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[cinemabh]

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[let-me-luve-you]

Separated Cherries

Tom Holland x Sister

Summary: The reader deals with anxiety and one form of the readers anxiety is separation anxiety. She really misses Tom so he flies her to Cleveland while he’s working on Cherry. He later admits how hard it was for him to worry about her and focus on the seriousness of the character.

Warnings: anxiety, separation anxiety, angst, protective Tom, talks of Cherry (nothing is mentioned specific i don’t think, but I do mention that it was hard for Tom to film it and how it deals with difficult topics)

A/N: I’m awful. I’m so sorry. I’m sorry for the late post but I hope you enjoy it!! This was for a special person and I hope they enjoy it! Also I mention a scene in Cherry but don’t go into detail but if you have watched the press tour, you may know what scene I’m talking about. Or if you’ve seen the movie, you may know what scene I’m talking about. I tried to avoid spoilers so I hope you like this story.

MASTERLIST      BUY ME A COFFEE

The days leading up to Tom leaving, you didn’t leave his side. He didn’t mind though. He loved having you around. You grounded him and reminded of the normal life he left behind when he went to be The Tom Holland the world knows and loves.

Earlier this month, Tom took you with him to Utah for a convention. You had never gone to one before so Tom thought this would be a good time. Tom also was being a little selfish and wanted you there with him since he was still dealing with the news of Spider-Man leaving the MCU.

Now he’s about to leave for Cleveland to film Cherry. A movie Tom knew was going to be a challenge for him. The Russo’s fought for him to be in this movie. They wanted Tom in this role more than anybody. They even got a job for Harry. You had asked Tom, when he first learned of the filming dates, if you could go with him. Since Tom knew the contents of the movie and how dark it was, he didn’t want you around that, so he said no.

Now, it’s the night before he’s leaving. You are curled up on his bed watching him pack his bag. “Don’t forget your blue light glasses.” You said.

“Already have them packed in my carry-on with my laptop and chargers.” He said to you with a smile. “Thank you though. I do forget them all the time.” You laughed.

You turned serious, “I’m going to miss you. I know you said I couldn’t go, but I still wish I could go with you.” Tom sighed.

“I know. I’m going to miss you too, but this film is just going to be dealing with a lot of serious issues and I don’t want you to have to see me like that.” He said, honestly.

“I know. Can I still call you though?” You asked sheepishly.

“Always.” He said before turning to his dresser to get socks and underwear. “So, what are your plans for the next few months?”

“I plan on helping mum. She apparently has a lot of shoots. Probably taste test all of Sam’s food.” You laughed.

“I’m so jealous. I have yet to find something I don’t like of Sam’s.” Tom said.

“He is a great cook.” Tom agreed. “Paddy apparently has a show he’s going to be on, so I’ll help him with that in any way I can. And Dad is working on a new book, so whatever he needs me to do, I’ll do.”

“You really are great, you know that?” Tom asked as he paused his packing to come sit next to you. He wrapped you in a hug. “Are you going to do anything for you?” You shrugged. “Do me a favor? Do something for you. Learn to do more for you. You help all of those around you, but you rarely do things for you. Draw more or hide away and read. Go out to a party or go do something with your friends. Remember to take care of you. Promise me, you’ll try to do that.”

“Promise.” You said. He squeezed you tighter in the hug and gave you a kiss on your head before getting up to finish his packing.

The rest of the night was uneventful. Tom finished packing and put his bags by the front door. You both got comfy on his bed and watched a movie. You were the first to fall asleep and first to wake up the next day. Tom’s and Harry’s flight wasn’t until 10 am and it was currently 630. You decided to make them a good breakfast so they would be fine until the flight gave out their lunch.

“What are you doing?” You heard a tired voice. You looked over your shoulder to see Tom walking up to sit at the counter. You smiled at him and fixed him a cup of tea.

“I’m making you and Harry breakfast.” You said cheerfully. You walked back over to the stove and finished making the eggwhite omelet. Tom was on a strict diet so you made something he could eat, but also something that he liked. You put it on a plate and set it in front of him.

“You didn’t have to do this.” Tom said. “But thank you. This looks delicious.” “What looks delicious?” Harry asked as he sat next to Tom. “Oooh. I want one.”

“It’s coming right up.” You said as you set a tea in front of him and turned back to making his omelette.

“Thank you Y/N.” Harry said, taking a sip of his freshly made tea. “Can I hire you to be my personal assistant?” You all laughed. “When we get home, I’ll treat you to dinner via Sam’s cooking.”

“Sounds good to me. I’m holding you to it.” You said. “I’m really going to miss you guys.”

“Just a few months and then we will be home for Christmas.” Tom said standing up to put his plate in the sink.

“I know. Still sucks. I hate when you leave.” You opened up. You had been holding it in. You felt bad for dropping it on him right before he leaves, but it needed to be said. “It always just feels different around here. I don’t know how to describe it, but it doesn’t feel like we are complete.”

“I know it’s not ideal to have two brothers that are constantly traveling for work. That we aren’t here for family dinners, but we are a phone call or text away. Reach out and we will try to answer as quickly as possible.” Tom said looking into your eyes. You could see that he meant them.”

“Ignore me. I’m just in my feels this morning. I’ll be okay.” You whispered. You wrapped Tom in a hug. “I’m proud of you, you know? It’s so great to see you out there doing what you love and seeing the people’s lives that you touch.”

“Thank you y/n/n. I love you.” Tom said kissing your forehead.

“Love you too.” You squeezed him tighter before pulling away and wrapping Harry in a hug. “Love you too Hairball.”

Harry scoffed at the nickname you gave him when you were both extremely young and you were mad at him. “Don’t call me that…” He paused before hugging you back. “Love you too.”

“Now you better get going before you’re late.” You said. “I also packed you small snack bags and put them in your carry ons.”

“You’re the best.” Tom said as he walked to put his shoes on. “Thank you y/n/n.” Harry said doing the same.

You watched them grab their bags and walk out of the house with one last smile. You sighed and went back to your room to take a nap. Already missing your brothers, you decided to turn on Spider-Man Homecoming.

It is now mid-October and you were missing Tom and Harry more than anything. You tried to hangout with Sam and Paddy more to try to not feel the sadness of missing your other two brothers. Paddy didn’t want to hangout with you. He was too busy hanging out with his friends and playing football. Sam was always at the restaurant or in the kitchen at your parents house. You would stay with him and watch him cook, but it wasn’t the same.

Your sleep schedule was messed up due to the fact you were staying up late watching Netflix. Looking over at the clock, it read 3 am. Pulling your phone from your bedside table, you pulled up Tom’s contact and decided to FaceTime him. It only rang for a couple of seconds before he answered.

“Is everything okay?” Tom asked worriedly. You could tell he was laying in bed.

“Yeah. I just wanted to talk to you.” You answered honestly.

“It’s 3 am where you are! Why are you not asleep?” His eyes widened as he realized how late it was for you.

“I can’t. My schedules messed up. I’m fine. Did I wake you?” You asked, scared of the answer.

“No. I was just watching some TV before I went to bed. I have a 7am call time.” He said and you breathed a sigh of relief for not waking him.

“How was filming today?” You said looking at his tired eyes.

“It was good. We did a hard scene today, but it went really well. We have another hard, long day again tomorrow.” Tom rubbed the tired out of his eyes. He was just about to fall asleep when called.

“I’m sorry you’ve had some hard days.” You said sincerely.

“Thanks but it’s okay. Thankfully Harry’s here. He’s really helping me.” Tom sighed.

“I’d help you if I was there. I know it’s hard, but I’m proud of you.” You said with your eyes tearing up.

“Are you doing okay?” Tom asked concern noticing the change of tone in your voice. “Mum said you’ve been at the house a lot.”

“I’m doing okay. I went and got my nails done today with Chandra.” You said showing Tom the Marvel based nails. With Tom only being a year older than you, he got you into Marvel when you were younger. Spider-Man was always your favorite and when Tom got the role, you celebrated just as much or even more than he did.

“I like them. They’re pretty.” Tom said with a small smile. “How are you holding up though with me and Harry being gone? I haven’t asked in a while.”

You sighed and looked away from Tom. You didn’t want him to know how much you missed him, but you missed your best friend. “I’m good. Been hanging out with friends more and I help Sam when he’s at home. Mum, Dad, and I have had movie nights. It’s been good.”

“Are you sure you’re okay?” He asked, still concerned. You felt a tear you had been fighting fall down your cheek. You looked away from the phone. “Y/N/N. Look at me.”

Shaking your head, “I’m fine Tom. I just miss my best friend.”

“I’m sorry. I wish there was something I could do.” He said.

“I’ll be okay.” You whispered.

“How about this…” Tom said. “Let me fly you out to visit. We are about to do some of the easier stuff and you can come stay with us while the scenes aren’t so intense.”

“You don’t have to do that. I’m just being weird.” You said not wanting for him to be pressured into inviting you.

“Separation anxiety isn’t you being weird. It’s an actual thing.” He said sincerely. He cared about you. You didn’t know you had this issue until Tom got the role of Spider-Man and left for Atlanta. Your mum noticed you clingy to them more or your other brothers. When Tom arrived home you stuck to him like glue. Your mum decided to take you to a doctor to see if there was anything to do for you. You learned the anxiety medicine didn’t help you and talking to a therapist only went so far. All you wanted, was to be with your whole family.

“I’ll get Harry to schedule you a flight. Pack warm clothes and at least two weeks worth.” He said.

“No, Tom, it’s okay. I’ll be okay.” You fought back.

“I’m serious. Come stay with us. Harry will get your flight.” He kept fighting back.

“If you're sure.” You said softly. Tom almost didn’t hear it.

“I’m sure. I miss you too. Plus having you here may help me.” Tom said, laying back down on his pillow. You could tell he was tired, but he was staying awake for you.

“I appreciate it, T.” You spoke honestly. “I really do miss you. I love you.”

“Love you too y/n/n.” He whispered while fighting to keep his eyes open.

“Get some sleep. I’ll talk to you tomorrow.”

“Night.” Tom said before hanging up. You smiled knowing you were finally going to get to see your brother again very soon. You laid back on your bed and finally felt the exhaustion from staying up late. You could worry about what you were going to pack tomorrow.

When Tom told Harry to schedule you a flight out, Harry accidentally scheduled it too early. Tom still had some hard scenes to film. When you landed in America, he didn’t want you to come to set, but he didn’t want to leave you at home either.

Harry showed you where you could go and couldn’t. You basically only went to Tom’s trailer, the bathroom, the food tent, and Tom’s chair. Today, Tom begged you not to come because he knew the day was full of hard things. He knew what the last scene was going to be filmed and he didn’t want you to see that.

You insisted you could handle it. You didn’t want to be alone. You wanted to spend time with your brother. Tom finally gave in after you promised you would stay in his trailer during that final scene.

Throughout the day, you stayed close to Tom. When he wasn’t filming or on set, you were right beside him. He tried to be understanding of how you were feeling, but he really needed to step away from everything he’s been feeling for filming.

“How’s your sandwich?” Tom asked at dinner. It had been a long day and there was only one more thing to film before there were four days off.

“It’s good. How’s your salad?” You asked, pointing at his plate.

“It’s good.” He said nonchalantly. You knew he was craving more food. You had asked Harry to go get him a cheeseburger with fries. You looked up and noticed him carrying a bag from Five Guys.

You smiled and Tom looked over his shoulder. “Thanks for going to get that Harry.” You said as Harry sat next to you. You grabbed the bag and pulled out the burger and fries. “Eat up Tom. I know you’re hungry for more.”

“I can’t you guys.” Tom said in a defeated tone. “I’m still on this diet. I can’t. I can’t do that to everyone that’s working on this film.”

You sighed, “Tom, you have had salads everyday for two weeks. You can have one burger. You need more food.” Tom looked at you and then looked at Harry.

“I mean, I did go get it and I agree with Y/N. You do need to eat more and it will be okay. One cheeseburger won’t hurt.” Harry said. Finally Tom agreed to eating the food Harry brought. “Y/n/n are you going to set tonight?”

“No. I promised Tom I wouldn’t be there.” You answered honestly. Harry looked over at Tom shocked. Harry figured Tom would want you there since it’s such a hard scene. Maybe have someone other than him that’s familiar.

“You can come work with me.” Harry told you.

Tom looked up at him shocked. “I don’t want her to see this. It’ll be hard enough to have her watching it in the movie.”

“I think it’ll be good for her to be there. It’s a hard scene and I won’t be able to be there between takes.” Harry said. Harry was doing a new role tonight and needed to focus on that.

