#Yes if you’re just some kid making some comic I’ll give you leeway but I see comics in stores do this sometimes… like how and why

[peteytheparrot]

Backgrounds can be more important than the characters in your comic, there I said it, fight me. I do not want to see your character in a blank void for 50 pages, and or a character in a background so boring and messy you can’t even tell where they’re at, If you do this I won’t read your comic

[lalaurelia]

Quick Gotham 5x11 thoughts

FINALLY WE HAVE GOBBLEPOT CONTENT IN THE EP!!! Sorry about going all caps, but I’ve been thirsty for this stuff for far too long XD

To summarize - good action here, actually nice/professional Jim, badass Babs, sweet BatCat moments, and Gobblepot scenes. Did I mention Gobblepot? Well, we have it. Now let’s get to the deets.

Oh, and sorry, but I just can’t like Ed lately. And Lee. And I’m being mean about it. Sorry.

Things are looking grim for Gotham’s green zone with the army closing in, but Jim’s being all tactical about it and hoping to stall the army enough to actually reverse the criminal orders. Criminal orders - I’ll be mentioning these several times here, because really now. But for the opening scene I love Jim and his allies being all to the point, very focused, very professional, it just makes sense and is so pleasant to see them all working together for Gotham.

Then we have Oswald abandoning the submarine plan for the sake of following his heart, and oh, Oswald, my dear, you’re so romantic. Because... who does Oswald follow throughout the episode? Jim. Jim’s his heart, his half of Gotham, his everything.

Do I love the scene where Oswald comes to Jim? Oh do I? I LOVE IT TO PIECES and yes, sorry, all caps again XD Because - you just look at it.

Jim recognizes Oswald’s presence before he sees him. He claims it’s his “recognizable odor, part dandy, part snake” but come on, he just can’t flirt to save his life, this man, and when he does it comes out this awkward XD Jim teases Oswald before offering him a drink. Now, forgive me if I’m wrong here, but he never did it before. So this is Jim’s acknowledgement of Oswald as an ally, at least, if we remove the shipping goggles no can do, I think I was born with them.

And Oswald’s monologue about Gotham, about how his life is in Gotham, how he is part of the city as much as Jim is. Seriously, when the trailer was out I was afraid they’d make the line “it’s part of you too” be addressed to Ed with the amount of screentime that mutated broccoli was getting and so many scenes that Oswald had with him. God, I’m so glad it’s Jim that hears this. They both acknowledge what Gotham means to them, and they’re always going to be united through that more than anything. Their version of being married, so to say.

Oswald is so breathtakingly beautiful in that scene too, I just can’t.

Then Ed shows up, hogs the blanket, eh, you’re barely more than a civilian at this point, Ed, and you were always a crappy shot. Do you think you make a difference? But as far as symbols go, him standing alongside the heroes is a nice touch.

Loved Jim teasing Oswald about if he still wants to fight, and him shooting back about his full pardon. Lovely banter between husbands

Then we get the good guys of the GCPD on the barricades with Bane’s soldiers down there. I’m not sure if they still had any advisors at this point, with the show’s situation being what it is, but if they wanted us to buy that Bane was ex-military and knew what he was doing, tactics-wise, they kind of… failed. I might go out on a limb here and consider this to be intimidation tactics on his part, but in the sutuation where your troops and resources are limited… that’s not the best idea.

Also. The way Bane took command was by force, sure. But first he and Nyssa made the general issue a criminal order. And the thing about criminal orders - you don’t follow them. The soldiers caved there, for plot, and because you have to know about it, you have to keep your thinking critical, to recognize the order as criminal, and well, army’s not known for a lot of that.

Jim though, I do buy (and headcanon) as having a head for tactics. First his plan to stall the army at a certain point, then him securing the higher ground for his troops - that's good thinking. But then Jim goes and also issues a criminal order, by opening fire on the army soldiers. He gets a bit of leeway there, since they’re actually protecting civilians, but - well, I guess my issue there is that they should’ve waited for Bane’s side to shoot first.

