#film overture

[supercantaloupe]

opera stream alert!

What: La Fille du Régiment, Donizetti (Teatro la Fenice 2022, dir. Doucet & Barbe)

When: Saturday December 23rd, 2:00pm EST

Where: Kosmi – link is here!

Who: everyone is welcome!

Extra info: a charming comedy in two acts, featuring all the classics: love vs. family duty; a tenor fighting for his life with nine high C's in a single aria; french nationalism; and, above all, a girl and her 1000 dads.

[tweedfrog]

We need to start capturing these movie execs and force them to participate in battle royale style death matches every time they try this tax write off shit who's with me

[davidbeardmusic]

The incredibly dramatic, majestic, expressive, fast-paced composition of Johann Sebastian Bach, being a piano interpretation of the Overture of the ‘St John Passion - BWV245’. License for media use here: https://audiojungle.net/item/bach-st-john-passion/26366182 Perfect for impressive, strong, fast-paced images, corporate and advertising, silent film, black and white films, underscore for short films, web videos, impressive photo slideshows, Documentaries of the past and Nostalgia etc. Useful also for patriotic projects, drone footage, video production, history, projects on Royalty, Ceremony, Grand Public Occasions, Architecture, Fast-moving mechanisms, Automation and Engineering, Dramatic Nature and Wildlife etc. Applicable for creatives of film, television, theatre, dance, games, documentaries, film trailer cues, advertising and podcast. Enjoy x More royalty free music at https://audiojungle.net/user/davidbeardmusicproduction and https://www.pond5.com/artist/davidbeardmusic

[courseyoulovemeyoudontknowme]

Sunshine Cleaning (2008, Christine Jeffs)

27/02/2024

Sunshine Cleaning is a 2008 film by Christine Jeffs, starring Amy Adams and Emily Blunt.

Mac, using his contacts as a policeman, manages to get Rose into the business of cleaning crime scenes.

The film was presented at the Sundance Film Festival on January 18, 2008; it was later distributed in the United States of America, with a limited number of copies, on 13 March 2009. It arrived in theaters in Italy on 9 April 2010.

[wagahai-da]

i think a silmarillion movie/series could be great if it was like. live action for the middle earth stuff and animation stylized as an art-style that represents a certain style of elvish art for more mythological stuff like the ainulindale and anything involving the valar

[crustaceousfaggot]

a lot of opera pieces, it's used pretty frequently in advertisements, tv & film, and memes

[lightdancer1]

Any view that Dream of the Endless is not reality, however beautifully written, has to explain how Dream of a Thousand Cats and Overture fit in. The Tumblr Sandman fandom has a massive problem with media illiteracy.

If your view of the Endless goes against what the text point blank tells you it is a headcanon based on inability to understand a comic book, full stop. That’s not “death of the author”, that’s “this is what I want to believe and I alone decide it.”

[girlspecimen]

i know the only real villain in beauty and the beast is gaston for whom twst has a teacher character but honestly i so badly want like an event or characters or something inspired by the film and it’s vibes overall because it’s probably my favorite disney animated film. and it would be even better yaoibait anime-ified

[tylermcnamer]

During the start of my keynote speaking career across the country, the way teachers, professors, and doctors would introduce me would end in "working on a screenplay" after mentioning the book, Population: ONE. At that time, I was working on a screenplay, but it was for an assignment during a college course involving screenwriting; Mainly took it just to learn something new. Professor Aaron Drane (creator of the series, Fear Clinic, and close friends with Robert Englund) wanted me and the rest of the class to take the writing extra seriously in hopes of getting these ideas into further production. I did not feel qualified for my little story. What I had planned was about a teenager wanting to be noticed by his dad who watches TV all day, so he travels to Hollywood, works his way to be a superstar, and hopes he'll be on TV so his dad can watch him. That was what I had in mind, until I realize I wasn't the best at screenwriting; It's an entirely different kind of writing compared to books. Read the other students' work and they were so much fun and had far greater potential. Ten years later, I wrote in my notebook a new story after learning what makes a very good story thanks to the college course. I have concluded that the more limitations a protagonist has, the more satisfying the victory is for the hero. Originally intended to be my third book, but chose filmmaking through animation because I have always loved a good challenge. Once this full-length motion picture is fully complete, I'll feature it in my own personal theater with an audience of one.