“It’s okay Harry. I can wait in the trailer. I brought my book.” You said with a smile. Trying to help Tom out so he doesn’t feel like he’s being teamed up on. Tom smiled at you gratefully. Harry turned to Tom and started to whisper something to him. You watched Tom’s demeanor change. He rolled his eyes before turning back to you.

“You can come. Bring your book and a blanket. You can sit in my chair.” Tom said finally giving into Harry.

“It’s okay. I don’t mind waiting in the trailer. Promise.” You told Tom. Tom finished eating his food before standing up to go to his trailer with you and Harry following. He walked in and grabbed your book off of the counter and grabbed your blanket. “Let’s go.” Tom said as he walked out the door towards the set.

“Tom. I’m not going.” You said. Harry shook his head and started to push you towards set. “I promised I wouldn’t go.”

“Come on y/n/n. I promise it’s okay. I don’t count this as a broken promise. I want you there.” Tom said with a sigh. You decided not to keep fighting with him about it. You ran to catch up with him and grabbed the blanket and book from him. “Thank you.” He whispered. “This is going to be a difficult scene to watch, so I’m sorry for what you have to see.”

“It’s okay Tom. I’m a big girl. I can handle it.” You said with a small smile.

Later that night, Tom was in the makeup trailer getting his makeup removed. You were sitting in his trailer with Harry waiting to go home. You tried to hold in your tears. You hated seeing Tom like that.

“Are you okay?” Harry asked.

“Great.” You said forcing a smile.

Harry looked at you skeptically and then nodded. He pulled out his phone and sent the video he got to Tom. You were exhausted and just wanted to go to sleep. You decided to lay down and rest your eyes until Tom got back. You were just about to fall into a deep sleep when you heard Tom walk in.

“Should I send this to mum?” Tom asked with a laugh.

“Do it.” Harry laughed. “But first, let’s go home. I think someone needs a bed.”

Tom looked over at your sleeping body. He smiled at you. Harry was right. Having you there helped him. This was probably the hardest scene he was going to have to film in the whole movie.

“Go get the car. I’ll bring her out.” Tom said as he started putting your stuff in your backpack. He quickly put his and your backpacks over his shoulder before he moved over towards you. He picked you up bridal style and made sure the blanket didn’t fall off. “Shhh. It’s just me. We’re going home.” He said when you started to wake.

Pulling up to the house, Tom decided to shake you awake this time. You woke and looked around confused before you unbuckled and walked into the house. You crashed on the couch and watched Tom set your backpack in the chair.

“How are you doing? Today was hard.” You said.

Tom picked your feet up and sat down before he placed your feet in his lap. He laid his head back. “Today sucked. I’m not going to be able to sleep tonight.” Tom said with a sigh.

“Want to talk about it?” You asked.

“No. There isn’t much to talk about. I just need to get out of that mental mindset.” Tom said honestly. “How are you? That had to be hard to watch.”

You finally let a tear slip. “I’m okay. I just didn’t like seeing you like that.”

“I’m sorry. You weren’t supposed to see the hard parts.” He said, pulling you into a hug.

“It’s okay. I promise. It’s scary to think people actually go through that. I don’t want to see you or anyone go through this.” You whispered.

“Hopefully this movie brings light to these situations and starts a conversation.” Tom said, giving you a kiss on the head before releasing you. “Now no more talks of this. Let’s try to forget about today and watch a movie instead.”

Tom started up a comedy to try and bring the mood up. Harry joined you after changing into his pajamas. Mid way through the movie, you fell asleep. Tom looked over at you. He knew you being here helped you, but in his head he was worried about you and everything you were seeing. It was hard to focus on you and filming.

It’s now been a year since Tom finished filming Cherry. Tom invited you to come with him to film Spider-Man No Way Home. He went three months without seeing you after the pandemic due to his heavy film schedule for Uncharted. He knew those were hard days for you since you went from spending all day with him to not even seeing him.

Now Tom was doing press for Cherry since it is due to come out in a few weeks. He set up in the living room. Harry had got a ring light to make the videos look better. You were supposed to be out while Tom was doing his few interviews for the day, but you got back early. He still had one more to go. You decided to sit in your room so you wouldn’t interrupt.

Even with your door closed, you could hear Tom talking to the interviewer. What you heard made your heart stop.

“Tom, your brother and sister were with you when filming Cherry, right?” they asked.

“They were. Harry helped on the film. Even had a small role. And my sister, Y/N, came out to visit and stayed the rest of filming.” Tom answered.

“Did having them there help you?”

“It did. This was a role I had to go to a dark place. Having them there really helped ground me and bring me back from that dark place. They definitely had my back during these times. I was actually on a strict diet throughout filming. Y/N actually made Harry go get me a cheeseburger on her first night there because she knew that I needed a little more substance. I had two weeks worth of salads and she knew I needed a little more. On nights of hard filming, we would all sit in the living room and watch a comedy because it all took us a while to calm down from the day. So having them there was very important to me.”

“That's amazing to hear.” they said. “It’s always good to have family there for you. You said there were hard filming nights. Even though it was hard, which was your favorite?”

“There was one scene that was extremely hard to film. The entire day was hard. Sadly, it was my sister’s first day there. I didn’t want her to see those scenes, but it was good to have her there. The day was a couple of scenes that dealt with something with Emily. The whole day was based on that situation. It was a variety of emotions. I had to be scared, angry, sad.” Tom said. “I actually sent my mum a video from that and she was not happy. She called me immediately to tell me she didn’t appreciate it.” He laughed.

“Can you give us a hint of what that was?” they asked.

“I don’t want to give too much away, but it’s when I’m in the truck. You’ll know when you see it because it involves Emily and it’s very hard to watch.” Tom said.

“You say it’s hard to watch and that was your sister’s first day, how did she handle it? And how did Harry handle it?” you heard them ask. They were starting to dig deeper.

“Harry was the one that filmed that scene so I could send it to my mum.” Tom laughed. He knew Nikki would give him heck for it later, but he knew it was only because she cared. “My sister actually hated watching that scene. She’ll hate me for saying this, but she cried. It scared her because she said it felt real and she didn’t want to see anyone like that.”

“That makes sense. Both of you are close in age, how are the two of yours relationship? It has to be good for you to allow her to visit during such a hard movie.”

“We are very close. She’s my best friend. I can say this because she openly talks about it and helps raise money for charities, but she has anxiety and one thing that really affects her is her separation anxiety. It was great to have her on set because she brought me back to myself, helped me get out of that dark mindset. But at times, I felt I was more worried about her and making sure she was okay. Mixing the stress of taking care of her and the stress of playing the role was hard to take on.”

You listened and felt tears build up. You made Tom’s job harder. You felt a tear fall down your face and you held back a sob so Tom couldn’t hear. You immediately went to the closest and grabbed your suitcase. You started packing your clothes. Once you were finished you set it near the door and grabbed your laptop so you could find a plane ticket. Tom walked in as you were searching.

“Why is your suitcase out?” He asked, confused.

“I’m going home.” You said shortly.

“Why?” He questioned.

“I’m just a burden to you. I don’t want you to have to worry about me while you focus on filming. I just like being in the same city as you. I didn’t mean to add stress to you.” You said as a tear slipped.

Tom sighed, “You heard?” He asked. You nodded. “Did you hear everything?”

“I didn’t need to. I heard enough.” You said honestly.

“So you didn’t hear what I said after that?” He asked. You shook your head. “I told them that it was worth it. That I would go through 20 times the stress if it meant you were happy and safe. That your anxiety wasn’t holding you back. That I used some of the stress from caring about you to help with the film. You remember the emotional scene in Morocco.” You once again shook your head. “I used the stress to make that scene. I know that sounds bad, but I think that really helped me hit the emotion I needed.”

“That was a beautiful scene. From what I saw, it’s one of my favorites for you. It’s heartbreaking, but you made the viewers feel what you were feeling. That was because of me?” Tom nodded his head.

“I’m sorry for admitting to it, but just know, if we redid all of the filming, I would have you there from day 1. I love having you around. I have all this noise around me that is trying to change me and having you here helps keep me the kid from Kingston.” Tom said. “Please don’t leave. I really do want you here.”

You looked around at your room. You then focused on your suitcase. You thought about it. “I’ll stay.” Tom smiled when you looked at him. “Only if you promise me something.”

“Anything.” He agreed.

“If I am stressing you out, in the way, or affecting your work, you tell me. I’ll stay here for a few days or I’ll go home. I don’t want to burden you with my problems.”

“Your anxiety isn't a problem. It’s something you battle and I want to help you fight.” Tom interfered.

“I know. And you will. But if it affects you, it isn’t fighting, it’s a problem. So please promise me that you’ll tell me.” You begged.

“I promise. But know you are never a burden to me. You are my best friend and I love you. I want you here. Trust me on that.” Tom said as he pulled you into a hug. “Now, are you ready to go to dinner? We have an early day on set tomorrow.”

You nodded. You knew that your anxiety was a battle but you didn’t want to bother Tom. You knew he was telling the truth when he said you weren’t a burden. You knew the thought would come back, but you had to tell yourself that it was your anxiety. Now working on your separation anxiety would be worked on at a later date.

[kevrocksicehouse]

The Gray Man. 

D: Anthony and Joe Russo (2022). 

Any idea that The Gray Man’s stellar cast (Ryan Gosling, Chris Evans, Billy Bob Thornton, Ana de Armas, Alfre Woodard, “Bridgerton” hunk Rege-Jean Page) and superstar directors (The Russos directed four of the best MCU films) would yield more than another Netflix B movie are dispelled early on when elite CIA assassin “Sierra Six” (Gosling and yes, they’ve taken away his name) under orders to stealthily assassinate a target pulls out a gun more that half as tall as he is. He refuses to put an innocent kid bystander in jeopardy (He’s a killer but not such a bad guy) but kills the target after a spectacular firefight but not before the guy reveals he’s an agent himself and giving Six a McGuffin revealing high-level corruption in the agency, (“You give ‘em hell Six!”) evidence that implicates his boss (Page) which makes him a hunted man. If you think you’ve seen this plot in any number of action-thrillers you’re right. If you think the script brings in a sociopathic ex-CIA merc (Evans) to hunt Sierra without missing a single cliché, sorry try again (“sociopathic” is action code for “EEEEVIL!”). But if you started to suspect the directors might be shameless enough to throw in a kidnapped little girl (Julia Butters - with a heart condition no less!) whom they retroactively reveal that Six bonded with (between killings he apparently does light babysitting), give yourself a gold star.

As a dumb-as-dirt action-film the movie has its charms. Evans has fun chewing the scenery (“You wanna make an omelet, you gotta kill some people…”) while not quite obscuring that his character is about as competent in villainy as Wile E. Coyote. There are some action scenes (a mid-air assassination attempt on Six, an all-against all gun battle that pits scores of killers against our hero who’s handcuffed to a fountain) that are as exciting as they’re meant to be. As various partners and handlers, de Armas and Elizabeth Henwick have enough chops to almost make you forget they’re basically chaperones at a d—k-measuring contest. As a super killer who has one of the most unconvincing anti-heel turns in modern cinema, Tamil action superstar Dhanush upstages the leads and deserves the spinoff film he’s desperately auditioning for (not entirely a compliment). Not too much of a spoiler to say that Thornton as Six’s just-retired handler and Woodard, as a terminally ill former code-specialist don’t survive the movie. Since the film is supposed to start a franchise and since the script has the kind of plot and catchphrase-heavy dialogue that Robert Altman satirized in the “The Player,” they probably had their deaths embedded and guaranteed in their contracts.

[makemadej]

So today two of my worlds collided in the best way: Ryan and Shane were guests on one of my favorite podcasts. I was totally blindsided by this since there was no promo for it whatsoever (who knows why, maybe they forgot when the release date was, maybe they’ve been taken captive by skeletons, maybe they’re just terrible at promoting themselves), and it killed me that I couldn't listen to the whole thing until after work. It's over two hours long and podcasts aren't everyone's cup of tea, so I'm capturing the ghoul boy highlights here for anyone who wants them.

Wine and Crime is a weekly podcast hosted by three ladies who are feminist as fuck and pair a different crime with a different wine each episode. This time, the theme was Pandora's Box crimes, aka "crimes that were only supposed to be minimal but ended up being a shitshow." Inevitably, they paired it with boxed wine.

Enter the ghoul boys.

