#books vs. movies

[therealvinelle]

What if Alice’s Breaking Dawn Vision was real (the fakeout I mean)

(Obligatory caveat of I don't consider the movies canon, but I can't resist making fun of them so allons-y.)

Already answered, in that it was a very cartoonish and strange battle where pulling herself up is suddenly impossible for Esme, a vampire with super strength, or Jane, another vampire and therefore someone who doesn't need to breathe, is asphyxiated. Actual warlords Aro and Caius are overpowered by Bella and Edward, and Tanya respectively, and through it all Alice herself is... strangely badass. Suspiciously so.

The vision is Alice's self-indulgent "and then I overpower Jane and feed her face to wolves because I can see them now and it's badass" daydream, in an AU where she's a wanker.

[jakegyllenbaalz]

deadpool and wolverine comic covers!!!

[realtacuardach]

One difference between the Lord of the Rings books and the Peter Jackson films that I find really interesting is what the hobbits find when they return to the Shire.

In the books, they return from the War, only to see that the war has not left their home untouched. Not only has it not left their home unscathed, battle and conflict is still actively ravaging the Shire. They return, weary and battle-scarred, to find a home actively wounded and in need of rescue and healing. All four launch themselves into defending their home and rousting those harming it, and eventually succeed. But their idyllic home has been damaged, and even once healed, is never quite again the Shire they set out to save.

In contrast, in the Jackson films, they return to a Shire shockingly untouched by the horrors of war. The hobbits of the Shire talk, in the Green Dragon in Fellowship of the Ring, about not getting involved with issues "beyond our borders," and it seems those issues have not invaded their sanctuary. After having been bowed to by kings, dwarves, elves, and men alike at the coronation in Gondor, their only acknowledgment upon returning home is a skeptical head shake from an older hobbit.

One of the most poignant scenes to me in Return of the King (and there are a considerable amount) is the scene where Frodo, Sam, Merry, and Pippin are sitting in the Green Dragon. The pub patrons bustle around them, talking loudly, clapping excitedly, drinking cheerfully, just as they had in the beginning of the story. But the four hobbits sit silently, watching almost curiously at what was once familiar but is now foreign to them. Their home has not changed. But they have.

Which is the deeper hurt? To come to your home to find it irrevocably changed, despite all you did to keep it untouched and the same? Or to return home but no longer feeling at home, because it is only you that is irrevocably changed?

[midwestmunster]

Scott Pilgrim vs. the World (2010)

[velvet4510]

Ok, time for a hot take.

It really bothers me that Rosie and Sam’s relationship is reduced and made so shallow in the films, with the implication that they’ve never even talked to each other, and Sam is pining for this girl he doesn’t really know….

Like …

… this actually misses the entire point of their relationship in the book.

In the book, Sam and Rosie grew up together. His warmest memories that bring him comfort in the darkest place are the memories of playing with her in the pool when they were kids.

The point of Tolkien’s Rosie is that she’s someone familiar to Sam, the face that comes into his mind when he thinks of home. He remembers an actual moment he spent with her, a moment of fun and bonding. Then when he comes home, it turns out she could somehow sense the moment the Ring was destroyed, and knew he was coming home. They have this special, deep bond that brings Sam a sense of comfort and stability.

She’s not supposed to be some distant, unknown figure that Sam has built up in his head but has never actually talked to or gotten to know. That’s literally the antithesis of Tolkien’s Rosie Cotton.

It’s like the films swap Sam’s initial relationships with Rosie and with Frodo. In the movies, he starts off more familiar and friendly with Frodo; they apparently go to the pub together frequently like typical buddies do, whereas Rosie is in another world, dancing and making drinks behind the bar, and Sam is just too unsure of himself to even make small talk with her.

But Tolkien’s portrait is the exact opposite. Rosie is the one who Sam spends a lot of time with and has known for a long while. Frodo is the one who Sam is distant from and doesn’t really have the nerve to make chit-chat with, because he is Frodo’s servant and thus he thinks it’s not his place to be too friendly with “his betters,” as his dad says. (And then the journey takes the two of them out of that restrictive class system and frees them to bond and get to know each other as people.)

Then when they come home, there’s an actual sense of coming home, because Rosie embodies everything that is familiar and safe for Sam. Not everything that is unknown and scary.

[yrsonpurpose]

Numbers on me being into dudes? Seventy-eight percent probability of latent bisexual tendencies.

[077891st]

What secrets could this book hold?

----

Saw Sniff's handmade (!!!) Lexica Botania and this image engraved itself onto my eyelids then my internet died lmao

[therealvinelle]

Goddamn you, I was going to correct your choice of movie composer with "Actually, Maurice what's-his-name would be my choice for this" only to look it up and... Maurice what's-his-name's last name was Jarre. Nevermind then.