[anhttydbookfan]

#the way book fishlegs would despise movie fishlegs#oh he'd hate him so so much#httyd books#httyd#how to train your dragon#cressida cowell

hot take I think some book httyd characters would despise their movie counterparts. no hate to either I just think they would. the only ones that would actually get along are camicazi and the Thorston twins

[genkinahito]

Angry Son, Ichikei’s Crow, And So I'm at a Loss, JSB3 LIVE FILM RISING SOUND, Himitsu no Nacchan, Geki x Cine: Shinshu Braigai, The Fools Orokamono-tachi no Uta, Legend of the Galactic Heroes: Overture to a New War  Japanese Film Trailers

Angry Son, Ichikei’s Crow, And So I’m at a Loss, JSB3 LIVE FILM RISING SOUND, Himitsu no Nacchan, Geki x Cine: Shinshu Braigai, The Fools Orokamono-tachi no Uta, Legend of the Galactic Heroes: Overture to a New War  Japanese Film Trailers

Happy Weekend This is the first of a two-part trailer post so come back tomorrow for more. I’m making good use of my Letterboxd account and logging a film a day. What are the first batch of films released this weekend? Continue reading Untitled

[lessnearthesun]

Why are old Hollywood film overtures so long I just want to get to the plot!!!

[doyoulikethissong-poll]

Warren G & Sissel - Prince Igor 1998

The Rapsody Overture: Hip Hop Meets Classic is a 1997 concept album of remixes consisting of hip hop and classical, which combined American rappers with European opera singers. "Prince Igor", a duet between American rapper Warren G and Norwegian soprano Sissel Kyrkjebø, was a massive #1 hit across Europe in 1998. Outside Europe, it peaked at number 41 in New Zealand. The song combined Warren G's lyrics from his song "Reality", and an aria from Alexander Borodin's opera Prince Igor.

Sissel was the voice for Ariel in the Norwegian and Swedish versions of the 1989 film The Little Mermaid, as well as the Danish singing voice. Listen to her here! She sang the vocals on the soundtrack for the 1997 film Titanic, which reached #1 on the Billboard charts and sold more than 30 million copies worldwide. She was also originally intended to sing "My Heart Will Go On" before it was handed over to Celine Dion.

"Prince Igor" was so close to a draw! 49,7% total yes votes vs 50,4% total no. :(

[achromatophoric]

Bianca: Are you fucking kidding me? That’s your favorite movie that you’ve seen in theaters?

Yoko: Huh. I did not take Tween of the Damned here for a Pixar fan.

Enid: Sorry babe, but I’m kinda with the others. Pixar’s like, totes awesome, but Cars 2??

Wednesday: I was five at the time, Tanaka, so “tween” would be inaccurate. I do however acknowledge the reference to Anne Rice.

Wednesday: As for the film, it was indeed every bit as banal as I expected. The colors, the voices, that insipid excuse for storytelling. It possessed all the slog of a quagmire, with none of the fun.

Bianca: Addams. That does not sound like you enjoyed it.

Yoko: *to herself* Hmm… Ween of the Damned? No, that doesn’t work. Sixteen of the Damned? Ugh, too much.

Wednesday: It wasn’t until the motor began to smoke that my opinion changed.

Bianca: *blinks* When did— do you mean the scene where Clutchgoneski crashes?

Enid: I think I kinda remember that part?

Yoko: *still to herself* Maybe something else. Lou-wee? Nah. Louis de Pint-sized? Ugh, no.

Wednesday: I remember it as clearly as I do Pugsley’s home appendectomy. The subtle worry of the audience as the film took an acute turn. A smoke blacker than Uncle Fester’s filthiest cloak. The acerbic bite of burning acetate. The swelling cries of shock and despair that played a delightful overture to an otherwise exhausting soundtrack.

Bianca: Uh.

Enid: Willa, babycakes, are we still talking about the movie?

Yoko: *still at it* Clawwwdia? Eh, that’s more Enid. Shit, think. Think!

Wednesday: Of course, Querida. No other film left me so trapped. That press of bodies, all sweat and tears, rank with fear. Parents panicking, knocking aside other children in true selfish desperation to save their own. That vinegar smoke, so thick in my throat that I could barely taste the tang of copper. My chest heaving with rasping breaths as nameless flesh crushed me against a wall.

Bianca: The. Fuck.

Enid: *fans herself* Mm. Go on.

Yoko: *yes, still* Little Annie Rice? Ugh, that sucks. Um…

Wednesday: When the exit doors finally tore open. When the flood of gibbering humanity poured out of the burning theater like a toppled jar of arsenic candies. When, in the end, bloodied and bruised, I stood across the street to admire that inspiring conflagration. To this day, that experience stands as one of my most enthralling brushes with death. Not even the regrettable absence of casualties could diminish the experience of that theatrical masterpiece.

Bianca: Jesus Christ. I. I can’t even.

Enid: Wow, babe. I just like, love it when you’re passionate. 🥰

Yoko: *finally!* I’ve got it!

Wednesday: ?

Bianca: ?

Enid: ?

Yoko: The Vampire LESTAB!

Wednesday:

Wednesday: Don’t mind if I do. *lestabs*

Yoko: OH FU— 😵

Bianca: 😑

Enid: I’ll uh, get the nurse.