Ryan, on Franzia: I do enjoy slappin' a bag Shane: I've seen Ryan slap some bags in my day. [...] Ryan: Shane has to tell me to stop slapping the bag sometimes Ryan: I used to do this thing in college called Tour de Franzia. It was like a drinking game, but it was an obstacle course, and at every checkpoint you had to slap the bag. [beat] I made great decisions in college.

Ryan: You say "nice stream" to the sound of liquid being poured into something, it maybe is not the best...it may not communicate well over audio. Shane: Hey, nice stream Ryan: Nice stream. That's what I say every time I go up to a urinal. To any guy. Tap him on the shoulder. Shane: Men in public bathrooms, we all compliment each other's streams. Ryan: Yeah. It's best if you whisper it. At close proximity. I get really close so he can smell the Popeye's on my breath that I just got at the terminal and I whisper "nice stream."

Ryan: We're drinking the 14% Four Lokos seltzer over here [borderline unintelligible banter about playing Edward Four Lokos hands]

Ryan, on the description of himself on a "which BFU guy are you" quiz: That sounds like the description of a golden retriever.

Shane: I know there's one quiz that was popular where the description [of me] was entirely wrong.

Ryan, increasingly high pitched: A fan sent you all these goat parts?

[What is your favorite wine varietal?] Ryan: Hmmmmmm... [Do you know what a varietal is?] Shane, with gusto: No!

Ryan: Wine to me is just wine at this point. I'm not that far on my wine journey. I was a beer guy that's transitioning over into wine. Shane: Well, it sounds like you're not doing a very good job. Ryan: You know what, I said I am LEARNING, Shane. So why don't you get off your high horse and tell them what kind of wine you like? Shane: I don't even know! Ryan: Mr. "I don't know what a wine varietal is" Shane: Yeah. But I don't call myself a wine guy Ryan: I never said I was a wine guy! I said I was-- Shane: You were like, "Oh, have you see that Netflix documentary, Sommelier?" Ryan: First off, I didn't say it like Elmo from Sesame Street, but I also said I was transitioning!

Shane: I like some red wines and some white wines Ryan, imitating him: I like the stuff with the alcohol in it...and sometimes it has bubbles and makes my tummy feel good and uhhhh, yeah Shane: Yeah, I don't really know... Ryan: Sick answer Shane: There's a kind my girlfriend always gets that's really good but I don't...I can't remember the name of it Ryan: That's a long name. That's actually a good name for a wine! The Kind My Girlfriend Gets, ever had it? They sell it at Trader Joe's. Shane: I'm not even trying to do like a...*weird cowboy voice* "I'm a man, so I don't drink wine. Only my girlfriend does." I like wine, I've just...I've never been good at wine. And wine makes me real sleepy, so I almost never have it. Ryan: That's why I don't drink red wine...and it also makes me look like I've been chewing on mud clots or something.

[What is one "unsolved" case that you're pretty sure you've solved?] Ryan: What was that one where I was like, I think I've pretty much solved this one? The Black Dahlia I'm pretty sure was George Hodel. I'm almost positive of it. Shane: Wasn't there like a missing child one that we thought we had sorta gotten? Bobby Dunbar Ryan: Bobby Dunbar. I think we had solved that one. Uh... Shane: We can never concretely say that we've solved it. Ryan: No, we can't legally, but I'm pretty sure D.B. Cooper's bones are an ornament in some pine tree out there in the Pacific Northwest [...] Shane: The case is pretty closed on Amelia Earhart, too. Ryan: I don't think so. Shane: Yeah, she got eaten by crabs. Ryan: I think it's closed in your mind. That's what you'd like to have happened. Shane: That's what happened. Ryan: Giant, man-eating crabs. It's amazing that those exist. I saw one dragging a coconut. Not hard to imagine that coconut being a head. Shane: Yeah. Of an aviatrix. Ryan: Of an aviatrix, yeah. The most famous aviatrix of all time!

Ryan: Fun fact, shaking my bones is what I call dancing.

Shane: I'll say that Ryan is 100% that bitch. Ryan: I'd say 0% actually. Shane: See, that's what makes you that bitch. Ryan, cracking up: What about you, Shane? Shane: Mm. 45.

Ryan: I don't know if people would like me walking into a room trumpeting "I'm 100% that bitch!" every time I walk in a room. I think there's nuance to it. You can't always be 100% that bitch. [...] Or if I'm trying to make an omelet and I can't make the flip...not 100% that bitch in that moment. I'll tell you, it's the bane of my existence Shane: You can't make an omelet? Ryan: It's impossible! Shane: It's not. Ryan: It's really hard! I don't think I have the proper pan. Shane: It sounds like you don't. Do you have a good spatula? Ryan: Maybe, I dunno... Shane: WHAT DO YOU MEAN MAYBE? DO YOU HAVE A GOOD SPATULA OR NOT? It’s a yes or no question! Ryan: I think it might be, I don't know! I have no idea where it came from, I got it from my mom. Maybe she bought it from Sur la Table? Shane: I was gonna say, go to *French accent* Sur la Table, get a little free espresso... [degenerates into arguing about French pronunciation]

Shane on working at Abercrombie: I was in the stock room, they didn't let me up front. Not my beat. [...] Me and my friends...would just hang out in the back and listen to music and eat cookie dough. And they'd be like "we need you to fold this box of girly shirts" and we'd be like "ah, okay!" and then we'd just take the box and be like "this is too many shirts." And we'd just throw it...this was the area like a loft area where you couldn't see anything. We'd just throw the boxes so we wouldn't have to fold the shirts. They're probably still there. Ryan: Sounds like you were a great employee.

Shane: I started as Buzzfeed as an intern. Ryan had started a month or two before me. So we came up in the same intern class together.

Ryan: I did grip and electric work for two years, which is basically like lifting heavy gear essentially on set and I realized I didn't want to do that for ten years before I even had the chance to sniff a camera.

Ryan: I filmed powerpoints for doctors...I did feel like a prisoner at times when I was there, listening to a doctor from USC's Keck medical school talk about irritable bowel syndrome for two straight hours...I was a couple days away from joining the union...That was concurrent with the irritable bowel syndrome filmings.

Ryan: I chose the internship at Buzzfeed not knowing what it was, met the Shaniac over here, and then, um...we went through that program, which was kind of like the Hunger Games. We saw all of our fellow interns die. [...] We worked our way up, I eventually made Unsolved.I made unsolved actually with a different host, Brent Bennett. He left the show because he didn't like...I believe the quote was "I don't like these stories anymore." Shane: *dies laughing* Ryan: And I turned to my right and was like, "hey Shane, wanna do this instead?" and he was like "sure" and that's that. And from then on I guess we never looked back.

[Shane, how do you feel about being the second choice?] Shane: I'm fine with it. Really, there was so little fanfare to him asking me. Ryan: No ceremony at all. Shane: 'Cause we were just making stuff left and right at that point and series were not really an established thing at Buzzfeed [...] Even when Ryan had asked me "hey, would you like to be in this?" uh...I was like "yeah, lemme..." Ryan says I checked my calendar. Ryan: Yeah, Shane looked over at his google calendar, saw that next week was open, and was like "yeah, looks like I've got some time" and I was like "sweet, lock it in" and he was like "cool." And then we both put our headphones back on 'cause we sat next to each other at a desk and worked on other things and that was that.

[What is some of the silliest feedback you've gotten about your show?] Ryan: Luckily the fan base is pretty nice. There's plenty of fun, positive comments out there, however, this is one that tickled me the most. A guy somehow found my personal email address and emailed me to let me know. He's like "hey man, love the videos, excellent content to get stoned to. Keep it up, cheers!" I don't know who this man was.

Shane: I do have some hope that Bigfoot is real. A little unlikely. The other one I always root for is Champ in Lake Champlain. Ryan: I don't know why you have such an obsession with Champ. [...] Shane: Champ...there seems to be something fishy going on there. There's something going on in that lake. Ryan: Good pun Shane: Not even. There's something going on there and I've seen that lake and I've looked out at that lake and I've felt something inside me just looking out at it. Ryan: You sure it wasn't just IBS? Shane: We've established that you're the one with IBS Ryan: I'm not the one with IBS! Shane: You joined the union! Ryan: You were the one who almost pooed your pants on an investigation Shane: That's a different story! Ryan: You ate two hot dogs that were served at the baggage claim in Philadelphia Shane: We. Were. Hungry.

Ryan on Dyatlov Pass: I'm gonna double down here. I think it was a yeti. Or, not a yeti. I think it was an abdominal snowman. Shane: Abominable. 

[borderline unintelligible banter about an incredibly ripped yeti doing crunches]

Shane: I'm very content with the mysteries of the universe never being uncovered. It's fine. Ryan: It's frustrating. Shane: You're gonna go to the grave not knowing so many things, so you might as well just give up on them. Ryan: Such a nihilistic way to look at everything.

Shane: If you know anyone who's traveling and they're your enemy, you just call the FBI and say "oh, they're up to no good up there." Ryan: If Shane was flying somewhere I could just say "yeah, I think he's dangerous. I know him. He's the guy who couldn't fit a hat on his big head."

[interlude where they decide to name an anonymous suspect Shane Ryanson]

Shane: It would be funny if this was like the highest escalation of a prank war between two friends Ryan: That'd be a hilarious prank, getting someone thrown into federal prison. Super funny. Gotcha!

Shane: If you're the kind of person who is likely to call in a threat to the FBI solely as a way to get a dig in at your friend, that probably stays with you for life. That's pretty hard-coded into who you are. Ryan: That's true. Especially when you look like an out of work Batman villain [...] If this dude walked into a 7-11, I would drop my Slurpee immediately and run to my car. He's a scary man. I'm out. Slurpee's on the floor.

Shane: I'll tell you this in defense of dolphins, they do have funny little smiles.

Shane, on breaking into Sea World: That seems like an extremely Australian thing to do.

Shane, googling fairy penguins: Yes, it's a wonderful little penguin! He's so small! Ryan: This is great, this is like a dark gritty reboot of Mr. Popper's Penguins.

Shane: Just...to meet someone, get along so well that you each drink a half a liter of vodka together and then go swimming with dolphins and blast some sharks with a fire extinguisher Ryan: ...and then decide, let's top off the night by bringing home a fuzzy little friend Shane: I mean, by that point you've got a winning streak going. You're like, "yeah, we didn't get eaten by sharks! we did swim with the dolphins! Of course we'll steal a penguin!”

Ryan: I bet the penguin actually helped the hangover, to be fair. If I was hungover, I normally just see my blinds shuttered in my room, my shoes are somewhere in the house, but if I found a penguin I'd be like "okay, maybe this isn't so bad." Shane: A rehabilitation penguin. He just hopes on your bed in the morning. Ryan: Just starts smacking me in the face with his little fins. It's great, I love it.

Shane: I think she shouldn't have killed her husband. Have a little faith in his worm farm.

[dicasverdes]

Produtores de 'The Office' podem lançar uma nova comédia

Produtores de ‘The Office’ podem lançar uma nova comédia

De acordo com o Deadline, Ben Silverman e Paul Lieberstein irão desenvolver uma sitcom inspirada na crise do coronavírus. Os produtores executivos de The Office estão no processo de criação da comédia centrada em “um chefe que, em um esforço para garantir a conexão e a produtividade de sua equipe, pede a todos para interagirem virtualmente e trabalharem o dia todo”.

“Muitos de nós participamos…

[alsapem]

Dica de Filme pra este Fim de semana Provavelmente vc vai chorar, ( Tipo a Espera de um Milagre lembram?! ) é um pouco triste sim, mas a lição deste Filme é maravilhosa MILAGRE NA CELA 7 Quando pensamos em um milagre, é comum envolvermos o ar sobrenatural, quase divino, que envolve a expressão. Milagres são quase sinônimos do impossível e muitas vezes consideramos um ato do além para justificá-los quando acontecem. O maior feito de Milagre na Cela 7, filme turco da Netflix que serve como remake de uma produção coreana de mesmo nome, é captar toda a sensibilidade que envolve um raro ato de bondade vindo de onde menos esperamos – o que por si só, para muitos, já configura um milagre. Fonte: Omelete https://www.instagram.com/p/B-hTiXFg2wV/?igshid=ld61z2i80vyu

[carolinaclouds]

Crush (part 6)

Pairing: Jensen x Reader Summary: Jensen has a crush on you Warning: none. After Jensen had agreed to be your date to your movie premier, you two didn’t talk. It wasn’t because neither of you wanted to, you were both just swamped. You had press interviews, more photo-shoots, movie promo’s, commercials, you had two wake up two hours earlier every morning just to squeeze in a work out.

