#he’s an incredible director

[bixels]

I watched Starship Troopers tonight.

[autisticandroids]

CASTIEL: Stop. What's the point if you don't mean it? You fear me - not love, not respect, just fear.

[youtube with closed captions]

a godstiel pity party. i'd like to thank an anon i got way back in february of 2021.

[skitskatdacat63]

2009 Malaysian Grand Prix - Red Flag - Mark Webber(ft. Fernando Alonso)

[stormyoceans]

IF NOT IN LOVE THEN WHY COLOR COORDINATED!!!!!!!!!!!!!

[something-tofightfor]

We just got out of Nosferatu and my main takeaway (aside from HOLY FUCK BILL SKARSGARD) is that I DESPERATELY need Pedro Pascal to be cast in an Eggers movie.

The way Robert Eggers directs and chooses lighting and makes decisions and turns out one beautiful project after another is astounding and I’d love to see what he could come up with for Pedro - and what Pedro could DO with such an incredibly led project.

[swagging-back-to]

worst trope is found family separating as soon as the antagonist is dealt with.

[afterlife-2004]

the first drawing of your oc VS your latest.

[ririsasy]

Watching Jana Gana Mana and my jaw was on the floor at this scene, Prithvi was just so brilliant in this movie and the message was so important as well. Truly impressed with the way they presented this one with many twists in the process. Can’t wait for the sequel that we don’t know yet when it will came out because Prithvi have so many sequels in line (Salaar 2, Lucifer 2, Jana Gana Mana 2. Hopefully we gonna get all the sequels soon!)

[ducktracy]

Does it ever feel pressuring (no pun intended) to work on a show with such a legacy and history as SpongeBob?

VERY much so, but in a good way, if such a thing exists! one of our mantras on our little storyboard plussing team is “pressure makes diamonds” and it is a very applicable saying

when i first started, i was TEEEEERRRIFIED! i really felt like i had no idea what i was doing, and there have been so many times where i’ve turned in a section and genuinely thought “oh my god they’re gonna fire me for this it’s so bad.” working in animation is frazzling enough! but not only are we working on a cultural mecca, with not only the kids of today to entertain, impress and inspire, but to maintain the integrity of the series and entertain/impress/inspire the kids like us who grew up with the show, we are also working with literal animation legends and animation veterans!! it’s pretty surreal to be working on the same show as someone like Bob Camp, who’s been in the industry for 40+ years… and even more surreal when he says he’s a big fan of your work 😵‍💫‼️‼️‼️‼️

THANKFULLY, i’ve made a lot of strides in curbing some of my storyboarding stage fright. it used to be really bad when i started, like genuinely panic attack inducing! the constant patience and guidance and encouragement of my peers and consistent practice from these past three years have really allowed me to grow and blossom. now, when i feel a bit claustrophobic in remembering the pure scale of what we’re doing, i weaponize it for good!!

i think of how inspired and amazed and obsessed with SpongeBob i was as a kid. how it inspired me to draw, how i remember drawing along to episodes and commercial breaks. my brother and his wife are both elementary school teachers and routinely update me about how their kids are still crazy for SB (and they both brag about me to their kids heheh). i think of all the kids watching, all the kids realizing that getting to draw these characters and interact with them and live in their world is something you indeed can do, all the kids who religiously catch each new episode like i once did… it just fills me with so much confidence and hope and love, and that motivates me to deliver and do my best and try to do what i can to help make each episode be better and more fun than the last

SpongeBob is for everyone, obviously! that’s one of the great things i love about working on it: i get just as much enjoyment watching our finished episodes as our target audience. but i do bring up the kids particularly often because, at the end of the day, that is who we are doing it for and i also just can’t help but think back to how my SpongeBob obsessed self as a kid would have had her world rocked to know i’m doing what i’m doing. i want to give those kids, who i used to be and still essentially am, the same joy and spark and all consuming inspiration i felt and still do

there are definitely some days where the gravity of what we’re doing hits harder than others! some days are a lot more difficult than others. this is an absolute dream job, i’m not just saying that, i always fantasized about maybe one day being able to work my way up to working on SpongeBob and now it’s my first animation job—but it is very easy to get overwhelmed by just how big of a legacy we’re carrying on our shoulders! how many other mega talented people work on this show! there’s a lot to juggle. but we juggle it well. there is so much love and heart and care poured into this show. we do everything we can to maintain the integrity of the characters and the show’s core, and it just makes me love what i do all the more and makes me more determined to do it

TLDR: YES! but i’m much better off for it, because it reminds me of why we’re working so hard to begin with. we all want this show to be the best it can—to maintain its core 25 years later, but still have fun doing it. i mentioned this on Twitter, but when i met Bill Fagerbakke last month he was saying how cool it is that fans who grew up with the show are now able to work on it and i couldn’t agree more. it’s the greatest honor imaginable being able to carry such a monumental torch, and i hope i’m able to keep at it for a long, long time.

[queenandkingofthedragons]

My gift set of Hiroyuki Sanada as Hayate Hozo in Shadow Warrior II (Kage no Gundan, 1982), episodes 7 and 11. Admit it, you're all stopping at the start of the second gif. Naughty followers 🤣🤣🤣

[bumblingest-bee]

ya boy tumblr user bumblingest-bee has just auditioned for assassins 😎

[mariocki]

The Aftermath (1982)

"What happens when you die?"

"I don't know, son. No one does."

"It's sad to die."

"No. Death isn't sad. We all have to die. What's sad is having to go on without someone you love. Just as we have to go on now."

[gatotsu]

marvel studios out there wishing they had the skills dpr ian has

[satanfemme]

watched the movie knife + heart today and it was really good. if there's one thing u gotta know about me is I love love love it when sadist characters kill people in homoerotic manners. wait I don't think u understand. this guy had a dildo that turned into a knife. it was dildo... and he'd press a button(?) on it... and a blade would pop out of the tip. of the penis. dildo knife. and he killed cute men with it homoerotically. lots of hot gay porn in this movie btw. gay porn was actually incredibly central to the plot, I can't stress this enough. lots of sucking and fucking on screen and two (2) cum shots. or maybe four, depending on how you're counting them. and a gay sadist with a tortured past doing homoerotic murder!!!!!!! needless to say this film was unfortunately french.

[paulnewman]

i genuinely think what makes so people uncomfortable with marnie is that the film stays with her the whole time and shows misogyny from a woman’s perspective and she’s not just victimized by a man and discarded…. she continues to occupy the center of the film and there’s no formal ending to her story really so the thought of what’s going to happen when the camera leaves is so anxiety provoking to a viewer.

when a movie is from a man’s POV it’s so much easier to feel distanced from misogyny and you can just watch like Oh that was wrong!…but i’ll move on and marnie NEVER gives you that relief or escape. NOTHING is easy in marnie and the way the man is shot so that you can’t tell exactly how you’re supposed to feel about him, whether he’s a genuine love interest or a villain forces you to realize that that’s what marnie feels too! that’s what men are! theyre human beings and you can’t just look at one in real life and go oh easy that’s a villain. that’s another person and you cant immediately tell how much harm they are capable of inflicting on you or where their limit to harming you is, if they end up having one.

[starbuck]

Seriously, though, if you want to get into older films, but aren’t sure where to start or feel intimidated, Ernst Lubitsch’s comedies from the 30s and 40s are really fun and accessible. I started with Trouble in Paradise (1932), but To Be or Not to Be (1942) is also great!