The way Bane’s soldiers were situated in that little square, though… no cover, no nothing, they just stand there like scarecrows - Jim's side could’ve taken them out in minutes. But okay, plot. And it wasn’t all bad, I guess, just kind of stupid, and I don’t like Gotham to be stupid, it’s too good a show for that.

I didn’t enjoy another scene of Oswald getting hurt, and that’s all I’m going to say about it.

Then Jim goes to save Babs and the baby and get the general too, for stopping all that. He’s being all stealthy XD And Babs helps him, distracting the guards, taking them out herself, man, girl just needed a good opportunity to. Also I was angry a bit for Jim not even asking if she was alright, but I guess he didn’t want to anger her more XD So I’m gonna be thinking he just knows Barbara enough to not ask her stupid questions.

Loved him and Babs working together in this scene, period. Now that’s a badass parents couple, if we’re talking hetero romance - and seriously. All Lee scenes were so extra and useless here. I just can’t, they make her so superficial it’s annoying. First her treatment of the Narrows in S4. Then her reverting back from it here in S5 and seemingly not giving a damn about the Narrows. The way she never sees Jim for the person he is - the only hint of her understanding him was when she was saying goodbye to him in S4, of all things. And so here, we get her saying “oh, this person needs this, this person needs that, someone do it” - you're a doctor, goddamit, DO THAT YOURSELF. Because by the time she’s arrived at the GCPD, it’s past triage time. And she only remembers the Narrows when she needs to look all concerned - and then DUMPS the people to just go do whatever she wants. Yeah. Stellar leadership skills. You couldn’t have made me dislike the character more if you tried. Or maybe you did try. I dunno.

I loved how Jim goes all soft when he holds the baby, it’s so damn sweet. Him, Babs, and little Barbara actually look like a very sweet family, and you know, since we’re not getting canon Gobblepot, I’d rather they ended up together instead.

Because Lee makes no sense. Ugh. I’d prefer not to waste any more time on this cardboard cutout of a character, so I’ll just get it all out here at once. When Jim relies on her to lead the people of the Narrows to safety, she doesn’t show any conflict, about how she wants to stay with him instead, and she just goes. Then she dumps them, people who actually rely on her too, who look up to her (poor souls), and abandons them to go die with Jim. It could’ve been a touching scene, with her feelings all in turmoil, her conflicting desires to do good and be with her loved one at the same time… but we never got that. She’s emotionless and empty in those scenes, and all we get is her being stupid, whimsical and superficial. Ugh. I don’t like hating on female characters, but I do hate on this version of Lee. And Jim also goes all stupid with her, and it doesn’t seem as he respects her, either. What was that line about her disobeying him becoming a habit? Women aren’t property, Jim, even if you’re married, and since I decided to ignore that filler ep, you’re not even married, so shut up about it, Jim. You seriously need to continue your relationships with people you respect instead.

I wonder how Babs convinced all those people to go and risk their lives though - that must have been quite a speech. And it was indeed very moving, and enough for the soldiers to finally realize the orders they’ve been given were criminal, and turn on their commander instead. GOOD.

The scene with Babs and Jim at the GCPD after that is again so soft. So cute. I love seeing that soft smile on Jim, and I like Babs being soft with him too. Seriously, I love Babs in this episode.

Then we get Oswald and the mutated broccoli scene. Kind of cool I guess. But I don’t like how he blatantly tries to manipulate Oswald when he’s emotionally vulnerable. AGAIN.

Oswald, my prettiest bird, you should’ve stabbed him. But you keep giving people second chances, and that’s a trait I love about you. Too bad I don’t enjoy that narcissist with a fondness for mirrors and would prefer for you not to waste time on him. Nothing good will come from that, only negativity, and the knife pressed to your back.

Also the scene looked too dragged out and their interactions too forced. They’d be a fun comic duo, but if you want us to buy the tension between them… it’s not working. Also - you just can’t rely on Ed for anything. Oswald trusted him with Martin and we never saw the kid. Oswald trusted him with a dog, and he abandoned it in the submarine. What the hell, Ed.

