#i know i had to write two screenplays but i have no clue what they were about | Explore Tumblr posts and blogs

buzzdixonwriter · 2 years ago

Text

George Lucas Is A Lousy Storyteller, Episode Two

As noted, Lucas alone never rises as high as he does with collaborators. He’s been extremely fortunate in his career to have been in the right place and the right time and to have struck alliances with numerous creators who possess a far better story telling sense than him. Walter Murch, Leigh Brackett, Lawrence Kasdan, Stephen Spielberg, Ron Howard, and the aforementioned Gloria Katz and Willard Huyck.

But he bungled the Star Wars franchise at the very beginning, demonstrating he lacked insight into the reason his film became such a huge success. He started on an enviable high note, but instead of sustaining it he immediately set to work sabotaging his own concept.

Lucas changes his own history repeatedly, ghosting people whom he feels have failed him (such as Jim Nelson, the original associate producer of Star Wars who took the fall for budget and schedule overruns) or else stand up to him creatively (viz. Irvin Kershner, the legendary “last man to say no to Lucas” who overruled his boss to shoot the famous “I know” line in The Empire Strikes Back that delighted audiences, a situation Lucas never allowed again).

Star Wars began life as the (hopefully) first script in a proposed film series, with Lucas recruiting Alan Dean Foster to write both the novelization for the movie and an original novel, Splinter Of The Mind’s Eye, to serve as a low budget sequel should the movie falter at the box office.

It’s long been speculated that Foster also did an uncredited re-write on the first Star Wars movie but he has formally denied this and so we will take him at his word and just say for once in his life George Lucas actually wrote a good screenplay.

But when the first film became the biggest hit of all time, Lucas forgot about moving the story forward and instead concocted a grandiose scheme that would involve four sets of trilogies with a standalone movie between each trilogy for a total of 19 movies.

This was a mighty high aim in 1977 (though Marvel and Eon Productions have proved it can be done). It would have been a challenge had the original Star Wars been the first film in the series, but instead Lucas retconned it to be the first film in the second trilogy, with the first three to be filmed after episodes IV / V / VI were complete.

Again, this might have proven workable, had not Lucas decided the Star Wars saga would be about the ultimate dysfunctional intergalactic family.

Oh, no. No, no, no, George.

Audiences responded as strongly as they did because they’d been primed and waiting for Star Wars all their lives. From Buck Rogers and Flash Gordon to Lost In Space and Star Trek, they’d been given a taste of what glorious space opera could be, but instead of focusing on the whiz bang and daring-do that makes that sub-genre popular, Lucas opted to focus instead on Darth Vader’s lifelong hissy fit.

Here, let me say it out loud: The success of Star Wars occurred despite George Lucas, not because of George Lucas.

It occurred because comic books and video games and novels and animated series and fan films gave the audience what they really wanted.

Lucas infamously bragged that when he sent the first draft of what became Episode I: The Phantom Menace to fellow directors and screenwriters, they all told him it was perfect and not to change a word.

The only way to get more smoke blown up an ass would be to set fire to a donkey’s stall.

The Phantom Menace unravels like a tyro’s screenplay, with numerous scenes ending on some variation of “I can’t think of anything else to say so I must ask you to go now” (hint: It’s called” CUT TO:” George). It’s far from the worst script ever written, but lordie, it sure ain’t a good one, much less a great one.

And Lucas, despite the boffo b.o. stung by audience reactions, proceeded to change plot points for succeeding Star Wars movies based on their set-ups not being fully appreciated.

If the audience can recognize a clue when it’s dropped in front of them, it ain’t gonna be a surprise when you finally reach the big reveal, right?

Yet if you panic at initial reactions, you undermine the (allegedly) carefully constructed story you built on those clues.

You can’t have your polystarch portion bread and eat it, too, George; either stick to your plan or play it by ear, but if you choose to plan, don’t gut it because you lack faith in your own storytelling abilities.

And there was a collective sigh of relief when The Rise Of Skywalker finally brought the original saga to an official close so audiences could forget about that and shift their attention to the more satisfying TV series such as The Mandalorian.

Lucas, lacking an understanding of why thematic structure is important in storytelling, contradicts his own mythos again and again and again.

He turned The Force from something any dedicated being could aspire to master into a luck-of-the-draw genetic mutation, creating a race of elitist super-beings who are justified in treating non-Force users like crap.

After plucky young Anakin saves Princess Amidala’s home world, she doesn’t visit the ATM machine in order to buy his mom’s freedom. She does develop romantic feelings for him and marries him when he grows a pair. Yuck.

Outside of making her catty, he gave no thought to Leia’s character, having her shrug off the destruction of her home world as if her bagel fell cream cheese side down, then letting her father -- purportedly as mighty a master of The Force as ever existed -- to torture her with drugs and a hypodermic needle yet she never displays any psychological ill effects from this nor does he recognize her as his own daughter (proof positive Lucas never possessed any clear idea of what he intended to do with the series).

Jar Jar Binks, whom Lucas apparently originally conceived as an undercover villain who only pretends to be inept, gets virtually written out of the storyline when audiences responded negatively to him, despite Lucas laying clues that would later reveal his duplicity.

You don’t do that. You don’t listen to audiences and undermine a sub-plot you’ve already worked out just because they don’t grasp its importance yet.

As a creator, you owe your audience something, and that’s a story told to the best of one’s ability.

Lucas never displayed originality as a creator. His first hit relied on him tapping into a cultural zeitgeist already primed at the pump: Boomer nostalgia for the days before the Kennedy assassination.

Lucas cast Ron Howard in American Graffiti based on Howard’s performance in the pilot of TV’s enormously successful sit-com Happy Days (seen as “Love And The Television Set” a.k.a. “Love And Happy Days” on the Love, American Style comedy anthology series).

