tanti, partecipa a Meet Music 2021 Saturnino, storico coautore e bassista di Lorenzo Jovanotti. La sua esperienza, che tocca anche la moda ma parte da solide basi musicali, sarà preziosa per chi sogna di salire su un palco oppure cerca nuovi stimoli.

Ecco poi tre chitarristi di livello assoluto: Davide Tagliapietra (Biagio Antonacci, Giorgia, Eros Rammazzotti, Gianna Nannini) ed Alessandro De Crescenzo (Tiziano Ferro, Cesare Cremonini) racconteranno come si passa dallo studio al live, mentre Finaz (Bandabardò, Bandidos, Piero Pelù) si concentrerà sul valore dell'underground.

Siccome però la musica cambia, ecco un tavolo dedicato a videogame, colonne sonore per spot, serie tv e cinema e auto imprenditorialità sociale. Partecipano Dario Cioni, regista che ha collaborato tra gli altri con un certo George Lucas per "Star Wars, Episode I: Phantom Menace" e Ascari, composer e creative sound designer attiva tra cinema e videogame. Con loro anche Dino Lupelli, general manager di Music Innovation Hub.

Tra i top dj, per la prima volta al Meet Music c'è Molella, in un tavolo collettivo legato a Clubhouse e con lui anche Nicola Fasano, altro artista italiano le cui produzione sono ballate in tutto il mondo. Sono confermati come sempre Tommy Vee e Federico Scavo e non può mancare Andrea Pellizzari, dj capace di spaziare tra tv, radio, editoria musicale ed organizzazione di eventi.

Tra i professionisti che ruotano attorno alla scena musicale, ecco poi per la prima volta Damir Ivic (Soundwall, Rolling Stone) e di nuovo Albi Scotti (DJ Mag Italia, Il Fatto Quotidiano), giornalisti capaci di fare spesso anche molto altro. Da segnalare anche un gradito ritorno, quello di Matteo Fedeli (direttore sezione Musica di SIAE) che con lo storico editore Pierangelo Mauri e Renato Tanchis (Sony Music Italy) parlerà di collecting, streaming, royalties e dintorni.

Meet Music continua poi a cercare nuovi talenti con due iniziative diverse. La terza edizione di MINI Meets Music Contest, quella del 2021, cerca due talenti, un producer e una songwriter, che abbiano tra i 18 e i 25 anni. I vincitori realizzeranno una produzione discografica che verrà pubblicata da una delle label coinvolte nel progetto. Chi si candida come producer non deve necessariamente essere anche dj, le ragazze possono proporre musica strumentale oppure canzoni. Ciò che davvero conta, per i producer, è la capacità di trasformare una semplice idea in una produzione musicale vera e propria. Le ragazze che si candidano come songwriter, invece, saranno selezionate per la qualità delle loro composizioni. Per il resto, massima libertà: la manifestazione è come sempre aperta ad ogni genere musicale, né ci sono limitazioni per quanto riguarda la lingua. Tutti i dettagli della manifestazione sono già disponibili qui: https://www.meetmusic.it/contest/

Al MINI Meets Music Contest si affianca quest'anno una Talent Selection in diretta online a cura di Tommy Vee e Luca Guerrieri. Durante uno dei tavoli, i due dj faranno ascoltare live le migliori 5 demo tra quelli che saranno state inviate entro il 5 settembre a info@meetmusic.it.  Le tracce selezionate verranno proposte a label in contatto con lo staff di Meet Music.