#Film-co-production

[coffeebookslovegt]

-Si el mundo cree que un zorro sólo puede ser falso y deshonesto... de nada sirve tratar de ser otra cosa.

-Nick, tú eres mucho más que eso.

[rowanwillow06]

20th April 2024

I got my exam days wrong!! It’s fine it works in my favour it’s now 30 days until my exam! I have had a busy few days, written a lot of essays and done planning for exam prep. It feels weird how fast it’s all coming to an end. I had work today, and as I was an hour early I just decided to work in the woods before my shift started. I thought it was so pretty and although it was bloody freezing it was still a nice experience lol. I also thought I’d start posting things I do outside of study?? Just bc I think we need to incorporate a balance into our study routines so here’s the plan for today :3

Go to work

Complete a Wuthering Heights essay plan

Do conservatism study

Make flash cards for This Is England

Tidy my room!!

Organise my notes

Things I’ve been enjoying at the moment:

Sherlock & co (an amazinggg podcast pls take a listen, or lmk if you have!)

The Tortured Poets Department

Grand designs 😭

Animal crossing <333

I hope everyone is having a lovely day/ evening 🤍🤍🤍

[finchers-ipad]

photographer: okay guys we are going to get some good shots of the Propaganda Film Founders, so if you could just all stand against the wall and face the camera *click* okay great! now let’s do a silly one where you all put your hands on the wall to look like you are bing arrested, but no one do a cunty pose okay?

Fincher: haha okayyy (lying)

[i-am-trans-gwender]

One time I was messing around with ai (don't worry I don't use it anymore) and I asked it to write a Disney movie based on Princess Diana of Wales. The only part I remember is that it said that Queen Elizabeth II is a villain just like in real life.

[waltcrewlog]

A BLATANT LIE

[staying-elive]

I gotta stop getting into arguments with guys in youtube comment sections.

[marcovaleyeah]

07.11.23

#Mira-Marathon | Harry Potter

Film Name: Harry Potter and the Chamber of Secrets (2002); Production Studios: Warner Bros., Heyday Films, 1492 Pictures, MIRACLE Productions GmbH & Co. KG; Director by: Chris Columbus; Screenwriter: Steve Kloves; Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Tom Felton, Kenneth Branagh; Genres: Fantasy, Adventure, Family, Detective; Running Time: 2 hours 41 minutes;

In "Harry Potter and the Chamber of Secrets", Harry and his friends return to Hogwarts and encounter a chamber of secrets releasing an ancient evil. They have to fight this threat by adding new characters and an exciting plot to the film. Great acting, impressive special effects, and intense atmosphere make this movie worth watching for anyone who loves fantasy adventures.

My rating: 9/10

[kraniumet]

WHERE has sexual tension gone???

[porto-rosso]

we are failing this module ‼️🗣️

[rwpohl]

zamok, aleksey balabanov 1994

[kangaruined]

i need all these ppl in my house to leeeeeaaavvveeeee

[felesrubrum]

The strike has been going for 100+ days and it has only hit the Post Production field like, early August. And even then, only somewhat.

The general public won't be affected by the strike till like, September of next year. The shows and movies in production now were in production LONG before the strikes BEGAN. Actors, especially WRITERS, are key proponents at the VERY START of a production.

Realistically, they just shifted the release date of many shows or movies that the public DOESN'T EVEN KNOW ABOUT BC THEY WEREN'T ANNOUNCED YET.

It's absolute horseshit that "this will delay your fave show". This will likely not affect the public AT ALL.

Source: I work in post production for one of the most prominent VFX studios.

You know, after a hundred days of strike, I have noticed absolutely no differences.

I mean, they say shows are canceled because of it, but they would cancel shows for any reason or no reason at all. They often wouldn't tell us one way or another for months or years. Functionally, the uncertainty is the same.

The same goes for delays. How the hell am I supposed to tell if some show or another was delayed? They were never released in any sort of timely fashion before. What does a delay even mean when there is nothing even resembling a schedule? I mean, there wasn't even something like "within the first two weeks of august we will put something up for you to watch."

Zero accountability means they got away with whatever bullshit practices they wanted to, but now its cutting both ways. Any claim that this strike is negatively impacting me is meaningless because Netflix and most the other entities like them have built a system where it is extremely difficult to hold anyone accountable for anything.

And now they seem to think they can just bring accountability back? If they had numbers they could point to maybe it would work, but that's half the battle here. They are desperate to avoid releasing anything that tells anyone outside the company what the hell is going on. So we are just supposed to take their word for it, no really bro, it's actually really bad for you and all the strikers fault if only you could see the numbers that we refuse to show you, you're just gonna have to trust us bro.