Lucas didn’t pioneer new territory, he jumped onboard a train already pulling out of the station.

His later megahit, Raiders Of The Lost Ark, reflects little of him and more of Spielberg.

I’m not an overawed fan of Spielberg’s style of filmmaking, but the guy does know how to tell a story and in his later years turned out some really good work.

Lucas lacks that talent. He would function best as a journeyman studio director in Hollywood’s golden era, someone to be handed over to a no-nonsense producer with a fully developed script who could supervise the final product without having to step in too often.

Come to think of it, perhaps I’m being too harsh on Lucas.

After all, he is telling stories to the best of his ability.

It’s just that like his retconned Force, if you don’t already possess the storytelling gene, you never will.

#George Lucas #Star Wars #THX 1138 #American Grafitti #Steven Spielberg

0 notes

sofoulandfairaday · 2 years ago

Text

Fantastic Beasts - The Secrets of Dumbledore semi-rant

I saw this movie yesterday and I have to say I'm very disappointed. It wasn't as bad as Crimes of Grindelwald, but it wasn't good either. Already the fact that I saw it only yesterday and not in theatres should be a bad sign. There was a time when I would have gone to the ends of the earth to see a movie set in the Harry Potter universe at the cinema. This time, I tried, found out they weren't showing it that night and said "oh, alright then, I'll do something else".

Also, I'm already forgetting half of what happened. It wasn't boring, but it wasn't gripping either. I paused it twice (TWICE! A HP movie!) to do other stuff. I'm reblogging and reposting the most visually pleasing parts of the film (which is a marvel to see, but that's probably its best quality), and that's it. Usually, I'm obsessed with the movies I've just watched, I look up theories, reviews, posts, reblogs, etc. For months if they're set in the harry potter universe.

There will be spoilers ahead.

Let's start with the good things:

the beasts. they are so beautiful and well done. cgi is mostly good, the way newt interacts with the animals he cares for is, as always, one of the best parts of the movie.

jacob's lines, which are always a delight

grindelwald - probably the best thing about the whole movie. i liked johnny depp, but i loved mads mikkelsen in the role. he and jude law have incredible chemistry.

on this note, grindeldore. oh, it was so good, and FINALLY warner brothers had the balls to call them for what they were. gay men in love. of course, it's too little too late, but at least it's a win.

the fighting scenes. there were many, and all wonderfully choreographed. too bad they were confusing af. what is that double, mirror dimension of sorts? no clue, it was never explained, it was a cheap attempt at making sure that the fights hurt no muggles or wizards and i hated it. it was never explained in harry potter, i think (maybe i'm wrong, but i'm pretty sure) and while it looks great, i dislike it.

the parallel between the duel that killed ariana and when gellert tries to kill credence.

grindelwald as a seer.

the final scene.

that's basically it.

oh, everything and anything visual was great. except for maybe costumes but i'll talk about that later.

And now the bad stuff:

the writing. which is probably the worst thing ever to get wrong. the acting is good (except for eddie mumbling every single one of his lines which becomes annoying after a while), even great at times. but the writing is so bad.

i mean, jkr and steve kloves were the writers. and i know jkr has questionable views but she was never a bad writer. or better, she was never a bad novelist. i'm starting to think she sucks at screenplays.

the whole first part of the movie is useless. it's even explicitly stated inside the movie. well, that's bad writing my friends. if it was all for nothing, and no lessons/additional information that couldn't be read in a newspaper (i.e., grindelwald being allowed to run), then it's bad writing. it wasn't for the characters. it wasn't for the plot. so WHY DID YOU SHOW IT TO ME? when you could have saved time for more important things?

the movie is two hours and a half. after thirty minutes the wheels of the plot aren't even in motion. you would think that if the movie took its time it was to include meaningful dialogue and character development. but NOPE. it's for shenanigans like bunty and the trunks.

and i get their struggle, i do: fans want good duels and fighting scenes (and those are very good, especially the ones with Lalie and Gellert v. Albus). but fans also want the magical creatures. they want the beasts to have their space, and they need to show new ones. but then they also want grindeldore. alright, okay. let's show it. but what about good dialogues and high stakes? what about complex bidimensional characters? NOPE. no time for those.

this happens, of course, because there are TOO. MANY. USELESS. CHARACTERS. so many that, since they all need screen time, none of them gets explored in the right way. except maybe gellert.

nagini is gone. they don't even mention her. not even credence. not even when he talks with queenie, who can READ MINDS, so there was the perfect excuse to bring her up even if credence doesn't want to.

queenie is useless. i still don't understand why she joined grindelwald since she knows he hates muggles. while in his service she does NOTHING. she's not a double agent, she's not useful to either grindelwald or dumbledore. she's just there. of course i know they did this because they had to wrap things up in the end since there probably won't be a fourth movie, but couldn't they do it a little better?

maybe give her yusuf's screen time. since he's the worst character in terms of how he's written and he has no weight on the plot whatsoever. he doesn't have a mission, only has two scenes, isn't useful for the whole luggage subplot ... why is he even in this movie?

but at least, AT LEAST, they show him grieving for his sister (even though he just accepts to have his memories of her erased?? why was this done?? to show that gellert is bad? i mean, i think it's pretty obvious from the scene where he kills bambi...)