When Jensen wasn’t filming, him and Jared were in interviews, pro-mo’s for Supernatural, meet and greets, it was exhausting. Some nights, he’d send you a sweet ‘good night’ text with some cute emoji only to receive a ‘good morning’ text from you with another cute emoji. This was the most you guys had spoken up until the night before the big premier. “Wear whatever you want,” you laughed, sighing softly as you settled down on your couch with a bag of twizzlers. “So, if I show up in sweat pants and snow boots, you won’t be mad?” he asked, rolling his eyes. Jensen stripped his shirt off, laying back in his bed and pulling the covers over his body, crossing his hands behind his head as he held the phone to his ear. Your warm laugh swam through his ears, making his body warmer than the blanket over him. “That would be SO hot, please show up in sweat pants and snow boots,” you pulled you a blanket off the back of the couch, setting it over you as you scrolled through netflix for a movie to watch. Jensen chuckled into the speaker, making you smile wider than you already were. “I’ve missed talking to you,“ Jensen sighed, you could tell by the sound in his voice that he was tired. “I’ve missed talking to you too,” you smiled, softly, “go to sleep, I’ll see you tomorrow night. Be at my place at 6 alright?” Jensen replied with a soft ‘mhmm’ before you said good night and hung up the phone.

You spent the entire next day getting ready for your big premier. The studio offered to pay for you to get your hair and make up done, but you opted out. You never did well with people doing your make up, they were too close for comfort, one that you had to swallow when you were on the set of a movie. You had a long break fast with Gen and Nina, sipping on Mimosa’s and eating omelets and muffins. The girls offered to cancel their plans for the day, to help you get ready but you knew Gen didn’t have that much time off of the show, and you would feel bad if she didn’t get to spend time with Jared; Nina had two new potential clients and rescheduling would look bad for her, so you  told them you’d be fine. You were actually relishing in your alone time. You took a long bubble bath with lit candles, the lights dimmed, bath salts; you were having a damn good time on your own. You shaved your body completely, making sure there was not a single stray hair left on you from the neck down. Getting out, you moisturized your body before lounging around in your robe for a while. You watched TV, did some laundry, picked up your house a little bit. When it hit 3, you really began to get ready. You brushed your hair before curling into soft, bouncy curls. Your make up was light. Simple eyeliner, mascara and a deep red lip stick. It was 6 by the time you finished everything, standing in front of your mirror, still in your robe, when Jensen showed up. When you opened the door, you saw him standing there in a black, form fitting suit, and your mouth went dry. “You look.. really good,” you mumbled, coming out of your haze. Jensen chuckled, stepping into your apartment. “You look, good too,” he hesitated, making you lightly hit his arm. “I’m not finished you dweeb,” you smirked, leaving him in the living room as you made your way back to your room. Taking your dress out of the bag carefully, you slipped it over your head, careful to not smudge your make up or mess up your curls. You looked yourself over in the mirror, one final time, gasping softly at the reflection of yourself. You looked beautiful. Your dress, made by Alberta Ferretti, was a soft black velvet. The sleeves rested off of your shoulders, your breasts were pushed up the perfect amount, and the slit in the leg went up to the middle of your thigh. It was perfect. You had a pair of black heels that tied around your ankle with ballet ribbon, they were a little hard to get on but they were perfect.

Jensen waited as you finished getting dressed, letting you take all of the time you needed. This night was about you and he was lucky that he got to spend it with you. Glancing down at his watch, as he leaned against your counter, he held in a yawn. Once he heard your bed room door shut, his head immediately snapped up. The second his eyes landed on you, every thought left Jensen’s mind. His mouth went dry, his jaw slightly slack. You were absolutely stunning, you were gorgeous. You were absolutely beautiful beyond compare. “How do I look?” you asked, your hands coming to rest at your sides, a small smile playing on your lips. Jensen couldn’t even answer you. Every urge in his body was telling him to kiss you; so he did.

Tagging: @mrsdeanfuckingwinchester @steggy4ever @midnightsilver16830 @kelsecope  @p3nny4urth0ught5 @tokentransboy @idk-life01 @buckybarnesishotaf @4401lnc @green-eyed-hunter @alex2367 @akshi8278 @internetgirl-12 @sofreddie @@partytillthenightsout @@unknown-chronicles @kaylynnw428

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[giuliavillarealseabra]

Blog - Instituto de Cinema - Saiba mais sobre o processo criativo do terror psicológico "O Segredo de Davi"

Matéria Completa

O longa “O Segredo de Davi”, que estreou no mês passado em todo o país, conta a história de um estudante de cinema, chamado Davi, interpretado por Nicolas Prattes, que tem problemas de sociabilidade e é muito tímido. Com um passado sombrio, o protagonista esconde um segredo ainda mais sombrio: voyeur e psicopata, o garoto filma enquanto assassina vítimas, escolhidas a dedo e relacionadas ao seu passado, ficando famoso na Internet por isso.

Entenda mais sobre o processo de criação, inspiração e execução do longa em entrevista com o diretor Diego Freitas:

Conte um pouco sobre o filme

O “Segredo de Davi” é sobre um menino que se descobre serial killer quando ele está prestes a fazer 21 anos. Ele estuda Cinema, e aí ele acaba gravando as vítimas e fica famoso com isso. O filme guarda muitas surpresas, mas é um suspense psicológico, com toques de terror, drama, é um filme muito focado no protagonista e como sua mente vai se deteriorando aos poucos. A gente vê o que ele vê.

Fonte de inspiração

Minha principal fonte de inspiração na verdade sou eu mesmo. Porque o filme tem muito da minha história de vida, apesar de, claro, eu não ter matado ninguém. Eu acho que o seu primeiro filme tem sempre muito do que você quer dizer pras pessoas, então eu parti das coisas que eu vivi para fazer um longa de fantasia. Eu trago muito pras pessoas esse realismo fantástico, então ele brinca muito com metáforas, e eu deixo com que o público conclua sobre o tema e as mensagens que a gente quer passar.

Então sobre influências externas, eu tenho muito dos diretores que fizeram parte da minha formação, eu assistia esses diretores quando eu tinha lá para os meus 13 ou 14 anos de idade. Dentre eles o Darren Aronofsky que fez um filme da época chamado Pi e Um Réquiem para um Sonho e depois fez Cisne Negro, que são filmes que eu adoro, foram muito importantes em termos de referência.

Também tem um pouco do Guillermo Del Toro, na questão de fazer alguma coisa de fantasia, de fazer uma luz que não é 100% realista mas que é muito bonita, uma luz muito estética. Uma direção de arte também um pouco mais agressiva e não tão realista. Mas também tive inspirações em filmes como “It Follows”, em português “Corrente do Mal”, que é mais recente,  teve também o “Babadook”, que também é um pouco mais recente, teve também o “O Sexto Sentido” e os filmes do Night Shyamalan no geral. “Clube da luta” também lembro que nos inspiramos bastante.

Obviamente que sempre vai ter o Hitchcock, com “Psicose”, porque não tem como falar de um menino psicótico sem se voltar para os clássicos, também “O Iluminado” do Kubrick, quando você fala sobre um cara perturbado e que vê coisas. Não tem como, eles são as nossas bases.

Mas não necessariamente são inspirações de filmes norte-americanos, temos também o “Goodnight Mommy”, em português “Boa Noite, Mamãe”, que inspirou bastante a gente e que é um filme austríaco.

Processo de pré-produção, produção e pós-produção

Eu tinha essa ideia de “O Segredo de Davi” desde que eu tinha 18 anos de idade. Eu não sabia ainda que seria cineasta, na verdade eu queria ser desde os 13 anos, mas eu fazia todo tipo de vídeo e eu mesmo editava minhas produções. Os anos foram passando, eu fui pegando experiência, comecei a fazer produções um pouco maiores e eu nunca tinha tirado da minha cabeça que esse seria meu primeiro filme.

Ai em 2013, eu ganhei uma viagem para Los Angeles para fazer um Workshop com o Sebrae, visitando várias produtoras. E lá eu estava em um grupo de um galera que trabalhava mesmo com cinema, distribuidores, produtores etc e ali eu pensei “Bom, é agora que eu tenho que falar sobre fazer um filme, porque se eu não falar agora, não vou falar nunca mais”. E aí eu fiz um pitching para a galera e um produtor se interessou e disse para eu voltar, escrever o roteiro, que tentaríamos tirar do papel.

E aí escrevi tudo as pressas e eu nunca tinha feito um roteiro antes na minha vida porque eu sempre tinha trabalhado com set de filmagem e pós-produção. O pessoal da produtora gostou e passou para uma distribuidora que também gostou e esse primeiro roteiro nós inscrevemos no fundo setorial e ganhamos, foi tudo muito rápido. Esse primeiro tratamento foi até um pouco antes das filmagens, só fizemos outros um pouquinho antes do início das gravações que ai que você senta e vê o quanto você tem de dinheiro e o quanto que realmente dá para fazer. Nesse momento é o que você corta fora 20 páginas do roteiro, porque não tem como fazer tudo.

Obviamente que, quando entram também outras pessoas no projeto: o fotógrafo, diretor de arte etc, as pessoas vêm com suas próprias visões e questionamentos sobre o que está sendo feito ali. Então você fica muito mais chato em todas as suas decisões, muita coisa foi alterada por influência da minha equipe, o que é muito bom! As pessoas se apropriam do projeto muito mais, e ai o filme vira o sonho de todo mundo, não só meu.

Mas no meio desse caminho todo, quando conseguimos metade do orçamento, eu ainda rodei um teaser do filme. Peguei todo o dinheiro que eu tinha, uns R$ 15.000,00, e a gente bancou, eu e meu sócio, de fazer três minutos de filme, pra eu poder mostrar pra distribuidora que eu tinha condições de fazer o filme inteiro, artisticamente falando, como diretor. Isso foi um exercício para mim e por causa desse teaser que conseguimos financiar o resto do filme também, ganhamos mais um edital.

Mas é um trabalho duro, que durou mais ou menos 5 anos até ele estar completamente pronto, foram mais ou menos 2 anos até fazer o teaser e depois disso rodamos o terceiro ano e um ano para finalizar e um ano para lançar.

Sua trajetória no cinema

O cinema no Brasil ele era feito, em sua grande maioria, por pessoas que nasceram ricas, falando bem a real. Ou você se formava na FAAP, que é um curso que poucos têm condição, ou você se formava na USP e para você passar na USP você precisava ser rico também, você precisava ter estudado em escola particular. O que não era meu caso, porque vim de uma família pobre e estudei em escola pública minha vida inteira. Eu nem prestei USP porque eu acreditava que eu não teria capacidade para passar.

Então fazer um longa-metragem sempre foi uma coisa muito distante pra mim, muito difícil de acontecer. Até que quando eu fiz 18 anos, eu saí de Mairiporã e vim para a cidade grande, São Paulo e aí eu mergulhei completamente na área. Sempre fui fazendo uma coisa aqui e ali no audiovisual. Aos poucos eu pensei que o único jeito de eu me tornar diretor, era eu fazer meus próprios curtas, do jeito que eu conseguisse fazer. Pegava câmera emprestada de amigo, eu tinha um computadorzinho que eu editava meus próprios curtas e fui exercitando.

Comecei a tentar participar de concursos. Eu lembro que quando eu tinha 17 anos, eu participei de um do site Omelete, que a proposta era “Se a Petrobras fosse um filme, como seria o trailer?” e quem ganhasse, ganharia uma câmera full hd, então o Brasil inteiro participando, e eu acabei ganhando esse concurso e a câmera e foi ela que utilizei para os curtas depois. Então foi muito step by step sabe? Sem conhecer ninguém, completamente outsider assim.

Consegui uma bolsa de estudos na faculdade e fui cursar Rádio e TV. Foi bem passo à passo, fui conhecendo pessoas área e fui fazendo vários freelas, trabalhando de dia, estudando a noite e editando de madrugada e ai um amigo meu que trabalhava na área financeira de um banco, me perguntou se eu não gostaria de um sócio e assim abrimos nossa própria produtora para fazer alguns vídeos. E ai surgi com a ideia de fazer um longa e ele topou e assim eu consegui essa viagem para Los Angeles e esse meu sócio que bancou minha passagem. A partir daí tudo foi se desenrolando.

Nesse meio tempo eu fiz um curta, chamado “Sal”, que foi muito premiado e rodou muito por aí. Foi uma produção completamente independente e custou apenas R$ 2.000,00, feito por mim e por alguns amigos.

