#Disasters in Film

[my-darling-boy]

Been swamped with other course work but I finally cleaned up that rough animatic for my final exhibition!

We Have Always Been Here is based on the heartfelt love letter of American WWII veteran Brian Keith, this poignant moving storyboard imaginatively brings to life his relationship with a comrade known only as “Dave”. The animatic sheds light on the relevance and impact of forgotten LGBTQ+ history during this current wave of political hostility.

Watch my full short film on Vimeo!

[kylorenscar]

"...and I have to live with that. Forever."

[twylatistic]

I watched wicked today and there wasn’t nearly enough lesbians. Anyways, I drew them together like nine times but kept deleting them because no one told me it’s hard to draw ship art while listening to punk rock, so instead you get this

I love galinda so much she is so precious to me Kristen Chenoweth the woman you are

[libelula202]

Oooh I actually read a book about this!

The Day The World Came To Town

Highly recommend!

(Also I’m a huge crybaby. I cry at a drop of a hat. And this book, with the real stories of various passengers and citizens of Gander had me sobbing. So consider yourselves forewarned) 

What's your favorite part of disaster research?

Ohohoo. I could go on about this one for HOURS.

But, at it's core: my favorite thing is looking into how and why we tell disaster stories the way we do, both in fiction and non-fiction. As an extension of that, how the fiction and non-fiction aspects intersect. Why do we focus on the elements we do? Why does media coverage of disasters work the way it does? Why do we believe so many myths about disasters like looting and panic behavior and everyone-for-themselves? How can we use fiction to better inform non-fiction, and non-fiction to better inform fiction?

Here's an example of fiction to better inform non-fiction: in Emergency Management, it's a common sentiment that it isn't necessarily the plan you come up with that's useful, it's the act of making that plan. The actual plan you make is probably going to fall apart at some point, because you can never plan perfectly. A plan is fiction. It's fiction heavily based in reality, but it is still imagining scenarios that have not actually happened. But in the act of making it you are going to learn so much about yourself, the people you work with, the place you live, etc. and that knowledge is going to be what saves you.

A perfect example of this is Gander, Canada during 9/11. Gander is a little town that also happens to have the eastern most airport in Newfoundland on the east coast of Canada that can take large passenger jets. In the 90s, as everyone was preparing for Y2K, Gander realized that if we did have a worst-case Y2K, there would be a ton of jets stranded over the Atlantic that would need a place to land immediately, and that meant landing in Gander. So they made a plan. They fictionalized the scenario to figure out what they would need to do to deal with that outcome. But then Y2K didn't amount to much and the plan was thrown away, because they'll never need a plan like that again, right?

Cut to almost two years later when 9/11 occurs and what happens? Air traffic in the US is shut down and suddenly there's tons of jets stranded over the Atlantic with nowhere to go and desperate for a place to land. So what does Gander do? They've thrown out their actual plan for this. But it didn't matter because they'd learned from it, and they remembered what they'd learned. Gander ended up taking in nearly 7,000 refugees from dozens of jets. It nearly doubled their population in just a handful of hours. Everyone in town came together to get these people safe, get them comfortable, and help them figure out what the hell to do next. (There's actually a Broadway musical about it called "Come From Away.")

So how do we make those sorts of plans? How do we develop them to be as helpful as possible in a way that is understandable and digestible so that it can be as effective as possible?

Then, of course, there's non-fiction informing fiction which is a bit more obvious as to how that all works. We've been doing studies since WWII that have told us how people behave in disasters, and it very much does not match the way Hollywood usually portrays it. So why? Why are we so obsessed with these disaster myths? Why are those the core aspects our cultures keep sinking their teeth into?

So. Yeah. :P

That's my favorite aspect of disaster stuff. I may or may not be looking into pursuing a PhD at this point. >.>

[didanagy]

TITANIC (1997)

dir. james cameron

[shima-draws]

"If I wanted to watch HTTYD shot for shot then I'd watch the original" then don't. Watch the live action? What do you want me to say?? Everybody complains when a live action is too different from the original, now y'all are complaining that it's too similar? Idk about you all but I much prefer a live action that's faithful to the original instead of wildly veering off course to the point where it muddies the message of the original film (sideeyes Lilo & Stitch). I guess there's no way to make everyone happy with these huh

[old20th]

Earthquake (1974)

[lacy-0hlacy]

me with that boy if he could be with me rn 💭

[gunsatthaphan]

✨🕶️💫

[avephelis]

look technically it's a horror movie okay (risetober 19: scary movie)

[sully-s]

Okay so I can't stop thinking about a Cloverfield AU where Edgeworth has to save Trudy who's miles across town because she was getting a surprise gift for Phoenix and Edgeworth is the only one who knows where she and the phones are down.

And in this, Trudy doesn't know Edgeworth very well and doesn't like him very much. Put off by how stiff and blunt he can be.

But during the trials of getting back to Phoenix, she sees his other sides, and they bond with Trudy coming to the realization that Edgeworth might actually be the most competent adult in her life. (Like yeah Wright is a great dad because he gives lots of love but he's a bit hopeless sometimes and Trudy often feels like she has the be the gown up)

And like the idea of the conflict and safety that Turdy would have to internally battle with letting Edgeworth just be the adult and make sure she gets home. By the time they find Phoenix (who has a whole journey trying to find her), Trudy basically demands Phoneix marry Edgeworth and won't take any other optional moms or dads.

