#actual cinematic experience

[papayafiles]

barbenheimer who? SINGAPORE GRAND PRIX.

[martianbugsbunny]

BITCH they had a WHOLE LOTTA NERVE to SPECIFICALLY HAVE STEVE SAY "bro, it's hard to date when nobody has shared life experience with u"

......IN THE MOVIE WHERE THE GUY WITH SO MANY SHARED LIFE EXPERIENCES SHOWS THE FUCK BACK UP. THE GUY WHO LIVED IN 1940S NY WITH HIM. THE GUY WHO SERVED IN WW2 WITH HIM. THE GUY WHO GOT THE SUPERSOLDIER SERUM LIKE HE DID. THE GUY WHO MANAGED TO STILL BE ALIVE AND LIKE THIRTY IN THE 2000S JUST LIKE STEVE. WHAT WERE THEY THINKING. WHY WERE THEY SO STUPID

[youssefguedira]

I wish you would write a fic about irreconcilable artistic differences on a movie set between Joe and Nicky.

not really irreconciliable as in not solvable at all but you know i had fun with this

Joe squeezes his eyes shut, covering his face with both hands, and leans forward. His shoulders tremble uncontrollably. He takes a short, sharp breath, and another, and another, but he can’t quite seem to get enough into his lungs. There’s a lump in his throat and a weight in his stomach. He leans forward with a low, wounded sound and–

“Cut,” Nicky says softly. Then, because it takes Joe a second to hear him: “Joe, stop.”

Slowly, Joe raises his head. Wipes at his eyes and takes a few deep breaths to steady himself. Nicky’s already up, frowning ever so slightly as he looks at the camera. 

“What is it this time?” Joe manages. His voice is hoarse; he has to clear his throat once or twice. Nicky doesn’t look up. The clock on the nightstand reads 01.34, but Nicky’s changed it a few times over the course of the shoot. He has no clue what time it really is, only that it’s dark outside.

It’s just the two of them in the room. Nicky had wanted to keep this one small, just him and Joe and the camera. The apartment they’re in is nice, if a little empty, though Joe supposes that’s the point. They’re in the bedroom, Joe sitting cross-legged on the bed, shirtless, sheets bunched up over his lap, a phone lying on the nightstand behind him. One entire wall of the room is taken up by a floor-to-ceiling window which lets the moonlight in, though there’s a few low lights set up behind Nicky to send bars of silver light across the bed, because the natural light hadn’t quite been strong enough for the effect Nicky wanted. It’s otherworldly; it’s beautiful. 

Nicky still isn’t looking at him, so Joe says again, “What?” It comes out a little harsher than he means it to, but it gets Nicky’s attention.

Nicky runs one hand through his hair. Joe can’t see him well, not with the light behind him and the shadows in the room. “I don’t know,” Nicky says. “It’s missing something.”

Joe has worked with Nicky enough times before. It’s not that he doesn’t like working with him - they’re friends - but he can’t fucking read him, and so after the sixth take of the same scene he can’t help but take it a little personally. 

Joe reaches for the bottle of water hidden just under the bed and takes a long drink, mostly to keep himself from snapping. What time is it? “I can try again, but I can’t do this indefinitely, Nicky.”

“I know, I know,” Nicky says, fidgeting again with the camera, “it’s not you, it’s just–” 

“What else could it be?” Joe interrupts. He’s not stupid. This scene doesn’t work if he can’t get it right, which means the entire film doesn’t work if he can’t get it right. More than anything else, this one depends on him. No music, no camera movement, no dialogue, nothing but him and the camera. And he wants to do it right, he loves this project almost as much as Nicky does, but there’s a hollow feeling in his chest and he’s spent the last however-many-hours having a near-complete breakdown over and over again and it’s still not right. And Joe doesn’t know what it is he’s doing wrong.