Hoje em dia nós temos uma vantagem porque temos acesso a equipamentos técnicos por um preço muito mais em conta. Antigamente não conseguiamos fazer filme igual fazemos hoje. Atualmente você pode pegar seu celular e gravar um curta incrível e concorrer ao Festival de Cannes sabe, nada te impede mais.

Se eu pudesse deixar alguma dica seria isso. Façam seus próprios filmes, minha história foi essa, eu fui fazendo meus filmes até que alguém parou e olhou algum deles e acreditou em mim.

Qual você acha que tem sido a recepção de produções do gênero terror/suspense pelas produtoras brasileiras?

Acho que atualmente estamos em um dos melhores momentos para esse gênero. Se você parar para ver, só esse ano, já foram lançados cerca de oito longas de suspense/terror nos cinemas, como lançamento comercial, o que é inédito.

“O Segredo de Davi”, por exemplo, foi lançado em cerca de 80 salas, que já é considerado um lançamento médio, não é pequeno, então as pessoas acreditarem nisso, as produtoras acreditarem nisso, isso evidencia uma demando do público, porque o público quer mais opções.

Hoje você chega na sua e tem um Netflix, por exemplo, com filmes do mundo inteiro, incríveis e várias opções, então todo mundo tem acesso a tudo. Se o próprio mercado não se mexer e entregar mais opções para as pessoas, a gente vai entrar numa crise total.

Acho que  o cinema que se fazia no país antes, na minha cabeça, se dividia em duas coisas: a primeira é um cinema completamente comercial, e as comédias são o maior expoente disso, que é feito para divertir, entreter as massas, tem uma linguagem mais simples e que tem conflitos mais simples também, lembrando que tudo bem eles existirem, mas então você ia para o extremo oposto, para um cinema completamente intelectual, hermético, de realizadores, sempre com uma proposta social ou de experimentação, que também é ótimo e tem que existir.

Mas vocês concordam que tem um limbo aqui no meio? Enorme e que não era preenchido? Cadê o filme que pode ser mais comercial, que pode atingir as pessoas, mas que também tem profundidade, também tem camadas, também tenha crítica social. Um meio termo.

Então a gente começou a olhar para esse meio termo nos últimos anos. Vários filmes que foram lançados, miraram nisso. O último filme de sucesso que foi lançado, acho que foi o Bingo, de Daniel Rezende, que na minha opinião é um filme super divertido e interessante, mas que ao mesmo tempo tem um material artístico muito mais rico que a grande maioria.

Acho que é realmente uma necessidade de mercado mesmo e fazer filmes de gêneros diferentes tem a ver com esse limbo. “O Segredo de Davi”, por exemplo, não é um filme fácil, mas não é também um filme difícil demais. É só você prestar atenção que ele te responde tudo que você quer ouvir! Acho que tem a ver com essa galera que também assiste muita série, hoje em dia. Esse tipo de filme vai ser cada vez mais produzido no Brasil, e eu fico muito feliz de fazer parte dessa nova turma que está fazendo filme e que está pensando diferente.

Esse foi um gênero que sempre te atraiu?

Sim, sempre gostei de gêneros fantásticos, mas eu sempre gostei um pouco de tudo. “O Segredo de Davi”, por exemplo, não tem um gênero só. Ele tem essa capa de suspense, mas você tem momentos dramáticos muito fortes, um pouquinho de romance, você tem o terror, um gore, tem um monte de coisa dentro do filme.

Eu gosto de cinema, na verdade. Então eu tenho vontade de explorar outros gêneros, tenho muita vontade de fazer filmes de ação, por exemplo. Com muita perseguição.

E antigamente era muito difícil você sonhar com isso no Brasil, porque não tinha espaço, e eu acredito que hoje tem espaço sim! Eu consegui fazer um filme de suspense, maluquíssimo e que tem várias ideias fora da caixinha.

O que foi muito legal é que “O Segredo de Davi” foi comprado pela TV aberta e a TV fechada, então vai ser interessante as pessoas terem uma experiência através de outras janelas. Além disso, a experiência com o cinema ser relativamente cara, já que você tem o transporte até o lugar, o próprio ingresso que hoje em dia fica em torno de R$ 35,00.

Apesar disso, eu acredito que ir ao cinema é um ritual que temos que manter, porque, por exemplo, modéstia a parte, o “Segredo de Davi” é um filme que tem uma estética muito bem feita, tem um trabalho de cor, colorização, que demorou 3 meses para ser feito, o que é uma coisa raríssima aqui no Brasil. Então tudo foi feito com muito cuidado e muito afeto, justamente para ver numa tela grande, porque se você ver isso no seu monitor, você não consegue ver todos esses detalhes.  

Além disso, acredito que a experiência coletiva de estar vendo tudo ali no cinema é muito importante.

Dica para quem está começando agora no audiovisual

Eu tenho 28 anos de idade e tenho uma história de cerca de 15 anos no audiovisual, e eu estou conseguindo fazer meu primeiro longa depois de praticamente 10 anos de carreira. Então meu conselho é ter muita paciência e persistência. Se você continuar dando murro na ponta de faca, uma hora vai dar certo! Sou muito confiante nisso, no trabalho árduo.

Também acho que fazer portfólio é essencial, você só consegue mostrar seu valor para alguém quando você mostra o que você fez, sabe? É muito mais do que só papo. Acho que a galera fica muito mais no mundo da imaginação e da teoria e não senta a bunda, pega um iPhone e faz um filme. Edita e põe nos festivais para ver o que acontece.

Quando você está mostrando alguma coisa, você está mostrando um pouquinho de você também, de tudo que você já estudou, de tudo que você é, e alguém pode se identificar com aquilo.

Porque o cinema é uma obra coletiva, você não vai fazer nada sozinho, então eu acho que talvez o maior trabalho do cinema seja você conseguir convencer as pessoas. Tive que convencer tantas pessoas para fazer “O Segredo de Davi” que você não imaginaria, desde o cara da produtora, o cara da distribuidora, o cara da Ancine, o cara do edital, os atores. Aí depois que você faz o filme inteiro, você tem que convencer o exibidor a exibir seu filme. É um processo de convencimento e você só consegue ter sucesso quando você tem material e completa certeza do que você está fazendo e do que você está falando.

Então “O Segredo de Davi” é um filme que estudei muito para fazer, o roteiro foi muito bem pensado, durante anos. Qualquer vírgula daquele roteiro, eu sabia responder. Eu tentei tirar o máximo que eu pude, tentei passar segurança para as pessoas, e segurança de como eu ia realizar também, eu tinha um plano muito material e realista. Então eu falava “Vai ser feito dessa forma, vai precisar dessa grana e o dinheiro vai vir desse lugar”. É isso que as pessoas querem ouvir, na verdade.

Como e onde foram feitas as gravações?

Todas as gravações foram feitas aqui no Brasil. Metade delas forma em estúdio, o que foi uma audácia, porque a gente não tinha dinheiro para fazer cenário, mas a gente pensou que era necessário, porque se não, não seria possível trazer a estética que a gente queria. Porque as locações não existiam, então tivemos que construir mesmo os apartamentos do filme. Também conseguimos apoio da Universidade Anhembi Morumbi, que emprestou o estúdio para a produção durante um mês. Com isso, conseguimos pegar um real dali, outro de outro lugar, conseguir apoio de outras empresas e fizemos o cenário.

Foi uma luta também! O filme custou 1 milhão e 600 mil reais, o que, no momento, é o maior dinheiro que já tive para fazer qualquer coisa na minha vida, mas ai quando você vai fazer o filme, você vê que não dá. É muito maluco isso. Mas se formos analisar, um filme como o “Boas Maneiras” custou muito mais do que isso. Então a gente entrega uma qualidade muito alta, porque a gente fez questão de cada centavo estar na tela, não estar em coisas que não reflitam no filme.

Muitas coisa foram feitas de forma artesanal também. Produzimos muitos efeitos especiais, que são efeitos difíceis, temos por exemplo um personagem inteiro feito em animação gráfica. Aí eu descobri um menino no YouTube, que morava no interior de São Paulo e trabalhava numa fábrica de pijamas e nas horas vagas ele fazia efeitos visuais. A gente se conheceu quando eu tinha 17 anos de idade, eu fazia meus vídeos e ele os dele na fábrica de pijamas. Ele pegou a família e a mala, se mudou para São Paulo, para fazermos “O Segredo de Davi” juntos. Ficamos 2 anos sentados em casa, fazendo os efeitos especiais do longa.

Então temos que descobrir os talentos, descobrir as pessoas, porque como eu falei, é uma obra coletiva, então todo mundo ali era importante. Era o primeiro filme de um monte de gente da equipe.  

Comente um pouco sobre a escolha de atores

O mais difícil foi achar o Davi, que está literalmente no filme inteiro, você pode perceber que ele está em quase todas as cenas e não tem outro ponto de vista sem ser o dele. O filme iria desmoronar se eu achasse um ator ruim. Fizemos milhões de testes, testamos centenas de atores, todos parecidos com o escolhido, Nicolas Prattes, mas eu não achava o ator.

Eu comparo muito com “Cisne Negro”, vocês já assistiram? Porque no filme, a atriz precisava ser a cisne negro e a cisne branca, ela precisava ter o lado da inocência e o lado maldoso, e o Davi precisava ser exatamente a mesma coisa. Ele é um psicopata mas ele é um garoto bonzinho que você tem empatia por ele. Então como achar essa pessoa?

Faltavam três meses para as gravações e eu ainda não tinha o Davi. Foi desesperador. E aí eu liguei a televisão e vi uma novela que esse menino estava fazendo, e eu nunca tinha visto ele antes na minha vida e fiquei completamente enlouquecido por ele. Eu consegui falar com a família dele, pulei o empresário, pulei tudo, porque eu não podia perder ele.

Antes de mais nada eu queria que ele lesse o meu roteiro e assistisse o teaser, e ele viu e gostou. Depois disso marcamos um almoço no Rio de Janeiro e eu disse que ele estava contratado e acabou. Não fiz teste de nada. Cheguei em São Paulo, chamei os produtores e falei “Seguinte, achei o Davi e vai ser esse menino”. Aí eles me perguntaram se eu tinha feito teste ou alguma coisa e eu disse que não fiz nada mas que eu sentia que era ele e que se eles tinham confiado em mim até agora, tinham que confiar até o final.

Foi assim que aconteceu e foi a melhor escolha que eu poderia ter feito. Ele tem uma atuação no filme arrebatadora, na minha opinião. O Davi é um papel muito difícil, acho que depois que ele fez isso, ele faz qualquer coisa.  

Como foi o processo de ensaios e de direção de atores?

Foi um trabalho de ensaio gigantesco. Ficávamos oito horas por dia, todos os dias, exaustivamente. E o ator confiou completamente em mim, no que eu iria fazer, foi meio “O que você falar, eu vou fazer” e pronto. Uma relação muito simbiótica, de eu me misturar com ele e fazermos uma coisa só.  

O que chegou primeiro na minha vida foi a pós-produção, comecei com a montagem, depois fui para filmar, fui conhecer equipamentos, fazer fotografia e depois disso comecei a trabalhar com pessoas, trabalhar com atores, que é muito diferente. Com um fotógrafo, você fala termos técnicos, é uma direção objetiva, já com os atores não, eu não posso falar assim. Então eu tive que voltar para a minha humanidade, para minha coisa menos técnica.

O curta “Sal”, que foi um filme bem menos pretensioso que “O Segredo de Davi”.   foi muito importante para isso. Se trata de, basicamente, dois atores em uma sala, conversando, e é só isso. No curta, eu tive que encontrar maneiras de fazer esses atores, atuarem muito bem, porque só tinham eles, não tinha mais nada, não tinha subterfúgio. A primeira coisa que eu aprendi é que você precisa de bons atores, porque, no final das contas, você não ensina ninguém a atuar, isso é uma lenda. Assim como você não pode contratar um diretor de fotografia e ensinar ele a filmar. Ele tem que ser melhor que você nisso.

Na verdade, o trabalho de diretor é um trabalho de feedback, indicando o melhor caminho para uma produção. Você indica para os atores algumas direções mas o talento e o brilho são deles e sempre foram, no “Sal” eu descobri isso e fiquei muito mais tranquilo. Quando você tem noção do que você está fazendo, você sabe o subtexto da sua cena, quando você sabe exatamente o que você quer, se o ator for bom, ele vai chegar ao que você quer. Seu trabalho se torna basicamente não estragar o que o ator está fazendo.