[chimpukampu]

Can't wait to watch "The Legend of Godzilla x Kong" in 2027 lol

[toppermostpoppermost]

JARED LETO as Hephaestion

ALEXANDER (2004) dir. Oliver Stone

[scribblecon]

Tow My Car

Was rewatching that one episode where Hoist gets roped into acting in a movie and started building off it… I love that guy he’s great

SFW, Fluff, GN reader

The movie making process is often less glamorous than people assume. Especially if you aren’t one of the acting talents and instead running errands for people more important than you. Even more so if the director is a moron and also the producer so no one can rein him in when he makes insane decisions. Like the current one to change the genre from action to sci-fi. All because of those stupid Autobots and their desperation for a bit of the limelight. Then again, the original script had a lot of problems in your opinion. Maybe this is for the best.

Several days of filming reveals that no, it isn’t for the best, and the only thing keeping you sane is the fact you’re being paid to be here. In all honesty you felt a tiny bit bad for the bots. Their ‘costumes’ are ill fitting rush jobs (though you can’t fault wardrobe for trying on such short notice) and their performances are wooden. You’d feel worse if they had actually been asked to be here, but they forced themselves into the production so maybe this humiliation is a little deserved. The only one you like is Hoist. He may have stumbled into becoming an actor, but he takes the job more seriously than the other bots and greets the cast and crew every time he arrives on set. You’ve approached him out of curiosity a couple times when he’s been left hanging by the director and while it’s been nothing but small talk so far, it’s always a breath of fresh air in your otherwise hectic day. He appears to have the patience of a saint compared to everyone else on the lot, and you want to believe he’s happy to have someone relatively normal to talk to. Even if it’s just for a couple minutes at a time.

When you finally get a spare moment for lunch you make your way over to the catering tent only to spot the green mech standing awkwardly nearby. You can’t get a read on Hoist’s expression at the best of times, given the lack of mouth, but you get the sense that his initial excitement about being in a movie has been deflating into further disappointment every time the director tells him to wait around for his cue or one of his friends complains about their roles being not good enough.

“You doing okay there, big guy?” You give Hoist’s leg a playful tap before taking a bite out of a bagel you grabbed from the tent.

“Oh, don’t you worry about me! I’m doing just fine. Though I must admit I thought being in a movie would be more exciting...” His voice carries the same warmth as usual, but there’s something else under the surface. A hint of frustration?

“Yeah, most of the magic happens after the filming is done.” You look up at him with a smile. “But hey, bright side is you’re getting paid to sit around and relax most of the day. I’m being rushed off my feet with all these changes to the script.” You let out a sigh with your last remark before finishing your bagel.

“You aren’t being overworked, I hope.” Hoist’s concern catches you off guard for a moment. Maybe he’s just saying that to be polite. He’s certainly one of the more well-mannered people you’ve ever met, human or alien.

“Nothing I can’t handle, I’ve worked for this director before, and chaos follows him everywhere. Kinda dreading the drive home though, I’ll be exhausted by the end of today.” You give a shrug, hoping this makes you come across as a bit less serious than you actually are.

“I could give you a lift.”

You blink in surprise, and mull the offer over for a few moments, wondering if he genuinely cares about you to some extent or is just this nice to everybody. Despite your curiosity towards him, you don’t know Hoist that well. At the end of the day you’re colleagues, acquaintances at most, but not friends. Maybe accepting a ride home could change that, however…

“Can you tow my car too?”

—

The rest of the day was about as chaotic and exhausting as you expected, but Hoist kept true to his word and waited for you in the car park, already in vehicle mode. Once you point out which car belongs to you and he has it secure, you hop in his cab and strap in, only to feel a sudden rush of self-consciousness when you realise, he can probably feel you sitting inside him. Are you the only one who finds the scenario strangely intimate? The moment he starts driving he’s asking about your day the same way he usually makes small talk, so you figure it’s all in your head and try to let the thought go.

Conversation is easy with Hoist. His friendliness really is genuine and so is his interest in the stories you tell about your work, along with some of your pettier grievances. In exchange he shares his own tales about his home planet and fellow Autobots. He makes for a surprisingly good storyteller, and you wonder if he’d have done a better job rewriting Attack of the Evil Alien Robots into something decent than whoever the director got to do it. By the time you arrive at your building you’re a little disappointed that the journey is already over.

“Thanks for the ride, I really appreciate it.” You step out of his cab onto the sidewalk, and he sets your car free from his towline.

“It’s no bother at all.” He returns to his bot form. “I find your company delightful.”

There’s a warmth to his voice that makes your face heat, causing you to look away briefly lest he notice. Why does this suddenly feel like the end of a date?

“O-oh. Um. I really like talking with you, too.” You look back at him, trying to figure out if he’s being friendly or flirty. When you consider the possibility of the latter and figure you’d be open to seeing what happens you surprise yourself a little. You’re not exactly sure how a relationship with a robot more than triple your size would work but he seems sweet…

You don’t realise you’ve zoned out, busy considering the logistics of dating an alien until Hoist clears his intake, startling you a little bit in the process.

“Would you-”

“O-oh, I shou-”

You both pause, feeling awkward about interrupting one another, until Hoist motions for you to continue.

“I was just gonna say goodnight, it’s getting pretty late after all.” You stifle a yawn as you fumble in your jacket for your keys. “What about you?”

“I was wondering if you’d like another lift home tomorrow.” He scratches the back of his helm. Is he nervous? “I… I’d like to spend some more time with you.”

Oh boy he’s kind of forward. You feel heat rising to your cheeks again. You’re still not 100% certain what direction this is going in anymore, but you want to find out. Besides, you find his company just as delightful as he finds your own.

“I think… I’d like that.” You flash him a smile before putting your key into your building’s front door. Just as you’re about to go in, you turn back to the mech.

“I’ll see you tomorrow. Goodnight, Hoist.”

“Sleep well, Y/n.”

[hischiersjohnston]

RED, WHITE & ROYAL BLUE | FIRSTPRINCE + FAVE MOMENTS ( 5 / 10 )

The Red Room and their One Shared Braincell

[blondebrainpowered]

Bean, 1997