“I don’t know,” Nicky says quietly. Now he is looking at Joe, and Joe can’t tell if he’s disappointed, or angry, or – or what. He’s perfectly expressionless, as always. 

Joe loves this job. And he wants to get this right. But it doesn’t mean it’s not one of the hardest things he’s ever had to do, and he’s tired.

“I don’t have much more left in me, Nicky,” he says, and this time he does snap. He wipes at his eyes again, can’t look at Nicky. He’s supposed to be making himself vulnerable, above all in this scene, but suddenly he can’t stand the way Nicky’s looking at him. “Pass me my hoodie.”

“Joe–”

“I can’t. I can’t keep doing this.” He kicks the sheets off and gets tangled trying to do it, grabs his hoodie when Nicky offers it, pulls it over his head in one fluid motion and gets out of there as soon as he can. Thankfully, there’s only Andy and Nile in the other room, Andy lying back on the couch with her feet up and Nile perched on the arm of it. They both look up at Joe as he enters, both look like they’re about to ask, and Joe can’t stand it, can’t be in here a second longer, can’t–

“We are done for the day, I think,” Nicky says behind him, startling Joe. He hadn’t realised Nicky was there.

Andy raises an eyebrow, but doesn’t argue. It’s already the second day of trying to shoot this scene: they’re running the risk of falling behind schedule. 

“We’ll find something else to do tomorrow,” Nicky says. “I’ll look over everything tonight. We will try this again on Monday.”

Andy and Nile look at each other. Nile shrugs. 

“Get some rest, Joe,” Nicky says. 

Joe shoves his hands in his pockets and doesn’t say a word.

–--------------------------------

He doesn’t get called in the next day at all, and he doesn’t interrogate it too closely. Takes the day off, pretty much, because they’ve only really got one scene left to film, and there’s not much more he can do for that. Nicky had wanted to leave it to the last, and Joe had agreed, at the time.

At about nine pm, someone knocks on his hotel room door, which is unusual on a day where they don’t have a night shoot to do. When he opens it, Nicky is on the other side. Joe lets him in without a word. 

“I wanted to apologise,” Nicky says, standing in the middle of the room and looking as uncomfortable as Joe’s ever seen him. “For last night. I was pushing you too hard, and I should not have done.”

Joe closes the door behind him. Nicky fidgets with the sleeve of his hoodie. 

“Sit down,” Joe says. 

Nicky does, settling himself on the edge of Joe’s bed, not quite looking him in the eye. Joe joins him, after a moment. 

“At the risk of sounding cliche,” Nicky says, “it’s not you, it’s me.”

Joe laughs, mostly because the phrase sounds so strange coming from Nicky and also because out of everything he’d thought Nicky might say, he hadn’t expected that. 

Nicky smiles slightly, too. Then he gets up and heads for the minibar. “Mind if I have a drink?”

Joe shakes his head. Nicky gets out a little bottle of wine, glances at the label, and takes a swig straight from the bottle without bothering to get a glass. 

“I can’t seem to get it right,” Nicky says. “You know I wrote almost fifteen different versions of that scene?”

The scene in the script itself is barely a page long. “No,” Joe says. 

Nicky nods. Rubs a hand over his face. “I wanted it to feel real. I thought if I could get it right, it would… help, somehow. I don’t know.”

It’s the exact same reason Joe said yes before he even read the script, when the whole thing was just an idea in Nicky’s head, when they were talking about it over drinks at Andy’s and Joe was in love with the idea almost immediately. He knew exactly why Nicky was writing it; he knows, now, exactly why it needs to be right. But at the same time – “I don’t know if that’s possible, Nicky.”

Nicky sighs. “I know.” He crosses back over to sit beside Joe again, takes another drink from the bottle. “But there is something missing, and I cannot seem to find it. And so it does not feel real. And I know this is not easy for you.”

“It’s not,” Joe says plainly. 

“But you know,” Nicky continues, “I could not have trusted anyone with this but you. If you had not said yes, I would not have done this.”

