#control films

[bixels]

Posting a sneak-peak of this now because I'm about to be In The Shit school workload-wise, so this'll take me a while to finish.

Doing some character design exploration/expression sheets for Celestia and Luna. Figuring out Celestia's weird ass anatomy while I'm at it.

[scipunk]

Back to the Future (1985)

[nasa]

What do films and TV get wrong about your job the most?

[of-fear-and-love]

[fuzziiwuzzii]

save me Claudia Interview with the Vampire Farleigh Start Saltburn save me

(this tweet made me do it)

[humanoidhistory]

Power station in Dresden, East Germany, 1981.

(Deutsche Fotothek)

[squirrellypoo]

Sam Reid, struggling with the question "Live Theatre or Film" (x)

[writingwithfolklore]

Controlling Your Pacing

                Pacing is one of my favourite things to pay attention to when reading or writing something. The pacing of a scene is literally how ‘fast’ or ‘slow’ a scene appears to be moving. Action scenes that spring the story from one place to another tend to go faster than introspective scenes or scenes that explore character dynamics.

                All of this is created through putting space and words between elements of the scene. What I mean by that is that readers interpret a passage of time between ‘things’ (actions, dialogue, gestures, etc.) on the page, and pacing is controlling that interpretation.

                For example,

“Georgia sat on the couch, “wow it sure is hot in here,” she said. “It sure is,” Henry agreed, sitting next to her.”

                This sentence is just about the actions with some breaking dialogue, but it goes pretty quickly through what’s happening.

                Whereas, if we were to intentionally pace this scene, it may look like this:

“Georgia swiped at her brow, wandering over to sink into the couch. “It sure is hot in here,” she said, peering up at Henry through the wisps of her bangs. He nodded weakly, his entire body sagging from the heat. Crossing the room to collapse next to her, he added dryly, “it sure is.”

                It’s not perfect, but you can get a sense of the time between things happening. The added detail between the two characters talking conveys maybe a minute between sentences, which might be accurate for two people dogged down by a heat wave.

                To speed things up, we want less space between elements:

“Adam slammed open the door with his shoulder, letting it bounce off the concrete wall behind him. “Everyone out!” He shouted. A crack in the roof snapped above them.”

                The added (or subtracted) elements of a scene that control your pacing is the sights/sounds/feelings/smells/maybe tastes of a place. When we’re anxiously rushing to get out of the house we may not acknowledge that the kitchen smells like the bread our roommate baked that morning, or that there are smudges on the window from when the dog climbed up on the couch. However, when we have a second to contemplate, we’re going to notice these things, and it would be appropriate to write them in.

                Another important element to controlling pacing is your character’s thoughts or acknowledgement of feelings.

                For example:

“Adam slammed open the door with his shoulder, it bounced off the concrete wall behind him. He winced, his mother’s high voice ringing in his head, chiding him for damaging the walls even though he knew the building was coming down on top of them. How long would he live with her constantly in his mind? He tried to wave away the memory. “Everyone out!” He shouted.”

                That slows down the scene quite a bit, yeah? And maybe that’s what you wanted in that moment. Play around with the details and pacing in your scenes, you might be surprised how much can change.

                Good luck!

[jimimn]

pov you're out on dinner with your best friend 🤍

+ and he's a whole cutie 🥰

[gracemarkss]

i really do think we lose out on a lot by cutting ethan from the pilot. so much of what we learn about scully in subsequent episodes and seasons - her relationships with her father, with jack, with daniel; her experiences in never again and how she describes her relationship to authority; the themes of normalcy and expectation, desire and fear, what you should want vs what you actually want, letting yourself want; about having a life and drawing lines and getting out of the car…once you learn about jack, ethan makes so much sense.

how much time passed between her time at the academy and dating jack and her assignment to the x files? months, a year at most maybe? with the revelations in lazarus, you start to wonder, what made her go from a superior decades older than her who’s intensity is his downfall to a regular run of the mill guy in her peer group? when she talks about other fathers in never again, taken with everything she’s said about wanting “a life”, it becomes a bit more clear - this was a course correction. it’s all the more clearly drawn in all things, another taboo relationship with a man she could never bring home. is it “normal” to date your teacher, have emotional affairs with married professors twice your age? is that what good catholic girls do? can you bring these men to sunday dinner with your parents’ pastor? so ethan is a conscious choice. an experiment in normalcy. an attempt at the clean cut boyfriend that you can bring home to dad, with an eye on the house in the suburbs, the picket fence, the 2.5 kids. she doesn’t not want it. she wants to want it. it’s what girls from her background are expected to do. missy certainly isn’t going to. so it’s up to her. and she’s already rebelled so much already, with her career choices. she can do this. she can want this. she can be a good daughter. she can make this work.