[ennaih]

Every Film I Watch In 2023:

208. Forgotten (2017)

[peridot-tears]

Truths that Co-Exist

Barbie (2023) is a giant product placement that profits off nostalgia.

The writing is profound and life-changing and understands why we seek nostalgia in a way most nostalgia-driven entertainment doesn’t.

The film is self-aware about how even now, Barbie dolls set incredibly unrealistic beauty standards. Their “body diversity” does not even scratch the surface of what that phrase really means. I don’t expect this to change.

The film still made a beautiful statement with the scene on the bench about how societal beauty standards are narrow and restrictive! And that beauty comes from experiencing life and the marks it leaves on you!

Its feminist statements are validating. Many of us see our reality onscreen, and the great thing is that it includes how cishet men fall down a pipeline of toxic hypermasculinity. It also shows the solution, and allows men to express themselves despite what society expects them to be.

The film is a capitalist venture.

The cast (aside from the leads) and crew were probably overworked and severely underpaid during filmmaking.

We can still appreciate that something fun was made, and we all made another wonderful memory where we and our loved ones went to the movies color-matching in pink.

We should not feel guilty about seeing ourselves in this film.

Meanwhile, support the WGA and SAG-Aftra strike.

[shesnake]

“Monkey Man” was shot and completed in 2021, and Netflix soon after acquired the rights for around $30 million, but it’s been on the shelf for three years and they‘ve all of a sudden decided to get rid of it? What gives? It turns out, according to an in-the-know source, that it was the portrayal of a fictional right-wing Hindu Nationalist character in the film that worried Netflix about their future dealings in India. And even though they had paid more than twice the production cost, they decided to give the film back to the producers, which is what caused the long delay. Universal and Peele eventually took a particular liking to the film, so much so that they suggested possible editing changes and delayed the release until what they thought would be the right date. It’s as simple as that. In the end, it was all about politics and optics for the streaming giant, especially since India has become the current top growth market for Netflix. Co-Founder Reed Hastings has mentioned that a majority of the service's next 100 million subscribers would most likely come from India.

Universal/Jordan Peele's "suggested possible editing changes" in question:

[fuckyeahgoodomens]

SFX Magazine Issue 372 - Designing Good Omens ❤ 😊

PRODUCTION DESIGNER MICHAEL RALPH REVEALS HOW THE SHOW’S CENTREPIECE SET, WHICKBER STREET, WAS GIVEN A DEVILISHLY CLEVER UPGRADE FOR THE SECOND SEASON

WORDS: DAVE GOLDER

Invisible Columns And Thin Walls “The new studio is Pyramid Studios in Bathgate – it used to be a furniture warehouse. And unfortunately – or fortunately, because I accept these things as not challenges but gifts – right down the middle of that studio are a series of upright columns. But you’ll never spot them on screen. I had to build them in and integrate them into the walls and still get the streets between them. And it worked.

“There’s all sorts of cheeky design values to those sets. Normally a set like this is double-skin. In other words, you do an interior wall and an exterior wall, with an airspace in between. But really, the only time a viewer notices that there’s that width is at the doors and the windows. So I cheated all that. I ended up with single walls everywhere. So the exterior wall is the interior wall, just painted. All I did was make the sash windows and entrances wider to give it some depth as you walked in.”

GOOD OMENS HAD A CHANGE of location for its second season, but hopefully you didn’t notice. Because Whickber Street in Soho upped sticks from an airfield in Hertfordshire to a furniture warehouse in Bathgate, Edinburgh. It’s the kind of nonsensical geographical shenanigans that could only make sense in the crazy world of film and TV, and production designer Michael Ralph was the man in charge of rebuilding and expanding the show’s vast central set. “I wish we could have built more in season one than we did,” says Ralph, whose previous work has included Primeval and Dickensian. “We built the ground floor of everything and the facades of all the shops. But we didn’t build anything higher than that, because we were out on an airfield in a very, very difficult terrain and weather conditions, so we really couldn’t go much higher. Visual effects created the upper levels.”

But with season two the set has gone to a whole other level… literally. “What happened was that the rest of the street became integrated into the series’s storyline,” explains Ralph. “So we needed a record shop, we needed a coffee shop that actually had an inside, we needed a magic shop, we needed the pub. To introduce those meant we had to change the street with a layout that works from a storylines point of view. In other words, things like someone standing at the counter in the record shop had to be able to eyeball somebody standing at the counter in the coffee shop. They had to be able to eyeball Aziraphale sitting in his office in the window of the bookshop. But the rest of it was a pleasure to do inside, because we could expand it and I could go up two storeys.”