Oswald is so pretty in that last scene, I’m crying. Of course he dolled up for such an occasion with Jim! And Jim’s eyes, they flit to his side, is it any surprise even? XD

I kind of realized I completely left out BatCat scenes here, but I’ll just say they’re good and sweet and touching, and what the hell, Bruce! You don’t treat Selina like that! Stupid, stupid boy! You had half a brain to say goodbye to Alfred, at least, but man, you owe Selina big time.

This episode could’ve been made better. But I still enjoyed it a lot, mainly for good Babs content, Jim being nice, and finally, finally some premium quality Gobblepot.

I live.

[coolbloggerthings]

What NOT To Do as a New Animator

So you’re about to start an animation job at a new studio? That’s awesome! Congratulations. What’s that, you say? You’re worried about performing as an animator? Just relax, the animation part of the job is the least of your worries. You’ve gotten good training here at AM, and the studio is going to give you some leeway early on. No one expects you to be Bill Tytla right away. But you’re right to be a little apprehensive about starting a new animation job. There are some pitfalls to watch out for. While the animation part of the job should take care of itself with hard work, there’s more to succeeding at a new studio than getting your shots approved.

Here are some things NOT to do as a new animator:

Don’t talk.

In general, keep your mouth shut when you’re dealing with the animation development team hierarchy or even with senior animators. Seriously, no one wants to hear your opinions in meetings, and no one wants your critiques. And especially never interrupt or defend yourself when you’re getting notes. Directors do not care what your intentions were, or what you did but changed before they saw it, or what you were going to do if you had more time, or what your mother thought of your shot. They honestly do not care, and you only sound defensive when you try to explain your work. Remember, you will never talk someone into being impressed by your animation. So, keep your mouth shut in general, especially when you’re getting feedback and notes.

Author’s Note: I was intentionally blunt in making this list — I took what could be nuanced points and painted them as black and white. I did this because I’ve seen many a new animator come into a studio with so much excitement that they’re like bulls in a china shop, committing inadvertent faux pas and stomping on sensitive toes in their enthusiasm. Sadly, in a studio situation, people will rarely cut you much slack for being naive or overzealous.

In particular, the “don’t talk” rule has startled some people. I thought it might, and I’m glad if it gets people thinking. Yes, AM encourages peer-to-peer critiques. Yes, in a school situation like AM, we want to hear your thoughts, ideas, and opinions. Yes, animation is collaborative. And yes, as a new animator you need to communicate with others. But there’s a huge difference between the warm, nurturing environment of AM, and reality of the working world. I’m not doing you any favors if I sugar coat it.

As a new animator with promotional animation, you simply haven’t earned your stripes. You haven’t learned the politics of the environment you now live in. You don’t understand the personalities and histories of the people you’re working with and working for. When you speak up to offer unsolicited suggestions, ideas, or critiques, you will at best be seen as annoying and be politely ignored. At worst you’ll create hard feelings and damage your career at that studio. True story: I was once almost fired for speaking up at a meeting with what I thought was a great idea. And you know what — it was a good idea, because it was ultimately implemented. But at the time I made that suggestion, I was the most junior person in that departmental meeting, and the producer running the meeting, who didn’t know me, took my suggestion as an attack. I only found out later that a supervising animator I’d worked with vouched for me, calmed the producer down, and saved my job. It took a couple of years for that producer to forgive me.

When you first come into a studio, you’re at the bottom of the food chain. Enjoy that you’ve made it to the first rung of the ladder, that you’re now a professional. Talk all you want to your friends and family (NOT on social media, you silly kids!). But at the studio, keep a low profile. I can’t say it more plainly: let your work speak for you, not your mouth. Unless you’re specifically asked, that is, and even then have some caution. Trust me, after you’ve been in the industry a few years, you’ll understand.

And if you have any questions about any of the other points, put them in the comments and I’ll try to respond to them there.

Don’t rush your work.

You will get pressure to work faster. Everyone does. But at the end of the project (when decisions are being made about staffing for the next project), the quality of your shots is what will be remembered. Within reason, never sacrifice quality for quantity. If you can’t yet be “fast and good,” then don’t settle for “fast and mediocre.” It’s better to be “slow but good,” and to progressively improve your workflow and speed.

