#POV films

[michaelinprogress]

Thinking about how this must have felt...

Being able to freely move his body again, to feel some semblance of life after over a century of lying in that grave rotting. Up to this point, he's been so stiff, lumbering around arduously. But this is where he becomes more man than corpse.

And the first thing he does with his newfound life?

He dances with Lisa.

He knows there is a piano inside. He could go in and play it for her, he could finally play music after nearly 200 years without it. But he dances with Lisa.

With his new life, all he wants to do is be with Lisa. To touch her, love her, make her happy. He has all this energy and he gives it all to her. Everything is for her.

[nokkiart]

As a long time httyd fan who has been heavily involved in the fandom since the first movie and who has spent years working in the animation industry, I’d like to share my thoughts on the new httyd movie. Keep in mind, this is just my personal opinion and it's completely fine if you disagree with me. I just want to say a little something about all this that really bothers me.

The core reason that Dreamworks and Universal made this film is that it’s a quick and easy cash grab for them. Thats it. They don’t care about telling a good story or making a “better” version of the original movie for fans or even having an accurate portrayal of the characters/story. It’s purely about money. They know that fans of the original film will go see this movie, whether it’s good or bad. And those guaranteed ticket sales are all that matter to the studios. And with Universal, it has the added bonus of being a cheap promotional and merchandising opportunity for the new HTTYD land in Orlando that opens around the same time that the film is premiering in theaters.

And to help the studios make even more money out of this, they are using non-unionized VFX companies around the world to make this film, so that they can get cheaper labor and push the artists to do more that would be against American union standards. The same thing has probably happened with the costuming and fabrication for the filming, hence why the costumes look un-weathered and the sets look cheap. They don’t want to pay for the extra time and effort that it would take to make the practical bits of the production look good.

On top of all this, Dreamworks has already announced that they’re shutting down all their in-house animation projects in favor of using AI and outsourcing projects to cheaper international non-union studios.

With all this in mind, I just can’t support this film and I will not be seeing it in theaters. And I hope that others will do the same.

The only way to stop all these horrible “live action” remakes (which are actually just realistically animated remakes) is to not buy tickets to see them. Money is all that matters to these studios, and if they don’t make any money off of it, then they will stop and try something different. Maybe they'll even go back to focusing on original stories!

That’s the power that we hold as audiences. Our wallets help drive the decisions that the executives make. So support unique storytelling and gorgeous cinematography in movies. Support indie films. Support animators as they're fighting for fair pay and better contracts. But don't support a mediocre shot-for-shot remake riding on the coattails of an already successful film.

And I just want to wrap all this up by saying I have absolutely no hate towards anyone that has worked on the new film. Toothless looks incredible and I know the artists and creatives involved in this project did the best they could with what they were given.

But I also know that those same artists have so many more brilliant ideas that they would’ve loved to be given the creative freedom to do. I just wish hollywood would be willing to take a chance and let them do it.

[anti-anticheese]

My Old Ass dir. Megan Park

[hyper-fixates]

my contribution to the cornplating of the xmen films: logan is a leftie :)

[s4ah]

pov: live like a Hollywood movie. ☂︎

[arrayed-in-purple]

𝐕/𝐇/𝐒/𝟐 "𝐓𝐚𝐩𝐞 𝟒𝟗" (𝟐𝟎𝟏𝟑)

(OC)

[cracklewink]

some sketches of my guy

[sinclairstarz]

guesss who finally finished this early 2000s mike after like 4 months😍😍😍

[copia]

not to get dramatic but one of copia’s dissociative translations in his troubled head was seeing sister imperator’s saucer of pills as a mug of tea and biscuits. he’s clearly an unreliable narrator who sees things we can’t trust to be true; going off of this, can we trust that the mug of tea he was handed before the encore was actually that? who’s got time to down a whole mug of hot tea when you’ve still got three songs to perform? isn’t it a strange beverage to give him out of all the other options? don't get me wrong i'm absolutely not being serious here (also not insinuating that copia is ill like seestor, i'm going down the psychological route) but what i'm saying is he could have been handed medication he didn't want to acknowledge

[jryno]

Zuko and Katara’s POVs in [Season 3, Episode 21]

[icedsodapop]

Just a heads up about Killers of the Flower Moon

Here Osage language consultant Christopher Cote speaking about this:

[royaltea000]

- Sanzang <3

[writingwithfolklore]

A Quick Guide on POVs and Tenses

First person

First person perspective uses I/my and typically also accompanies present tense:

"I walk over to see what’s happening"

However, it can be used with any tense. It is the closest you can get to the character—it tends to have unfiltered access to their thoughts, feelings, ideas, memories, etc. and is the most intimate. It goes great for stories that want to stay ‘in the moment’ and rely on lots of internal dialogue.

2. Second person

Probably the least common—I’ve only ever seen it in fanfic and maybe a choose-your-own-adventure novel or two. This perspective uses you/your, and also tends to go with present tense.

                “You walk over to the stall and survey the goods.”

It’s a really unique way of telling a story that brings the reader the closest to the action—however, it doesn’t have a lot of room for character development as it relies on fitting anyone who is reading it, leaving the POV ‘character’ a shell to be filled by the reader rather than its own character.