THESEUS you dick. why is he so happy? why is he not incoherent with grief? why does he not seethe with rage at the thought of leta, who he was going to marry? and not in the "ohi, you're under arrest "way. nono, in the blowing avada kedavras at vinda and grindelwald like a madman way. why doesn't he look sad and sombre?

they killed my leta FOR WHAT exactly? she was hands down the most complex character aside from grindeldore (which coincidentally are the only two whose story is actually told in the original saga). and maybe the single best performance on screen in all three movies. i don't get it. i hate it when female characters are killed off just to give male characters an origin story, but at least it gives them purpose. leta died just because. her death adds nothing to the story.

her replacement is lalie. now, i know that in this day and age god forbid you have a cast that is too white (you know, made up of witches and wizards from 1930 britain) and you need the token diversity character. it's irritating, but i get why they do it. i can forgive it. what i cannot forgive is how useless to the plot she is.

she was probably my favourite character of the whole movie, i enjoyed her sassiness and the way she used magic, but she is so. useless. why is she, or theseus, or yusuf, or jacob even, required for this mission? don't they all have jobs?? dumbledore needs to find a substitute teacher for his classes, porpentina is busy with work (AND SHE HAS THE SAME JOB TITLE AS THESEUS) so why are they all strolling about? i get newt and bounty, and maybe jacob since his bakery is in ruins, but what about the others?

more than that, what compels them to fight grindelwald? "Oh, it's the right thing to do!" NO YOU FOOLS, that's not enough. It's not compelling, it's BORING. especially when some of them have good reasons, in theory. theseus (and yusuf) lost leta. jacob lost queenie.

no idea why an american schoolteacher feels so touched by a german despot, but okay. i guess. she's nice but so bi-dimensional.

why do they need these people in particular? give me an "ocean's eleven" type of segment where you explain why these people and not 5 trained aurors.

dumbledore needs to send his own men because the ministry takes no stance like fudge did years later? because grindelwald has supporters in the british ministry that don't want this to happen? give me a scene where vinda goes to talk with her british cousins and gets them to support gellert and we see baby druella every reason is fine but there must be one.

the minerva mcgonagal cameo is useless. also, they didn't retcon what is clearly a mistake so... i hate it :)

vinda rosier gets 5 lines and no characterization whatsoever apart from being "pretty and evil". if she was less striking we probably wouldn't care about her as much. this woman has no motivations of her own, apparently. we don't even know what her relationship with grindelwald actually is.

and do not get me started on the other useless henchmen.

why do they force jacob to come along? why do they insist on putting a muggle in danger? albus is no seer but COME ON. we already saw grindelwald use people as scapegoats in the last movie, and it's clear he would do the same with jacob. "oh but he's a good man with courage" WHO CARES? are there no good men in 1930 england? where are all the brave gryffindors ffs?

it does NOT work. you know what would? JACOB wanting to go. JACOB demanding to go, because he hasn't given up on queenie and he wants to "save" her.

was it to confuse grindelwald? it doesn't work, because there isn't one (1) scene where he looks shocked, or even perplexed at the sight of a muggle with a wand.

and what about the whole thing with the tie? how could dumbledore know that theseus was going to get captured? even if he could predict that, you seriously want me to believe he was basing his rescue plan off the niffler??

also, we never see newt activate the portkey in that moment and that is not how portkeys work.

the whole subplot with bunty and the luggage was stupid. we know that there's a spell that literally duplicates objects by creating perfect copies, so it's a useless waste of time. also, why doesn't she use the switch that sets it to "muggle mode"? we've seen newt do it before.

the two candidates for supreme mugwump are absolutely the same. they have no personality and are just namesakes.

the german minister of magic contradicts himself more than once in the film. i watched his scenes twice and i still don't understand his motives. there must be a cut scene or something because one minute he implies that he doesn't like grindelwald and the next he's chilling with him and his men. he openly says that he thinks GG will lose just as he sees him arriving by means of crowd-surfing. it's not like he turns a blind eye and that is why gellert wins. no, the man actively enables him and helps him. WHY?! have vinda or even yusuf put him under the imperius curse ffs!

how do credence and aberforth have communicating mirrors? no idea. it's never explained.

why is the phoenix dying because credence is dying? phoenixes have their own independent cycle of life and rebirth. we see this with fawkes. otherwise, why isn't fawkes dying when dumbledore is in book 6? it's never explained.

This all comes down to the main problem of the movie: this movie has no dialogues. seriously, all they do is duel and say vague things like "the plan is no plan". fuck off. they don't even state clearly why the plan is no plan, they say vague stuff, the characters acknowledge it's confusing and then they laugh about it.

SPOILER: even if you acknowledge your mistakes in the story itself ("oh, we don't know what to do against grindelwald" or "oh, we're back where we started ahaha") it DOESN'T MAKE IT GOOD. actually, it makes it worse. it's just lazy writing.

Nothing is explained to the audience because the movie uses "show not tell" to the extreme. fine, don't tell, but please at least give a name to what we're seeing. good stories are character-driven. this one is not.

seriously, none of them has one good dialogue, that isn't full of clichés.

finally, one last thing that really bothered me. why why why are they all dressed like muggles? the costumes look amazing - my personal favourite was eulalie's gold evening gown - but WHY are they all dressed like muggles? yes, there is a little outfit change for eulalie when she goes to pick up jacob that maybe should underline the differences between wizard and muggle clothing - there are none.

albus dumbledore and gellert grindelwald should all be donning the most campy over-the-top wizard robes. why would grindelwald ever be dressed like a muggle? it doesn't make sense, especially since albus is described more than once as being ignorant of muggle clothing rules. alright, he's younger here, but how is it that he and gellert don't look even a little out of place at the beginning of the movie?

don't get me wrong, i think the costumes are absolutely beautiful and i would kill to have them in any other film BUT THIS ONE. because they don't fit the characters at all. all of these wizards dressed like muggles, i don't get it.

the worst offender of all, imo is pureblood dark witch vinda rosier who dresses in a suit to a fancy wizard party. her outfit is amazing and high fashion and exactly my style... i adore it. i, a muggle, would definitely wear it. the question is- why would she?

This is what I strive to look like at social gatherings. I want this to be me and my future husband. I just don't think it's the right look for them.