That, Joe didn’t know: he knows he’d been Nicky’s first choice, but he’d assumed that’s because they know each other well enough already. But it makes sense: the reason Nicky wrote the script is the same thing they’d bonded over. 

Even still, it’s a lot. “I don’t know if I can do it the way you want,” Joe says. 

Nicky looks up at him from where he’s been running his fingers over the label on the bottle absentmindedly. “If you want to stop, I can–”

“No,” Joe says quickly. “But I don’t think it’s ever going to be exactly the way you felt.”

Nicky looks away. “It is a lot to ask,” he says. “I know this.”

Joe doesn’t think; just reaches over and takes Nicky’s hand. “I know,” he says. “Trust me.”

Nicky takes a deep breath. Then he nods. "Okay."

[batcavescolony]

ship of theseus but for comics, if you replace 90% of a character can it still be called that character? Or if you have a team and adapt that team but remove or change 90% of said team can it be an adaptation?

[nohoney]

c&c reader would definitely force touya to get all dolled up to watch the Barbie movie ლ(◉❥◉ ლ)

Normally Touya is the one always calling you doll but he feels like one as you pick out his clothes for him, fussing over certain patterns and trying to coordinate his look until you’re satisfied. He’s not really one to care and let’s you do as you please. But this… he’s not feeling it. “I’m dressed like a douche.” he tells you as you pet the collar of his shirt.

“You’re not dressed like a douche.” you tell him off handedly as you decide if you want one or two buttons undone on the pink button up he’s wearing. “You’re dressed like Ken.”

“Ken is a douche.”

“Well Ken wouldn’t give Barbie this much sass,” there’s a playful tone to your words as you decide on two buttons to be undone and then fix the chain around his neck, “he’d be grateful to her.”

Touya has never worn this color scheme before and he’s visibly uncomfortable. Pink shirt with white pants, it looks fucking atrocious on him. Even if the clothes coordinate with your pretty pink dress, he just doesn’t feel like he looks right when he looks at himself in the mirror. The things I do for my girlfriend. he thinks to himself silently as you fix up the bows in your hair.

You’re free to dress like Barbie, Touya doesn’t really care all that much.

But to dress him up like Ken?

“Doll, I look ridiculous.” Touya tells you as you gather your purse and make sure that you have everything in it before heading out the door. “You can’t tell me that you think I actually look good like this?”

“Ugh stop whining. You will not be the only boyfriend dressed up by his girlfriend in the theatre. Look,” you apply gloss on your lips that smell like guava before speaking again, “it’s just for a movie so can you suck it up for me? It’s really important that I experience this with you.”

A beat of silence between the two of you.

You pull out a plastic baggy from your purse that has three rolled joints in it. Pink rolling paper of course. “You can get high before we go into the theatre and sit down.”

“Deal.”

[thiinka]

Just saw Look Back in the theater. It's a perfect manga to film adaptation: integrity to both mediums, an actual reason to be adapted, and intentional and loving filmmaking as a celebration of human collaboration are all here. The music, voice acting, visual composition, backgrounds, and animation are amazing.

Even if you've already read the original, please, if you can, go see this. It's incredible.

[mumblesplash]

mcu and mcu-adjacent writers who acknowledge sleipnir’s backstory but try to spin it so the original myth was ‘a misunderstanding’ or change it into something more palatable are fucking cowards. loki is that horse’s biological mother and if you can’t face that you don’t have what it takes

[ivyithink]

mmmmmmmm, yes, watched “bungo stray dogs: beast live action” recently and WOW, they did just tell the most tragic goddamn love story like it’s okay and normal and allowed??? no amount of bad cgi is gonna help you cover up the undeniable queerness that was going on, movie, nuh-uh, not gonna work on me, I’ve seen stuff like this before!

translation! text from the 1st pic (from Ukrainian to, well, English, obv) :

oda’s asking “what have you done already?” and the text on the right says “find yourself someone who will look at you like etc.”