Eu descobri um método nos ensaios, que eu usei em “O Segredo de Davi”, que fez muita diferença e é o jeito que eu gosto de trabalhar, que é filmar os ensaios. Tudo é filmado. Eu filmava quarenta vezes e depois assistia e ajustava milimetricamente cada sobrancelha que ele levantava ou uma entonação que eu não gostava.

Chegou no final, a gente já tinha filmado tudo milhões de vezes com o Nicolas e ele já sabia tudo, ele já tinha chegado no que eu queria. Então quando chegou na hora da filmagem mesmo, a gente só repetia.

Claro que não são todos os atores que trabalham dessa forma, porque tem alguns diretores que não acreditam em ensaios. Eles dizem que tem uma magia que vem na hora do set e que você não emula antes, mas eu não concordo, porque isso nunca aconteceu comigo. Toda vez que eu estava preparado e já tinha feito aquilo antes, na hora ficava melhor ainda, a magia vinha e vinha com toda uma segurança de que éramos capazes de fazer aquilo.          

Não era uma surpresa, até porque o ator tem que repetir. Se o cara está aqui, lindo e maravilhoso, chorando, gênio, eu vou fazer mais cinco planos. Então você precisa estar lindo e maravilhoso chorando, cinco vezes iguais. Essa coisa de estar na hora e brilhar, eu acho uma baboseira. Até porque o ator tem que ter técnica, como o fotógrafo também tem que ter técnica.  

Obviamente que esse é meu ponto de vista, pela minha experiência. Eu sei que quando você trabalha com não atores, como eu já trabalhei algumas vezes, é diferente. Você vai trazer muito mais para o físico e o emocional, então você vai fazer o cara ficar com raiva de verdade, tudo é muito de verdade. É uma proposta, é um tipo de cinema. O meu tipo de cinema é muito mais linear, nada é feito à toa, a movimentação do personagem é completamente ensaiada. Foi tudo muito bem pensado.

Então se você odiar o filme, você vai me odiar mesmo, porque tudo aquilo ali foi pensado, foi planejado e se você odiou, é porque você odeia meu cinema. Já que é a para fazer o primeiro, faça do jeito que você acredita, não é?    

Joguinho

Filme favorito? Matrix

Filme brasileiro favorito? Cidade de Deus

Trilogia imperdível? Matrix

Documentário fundamental? Cabra Marcado para Morrer

Filme que você mais assistiu? Matrix e Titanic

Filme subestimado? Cloud Atlas, em português “A Viagem”

Filme que te deixa triste? Eu, Daniel Blake

Musical favorito? Dançando na Chuva

Diretor ou diretora favorito? Lana Wachowski

Atriz favorita? Fernanda Montenegro

Ator favorito? Wagner Moura

[helloworlddemo1122-yahoopar-blog]

EXCLUSIVE: Brian d’Arcy James Comes Full Circle on Broadway as King George III in ‘Hamilton’

“The crown is quite heavy. The cape is quite heavy. I do remember distinctly the first time I went out, not expecting how heavy those two things would be,” Brian d’Arcy James recalls to ET about wearing King George III’s lush costume in the Off-Broadway production of Hamilton. It’s an outfit he will soon don again when he returns to Lin-Manuel Miranda’s hit biopic musical about Alexander Hamilton on Friday, April 14. “I don’t want to say [it will] wreak havoc on you, but if you’re not prepared, it can give you an extra sense of anxiety that you didn’t have before." 

While the crown has weighed down some, it’s not an issue for Spotlight actor, who is reprising a role he originated, even though he's playing it for the first time on the Broadway stage. "It's a full-circle moment for me," James exclaims over the phone as he eagerly awaits starting rehearsals for Hamilton just three days before he officially takes his first bow. "Every day it gets closer to [my opening night], the more I realize this is actually happening."

The Broadway veteran (Something Rotten!, Shrek, Dirty Rotten Scoundrels) and three-time Tony Award nominee who can also be seen on the Netflix series 13 Reasons Why played the royal when the musical first opened at the Public Theater in 2015. But even before the actor stepped on stage to perform in front of celebrities and politicians like Bill, Hillary and Chelsea Clinton, he had already negotiated his exit at the six-week mark -- whether the show was a success or not -- to play Nick Bottom opposite Christian Borle’s William Shakespeare in Something Rotten!

MORE: Taran Killam Talks 'Hamilton' and Helping Wife Cobie Smulders Make Her Broadway Debut

When it was announced later that year that Hamilton was transferring to the Richard Rodgers Theatre -- just down the street from where James was singing about omelets in the satirical Shakespearean musical -- Jonathan Groff had taken over the role. Looking back at his decision now that Hamilton is an international phenomenon, James says he wouldn't rewrite history. "I consider myself very lucky. I’m getting to do it now," he explains. "I always say that I feel very grateful that I got to have my cake and eat it too, [and to] Lin, Oskar Eustis and Jeffrey Seller for allowing me to be in the show for half the amount of time and then getting to go star in a really funny, excellent show that I wanted to do as well." 

The first time James saw Hamilton on Broadway was only last week, as a refresher before he returns to the production. "I had such a distinct awareness of how every person in that theater was kind of squeezed through the eye of the needle to be there,” he says. “Their sense of excitement and almost ownership of this because it's such a phenomenon -- there's a different, palpable sense of what people are feeling even before the show starts."

It was quite a different energy from when James was part of the show two years prior. "People were starting to get a sense of what it was,” he says. “Now, it’s a deep groove that has been cut -- [in] the cultural psyche, if you will. That was really something to experience.” Changes were apparent onstage, too: "[It was] interesting to see how all these characters can flourish, be successful and potent with new brilliant actors in them. That’s a testament to the writing, of course.” 

For the role of King George III, in particular, Andrew Rannells, Rory O’Malley and Taran Killam have all worn the crown, making James the fourth notable replacement on Broadway. His predecessor, Killam, recently welcomed the actor backstage, where he was shown the accoutrements that have amassed in the king’s dressing room since the show opened in 2015. “He wanted to let me know what was Rory’s, what was Groff's and what was his,” James explains. “That's good information to have so I can add to it." 

Netflix

In addition to his highly anticipated return to Hamilton, James can also be seen on 13 Reasons Why, Netflix’s adaptation of the popular YA novel about Hannah, a high school teen who commits suicide, and the revelations that follow her death. For James, who plays Hannah’s father opposite his onscreen wife Kate Walsh, it’s the first time he’s ever been on a platform like Netflix, which released the entire series on March 31. “When we were at the premiere, it was interesting to wrap my head around the fact that at midnight it wasn’t just network television. The whole world had access to all 13 episodes,” James says.

The show, which deals not only with teen suicide but also bullying and sexual assault, has quickly become a topic of discussion as people debate its portrayals of these issues. “It's important if only for the fact that it may cause a lot of room for conversation," James says of the show. "We need every opportunity we can to find ways to reach out and have the green light to reach out."

MORE: James Monroe Igelhart Says Goodbye to 'Aladdin' on Broadway as He Prepares to Join 'Hamilton'

The story is one that the actor finds imperative to discuss with his 15-year-old daughter, Grace. "I don’t know that I would have had the starting-off point that I did had it not been for my participation with the show,” James explains. “It gave me courage to talk about things like sexual assault, rape and bullying.” It's a dialogue he hopes other adults find ease with as well. “I don’t feel like you have to be the parent of a child who has committed suicide to understand pain or despair. From my character, it's an important thing to represent that and hopefully get right because we all feel that way at one point or another.”

Of all his film and TV roles, James says playing Hannah's father is “unequivocally the most challenging thing I’ve had to do on film.”It certainly stands apart -- at least from Hamilton, which comes with its own distinct challenges.

The actor has little time to get accustomed to playing King George III before taking his bow alongside James Monroe Iglehart, Broadway's original Genie in Aladdin, who joins the cast in the dual role of Marquis de Lafayette and Thomas Jefferson -- but he’ll be ready nevertheless. “That’s going to be exciting, to kind of look at him and just check in to see if we’re doing OK. Check our heart rate the first night,” James says. 

[cinemabh]

A animação #ACaminhoDaLua já está disponível no catálogo da @netflixbrasil! Quem já assistiu? Indica ? Deixe sua opinião aí, sem spoilers! 😃 Sinopse: Estimulada pelas histórias da mãe, Fei Fei decide construir uma nave espacial para ir até a Lua e comprovar a existência de uma lendária deusa. DUBLADORES (VOZES ORIGINAIS): Cathy Ang, Phillipa Soo, Ken Jeong, Robert G. Chiu, John Cho, Sandra Oh, Ruthie Ann Miles, Margaret Cho, Kimiko Glenn, Artt Butler, Irene Tsu, Clem Cheung e Conrad Ricamora. #ACaminhoDaLua #filmes #bh #OverTheMoon #Estreia #BH #Animação #Animation #Filme #Movie #NetflixBrasil #Netflix #Streaming #Geek #Nerd #cinemabh #cinemasbh #InstaFilme #Aventura #AdoroCinema #Omelete #BoaNoite https://www.instagram.com/p/CG001s0jsrk/?igshid=1lgp5nujel5td

[garcialexia]

Estreou meus amados! E o meu coração está em festa! Muita gratidão gente! Peço aqui com muito carinho que você dê o seu play! Sabe o quanto é importante dar o play para quem trabalha na plataforma do YouTube!?! Conto com vocês meus flores de luz! Segue o link para copiar para o seu navegador ou clicar! Clique ou copie: https://youtu.be/JOjK8WZr5Dc #cinemabrasileiro #cine #webserie #webseries #serie #series #netflix #mutewebserie #mute #tv #television #hbo #fox #filme #film #omelete #atrapada #diretor #director

[paulo0369]

Curti o vídeo "UNCHARTED VEM AÍ! TOM HOLLAND REVELA 1ª FOTO DO FILME #FiqueEmCasa #Comigo", e o que você acha?

E o vídeo de hoje é: UNCHARTED VEM AÍ! TOM HOLLAND REVELA 1ª FOTO DO FILME #FiqueEmCasa #Comigo

Netflix libera o primeiro trailer de Project Power, Amazon renova Hanna para uma 3ª temporada, Watchmen ganhará HQ sobre Rorschach e Tom Holland revela foto dos bastidores do filme de Uncharted! Tudo isso e mais no Hyperdrive de hoje, com Fábio Gomes e Load! Confira. #projectpower #uncharted #tomholland Confira os produtos usados em nosso cenário Hasbro em: https://amzn.to/3ddvT2I The Last of Us Part II foi lançado há 3 semanas pela PlayStation e já é um sucesso de crítica e público. Para saber mais, acesse: https://bit.ly/38ZH2CQ #TheLastOfUsPartII #TLOU2NoPS4 Mais sobre Project Power em: https://bit.ly/2ZzWQJk Mais sobre Hanna em: https://bit.ly/3gXS7Hk Mais sobre Watchmen em: https://bit.ly/2OuiZm1 Mais sobre Uncharted em: https://bit.ly/3eGq11S ASSINE O CANAL :) http://youtube.com/omeleteve Twitter: http://www.twitter.com/omelete Facebook: https://bit.ly/2Qt3D3V CRÉDITOS: Roteiro e Apresentação: Fábio Gomes e Load Edição: Pedro Ayres Identidade Visual: Júlia Del Bel, Larissa Garcia e Ryan Smallman Caso queiram assistir no YouTube clique aqui

[dailykhaleej]

Spending 24 hours without web: Is it worth it or not?

RIYADH: Being a millennial, my first response to this project was considered one of skepticism. I, like most individuals I do know, rely on the web for nearly every little thing, and the thought of functioning without it for a complete day didn’t thrill me.

Simply take Google: “How to freeze egg whites,” “how to get tomato sauce out of a white shirt,” “what’s the difference between white, red, and yellow onions,” and “where can I legally watch The Office in Saudi Arabia” are only one hour’s worth of questions in my search historical past. (For the file, The Workplace is streamable on Amazon Prime Video. You’re welcome.) However for the sake of journalism, I made a decision to tackle the problem. I spent 24 hours on Wednesday fully internet-free. Right here’s how it went.   The principles: Since it was Ramadan, and my sleeping hours had been skewed, I made a decision to watch my web “fast” from Fajr (daybreak) on my time without work to Fajr the following day. I disabled my laptop computer’s web, turned off Wi-Fi and knowledge providers on my telephone, and instructed my family and friends I’d be offline for the day. They may name, they might ship texts, however WhatsApp, social media, and every little thing else could be forbidden. I might do something I preferred for work and leisure, however utilizing the web was strictly off-limits. So no social media, no Netflix, and worst of all, no Googling recipes.   The cons: I’ve been watching a sitcom on a binge, The Nanny on Amazon Prime and I needed to interrupt my streak. Then forgetting how a lot baking soda I used to be supposed to place within the water whereas making delicate pretzels led to a kitchen disaster. One other blow was not becoming a member of my siblings to observe a film on Netflix. I as a substitute went to the piano and re-enacted Eric Carmen’s 1975 track “All By Myself” although I don’t play the piano and may’t sing both.