71 notes · View notes

sneezemonster15 · 3 years ago

Note

Ok but if you think Kishi intentionally made sns romantic… what do you think is the reasoning behind that? I absolutely don’t want to speculate on his sexuality but I think that it was mostly unintentional and it came up as something so intense because he thinks women are significally inferior than men and my guess is he had some very intense friendships when he was growing up.. the ones that mark your entire adolescence in a positive and negative way. But I really don’t think it was intentional

.........

But.....

How is SNS coming off as intense related to his thinking women are inferior to men? And how do you compute the speculation about his sexuality with it being unintentional?

So much dissonance...

Like....your question makes no logical sense whatsoever. Is there a precedent that is guiding your very befuddled beliefs, if yes, I would like to know.

So it's not the first time I have heard about fans correlating SNS being intense with Kishi's female characters having no depth. And that is just...so absurd...

Okay. I will try and make sense of your ask.

Yes Kishi intentionally made SNS romantic. I have no clue where this belief stems from, and especially in Naruto fandom (man this fandom is so weird....), that writers have no idea what they are doing. Like have you ever sat and watched a roundtable with writers? Do you have any idea, like any idea, how much thought and meditation and emotion and hard work goes behind writing a good script? Do you have any clue about how scripts are chosen by producers? Have you ever wondered what it takes to adapt a written or drawn piece of work into a screenplay? The sheer amount of work, the weeks of story boarding, brain storming sessions, shot breakdown, do you think all this happens in a vaccum, without thought? Do you think those people who work in this industry, who make you feel a dozen heavy duty emotions with a twenty page comic book or twenty minutes episodes are fucking idiots? They don't know what they are doing? Do you have any fucking idea about how much it takes to write a story that touches a zillion hearts the world over, can you even imagine the pressure? What you think it is accidental? Kishi is a fucking amazing story writer but it's not like he doesn't use the typical tools any good writer knows how to play with.

Do you have any idea about the number of people associated with a project like this, who all need to be on the same fucking page to be able to deliver something like this?

How can you even think it is unintentional? What the fuck even is unintentional? That Kishi's hand slipped and he 'accidentally' drew Sasuke's mouth on Naruto's crotch? Like what are you high on??

This supremely popular series consciously designed to wring the most amazing range of emotion from viewers and readers world-freaking-wide is accidental? I am sorry, what? Like what a supremely sad thing to see that people are ready to embrace delusions like this but can't accept a love story between two boys. Like how surreal is this shit? Naruto fandom is unbelievable.

And yes, I see the temptation to question Kishi's apparently dormant sexuality and I have thought about it in the past. Now I don't care. It's something that can only encourage more lurid speculations, without any claims to their veracity and so I feel it's a fruitless attempt at pointless regurgitation. I find it's best to avoid it.

What is do care about is the story itself. I shouldn't have to or need to go outside of that for my reasoning. That is the mark of a good story. And I really don't need to, not with Naruto. Like far from it.. Everything I need to answer my questions is in the story itself. It also helps that I try not to be biased or prejudiced. Or blind...

All writers, literally all writers draw from their personal experience to write. What is so special about Kishi having done it too? And he did, he has talked about it in his interviews, his fear of abandonment and him having known orphans as a kid. Maybe he liked someone, perhaps he was channeling some latent homoerotic feelings through his work, how does that translate into SNS being unintentional? Shouldn't it mean that it was intentional? Like seriously, if Kishi had some boy he loved as a kid that he used as his muse for Sasuke, wouldn't he ideally construct an idea before putting it on paper??? Isn't that how muses work? By thinking about it so deeply that you create art out of a subjective impression of an abstract idea? How do You think it works exactly?

Man, where's your logic for God's sake?? What are your parameters of deduction, where's your premise? Rules of basic deduction : work with what you have. Facts before motive. Make sense of the facts and the motive will present itself to you.

It's so corny that you talk about reasoning with me when you can't even construct a question that makes sense.

And for the last time, the fact that Kishi gives such a miniscule amount of deliberate thought to his female characters only underlines the fact that he doesn't consider them that important. He is not that well versed in writing or getting women. But you thinking of it as the reason for SNS's intensity is like a such a fuckall reasoning to me. Sorry, for the crass language. But are you telling me that the absence of women in the equation of Naruto and Sasuke is the reason for their homosexual intensity despite Kishi's relentless insistence on their special and unique bond that literally doesn't leave any space for anyone or anything else? How does that make sense? Are you hearing yourself? You are basically telling me that the heteronormative force in society is so fucking strong that you would rather believe that its absence is the reason for the existence of homosexual content than believing the actual homosexual content itself? Like it cannot exist on its own? Like it has no agency or capacity to stand in its own right?? Do you realize what an offensive thing that is to say?? It is deeply rooted in homophobia and it defies logic. The proof of something cannot depend on the absence of that thing from the situation itself. It's a logical fallacy. What the suffragette movement happened because the needs of men were missing from their manifesto? The apartheid happened because the whites just couldn't get into the black ghettos?

So, everything that happens in the story of Sasuke and Naruto where they reject basically everyone and everything including men women titles positions life etc Only shines through because the two otherwise irrelevant female characters who married them in the end weren't in it?

Wow. You know what this is called? A bad attempt at sophistry. Conmen and bigots have historically used it a lot in their trade. Except they were exponentially better than this...

For your own sake, whenever you are on the verge of thinking that a person who earns his livelihood from drawing make believe stories to affect you to an extent that makes you willingly interact with crabby bloggers who so caustically disagree with you, is doing it 'accidentally' (which basically means without premeditation), just pull yourself back. They know what they are doing. Everything is intentional. It's written to make you feel a certain way. That's the talent of the writer. How to manipulate audience's minds. You can now look at Stanley Kubrick's work and marvel at how fucking beautiful his shot looks and forget it the next day, but don't forget he made the entire crew and cast of 200 people do 127 long freaking takes to get it right and even suffered a few lawsuits for it. For one freaking shot!