3. Third person omniscient

Third person perspectives are outside of the character. Typically they are joined with past-tense. They use pronouns he/she/they/his/hers/theirs, etc.

'Omniscient' means this narrator has full access to the knowledge of the narrative, as well as all the characters in it. It is a bit of an uncommon perspective, as it means the narrator can and will easily “head-hop” which can be a difficult technique to do well.

                “He inhaled, staring icy daggers at Kate across from him. She knew instantly she had said the wrong thing, but had no idea how to take it back.”

                (Notice how we’re both in the male character’s head, as well as Kate’s.)

                This perspective keeps the readers at a distance, but allows them access to every character in the story. Beware, it can be difficult to build tension or keep secrets when using this perspective!

4. Third person limited/subjective

This perspective is probably the most common and my personal favourite. It has the same rules for third person, but instead of the narrator having full access to all the information, they only have access to the information the character they are following knows, or the thoughts/feelings they are having.

                “He inhaled, staring icy daggers at Kate across from him. She had said the wrong thing, and now just looked back at him with big eyes, her mouth agape as she hesitated on what to say next.”

                (Notice how in this example, Kate’s thoughts are only guessed at from our character’s POV. He doesn’t actually know what’s going on in her head, so neither does our narrator)

                Third person limited is probably the most popular because it is really effective at being a very invisible way of telling story. As well, it’s great for building tension, keeping secrets, and can explore unique character perspective and miscommunication.

Tenses:

Present tense

Things are happening right now.

“I begin my walk to the store.”

“He says as he steps through the gate.”

“You follow a long path through the trees.”

2. Past tense

Things already happened.

“I began my walk to the store.”

“He said as he stepped through the gate.”

“You followed a long path through the trees.”

3. Future tense

Things will happen—things to come.

“I would begin my walk to the store.”

“He will say, stepping through the gate.”

“You will follow a long path through the trees.”

[dani-dabbles]

from barely there ankle brushing to a full body wall press, this is the character development I love to see

[somehow-a-human]

Whose POV is it Anyway?

The Dirty Donkey, I think I found *Clue!*

DO NOT ASK NEIL ABOUT FAN THEORY

Continuing with my analysis of the changing POV's in Good Omens 2, let's take a look at the pub scene in the Dirty Donkey and the rest of episode 2!

For reference & context, I recommend reading these posts:

Whose POV is it Anyway? - Introduction

Lens Filters

POV "Your 'Something's Wrong' Voice"

POV a Trip to Hell and a 25 Lazarii Miracle

POV a Companion to Owls

When we first see Crowley in his tactical turtleneck, it's when Shax shows up at the Bentley. He is asleep in the car and his sideburns are long. Is this because he's being observed by Shax first in this scene so it's her POV? It's difficult to distinguish if the filter could be the BDFX Crowley filter or the BPM Hell filter, but if we're using the sideburn lengths as an indicator we can look at this initial scene as an external POV.

*Fun thing I noticed here: when Shax threatens Crowley the plants in the backseat start squealing and shaking because they're afraid lol.

Next we get to see Crowley and Aziraphale go to the pub! They never go to the pub! Aziraphale strokes the thin dark dukes chest, and is saved by his snusband from the scary carpet man. The entire scene inside the pub is warm and hazy and glowy AS HELL (well not as hell, that's a different filter) It's clearly filmed with the BGG filter and likely Aziraphale's POV, which makes sense, they talk about making people fall in love, romance, Jane Austen, Cotillion Balls, it's VEERRRYYY Aziraphale. Crowley's sideburns are long throughout and when the pair get up to leave it's because Aziraphale mentions he wants to show Crowley *the Clue*!

Crowley's response to this is: "I'm lost, am I doing a rainstorm?" nothing rude about the Capital C Clue, yet.

Then the scene cuts to a shot of them walking out of the pub and we have transitioned to Crowley's POV! The lighting has changed and is saturated and cool toned, Crowley's sideburns are short, and he IMMEDIATELY roasts Aziraphale,

"Whatever you found, don't call it a Clue... well don't pronounce the capital letter!"

spicy snek.

Even if you make the argument that they could have filmed these scenes on vastly different days, the continuity for the extras dress and placement was spot on the, as you can see from these shots of before and after the cut. Notice the extra in the red jumper near the door is there in both shots with the same group of people, nobody seems to have moved, and Crowley's sideburns are the only thing that very obviously changes length between these scenes.

Crowley and Aziraphale then head back into the bookshop.

We're back to the warm hazy tones of the BGG filter and Crowley's sideburns are long again. We've switched back to Aziraphale's POV. They get a prophecy of sorts from Gabriel, and Aziraphale goes to study his Bible and think for a while.

We next see Crowley Asking Nina about Sudden Rain.

His sideburns are short again, and the BDFX filter is back evidenced by the bright cool saturated tone of the scene, so we're in Crowley's POV. Aziraphale meets him at the Bentley and says he'd like to drive the car. We can hear Crowley even smacks Aziraphale's hand away, which if this was from Aziraphale's POV I'm sure is a detail that would've gone omitted!

NEXT POV Bodysnatchers & Cosplaying a bookseller

[jadesenigma]

Kodak ColorPlus 200