I additionally needed to delay writing an article as a result of I wanted the web for analysis. Now I’m behind on my workload. That’s not a serious con as a result of there’s nearly no likelihood of catching as much as one’s workload in journalism; now I’m simply much more behind than typical. After 24 hours of being offline, I turned knowledge again on and my telephone was bombarded by emails, WhatsApp messages, Fb and Twitter notifications and Instagram likes. I additionally missed an vital work e-mail from somebody who can’t have been knowledgeable about my project.   The professionals: Instances are powerful with coronavirus hanging over all our heads, and dealing within the information business makes it particularly onerous to keep away from studying concerning the developments. Getting a break from all of the negativity was extremely therapeutic, even only for a day. I’m within the unhealthy behavior of gathering cookbooks, however I run to Google as my go-to-guide once I want one thing. I spent the night flipping by means of a few of my favourite cooks’ books, together with one by the famend French chef and culinary author Georges Auguste Escoffier that I’ve owned for greater than a yr now and have solely simply cracked open. It impressed me to make sahoor (late dinner earlier than fasting) for my household by cooking probably the most good fluffy omelets I’ve ever made.

HIGHLIGHTS

• Throughout the 24-hour problem, I used to be not allowed to make use of WhatsApp and social media.

• Solely calls and textual content messages had been allowed.

• Netflix and different streaming providers had been strictly forbidden.

• The problem, nevertheless, helped reconnect with previous family and friends members.

One other professional was attending to name a couple of associates I haven’t spoken to shortly. It was very nice to listen to their voices and to catch up. Earlier than my siblings ruthlessly excluded me from film night time, we performed Scrabble, sitting round a board. I loved it immensely, although I misplaced. Spending much less time looking at my display all day made me sleep higher than typical. And as an overworked journalist, I like a little bit of sleep from time to time. Okay, a whole lot of sleep.   The decision: Detoxing for a day was extremely snug. I’d think about it a luxurious, perhaps as soon as or twice a month, however I’d positively do it once more. Our reliance on the web is on the heavy facet, and social media is each a blessing and a curse — we should always at all times do not forget that. It’s reassuring to know that if the web goes down, I received’t starve or die of boredom — there’s lots to do offline. I’m contemplating setting apart one Wednesday each month as an offline day, make sure that everybody I work with is made conscious of it, inform all my associates in order that they don’t trouble me, and see what occurs. But when I obtain an episode or two of my favourite exhibits from Netflix to observe earlier than the detox, don’t inform anybody, okay?

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[dicasverdes]

La Casa de Papel pode ter sido renovada para a 5ª e 6ª temporadas

La Casa de Papel pode ter sido renovada para a 5ª e 6ª temporadas

A Netflix teria renovado o thriller espanhol La Casa de Papel para sua 5ª e 6ª temporadas. De acordo com as informações divulgadas pelo site El Español, a plataforma já teria tudo pronto para rodar mais 16 novos capítulos para a série nos próximos meses.

(Fonte: Netflix/Reprodução)

No final de 2018, Paco Ramos, o diretor de conteúdo original internacional para Espanha e América Latina da…

[hoglegpress]

Road-trippin’ through the Covid-19 Apocalypse was not the way I expected to spend the last Spring Break of the Amazon’s high school career. We faced the horror of selecting a university to flush our life savings down, so we choked down the Pepto and Imodium, threw common sense to the gutter, and saddled up the family ride for the trek Eastward.

Day 1 ended much like Season 1 of The Walking Dead in Atlanta, GA. Specifically, we stopped at the Hampton Inn & Suites Atlanta Buckhead Place, GA located at 3312 Piedmont Road NE, Atlanta, GA, 30305.  First-off Expedia’s directions were awful. Second off, the hotel shares parking with a neighboring shopping district, so they clipped us for $25 extra to park our car. In this case, booking through Expedia paid off because they covered the parking, but that fee would have been a deal killer in my book. The usual urban zombies were lurking around the garage when I parked. Made me glad to be south of The Line so my pest control options were not infringed. The room was adequate. The breakfast buffet pretty standard. We were DEFINITELY glad to leave that place behind.

Since the secondary goal of this odyssey was to have one last road trip as a family, we had planned to spend the day in Atlanta, so we made two stops.

The World of Coca-Cola was selected by the Mrs. for reasons still obscure to your humble correspondent. This place is a monument to successful marketing, and a disease pit of unbelievable scope. Lots of people packed into small spaces, not to mention the tasting room where folks can try various Coca-Cola products from around the world. It would be traumatic to a germophobe in normal times, but with Covid-19 in the air, you wanted to jump into a vat on sanitized gel and inhale deeply. If you are a genuine Coke fan, the memorabilia displays were entertaining, and the displays were well executed. The tour ends with the gift shop of course. All in all, I should have listened to my gut. Give it a miss.

On the other side of town was the Center for Puppetry Arts. This is an off the normal beat gem that more than made up for being dragged through the World of Coca-Cola. This small museum contains exhibits of historical puppets from across the world, and they offer classes in the puppetry arts.

Classic Minotaur Marionette

Corpse Bride Characters

Gumby

Character from Labyrith Movie

  The reason the Amazon chose this venue for a stop was the exhibits of Jim Henson’s characters, and artifacts from his 1982 film “The Dark Crystal” . Please do not confuse the original film with the Dark Crystal series recently released by Netflix.

Stained Glass window above entrance to the Jim Henson exhibit

    The Dark Crystal exhibit was definitely worth the time. I’ll let the artifacts speak for themselves. If you are old enough to have watched the film in the theater, you know how remarkable the set and effects were. No CGI. No computers. Just practical effects went into creating a world and story that holds up to the present time.

Skecksies Head

Skecksies Full Puppet

Miniature Mystic

Full size Mystic

Jen Puppet

Garthim Puppet/Suit

Set Model

Aughra Puppet

I won’t bore you with the rest of the journey except to give a thumbnail review of the hotels where we stopped.

Drury Inn & Suites Charlotte University Place 415 West W.T. Harris Blvd, Charlotte, NC, 28262 United States of America <  >

This hotel was the best of the entire trip. We arrived in the early evening and were pleasantly surprised to find out they offer a “Kick-back Hour” that comes with your room. This included a taco/baked potato bar, Hot Dog bar, Salad bar, and two drinks from the bar. The breakfast offerings were also very good. All of the usual Southern treats like eggs, biscuits, sausage, and gravy. Makes my ol’ arteries clog just thinking back on it.

Home2 Suites by Hilton Durham Chapel Hill 3305 Watkins Road, Durham, 27707, NC, US  When I thought the hotel in Atlanta was going to be the low point of this trip, we stopped at Home 2. This is a “greenie’ enterprise promoting sustainability and healthy living. While I’m all for these ideas, the execution left a lot to be desired. The sheets on the beds were all microfiber made from “recycled materials” aka plastic. If you want to experience this for yourself, replace the sheets on your bed with vinyl shower curtains or plastic trash bags and snuggle down for the night. The breakfast offerings were little boxes of yellowish blobs that claimed to be scrambled eggs and sausage that you had to microwave. We bought some Slim Jim Meat Snacks at the gas station instead.

The nice part of this stop was an Asian confusion eatery across the parking lot called Tasu Express . A good selection of classic “Chinese food” options sold by the individual plate in a very clean and pleasant setting. Definitely worth the time to stop.

Best Western Plus Music Row 1407 Division Street, Nashville, TN, 37203 United States of America This stop was half-way between the Drury Inn and Home2. The bedspread had a big black footprint on it that proved housekeeping was less than engaged in their jobs. On the other hand, breakfast was excellent. Made to order omelets, waffles, and all of the classic Southern faves.

Stay Safe & Stay Away!

The Lost Traveler: Being Strung Along Road-trippin’ through the Covid-19 Apocalypse was not the way I expected to spend the last Spring Break of the Amazon’s high school career.

[bloglivre-blog]

Plágio ou homenagem? Conheça algumas polêmicas no cinema e na literatura

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Plágio ou homenagem? Conheça algumas polêmicas no cinema e na literatura

Após o anúncio dos indicados ao Oscar 2018, duas produções que concorrem na categoria de Melhor Filme foram acusadas de plágio: A Forma da Água e Lady Bird – A hora de voar. A primeira delas, A Forma da Água, dirigida pelo cineasta mexicano Guillermo del Toro é recordista em indicações ao Oscar deste ano com 13 categorias. No entanto, David Zindel, filho do escritor vencedor do Pulitzer Paul Zindel (1936-2003), alega que a trama é “claramente inspirada” na peça Let me Hear You Whisper, lançada pelo pai em 1969: “Estamos chocados que um grande estúdio tenha feito um filme obviamente derivado do trabalho do meu pai sem qualquer tipo de reconhecimento ou pedido de aquisição dos direitos”, afirmou David Zindel em comunicado enviado ao The Guardian.

No filme de Del Toro, uma faxineira muda Elisa (Sally Hawkins) cria uma amizade e se afeiçoa por uma criatura aquática desconhecida (porém semelhante a um hominídeo) mantida em cativeiro em uma instalação governamental. Ela usa comida para ganhar a confiança da criatura e desenvolve um plano para ajudá-la a fugir escondida dentro de um carrinho de roupa suja depois de ouvir os cientistas mencionarem que usariam a espécie para estudo. Segundo o site da Rolling Stone, em Let me Hear You Whisper a zeladora Helen também se apaixona por uma criatura aquática só que é um golfinho, igualmente criado em uma instalação do governo. Apesar de não ser muda Helen faz referência a mudez quando fala sobre a incomunicabilidade dos cientistas com o animal: “Alguns humanos são mudos, você sabe. Nós não os matamos só porque eles não podem falar”, diz a personagem. Ela também usa comida para ganhar a confiança do golfinho e utiliza um carrinho de roupa suja para escapar como animal. Na peça, os cientistas também falam sobre realizar a vivissecção do golfinho.

O longa indicado em 13 categorias no Oscar recebeu uma segunda acusação de ter plagiado um curta holandês de 2012 – da qual foi inocentado pela Academia local de cinema – mas nesta semana foi a vez de Jean-Pierre Jeunet, diretor de O Fabuloso Destino de Amélie Poulain (2001), acusar mais uma vez o diretor mexicano. De acordo com o realizador europeu, del Toro teria copiado uma cena inteira de Delicatessen (1991) em seu novo filme (via Ouest-France):

“Eu disse a ele: Você tem muita imaginação, muito talento. Por que roubar as ideias dos outros? Ele me respondeu: Nós devemos tudo a Terry Gilliam. Segundo ele, ele não roubou nada de ninguém, foi Terry Gilliam que nos influenciou. Mas é claro que roubou. Quando ele faz a cena de um casal sentado na ponta da cama dançando com os pés, com uma comédia musical passando na televisão ao fundo, é tão copiado e colado de Delicatassen que cheguei a dizer para mim mesmo em um momento que isso é a maior falta de respeito”.

Em seguida foi a vez da comédia dramática Lady Bird – A hora de voar, escrita e dirigida por Greta Gerwig, também ser acusada pela roteirista mexicana Josefina Lopez de ser parecida com seu filme Mulheres de Verdade Tem Curvas (Real Woman Have Curves), dirigido pela colombiana naturalizada americana Patricia Cardoso e lançado em 2002. Em entrevista para o portal Hoy Los Angeles, Josefina declarou: “Eu gostei de Lady Bird, mas, em certos momentos, pensei como a mãe [vivida por Laurie Metcalf] era parecida com a mãe do meu filme. Depois reparei como eles não iam deixá-la ir pra faculdade, como no meu longa. Parecia uma versão branca dele.” Lopez não está processando Gerwig, mas tem chamado atenção em diversas entrevistas para as similaridades entre os filmes.