Don’t complain. Don’t be negative.

In your private conversations, don’t badmouth coworkers or studio life in general. Animators can be a catty bunch, and some are world-class complainers. Don’t fall into the trap of gossiping, judging, whining, and moaning. As a new animator, your job is precarious enough — you don’t need to make enemies, and you definitely don’t want to be seen as negative. You’ll see this behavior sometimes from grizzled veterans, and joining in can feel a little cathartic at times. Just realize that behaving this way as a new animator is terrible for your reputation. When these kinds of conversations come up around you, don’t take part. In fact, avoid negative, whiney people as much as possible. They’re contagious. And this negative mindset does bad things to your work efficiency.

Don’t lobby for good shots.

You’re the new kid, no matter your age and skill level. You may have the idea that you deserve juicy shots, not the background walk cycles you keep getting stuck with. You may hear about others badgering the lead or the director for good shots, sometimes successfully. Don’t do it yourself. They will give you better shots when you’re ready, and you’re probably not ready. That are few things as annoying for a lead animator than juniors whining about that shots you’re assigning them. And remember, there are no small shots, only small animators.

Don’t hang out on the internet.

When I see an animator with multiple chat windows open, and a podcast playing, and funny gifs cycling, and a news feed going, I know I’m looking at someone who is working to about 20% of their potential. Sometimes I don’t see it, but I hear it — the constant clatter of keyboards as people are typing out chat messages going back and forth. Don’t get a reputation for this kind of time wasting. It really does kill your productivity. And the same goes for your phone — don’t take personal calls or texts during work time. Store your messages, and deal with them at lunch or during a break.

Don’t take critiques personally.

We pour our heart and souls into our work, but we are not our work. When someone critiques your work, they’re not judging you personally. An honest, no-holds-barred critique is a precious gift. Treat it as such. Try to never be defensive. The proper response to a blunt critique is “Thank you sir, may I have another.” Be open during critiques or you will stagnate as an animator.

Don’t work unpaid hours to get ahead.

You’re a professional now, which means you should be paid for your work. If everyone is crunching, then of course you do it. But don’t be that new kid who works late into the night, and comes in on weekends, so you can get yourself noticed by the boss. Other junior animators will see just what you’re doing — you’re trying to make yourself look better at their expense. They will resent you for it, as they should. And all you signal to the vets is that you don’t know how to get your work done. This is not a pathway to being respected.

Don’t butt in.

Don’t try to rush connecting socially at the studio. It can be lonely lonely at first, being a new animator. It can be frustrating seeing people around you who seem to have so much in common with you, who play the same games, like the same movies and comics, who love animation just like you. I see young animators often trying too hard to to force friendships, to wedge into established social groups. Don’t push too hard to become one of the gang. You will make friends, though at some studios it takes some time. Let it happen naturally, or else you might get tagged as pushy and annoying.

Don’t isolate yourself.

This is not a contradiction to the note above. Don’t form a bubble of solitude around yourself. Seek out feedback about your work, in a respectful way. Be friendly and open socially. And if you find yourself struggling, with an animation problem, or with a technical problem, reach out sooner rather than later. Ask for help if you need it, before it becomes a festering problem.

Don’t show your work ‘cold’ to the director.

Cultivate some coworkers who are willing to give you good, honest critiques, and listen to them. Try to only show your work to the director, or in dailies, after you’ve addressed this private feedback. I can promise you most of the best animators in the studio are doing this, and have been for years. That’s part of why they’re among the best. Remember, none of us are as good at judging our own animation as our peers are. Never forget this fact, and always get two or three extra sets of eyes on your shots. (And remember this when you’re updating your demo reel!)

Don’t assume no one knows who you are.

It might feel like no one cares about you, and that you’re unnoticed in general. In fact, lots of people are paying much more attention to you than you think. And they’re forming opinions. And those early impressions will stick. So do yourself a favor and be an upbeat, high energy, hard-working team player. Imagine you’re being noticed all the time, and behave accordingly.

Don’t be a jerk to PAs or production staff, ever.