Hopefully this answers your question because I am so done with it. Smh.

#who are these people #where is the common sense?#anon #reply #naruto fandom is exhausting #naruto #sasuke #uzumaki naruto #uchiha sasuke #sns #sasunaru #narusasu

130 notes · View notes

windychanglin · 3 years ago

Text

Nirvana in Fire: A Series that Just Gets Better with Every Rewatch

There is a saying that the first viewing of a great series/ movie should be done for the plot, second watch for the details and third watch for the craft. While rewatching things (especially a long series) has never been one of my favourite things, i had done it for a very few Japanese dramas, which definitely the ones i love the most and since they just have little number of episodes. The only long series i'd ever rewatched back then was Sherlock, and this year, finally i binge-rewatched another one! Yupyup, that is Nirvana in Fire, and the sole reason was because i was triggered after seeing the series' six-year anniversary post on Twitter around September LOL. I first watched it three years ago, though i had to finish it in haste before the university's end of semester exam period coming up. I remember i loved the overall quality of the series, admiring some of the amazing casts, repeating the theme songs, looking up for the fanficts, but didn't manage to rewatch it until this year, when i finally have more spare time and less thing to watch on my list.

I don't know if this post can be seen as a review, i just feel i need to write it all down because it's not just my opinions/ questions regarding the details i discovered after rewatching, it also contains my feelings HHH now without further ado, here is some of my best scenes and discoveries after a rewatch that leave me in complete awe all over again of the brilliant screenplay!!

[EP1] I think i didn't catch the clue during my first watch that when Lin Chen said, "He actually did it" upon hearing the Northern Yan's unfavoured 6th Prince's ascension to the Crown Prince, he was referring to Su Zhe. This reminded me again that Su Zhe was so resolute in his plans and never took the shortcut. He went as far as meddling in the enemy kingdom's affairs to create a concerning news about the Divine Talent and make sure it reached the other kingdom's princes. That way he could kill two birds with one stone because he also got the chance to test his own capability as a royal adviser before proceeding to his greater objectives in the Da Liang.

[EP4] I love how Su Zhe looked startled even in the subtlest way when Nihuang confessed that she's in "difficult situation," have no "other alternatives" and hoping that Su Zhe will put all his efforts into the defeat-Baili-Qi plan, i assume he only found out that moment that Nihuang actually still didn't want to get married and worried a lot about the husband selection tournament, yet she didn't say much about it and still being so cooperative with him to carry out the plan, which probably in her understanding, was initially created to get Tingsheng out of the servant prison (as what Su Zhe had promised to Jingyan).

[EP9] Minister Liu Cheng from the Grand Secretariat who stays out of the princes' fight for the throne suddenly brought up Shen Zhui's name to Emperor to be chosen as Minister of State Revenue. Next we found out Su Zhe had set up a meeting for Shen Zhui and Jingyan to know each other. Was it a coincidence or Minister Liu actually had somewhat a connection with Su Zhe?

[EP11] It's ironic that Grand Princess Liyang was one of those people who prevented Nihuang to be drugged by Consort Yue, but it was also her husband, Xie Yu, who made the snake Yue got Emperor's mercy and reinstated to her original position. If Xie Yu had the feeling of guilty because of what he had done to Liyang in the past, he wouldn't come up with an idea to help Yue out from the punishment.

[Ep14] A hear-warming moment when Su Zhe told Yujin that he's a "bright and insightful" person, while in the novel Su Zhe used to punish him a lot due to his frivolous behaviour. Yujin is one of those with the best character development throughout the story, like who would have thought that Su Zhe even trusted him an important mission in a later ep!

[EP14] Nihuang actually started to do the female-style greetings before Su Zhe, she normally did the male-style probably because it was more natural for her as an army general. I love how Su Zhe looked a bit stunned and Mu Qing just chuckling at her sister, acting on behalf of the viewers xDD

[EP19] Remember when Lin Chen asked Fei Liu if he wanted to join him to Southern Chu in [EP1]? In this ep, Princess Yu Wen Nian from Southern Chu was told by "Priest Chen" that her wish can come true once they arrived in Jinling. I wished they show a glimpse of Lin Chen's journey to Southern Chu and how he managed to persuade the princess to visit Jingrui, her half-brother.

[EP19] Why did Mu Qing not invited to Jingrui's birthday? I thought they're bestfriends?? x"D Had Su Zhe done something to stop him from attending the bloody party? I remember he had promised Nihuang that nothing will happen to Mu Qing while she went back to Southern Border.

[EP20] Gong Yu played Feng Qiu Huang (A Love Story) in Jingrui's birthday party, it's a famous Chinese zither song in Chinese history that has served as a symbol of the youth's pursuit for love, free marriage and happy life. A song that would hit none other than Grand Princess Liyang close to home.

[EP23] Water-buffalo is his mother's son after all

After hearing Xie Yu's confession in the prison, Xia Dong actually said, "I'm sorry" to Jingyan for casting him out for years due to his belief of Chiyan army case but Jingyan, being a benevolent man like his mother, didn't think it was for him at all as he replied, "Xiao-Shu wouldn't blame you," probably thinking that the guilt she felt was only aiming for Lin Shu and his family.

[EP23] The moment before Grand Empress Dowager died, she was actually calling for Xiao-Shu and Jinyang (Lin Shu's mother), i thought it was Jingyan at first. I was too slow to follow that Lin Shu's mother was also the granddaughter by blood of the Grand Empress Dowager.

[EP24] Remarkable Argument Scenes

I'd like to address a bit some of my fav argument scenes happened betweet Su Zhe and Jingyan, in which we could see how Su Zhe wasn't only giving instructions to Jingyan as a strategist (like what he had done to Prince Yu), but gradually evoke Jingyan's ability to think of any possibilities and solutions by giving him perpetual questions regarding the situation.