[dareduffie]

very funny how every 80's actor wants their top gun maverick moment but what they don't realize is none of them have what made top gun maverick work aka:

- tom cruise

- an actual story

- a guy who is super invested in movies and the film industries survivability (tom cruise)

[rotteneldritchhorror]

I will forever love how Brandon talks and his mannerisms, especially as an autist who pays way too much attention to things like that- his like- vocal patterns OOC, his mannerisms, it’s so fascinating and just— nice?

Idk how to explain it, it’s so pleasing to my autistic lil brain, it’s like a good lil brain scratch

[gemkun]

@oneireth said : ❛ you’re lucky you got away with only a scratch. ❜ sh cae at dh... ↬ &. 𝐚𝐧 𝐚𝐬𝐬𝐨𝐫𝐭𝐦𝐞𝐧𝐭 𝐨𝐟 𝐝𝐢𝐚𝐥𝐨𝐠𝐮𝐞 𝐩𝐫𝐨𝐦𝐩𝐭𝐬.

      ⸻       smearing   crimson   ,   knuckles   drag   across   a   cut   lip   ,   pressing   to   stave   the   remnants   of   red.   his   eyes   firm   on   his   assailant   ,   wielding   that   bloody   bat   ,   tinged   in   a   splatter   that   gleams   against   even   the   dimmest   of   lighting.   but   so   too   ,   does   cloud   —   piercer   ,   albeit   with   marginally   less   than   the   amount   the   stellaron   hunter   gloats   about.   in   fact   ,   most   comes   from   the   projectile   that   flies   from   his   swing.

  ❝   or   —   ❞   his   volume   raises   whilst   he   straightens   ,   adopting   his   offensive   stance.   pointing   the   sheen   in   a   vicious   manner   ,   intent   on   striking   down   his   foe.   ❝   —   you   are   simply   weaker   than   you   thought.   ❞   running   with   the   weight   ,   he   leans   into   his   weapon   ,   aimed   at   the   troublemaker.   determined   to   deal   with   the   threat   ,   before   he   run   rampant   ,   paving   crimes   in   his   wake.

  the   clash   of   met   blades   sear   across   the   field   ,   but   the   force   behind   his   elegant   swipes   do   not   falter.   for   even   an   instant   ,   could   cost   him   the   battle.   let   his   opponent   taunt   him   ,   he   reminds   himself   ,   for   the   stellaron   hunters   are   full   of   cheap   tricks   and   foul   strategies.   to   provide   no   reaction   is   his   best   bet   ,   and   vehemence   embeds   itself.   enabling   zephyr   to   drive   itself   towards   his   sole   target.

  ❝   you   will   not   win   this   fight.   i   will   strike   you   down   ,   so   you   may   never   lift   that   bat   again.   ❞

[deepspaceclawstation]

Just listened to the audio equivalent of the Transformers movies. It's like listening to looking at a high budget trainwreck but you can't look away (despite not understanding a thing)

[unproduciblesmackdown]

forget why i was even thinking of it the whole other day but going "what were like Interpersonal Interactions i had over the years that were like meaningful / significant but in a good way" & there's answers & the main genre is like the surprise of just being treated kindly with No Conditions, wasn't ever moved by e.g. approval for doing what you're supposed to wherever, meanwhile didn't even have to be singled out over whatever, which if anything would kind of imply [B/c Of Conditions Met]. but then i was like why limit "experiences of significance over the years of In A Good Way" to "ways i was having some direct 'enough' interpersonal interaction" when that means overlooking / deprioritizing a ton of more readily obvious good shit that was really just about me "on my own" whether there happened to be other ppl in the vicinity (probably) or not