For you and vinelle: You're given complete free reign over an adaptation of the twilight series, SMeyer's opinions be damned. What major adaptational choices are you making in this series (especially in terms of differences to the plot of all four books)? Who (if not yourselves) are you hiring to write, direct, and score the series? What's a really memorable scene people will take away from your adaptation?

You know this would never happen, right?

I mean, I'm not even in this position, but if I was no studio would ever, ever, give me or any director full reign over Twilight of all things. It would be very clear what's expected from such a venture and it's... more or less what we got in the Twilight films.

But since we're here, let's do this. I have entirely too many thoughts on how I'd do this.

What Changes Are You Making?

Everything.

It's now a single, though very long, film (probably with an intermission like ye olden days) that starts before canon when Carlisle Cullen is turned and the Twilight saga is merely the second half of the film.

The plot itself is the same as Twilight, the same things happen, but it's from an entirely different perspective.

It covers his turning, his stay in Volterra where he discovers he's not a demon but that this world exists on bloodshed and murder and that Aro while an intellectual is an unrepentant warlord, his leaving and attempting to find like peers, and cutting forward to the Twilight saga where he watches in baffled confusion and hope the terror the whirlwind romance of Edward and Bella through to the trial.

It's ultimately a tragedy about a man who despite or perhaps because of his ceaseless optimism and stubbornness ends up in this unenviable position where he may or may not have topple the brutal (though perhaps necessary) ruling power who happens to be his old best friend who may or may not be trying to kill him.

The ending he knows that either his family will be murdered one day or this man will die and the world will change greatly because of it. Carlisle stares off into the sunset and tries, and fails, to look happy about the fact that he saved his granddaughter whose parents are utterly terrible.

What's Production Like

We're going back in time and David Lean is directing with Freddie Young doing cinematography (a lot of wide angle shots of the forests/London where Carlisle tries to kill himself, Tuscany, the Olympic mountains, and more) and Jarre doing the soundtrack.

@therealvinelle and I are writing the script because I trust myself with this.

What Scene Do People Remember

The trial, particularly Irina being lit on fire, would be extremely memorable I imagine. As would Edward meeting the Volturi for the first time.

Feel free to add or else fight me, @therealvinelle

[grif-hawaiian-rolls]

Movie night is a vital part of the Red Team experience

plus an honorary Doc to make the snack runs

[twentyfunnybunnies]

so i just got to watch some of the Lockwood & Co. show and the funniest difference between book and screen to me is when Lucy first speaks with the skull. Like, in the show, the skull says her name and she just passes out. But in the books, it gets all mysterious with saying things like "life is in deth and death is in life, and everything that was fixed now is fluid" and Lucy side-eyes it and just says "goodbye" before grabbing her doughnuts and leaving it behind.

[dathen]

TAZ vs Dracula book-accuracy ratings from Episode 1:

Dracula: Plaguing locals, running over old church ladies with his car because he wants to see how fast it goes. Captures the pointless mean-spirited violence with humorous anachronisms. 8/10.

Frankenstein: Made a business out of resurrecting people, has an Igor, SHACKING UP WITH DRACULA?? Opposite in every way (except for being gay I guess), 0/10

Griffin Invisibleman: Shows up just to beat a player character’s brother to death, keeps getting stabbed, yells FUCK and runs into the forest only to run back all “I changed my mind!!” to resume beating him up. Highest level of accuracy, only thing missing is the sneezes, 100/10

[lit-erary-memes]

Book Faramir: Ah yes We shall have food, you can sleep, here we made up little cots for you

Movie Faramir: Fuck you and your weird cat give me the ring

[aezran]

don’t get me wrong, alan rickman as severus snape is the best thing that ever happened, but i wonder how that conversation went like

- alright this character right here is described as ugly, repulsive, unattractive. people look at him and think “eewww brother eeewww”

- omg, you know who would be PERFECT??

[emixunn]

The difference between Newt’s letter/note in the books vs movies is so funny cause in the movie it was this long heartfelt letter saying goodbye when in the books it was this short, desperate, pleading, chilling note containing eight words written in a hurry but given to the only person he could trust to carry it out.

AND HE DIDN’T EVEN READ IT UNTIL HE HAD ALREADY FAILED THE ONLY THING NEWT HAD EVER ASKED OF HIM!

[deathbutwithfuzzyanimals]

Literally insane how Danny Phantom DCU crossover has more fics on AO3 than many smaller fandoms. This makes my best friend very mad when I point it out. It is also hilarious the number of people writing fics for the crossover fandom who have consumed neither source material and just know what they’ve read in fanfic. The people who built this fandom from the ground up really went ‘let’s make an entirely new media that people will consume and build upon and enjoy that has more plot and analysis of Danny Phantom than the actual tv show’. Truly the goncherov of fanfiction. West doesn’t exist. Red Huntress never had a name. There was a single episode about an ‘ice core’ that was never mentioned again and now ghost cores have almost consistent usage. Anyway I just appreciate the beautiful fandom that is to Danny phantom and DC comics what heathers the Musical is to Heathers the movie.