Su Zhe queried Jingyan on how would he arrest Duke Qing, a Marquis General of the second rank, with the right to receive a pardon from Emperor, who didn't commit the murders personally and how to find the missing link as a necessary piece of evidence. [EP9]

After the explosion of illegal firework factory, they had another argument as Su Zhe suggested to pretend to forget on reporting the utilization of army provisions for the victims to the Ministry of Defense. [EP17]

The heated argument happened again between them after hearing Xie Yu's confession in the prison, as Su Zhe suggested Jingyan to give up the investigation of Chiyan army case since it won't bring benefit but endless troubles on his path to the throne. Although it sounded like Su Zhe didn't want Jingyan to investigate, i think Su Zhe was actually testing Jingyan's determination, making sure he won't act recklessly on his own and eventually rely on Su Zhe's plans and strategies. [EP23-24]

Through the logical questions and reasonings, Su Zhe had been training Jingyan to be more forbearing, prudent and know when to retreat/ advance during the fights for the throne.

[EP24] Su Zhe said, "Whenever i think about the things in the past, i feel like an iceberg been roasted by a fire. Sometimes it's warm, sometimes it chills to the bone," this is reflecting to what he said during his first visit to Jingyan's manor after 12 years in [EP9]. He felt the warm because "this place is still the same as in past years, nothing has changed at all" but the unchanged manor sent chills down his spine, provoking the symptomps of his illness, as he next said, "It's just today feels a little colder than yesterday." It's not only Winter, cold weather and over-toiling that could make him suffer a relapse, but also when he's reminiscing the past, it happened too after Nihuang found out about his identity in [EP12].

[EP25] During my first watch i thought Su Zhe would eliminate the entire Hua Tribe because they're dangerous and might wreak future havoc in the Da Liang, but in this ep it's hinted that even though Qin Banruo's informants got removed by him, those who wanted to retire and fled were eventually saved by Jiangzuo Alliance. I like the idea of him saving them because Hua Tribe also deserved the justice after being betrayed by the Emperor which causing the fall of their kingdom.

[EP30] Xia Jang said, "Of the officers ranked above brigadier general, there was two whom we didn't find their Chiyan wrist band. One of them was Wei Zheng" i was wondering whether he had never thought the possibility that the other one would be Lin Shu or Nie Feng and that they're still alive, because they had the requirements above. And Xia Jang should had known that Xie Yu actually brought the wrong (or intentional fake?) body of Nie Feng to Xia Dong.... or he did not know at all.

[EP34] The thievery in the ministry's officials manors on New Year's Eve wasn't a mere coincidence because it was all planned by Su Zhe, for it became a very valid reason to move Jingyan's capital patrols (under Emperor's order) around the city to catch the thieves the day they saved Wei Zheng. Literally Su Zhe had to makes 5 or 6 subplans to save one person with all the risk of being accused, that shows how difficult it was to penetrate Xuanjing Bureau and it's system!!

[EP37] Fei Liu's memory

The plant that Fei Liu gave to Su Zhe was Nandina Domestica, usually known as "Heavenly Bamboo" or "Sacred Bamboo." It's commonly planted in the garden or house in Japan and serves to protect a household from harm. A householder who'd had a bad dream could confide in it, thus ensuring the safety of the home's inhabitants. The question is, did Fei Liu actually know about it? Because he knew his Su-gege had been having frequent bad dreams and had always been in danger during his stay in the city.

In the novel, younger Fei Liu was bought by a secret Japanese assassin group that used drugs and poisons on the kids which resulted in intellectual disability but still enable them to train in martial arts. Fei Liu was the youngest in the assassin group and had not been released on any of their missions yet when one day, the group failed in an assassination task and eventually got eliminated, he was left alone to freeze and starve to death until Su Zhe saved him when he was travelling to Japan to find some medical herbs. There shoud be a possibility that during his early days in Japan he found out about the plant and still have it in his memory even after the drugs took effect on him, that explains why he gave it to Su Zhe out of so many beautiful plants in the city! I had this theory because Su Zhe ordered his household to take care of the plant and "will not forgive them" if he finds even a single leaf is missing, then he drank the heart-protection pill from Lin Chen (that very much look similar to the Heavenly Bamboo's red berries!). Knowing that Fei Liu and Lin Chen were protecting him with their own way would make him even stronger and confident to get through the interrogation in Xuanjing Bureau.

[EP38] When Xia Dong said, "Justice is people's hearts. If you still don't repent, even if you kill 10 Mei Changsus it will not solve the problem." i think i once wondered (in my first watch) why they put those words together. Was she implying that Mei Changsu is the symbol of justice itself? Thus, even if they kill him there will always be another Mei Changsus to carry out the duty.

[EP43] Mei Changsu on His Peak of Identity Crisis

I've seen so many reactions from viewers about how people around Su Zhe were so freaking out about his altered appearance while he still looked so damn fine, but i'd like to point out that it wasn't about turning hideous or not that made them horrified, let's see what he had been told about his appearance:

Meng Zhi: "I still can't believe you have become completely unrecognizable. There are no traces of the past." [EP3]

Mr. Shisan: "Heaven has mercy. It allows me to meet Young Master. But after seeing that you don't look like before, i felt so sad.." [EP8]

Nihuang: "What kind of cruel things, can wipe away all the traces of a person? Making you unrecognizable." [EP12]

Up until here, he had been giving calm and insignificant responses with some self-assuring that he knew best who he was in his heart. But not until Consort Jing said this in this ep: "If your father or mother could see the hardships you have taken upon yourself, this heart would die of heartbreak! Xiao-Shu, you used to look so much like your father..."