[justanotherhh]

alastor and touch

just a post documenting alastor and touches throughout the show

I didn't include the pilot, but i do want to mention it, because one thing that's quite striking is how they changed that element from pilot!alastor to show!alastor somewhat. might make a separate post for the pilot at some point to compare

I also did a mix of when alastor noticeably doesn't touch someone directly and in what contexts he gets touched, as well as a couple of other related boundaries and moments of interest

ep1 overture: alastor doesn't touch anyone in this episode. also noting that this is the episode where we get him unequivocally turning down angel's advances, and avoiding being filmed several times, with the iconic "this face was made for radio" line, so not only is he not touching, he's also making some general boundaries clear

ep2 radio killed the video star: 1. niffty crawls up alastor and he picks her up and puts her down. she crawls up him again. he clearly doesn't mind 2. sir pentious rips off a corner of his coat. alastor blows him up -- he later burns the piece of coat that sir pentious had kept: "not many people have been able to take even this much off me." 3. the entirety of the vox vs al showdown is of course notably done over radio/tv, so they're never in the same room. just interesting in terms of how it goes down with them generally in s1, they're constantly kept at a distance via screens and airwaves

ep3 scrambled eggs: 1. taps an egg boi with his staff, while threatening it. generally uses his stick to interact with the egg bois -- pointing, tapping, etc 2. another brief "makes screen fuzzy on a security camera"

ep4 masquerade: notably the episode (with lots of sexual content and specifically valentino) where he doesn't appear, except for briefly in a flashback

ep5 dad beat dad: 1. shakes lucifer's cane, rather than his hand -- he also wipes his hand on his suit afterwards, as if disgusted 2. TOUCHES CHARLIE'S SHOULDER!! notably in front of lucifer in order to piss him off. then goes ONE STEP FURTHER and partially puts his arm around her when saying how proud they all are of her 3. grabs lucifer and spins him out of the way during his part of the song 4. picks niffty out of the toilet 5. during the song: dances with charlie, pats her on the head/tucks her in, and puts his hands on her shoulders 6. during the song: pushes lucifer aside again, including doing a little hip shove 7. lucifer grabs him by his lapels and gets right in his face 8. hugs mimzy 9. grabs charlie and steers her by the shoulders 10. grabs/strokes husk's ear 11. grabs husk via his leash 12. rips the bad guys apart with his tentacles. also picks them up with his hands and eats them 13. mimzy pokes him several times in the chest. he removes her finger in annoyance, and boops her on the nose condescendingly

ep6 welcome to heaven: the other episode that notably includes a sex club (and also heaven and a lot of talk about redemption) that does not involve alastor

ep7 hello rosie: 1. grabs charlie's shoulders, and then her face, forcing her to smile 2. grabs her shoulders again when talking about the angels 3. touches her hair, and then sidehugs her while selling her on the deal 4. DEAL HANDSHAKE 5. more shoulder grabbing, cheek pinching, and patting on head when he's talking about her being charming and capable 6. links arms with her while taking her to rosie 7. rosie joyfully grabs him and spins him around 8. grabs charlie when introducing her to rosie 9. gives charlie his mic in order to help her inspire the cannibals (later replaced with a cane given by rosie) 10. dances with rosie, including a little dip

ep8 the show must go on: 1. more attempted screen voyeurism by vox 2. charlie uses alastor's cane again to speech 3. niffty crawls over him again and places a crown of roaches on his head (possibly his most openly joyous moment) 4. fights adam using his shadow tentacles and creatures, before getting seriously wounded by him (and then has his famous mental breakdown at the idea that his reputation could have been blemished by having been read as altruistic of all things, *spits*) 5. the torn picture of alastor and vox shows them a little apart from one another 6. appears in the middle of the hotel gang and is hugged by charlie, patted on the back by vaggie, and also adorably hugged around the legs by niffty