Realize that some of those people who are at the bottom of the production staff hierarchy now will one day be producers, with the power to hire and fire you. And they have long memories. The friends and enemies you make early in your career will often continue to be a part of your working life for decades to come. This is a small, highly connected industry. Treat everyone respectfully, even if some people don’t really seem to deserve it. In the long run you’ll be glad you did.

[kevinpolowy]

Bryan Cranston Talks 'Wakefield,' His Walter White Disguise, and Whether He'd Do a Superhero Movie

Bryan Cranston at a special screening of ‘Wakefield’ (Getty Images)

In Wakefield, Bryan Cranston plays a successful New York lawyer, who, upon returning to his perfect suburban home one night, decides to take a nap in the attic above his garage. He doesn’t wake up until morning, and decides to make it a full day away from his wife (Jennifer Garner) and twin daughters. Days turn then into weeks, and weeks into month, as Howard Wakefield scavengers food from the trash, grows out a scruffy beard, and spies on his family from a rear window — all the while dissecting the trivialities of his seemingly idyllic (but clearly not idyllic) life.

It’s a tough act to pull off: How can we feel for this guy who would put his family through this type of ordeal? But then again this is the man who played of the greatest antiheroes in TV history, meth king Walter White in Breaking Bad. Cranston doesn’t want you to think about Walt while watching Wakefield, and the characters couldn’t be more different.

But we’ve been through this sort of emotional grinder with Cranston before, and he once again proves a master of bringing honesty and complexity to his characters. In a candid interview with Yahoo Movies, the 61-year-old actor talked about why he could relate to his misanthrope from Wakefield (written and directed by Robin Swicord and based on a short story by E.L. Doctorow), his go-to disguises, his desire to do a comic-book movie, and more.

Obviously this scored high on the Cranston Assessment Project Scale, the formula you’ve said you use to choose roles. Where did it spike in the algorithm? I ran it. It was very high on the story, very high on the screenplay, very high on the character. And high, once I talked to her, on the director. So the first three were killers. Bang bang bang. The character — oof, wow. But the story itself really makes you think. It’s relatable. Who hasn’t thought, “I would love to take my own day and not have any responsibility, not have any phone calls or texts or emails. I would love to just check out.” And Howard Wakefield does. But moment to moment. I just need a few hours. I don’t want to confront this issue right now. I don’t want to get into a fight. I’m tired. I’ll just deal with it in the morning.

Like when you get the flu and go, “Well, this is kind of nice not to have to do anything.” Yeah. If it’s not too bad. I’m watching a movie and I’m eating chicken soup. Mmmm. It’s not terrible! My wife is waiting on me. Have you ever faked that you are sicker than you really are?

Probably, yeah. [Laughs] It’s like [in a whisper], “I don’t feel well, I just don’t feel well.”

Bryan Cranston in ‘Wakefield’ (IFC Films)

What’d you find particularly juicy about Howard? Well, I related to him. I knew what that was like. And then I discovered that this was originally a short story by Nathaniel Hawthorne back in 1835, in England.

That then was adapted into a short story in the New Yorker by E.L. Doctorow. Yes, so this sensibility of feeling pressured and wanting to take a break has been with man probably since the beginning. Can you imagine the caveman going, “F–k, if I fight another mastodon, I’m going to scream. Can I just lay down the sand?”

Howard ultimately ends up looking like a caveman. You see! Nice little come-around. But funny you should mention that because he does get down to a very basic type of animal — an animal who is concerned about food, shelter and clothing.

There’s an ongoing dialogue in the screenwriting community about the challenges of telling a story that features an unlikable, or questionably likable, main character. Did you find Wakefield likable? Do you think he has redeeming qualities? I think that’s a misconception. I think we’ve been groomed to think and to accept like dogma that you have to have a protagonist and an antagonist. You have to like this person and dislike this person. Really? And every rule is made to be broken. I think it’s a false premise. What I think the screenwriter or storyteller has to do is to create an honest depiction of a life, a plausible life, and leave it up to the audience to decide if they like him or if they don’t. If you are able to convey vulnerability, sensibility and honesty, some people will like you. Because they believe you: “He’s being honest.”