but also obviously Other People are relevant in every moment & part of everyone's lives but like so far beyond "what social interactions are you having w/people in the vicinity" which itself is also so far beyond which interactions get to be supposedly Real & Valuable / Worthwhile, which tends to be those of Family & Friendship & Romantic Partnership & then maybe if we're going wild a vague invocation of "community" beyond this....unsurprisingly a big Reader for those many years & like books exist b/c people make them & b/c there's all the people involved in how then any individual person might access any of those books, & then interact with what's in them. same with yknow everything else made & distributed & accessed, but certainly in particular Media as this site of especially indirect Communication from [who makes what's within its frame] & who takes that in, & you don't really talk back any more directly, unless you do lol, but nobody said communication is only two-way

also that, say, i like to draw, & In Person how to / feedback was always about Realism in drawing/painting from Life / Photos, how to info about the cartoonish expressive antics which you might note is all i care to do coming from Not in person, but certainly from people, books, online, just taking a lot of style inspiration from newspaper comics, nonzero other comics, some illustration, other ppl's linearty stylized work....also thinking about how the like Big Really Great Time Actually revelations of yore included stuff like wow i love being backstage. wow i love being backstage. wow being onstage is alright & i prefer even like more solo than ensemble things even though if only family was completely uninvolved among some other things & wow being onstage is a lot of fun when i get to do villain guy parts & lively side characters & stuff thrown together just to have fun with. wow being in rehearsal yay. being in the auditorium theater or dance studio or greenroom changing room. choir loft, sure. the theater b/c i'm in the audience yayy. didn't have anything to do with other people insofar as None Of That was great times & important memories b/c of the Interactions or Friendships or what have you lol. if anything it ties in with what interactions Were standout, like oh when some adult gave me this Treat just b/c everyone in my grade was getting it just b/c it was just about the last day of school. oh when the bus driver let me get my lunch b/c i only remembered it when the bus pulled up & they seemed completely fine about it. when i get to be treated No Worse than anyone else around, either spontaneously & it surprises me or that when doing a performance you're supposed to be there b/c you have this role & everyone else is there as your collaborator in some form or fashion. but i also liked the performing too, in the relatively limited capacity i ever did it but it was also certainly nonzero & a relatively regular going on

but back to the like yeah it was an interaction when, say, someone made a book with stuff in it & i read it & interpreted it. occuring to me like hmm that might go right along with Imagery i always find resonant where the pov might have nobody around directly observable but there's light in the distance that indicates a presence, & further, perhaps there's the understanding the light is put there deliberately as some signal for whomsoever might be out there to see it. & other things where there are implicit presence / figures who are distant & not connected to you Personally but indirectly / from afar are putting out these [interactions] to help you. like well you don't say

[pink-lighter]

mitski’s first love/late spring while walking through chinatown. that’s it, that’s the post.

[checkyesifulikeme]

I gave M❤️IAC 4 stars but I can’t stop thinking about it. I think I read it too fast so I want to go back for a re-read maybe in a year and a half or so…Don’t Fear the Reaper is otw!

[crysdrawsthings]

I have almost forgot to include these two sketches, so I will put it here, as a little bonus: little star and toxic yuri (gender neutral)

Compilation of sketches with three characters from the CCU: Extended Edition.

All three in one way or the other representing the fact, that taking mortal people and making them into immortal personifications of such exciting concepts as vengeance, ill omens or hope would give them various flavors of trauma and issues.

More specifically we have here Measse - woman of many anger issues, deific equivalent of hitwoman and part-time Morgoth cosplayer, naturally including having negative rizz (but thankfully not trying to convince people that he, in fact, has all the sex available).

Lily - the fascinating root cause of slavaboo elves, little ray of hope and kindness, who makes magic playing gusli and may or may not be terrified of her timeless future erasing her human side.

And Makar, who might need to go and get this constant cold checked at the medical professional, but otherwise is a uniquely unlucky personification of weaponized misfortune and bad omens. He also crochets and was born more or less alongside rotary phones.