GENERAL OBSERVATIONS: 1. other characters do initiate more touches, with husk being the other character who's more standoffish, but that's also his general slowly beginning to open up emotionally and he shifts especially with regards to angel after ep4 (although he does do casual pats and the like before that + the massage) 2. generally everyone touches casually in some way or other throughout the show, including in background moments, except for alastor, who always touches very deliberately, whether it's for violence, manipulation, condescension, or affection -- he doesn't seem to engage in casual touch, but does accept it from certain individuals (mainly niffty). for example in dad beat dad in which he initiates the most touches, he's pissing off lucifer and manipulating charlie. he hasn't touched her before this on the show proper, and he's doing it because he has an audience and is trying to convince both lucifer and her of something (that he's a better mentor/support system than lucifer) 3. similarly when he's being very familiar with charlie in hello rosie, he's selling her on making a deal with him, and then on making himself indispensable to her, while also grooming her*** [EDIT: been informed that this could be misread: "grooming" here meant in the general sense of mentoring her in a way that would benefit him, as he says "she's full of potential that i could guide," NOT in a sexual context] -- in true alastor fashion it's hard to say what's sincere and what's self-serving, but it certainly all serves a purpose 4. that being said, i think charlie has become a character he doesn't mind touching, just like he doesn't mind it with niffty, rosie, or mimzy. funnily enough the only time charlie initiates a touch with him is in the finale, when she's relieved he's alive 5. i think the kinds of touches from each of these characters is different. with charlie it's that aforementioned part-manipulation, part-mentor type vibe, where he's very much insinuating himself into her good graces and trust, with niffty it's because She Is A Creature Who Crawls, with mimzy there's a Past (and she clearly crosses a boundary because she thinks she can with him, and he puts his foot down on that), and with rosie there's a respect. before i did this noting down i also thought he touched rosie way more than he actually does, but he only does it once in order to dance (which, if anything else even applies, i think is his main source of actually enjoying touching others, i personally don't think he actually enjoys hugs, it's just a Thing some people expect of you), and simply acquiesces to her grabbing him in the first scene. again, i think he accepts this because he likes her 6. This Deer Does Not Touch Men If He Can Help It

CONCLUSION: if alastor respects you, he will let you touch him to an extent. he's not touchy himself, and mainly does it as a show of power, manipulation, and condescension (lucifer, mimzy, husk, charlie), but he likes dancing. he stays faaar away from sexual contexts in general

I also want to do a separate post on alastor and respect/closeness/familiarity, because i think it's worthwhile analysing how he expresses these things with characters on his terms (for example, giving charlie the mic says far more about his positive feelings towards her than any of the times he touches her), and it's mostly very clear when he's comfortable in a situation and when he's not

[no-passaran]

The story of Jesus Christ Superstar is the tragedy of its characters coming to realise that they have no power over their lives, fighting as much as they can against the role that history/God is forcing them to fulfil, but failing because they were doomed from the start.

Jesus in Gethsemane desperately asking God why should he be killed, how is that going to make anything better, only to realise that it doesn't matter what he believes or wants because it's already fixed ("why then am I scared to finish what I started? What you started, I didn't start it.") and there is nothing that can be done. Against his will, he will have to continue performing this role to its bitter end ("God, thy will is hard, but you hold every card. I will drink your cup of poison, nail me to your cross and break me, bleed me, beat me, kill me. Take me now, before I change my mind.")

Judas realises later, after he has already fulfilled his role in the story. This realization and regret leads him to commit suicide, being the only way out of a life that has already been fixed to make him the eternal villain ("you'll be remembered forever for this", "I shall be dragged through the slime and the mud")... even though this apparent choice of suicide was, following the same reasoning, also taken for him ("my God, I'm sick! I've been used! And you knew all the time. God! I'll never know why you chose me for your crime. Your foul, bloody crime. You have murdered me! Murdered me! Murdered me!"). Judas understands what he did, and he understands what he will be, forever. He understands that not only has he been Judas, he now knows what it means to be Judas: Jesus insulted him by telling him ("you liar, you Judas"). In the very end, he completely understands what it means to be a Judas, because of what he had done.

And Pilate is the last one to try by all means to escape his destiny. He's seen it in his dream, but he refuses to follow it. He refuses to sentence Christ, telling the crowd that he's a crazy man but that's not a crime, trying to convince them that it's against their best interest to ally with Rome, and begs Christ to let him help him get saved ("why do you not speak when I hold your life in my hands? How can you stay quiet? I don't believe you understand!") but of course, the post-Gethsemane Jesus already has accepted that they're doomed, and he's the one to tell Pilate ("you have nothing in your hands, any power you have comes to you from far beyond. Everything is fixed, and you can't change it."). The realization is dawning on Pilate as he desperately continues trying to cling to his ability to take meaningful choices, literally begging Christ to let him take that decision ("you're a fool Jesus Christ, how can I help you?") but with the crowd's shouts for crucifixion, and the crowd circling him and pushing him against the wall, he really does realize it: he has no choice; he will have to play his part in the story. And he knows how it will end, he knows what his role will mean, he also knows what it means to be Pilate ("then I saw thousands of millions crying for this man, and then I heard them mentioning my name and giving me the blame"). The only thing he can do is remove himself from it, but even then he is aware that that won't stop the already-fixed history ("I wash my hands from your demolition. Die if you want to, you innocent puppet").

After all, we saw it from the very first scene. Isn't this what the story's framing means? The overture shows the actors arriving to the filming set by bus and getting ready to play their role. And, at the end of the film, they pack and leave. They came here to recite a script that someone else wrote, to fulfil a story where everything is fixed, and they can't change it. That was what they were made for. Innocent puppets.