And human. “He’s human. He has frailties. And he’s feeling pressure. I get it. I like him. He’s me.” And then that character can turn. And then your allegiance to that character can drop. But it doesn’t mean you’re less interested in that character, or less invested in that character. It’s just malleable. It fluctuates.

Breaking Bad was a very good example of that. Something [changes], and then it’s like, “No, Jesse’s the one [who I like].” “Well, I still think that Walter…” This is real life. Do we always love the people we know? No. There are days when our affinity toward someone is lower than others. It’s honest. So I think we’re giving the audience respect and allowing them to feel what they are going to feel.

Breaking Bad definitely transcended the idea of heroism. People still debate whether Walter White was a hero or a villain. Do you think the audience could give Wakefield more leeway because they’ve seen you pull that balancing act before? Well I hope they don’t. I hope they take it on face value of what we’re presenting in this new story and not bring any baggage from previous. That’s the goal. You’re still you. There are elements of me on screen in everything I do that you say, “Well, that’s him.” But that’s the glorious thing about human beings, that we so want to be told a story that we’re willing to suspend belief.

Have you ever gotten sick of fame to the point where you’ve wanted to pull a disappearing act? Yeah, I do… What gets to be an imposition is if I’m out with my wife and daughter and all the attention from other people goes to me at the exclusion of [them]. So now the dynamic has completely shifted. It could be weird. It’s something that I’m learning and I’m getting more accustomed to because apparently it is what it is. And it’s not something I ever wanted or dreamt about. It’s a byproduct of what I do, and I have to accept that.

But I don’t want to make it sound like, “Oh, what a burden it is to be famous.” It is a condition that you make adjustments to, just like anybody. But I’m thrilled when I meet people where the work has brought them some kind of joy or togetherness or they bonded with their mom or dad over something. Like “I just loved watching Malcolm [in the Middle] with my kids.” That’s really great, and I really appreciate that. It’s just the constant attention toward me. I get bored with talking about that. What about you? I want a more well-rounded experience.

Have you ever gone out in disguise? Mmm-hmm. Usually I just wear a baseball cap and some glasses but very seldom does that really work. I walked the floor of Comic-Con in my own Walter White mask. And that was fun. Because I got some attention, but I didn’t get the level of attention I would have if I would’ve been just myself…

Bryan Cranston at San Diego Comic-Con

Do you still have your Walter White costume, did you keep that? I do. I have the mask and the clothes. I have the Heisenberg hat and the sunglasses.

But you never wear that out in public. I would never. I don’t think so. Talk about drawing attention to yourself.

People loved you in Power Rangers. I know that franchise holds a special place in your heart since you did some early work on the series. How was the homecoming? It was fun! Because it was a much more sophisticated approach to the storytelling. And I appreciated that. It wasn’t like, “BOW! ZING! Let’s get him! I will stop you, Rangers!” It wasn’t corny. This was a fully realized concept that really caught the imagination.

I worked on it two days. One day was all the stuff in the spaceship with the head. I had to keep my head on a cradle. I couldn’t move or my face would go out of focus. I never left that cradle. So to this day I haven’t met those other actors. I never met them. And then the other day was being in that costume, which was four-and-a-half hours of makeup. Crawling through the mud and singing in a foreign language. It was a challenge, but fun.

Are you still angling to play the X-Men villain Mr. Sinister? I’m not angling to do anything. Someone brought that to my attention and I looked into it. But I would love to play a character that has not been done before, that I can put my stamp on and create that character from the comic book to the screen. Mr. Sinister seemed to be a good option. Like “Oh yeah, I could play that role. That would be interesting.” But I’m not against playing a hero, either. Whatever may come up. But I would like to do a fully realized action film, either Marvel or DC or whatever.

Wakefield is now in select theaters. Watch the trailer:

Read more on Yahoo Movies:

The New Blue Power Ranger Loves that His Character Is an Homage to Bryan Cranston

Bryan Cranston Morphs Into the Red Power Ranger on ‘The Late Show’

How James Franco Got ‘Walter Whited’ By Bryan Cranston in ‘Why Him?’