I found that very heartbreaking to hear, particularly for a family-loving person like him, to the point he had to state for the first time in the series that "Even though my appearance has changed, but i'm still the son of Lin House." That was the first time he started to doubt his identity, that no matter how much he convinced himself, that even he got his appearance altered to the handsome Hu Ge (LOL), having to live the life being completely unrecognizable and cut off from the once pleasant and normal past would give one's a great amount of despair. His misery regarding his own identity might also supported by how he deliberately made himself seen as a stony-hearted and scheming person, the total opposite of his past self.

[EP45] How did Emperor see Prince Yu as a son?

After the Emperor told Prince Yu that his mother, Princess Ling Long and her kingdom were just chess pieces for his ascension to the throne, and should be eliminated because they're too dangerous, the last dialogue between them indicating that the Emperor never saw him as the princess' son, that he's much worthy to be called as his son or else the Emperor wouldn't take him home to raise him even allowing him to be adopted by the Empress.

Prince Yu: "Then what about me? What am i?! Am i the small chess piece born from a big chess piece?"

Emperor, sounds as reassuring as he could: "Jinghuan, back then before i became Emperor, the Hua Tribe was already a defeated country. Jinghuan, you are my fifth son. Your birth mother is Concubine Xiang, do you understand, son?"

Prince Yu must then realized that he had misunderstood his father's intention for being secretive about his heritage, that even though he had been so ambitious and cunning in the fights for throne, that when his father had been giving attention to other Princes in favor of their mother*, his father had never forgotten him and kept favoring him due to his abilities or achievements, and never saw him as a potentially treacherous son (the opposite way how Emperor thought of Prince Qi). I must admit i had a bit of sympathy seeing him crying in agony, he's like a frantic child who couldn't control his ambition, who had nothing but power in his head, who went too far just to please his parents, even worse because he fell for advisers that didn't help his moral character to change at all (both Su Zhe and Qin Banruo were just letting him do the bad things, a good adviser should have done the opposite for their lord, shouldn't they?).

*Consort Chen (Prince Qi's mother), Consort Yue (ex-Crown Prince Xian's mother) and Consort Jing (Jingyan's mother) all became Emperor's fav, while Prince Yu had the Empress, she didn't seem to get along at all with Emperor.

[EP45] Nie Feng was actually following Su Zhe for his blood?

I had always thought he first appeared in [EP16] on the Mount Gu to see Xia Dong when she was visiting his grave, but remember that Su Zhe happened to show up in there too, and remember he was first seen in the capital after so many years not long after Su Zhe' arrival. Coincidence? Fast forward to this ep, he appeared again on Mount Jiu An where Su Zhe joining the spring hunt. I think Nie Feng really had been yearning for Su Zhe's blood (or anyone's who had been contracted with the Bitter Flame Poison?) and tracking him because Su Zhe said that "If he drinks my blood, he will be in less pain!"

[EP46] The kingdom still belongs to Prince Qi?

Emperor was asking for Grand Prince Ji's opinion about Jingyan and whether he had ambition for the throne, and later revealing that Prince Qi is his best son while Jingyan is not, but Jingyan has good points which is he knows how to be humble, while Emperor thinks Prince Qi didn't have that. Grand Prince Ji was then muttering, "So in the end, the kingdom is his. The world is now his, so this divine talent who can obtain the world is also his," i didn't catch the meaning at first so i thought he was referring to Emperor, but Su Zhe clarified it's about Prince Qi. It all makes sense because the best son for Emperor still goes to Prince Qi, and once Jingyan ascended to the throne, he will bring out Prince Qi's aspirations to the world that he learned when they grew up together, making it feels like Prince Qi is reigning again.

[EP46] "We are all one family"

The fact that Su Zhe saved Prince Yu's wife and unborn son made me uneasy at first as i tried to find out what's his motive behind it. But what if he was encouraged by what Grand Prince Ji said to him? Several minutes earlier, we saw Su Zhe thanked him on behalf of Jingyan for saving Tingsheng, in which Grand Prince Ji answered with "We are all one family, in this world, who is not related?" and that left Su Zhe in silence. If Grand Prince Ji could save his nephew's posthumous son even though he didn't know at all the truth behind his death, why Su Zhe couldn't do the same to his cousin's wife and unborn son, when he knew they're innocence and should be given the chance to live?

[EP46] Yujin and Xia Jiang's son

Grand Prince Ji revealed that if Yujin was born as a girl, he would be enganged to someone's child/ son about his age. Throwback to [EP35], Marquis Yan actually said, "but children all grow up too quickly, if brother Xia's child was still here, he'd probably be like Yujin." Considering the fact that in the past, Xia Jang and his wife were close friends of Marquis Yan, we can assume that Yujin was supposed to engange with Xia Jiang's son.

[EP48] Consort Jing loves Lin Xie?

Let's see how Consort Jing talked about Lin Xie:

She woefully said to Su Zhe: "you used to look so much like your father..." [EP43]

Lin Xie saved Consort Jing when she was bullied by other physicians, even brought her to the capital and adopted her as a sister, hence for her he's her hero. [EP45]

Lin Xie had other name: Mei Shinan. Jingyan asked, "Which Shin, which Nan?," Su Zhe went with Shi as in stone, and Nan as in "Nan-shu" (Nan tree), but Consort Jing went with Nan as in "Nan-mu" (Nan wood). Why didn't she say "Nanshu" too? [EP46]

In this ep, the Crown Princess asked Consort Jing whether she likes the "Nan-shu" (Nan tree) that she was gazing at. Consort Jing answered with a smile that "Yes. I have always loved (it)." Apparently she didn't use any pronoun and so it's not clear what exactly she was referring to. But then it's even more fishy because she didn't just say "Nanshu" to reply Jingyan's question, i assume she was trying to make him not notice that she planted the tree right outside her room, and how she loves to gaze at it as what had been shown in some previous eps! We would never know the real feeling that Consort Jing had to Lin Xie, but obviously it's more than just a woman admiring her hero/ brother.