Apesar das semelhanças, Josefina Lopez revela que a diferença na recepção de cada filme foi o que realmente a incomodou: “Eu também mereço um espaço em Hollywood e ter a oportunidade de continuar contando histórias impactantes. Eu escrevi uma versão melhor de Lady Bird que desafia o ‘status quo’. Queria que meu filme tivesse sido apreciado dessa mesma forma.” O longa Mulheres de Verdade Tem Curvas acompanha a história de uma adolescente de origem latina que nasceu nos Estados Unidos, um pouco acima do peso e que enfrenta dificuldades culturais, conflitos de classe e deveres familiares, ao mesmo tempo, que luta para realizar seus sonhos. O filme foi premiado no Festival de Sundance e chegou a ser exibido em mostras de cinema independente, mas não teve tamanha repercussão.

Mas não é de hoje que obras aclamadas, premiadas e amadas pelo público são acusadas de plágio por outros artistas ou cineastas. Em 2013, As Aventuras de Pi (Life of Pi) dirigido pelo taiwanês Ang Lee foi um dos favoritos ao Oscar com 11 indicações, incluindo: Melhor Filme, Melhor Diretor (venceu), Melhor Roteiro Adaptado, Melhor Fotografia (venceu), Melhores Efeitos Visuais (venceu) e Melhor Trilha Sonora (venceu). No entanto, o roteiro foi adaptado do romance de 2001 de mesmo nome escrito por Yann Martel que por sua vez se baseou no livro Max e Os Felinos, do escritor brasileiro Moacyr Scliar (1937-2011), publicado pela primeira vez em 1981. Essa polêmica começou a ganhar visibilidade em 2002, quando o livro de Martel recebeu o prêmio Booker do ano e a imprensa levantou a suspeita de plágio como o próprio Moacyr explica:

Vicky Cristina Barcelona (2008), escrito e dirigido por Woody Allen também não escapou das acusações de plágio devido as “numerosas coincidências e paralelismos” com o romance Goodbye, Barcelona, escrito por Alexis de Vilar e registrado em 1987. O escritor catalão declarou em entrevista exclusiva ao site Hoy Cinema que Allen desfigurou seu livro para evitar qualquer queixa de sua parte: “Ele fez o que é chamado de ‘deslocalização dos personagens’: o romance foi alterado, passado pelo liquidificador para que não fosse reconhecido, mas eu o reconheci”, desabafa Alexis. Para haver plágio, as obras devem possuir coincidências em “títulos, frases, nomes, etc.”, e na opinião de Vilar o filme contém frases e cenas de seu texto. Goodbye, Barcelona foi finalista de prêmios na Espanha e passou por diversas editoras espanholas e estrangeiras, além de produtoras cinematográficas, mas só foi lançado em outubro de 2008, depois da estreia da produção de Woody Allen.

Em 2014, foi a vez de True Detective (HBO) ser acusada de plágio pelos blogs Thomas Ligotti Online e The Lovecraft eZine que juntos expuseram vários diálogos mostrando que o criador do programa, Nic Pizzolatto, havia reproduzido trechos do livro A Conspiração Contra a Raça Humana (The Conspiracy Against the Human Race: A Contrivance of Horror), de Thomas Ligotti. Segundo Mike Davis e Jon Padgett, fundadores dos blogs, algumas falas de Rust Cohle (Matthew McConaughey) célebre série da HBO seriam fiéis demais para configurar uma simples homenagem. Pizzolatto, que já havia se manifestado publicamente sobre a influência de Ligotti, comentou a respeito do assunto (via Omelete):

“Nada na série True Detective foi plagiado. Os pensamentos expressados por Rust Cohle não representam nenhum pensamento ou ideia específica a nenhum autor; na verdade, eles são dogmas de uma filosofia pessimista e antinatalista com uma tradição histórica que inclui Arthur Schopenauer, Friedrich Nietzche, E.M. Cioran e vários outros filósofos, todos os quais expressaram essas ideias. Como um pessimista autodidata, Cohle fala sobre essa filosofia com erudição e em suas próprias palavras. As ideias dentro dessa filosofia certamente não são exclusivas de nenhum escritor.”

No ano passado, a Netflix também foi acusada de plágio por causa do filme Código de Silêncio (Burning Sands). A informação é do portal Terra. O escritor Al Quarles Jr. afirma que Christine Berg e o diretor Gerard McMurray finalizaram o roteiro do longa dois anos após o lançamento do primeiro volume de sua obra sem terem adquirido os direitos de adaptação, copiando cenas e diálogos inteiros. Al Quarles Jr. está processando a companhia de streaming, a produtora e os roteiristas do filme por terem utilizado seu livro, Burning Sands: My Brothers Keepers, sem sua autorização legal ou ciência: “O livro narra uma história de amadurecimento de seis jovens que tentam entrar em uma fraternidade de uma universidade rural, historicamente negra. Em adição ao título e cenários idênticos, a narrativa do filme contém elementos que são virtualmente idênticos aos do livro, incluindo personagens com os mesmos nomes e pontos da história que foram criados para criar os mesmos significados e representações”, escreveu o advogado de Quarles Jr. na ação movida pelo autor.

Aqui no Brasil, na época da exibição da novela A Sucessora (1978), produzida pela Rede Globo, muitos acreditaram, erradamente, que a trama se baseava no livro Rebecca da inglesa Daphne Du Maurier. Porém, A Sucessora é o nome de um romance da escritora brasileira Carolina Nabuco (1890-1981) publicado pela primeira vez em 1934. O livro de Daphne du Maurier que inspiraria o filme homônimo de Alfred Hitchcock, em 1940, foi publicado em 1938 quatro anos depois de A Sucessora. As semelhanças entre as duas histórias foram destacadas em artigo publicado no The New York Book Review, segundo conta a própria Carolina nas páginas de Oito Décadas, sua autobiografia: . O fato teve repercussão no Brasil, mas Carolina não cogitou processar os editores ingleses. Quando o filme Rebecca chegou ao país, os advogados da United Artists a procuraram para que assinasse um termo (mediante uma compensação financeira) concordando que tinha havido “coincidência”, mas Carolina negou-se.

O princípio químico da conservação de massas, também conhecido como Lei de Lavoisier, é sintetizado na frase: “Na natureza nada se cria, nada se perde, tudo se transforma”. Em outras palavras: “nada vem do nada”. Essas duas frases por mais poéticas que sejam querem dizer a mesma coisa: a matéria não surge espontaneamente. Voltando ao mundo das Artes, será que o mesmo princípio não poderia ser aplicado? Toda obra tem um ponto de inspiração que pode surgir de acontecimentos da vida real ou fazendo referências a outras criações. O plágio é caraterizado pela cópia de um texto completa ou parcialmente sem dar os devidos créditos ou sem a autorização do autor para fins comerciais ou acadêmicos. O plágio é crime com pena prevista em lei em vários países pois isso configura uma forma de roubo de ideia. No Brasil, os direitos autorais são assegurados conforme o Art. 5º, incisos XXVII e XXVIII, da Constituição Federal e o Código Penal brasileiro tem uma sessão que trata especificamente dos Crimes Contra a Propriedade Intelectual (Art. 184 a 186).

Em um livro a ser publicado pela editora D.S. Brewer e pela Biblioteca Britânica, os pesquisadores Dannis McCarthy e June Schlueter sugerem que 11 obras de William Shakespeare teriam sido inspiradas no manuscrito A Brief Discourse of Rebellion and Rebels (Uma Breve Dissertação Sobre a Rebelião e os Rebeldes, em tradução livre), escrita por George North em 1500. Dennis McCarthy, que é um autodidata nas obras de Shakespeare, usou o software antiplágio WCopyFind, por meio do qual foi possível identificar palavras e frases que as obras possuíam em comum. Segundo o pesquisador, o dramaturgo britânico repete uma sucessão de palavras usadas no trabalho de North no discurso inicial de Ricardo III. É normal encontrar algumas palavras em comum, mas não todas: “É uma fonte para a qual ele [Shakespeare] continua voltando. Isso afeta a linguagem, ajuda a moldar as cenas e, até certo ponto, influencia a filosofia das peças”, afirmou o especialista em entrevista ao jornal The New York Times.

Já o designer e escritor Austin Kleon fez um manifesto ilustrado sobre como ser criativo na era digital intitulado Roube Como um Artista, publicado no Brasil em 2008 pela editora Rocco. O livro entrou na lista dos mais vendidos do The New York Times e mostra com bom humor, ousadia e simplicidade que não é preciso ser um gênio para ser criativo, basta ser autêntico. Após listar as 10 dicas sobre criatividade que serão abordadas ao longo da obra, Kleon usa citações de grandes nomes do universo artístico dentre eles Pablo Picasso, considerado o mestre da pintura no século XX, que afirmou que “Arte é furto” e T.S. Eliot, poeta e dramaturgo premiado com o Nobel de Literatura em 1948, que disse: “Poetas imaturos imitam; poetas maduros roubam; poetas ruins desfiguram o que pegam e poetas bons transformam em algo melhor, ou pelo menos diferente. O bom poeta amalgama o seu furto a um conjunto sensível que é único, completamente diferente daquele de onde foi removido.”

Na sétima arte o debate em torno da apropriação artística de forma indevida também é recorrente. Uma cena muito homenageada no cinema é a sequência do fuzilamento na escadaria de Odessa, do filme O Encouraçado Potemkin (1925), do cineasta soviético Sergei Eisenstein. Pelo menos outros dois grandes diretores prestam tributo ao mestre soviético: Alfred Hitchcock em Correspondente Estrangeiro (1940) e, mais tarde, o cineasta norte-americano Brian De Palma na cena do tiroteio entre os gângsteres de Os Intocáveis (1987).

Outro momento icônico do cinema foi protagonizado por Jack Nicholson como Jack Torrance, em O Iluminado, quando ele quebra uma porta com um machado. Essa cena, por exemplo, foi inspirada em um filme bem mais antigo: A Carruagem Fantasma (The Phanton Carriage), de 1921, do ator e cineasta sueco Victor Sjöström (1879-1960).

Em Pulp Fiction: Tempo de Violência, mais do que um plágio, uma praxe no cinema de Quentin Tarantino: quando Butch (Bruce Willis) está dirigindo um carro e dá de cara com Marcellus Wallace (Ving Rhames) atravessando a rua na sua frente também é igual a cena clássica de Psicose (1960), de Alfred Hitchcock, em que a secretária Marion Crane (Leigh) dá vê seu empregador no sinal após dar um desfalque na imobiliária onde trabalhava. Aliás, Quentin Tarantino é um desses cineastas que sempre presta homenagens e referências a outros filmes, mas o agressivo Kill Bill – Volume 1, de 2004, tem exatamente a mesma premissa e muitas cenas de ação parecidas com Lady Snowblood – Vingança na Neve (1973), do diretor japonês Toshiya Fujita, que por sua vez já era uma adaptação do mangá homônimo escrito por Kazuo Koike.

Posteriormente, outro caso repercutiu bastante dessa vez envolvendo o ilustrador inglês William Roger Dean, notório por seus trabalhos realizados para bandas como Yes e jogos eletrônicos, que se manifestou na época do lançamento de Avatar, em 2009, dizendo que James Cameron e companhia copiaram suas ilustrações para criar o mundo de Pandora em um dos filmes mais bem-sucedidos da história do cinema.

O arquiteto americano Lebbeus Woods foi outro que reclamou do uso de uma de suas obras no filme Os 12 Macacos (1995), dirigido por Terry Gilliam. Trata-se de uma cadeira alongada fixada no alto de uma parede intitulada Neomechanical Tower (Upper) Chamber. Woods reivindicou o uso de seu design pelo cineasta na cena em que o ator Bruce Willis é interrogado pelos cientistas sentado em uma cadeira presa na parede.

O que se conclui é que a apropriação artística pode ser pensada como uma prática para endossar a corrente que afirma que a autoria na arte é uma noção ultrapassada ou equivocada, mas não é bem assim que muitos artistas se sentem a respeito de terem suas obras sendo usadas como referências para outros trabalhos. Diferentemente do plágio que tem por interesse se fazer passar pelo autor original, a apropriação reside no fato de que os artistas devem propor algum novo sentido ou tornar possível uma releitura a partir da obra escolhida para então assim tornar seu trabalho legítimo de alguma forma. Um exemplo disso é O Rei Leão, um dos maiores clássicos de animação da Disney, que é baseado em Hamlet peça escrita por William Shakespeare entre 1599 e 1601. Tanto o filme quanto a peça de Shakespeare têm em comum o enredo no qual um jovem príncipe tem a sua vida e posição ameaçadas depois que seu tio mata seu pai assume o trono. O que os roteiristas da animação fizeram foi deslocar a trama original para o ambiente da selva e transformá-la em uma fábula na qual o leão, conhecido por ser o rei da floresta, é traído por seu irmão ambicioso.