For most of the set, which is around 80 metres long and 60 metres wide, the two storeys only applied to the shop frontages, but in the case of Aziraphale’s bookshop, it allowed Ralph to build the mezzanine level for real this time. According to Ralph it became one of the cast and crews’ favourite places to hang out during down time.

But while AZ Fell & Co has grown in height, it actually has a slightly smaller footprint because of the logistics of adapting it to the new studio.

“Everybody swore to me that no one would notice,” says Ralph wryly. “I walked onto it and instinctively knew there was a difference immediately, and they hated me for that. I have this innate sense about spatial awareness and an eye like a spirit level.

“It’s not a lot, though – I think we’ve lost maybe two and a half feet on the front wall internally. I think that there’s a couple of other smaller areas, but only I’d notice. So I can be really annoying to my guys, but only on those levels. Not on any other. They actually quite like me…”

Populating The Bookshop “The props in the new bookshop set were a flawless reproduction from the set decorator Bronwyn Franklin [who is also Ralph’s wife]. It was really the worst-case scenario after season one. She works off the concept art that I produce, but what she does is she adds so much more to the character of the set. She doesn’t buy anything she doesn’t love, or doesn’t fit the character.

“But the things she put a lot of work into finding for season one, they were pretty much one-offs. When we burnt the set down in the sixth episode, we lost a lot of props, many of which had been spotted and appreciated by the fans. So Bronwyn had to discover a new set decorating technique: forensic buying.

“She found it all – duplicates and replicas. It took ages. In that respect, the Covid delay was very helpful for Bron. There’s 7,000 books in there and there’s not one fake book. That’s mainly because… it’s a weird thing to say, but we wanted it to smell and feel like a bookshop to everybody that was in it, all the time.

“It affects everybody subliminally; it affects everybody’s performance – actors and crew – it raises the bar 15 to 20%. And the detail, you know… We love a lot of detail.”

(look at the description under this, they called him 'Azi' hehehehe :D <3)

Aziraphale’s Inspirational Correspondence “There’s not one single scrap of paper on Aziraphale’s desk that isn’t written specifically for Aziraphale. Every single piece is not just fodder that’s been shoved there, it has a purpose; it’s a letter of thanks, or an enquiry about a book or something.

“Michael Sheen is so submerged in his character he would get lost sitting at his own desk, reading his own correspondence between takes. I believe wholeheartedly that if you put that much care into every single piece of detail, on that desk and in that room, that everybody feels it, including the crew, and then they give that set the same respect it deserves.

“They also lift their game because they believe that they’re doing something of so much care and value. Really, it’s a domino effect of passion and care for what you’re producing.”

Alternative Music “My daughter Mickey is lead graphic designer [two of Ralph’s sons worked on the series too, one as a concept artist, the other in props]. They’re the ones that produced all of that handwritten work on the desk. She’s the one that took on the record shop and made up 80 band names so that we didn’t have to get copyright clearance from real bands. Then she produced records and sleeves that spanned 50, 60 years of their recordings, and all of the graphics on the walls.

“I remember Michael and Neil [Gaiman] getting lost following one band’s history on the wall, looking at their posters and albums desperately trying to find out whether they survived that emo period.”

It’s A Kind Of Magic One of the new shops in Whickber Street for season two was Will Goldstone’s Magic Shop, which is full of as many Easter eggs as off-the-shelf conjuring tricks, including a Matt Smith Doctor Who-style fez and a toy orang-utan that’s a nod to Discworld’s The Librarian. Ralph says that while the series is full of references to Gaiman, Pratchett and Doctor Who, Michael Sheen never complained about a lack of Masters Of Sex in-jokes. “He’d be the last person to make that sort of comment!”

Ralph also reveals that the magic shop counter was another one of his wife’s purchases, bought at a Glasgow reclamation yard.

The Anansi Boys Connection Ralph reveals that Good Omens season two used the state-of-the-art special effects tech Volume (famous for its use in The Mandalorian to create virtual backdrops) for just one sequence, but he will be using it extensively elsewhere on another Gaiman TV series being made for Prime Video.

“We used Volume on the opening sequence to create the creation of the universe. I was designing Anansi Boys in duality with this project, which seems an outrageously suicidal thing to do. But it was fantastic and Anansi Boys was all on Volume. So I designed for Volume on one show and not Volume on the other. The complexities and the psychology of both is different.”