but then there’s the assignment. then there’s mulder. then there’s passion and intensity adventure and a fierce dedication to the truth, to helping people, to a dogged pursuit of justice (whatever form that might take). there’s the adrenaline rush over lost time beside empty graves in the rain. there’s this strange man you just met being so careful with your vulnerability, and handing his to you in kind. how can a weekend out of town with ethan compare to this? what’s the house and the fence and the sunday dinners compared to this?

so ethan is is out. the experiment in normalcy has failed. but the fear lingers. there are still expectations to meet. there are still parts of her that wants it. she could get it if she really tried. it’s something that she comes back to over and over again, fear vs desire, the contradictions in all the things she wants and needs, the heavy weight of expectation, both from others and her own. and i think it’s all communicated that much more clearly and powerfully when ethan’s presence is maintained in the pilot.

[lascitasdelashoras]

Anton Corbijn - Control 2007

[tinyclowndancer]

Playing Control again to buy some time until I'm ready for AWII and the way Remedy, Matt, and Ilkka fried my brain to the point I can't even see a projector anymore without thinking about Zaneling and that scene... well played, well played. Now give us the Director's Cut in the Lake House DLC, please. It's for scientific research.

[lyss-sketchbox]

do you have like,, any wriolette headcanons to share,, please I’m hungry,, I need wriolette food!!

Oh definitely, some of these are more wrio or neuvi specific tho but let me go off ok

Wrio has this one spot a lil far off from Meropide's entrance that he sunbathes in whenever he has the time. Its this lil cliff right here. It has a long stretch of beach, near the otter spot (TM), there's mobs to fight if he needs that, and it's not near any roads

Perfect spot for him to frostwalker/ice skate too

Neuv in one of his walks would find Wrio in his spot and Wrio would tell him this is where he goes to relax, Neuv would sometimes then use this spot too to relax in, Wrio welcomes him whenever they happen to meet here

I think Wrio never goes to the overworld until he is called in for that first meeting as Meropide's administrator, when he does step out he underestimated how much he truly missed the sunlight, the sea breeze, and the grass. It's not a big deal, he insists

Wrio would prefer sunny weather than rain, but the coldness of rain is more lively and refreshing than the cold of the fortress

Neuv can walk on water Furina style, he just chooses not to say whenever Wrio offers to skate with him. Basks in the feeling that he trusts Wrio so much to keep him from falling in

Neuvillette is a pianist while Wrio is a violinist (and does have a violin in his office) because every pairing in my book should be able to piano-violin duet the Merry-Go-Round of Life

Wrio is extremely observant, a skill he picked up from serving his sentence, it's how he's able to study and read Neuvi's tells and body language. It's very helpful whenever neuvi is too tired to talk or unable to drop the professional iudex face.

Neuvi learns by observation and attempts to pick up Wrio's tells in turn no matter how many times Wrio insists that he shouldn't worry about him <- fuck you gets loved back

Whenever they get engaged/married, their rings are simple white gold bands. Wrio replaces one of his rings with it, while Neuvi has his hooked to his cravat pin. It's so they're not too flashy and attract attention while still being with them even in work hours

Neuvi feels over the ring whenever he misses wrio

Wrio buries his face into Neuvi's neck so that he can hear Neuvi's purr of contentment better

Neuvi can get jealous but instead of cutting the convo short like Wrio does, the next time they are alone Neuvi just rubs his cheek all over Wrio's until he's happy

Wrio is touch averse, significantly more than Neuvi. While he and Neuvi had subtle touches before, getting together had pressured him to show more affection (because it doesnt bother him, he can love, so that he can be loved) Its one of the first times Neuvi was able to tell Wrio's tells correctly and to reassure him it isn't necessary and they can begin with... what they had before

They show affection primarily with holding or touching hands (ex. : holding hands when they sleep like otters, brushing knuckles and fingers when they walk, Wrio lifting neuvs hand to bury his face in it, etc.), a reassurance that the other is there with them, and they want to hold on just as much

[aboveourminds]

ALAN WAKE II STILLS / INITIATION VII & VIII — Masks & Zane’s Film

[a-flappy-bat]

Remedy did a terrible thing hiding this in a dark, grainy, low-res corner, as if we wouldn't notice. In case anyone else wants a bunch of 4k/'I can't possibly enhance visibility of this video anymore' caps...

[pharawee]

So you see, that's where the trouble began. That smile. That damned smile.