[EP50] Su Zhe apparently didn't get rid some of the incompetent ministers, he spared the Minister of Public Works (Prince Yu's side) and Minister of Martial Arts (ex-Crown Prince Xian's side) because they showed change and were willing to work better under the new leader.

[EP50] Remember when Emperor selected Minister's Liu Cheng's granddaughter as Jingyan's wife in [EP47], and it all went according to Xia Jang's plan (he claimed he knew Emperor's likes and thoughts on it). In this ep we found out that he actually planted his spies as her wet nurse and probably some maids. Xia Jiang must have thought he could use the Crown Princess to slip an attack on Jingyan, but she is the fierce one! So satisfying to see her and Consort Jing firing all the maid-disguised-spies!

[EP51] I'd like to point out how it seems not many people, at least in the family, remember about Lin Shu's mother, Grand Princess Jinyang, and how devastating it would be for her to see her family being accused and eliminated by her own brother, until Su Zhe said to Grand Princess Liyang in this ep: "You were very close with your sister. I wonder if she has ever entered your dreams" and in [EP53] Consort Jing asked the Emperor if his sister has ever entered his dream too, like how he had ones of Consort Chen and Princess Ling Long.

The amount of subtle forshadows throughout the series is insane, every dialogue, manner even cinematography does matter to build the dramatic tension and suspense that will keep the viewers turning the page, and i believe i couldn't figure everything out here.

Regarding the ending, i'm one of those who can't think of a better conclusion than what they offered here. I'm used to the tragic ending because some of my favourite series had the lead character died, but that's not entirely ruining the plot, instead i found that helps to create a satisfying and dignified ending.

Honestly in my first watch, i felt like they were just trying to make another irrelevant climax as a reason for Su Zhe's death, but a rewatch changed my perspective as i found that it does make sense to have all the enemy kingdoms attacking the Da Liang all at once, they must had heard the news and royal statement clearing the treason charge of Prince Qi, Lin Xie and Chiyan Army. Jingyan and the officials were busy to investigate, the entire city's focus were diverting on the case, the Emperor fell sick, and the country's defense weakened, every oppurtunist wouldn't just let it go, would they? Unfortunately, we forgot that Mei Changsu is the biggest oppurtunist in this series, a patriot in addition. The light in his eyes when he heard the chance to go back to the battlefield for the country, and how he desperately begging to let him go back to the last place he stood as Young Marshal Lin Shu are so heartbreaking to watch. He indeed brought a light of justice and hope to the country and his loved ones, but none of those could remove all of his identity crisis problem and frequent nightmares of the past, just like the lyric of Loyal Blood Forever Runs Red by Wang Kai that goes: "A decade passes in an instant, yet in his dreams he keeps wandering to the past (十载倏忽过几回魂梦旧游)."

While i can say every rewatch makes this series even gets better, doesn't it also make you even harder to move on? Because it does for me. As an avid Asian series viewer, i'm so glad i could find this masterpiece in this lifetime! I wish i can find more series as compelling and wonderful as this one later!!

Note: Some quotes from the series are credited to Lang Ya Bang Team @ Viki

#nirvana in fire #lang ya bang #琅琊榜 #nif #lyb #c drama #series review #this show kills me

8 notes · View notes

letterboxd · 4 years ago

Photo

In Focus: The Truman Show.

Inspired by Letterboxd data that revealed it to be a lockdown favorite, editor-at-large Dominic Corry looks at the ever-evolving importance of contemporary masterpiece The Truman Show.

It has long been apparent that The Truman Show is an unnervingly prescient film. The story of a man who becomes aware that his superficially idyllic life is, in fact, a live-streamed television show has gone from being high-concept to every-day.

Thanks to the three Ps—the prevalence of mass urban surveillance, the proliferation of reality television and the pervasiveness of video in social media—the notion of cameras filming our every move is no longer a paranoid fantasy, but real life. The twist being that, for the most part, we all willingly signed up for it, and did all the filming ourselves. As Yi Jian saliently observes in his review: “Not to get all ‘we live in a society’ on Letterboxd but I know a person or two in real life that would actually give anything to trade lives with Truman, it do be like that sometimes”. It indeed do, Yi Jian.

So it’s something of a cliché at this stage to point out how we are all living in some version of the The Truman Show, and you don’t have to be a member of the royal family to feel that way. Yet, somehow, the film has become even more pertinent over the last eighteen months. And it’s a pertinence reflected in the massive uptick in viewership for the film as seen in Letterboxd activity.

During the month of February 2020, the last moment of the Before Times, The Truman Show had a modest 1,235 diary entries. That number tripled in April of that year, by which time the seriousness of the pandemic had become clear. And by July, deep in the worst of the pandemic, Truman fervor peaked, with a further 178 percent leap over April’s numbers, firmly placing it in the top 200 films watched by our members in a year of lockdown. (By the way, ‘diary entries’ mean activity where the member has added a watched date; many thousands more also marked Truman as ‘watched’ in those dark months, but didn’t specify a date.)

It’s not difficult to imagine why we might become more interested in revisiting this eminently re-visitable film. During lockdown, social media—including Letterboxd—took on a greater presence in terms of how we communicated with each other. We got used to seeing footage of faces more than actual faces. We were all the stars of our own ‘Truman Show’, and simultaneously the audience of everyone else’s ‘Truman Show’.

Christian Torres boiled it down effectively when he wrote: “Now every movie I see seems to be related to my life in quarantine. I am Truman and I want to escape.” And Sonya Sandra eloquently captured the film’s increased contemporary significance in her review: “This is a real-life daylight horror film. The best kind. Even more relevant in 2021 than ever. We are all Truman, we all want to find what is real in our fake lives filled with media, capitalism and ideology. And it’s our job to fight the storm and get to the truth of it all. Nothing is real, everything is for profit, and everyone is selfish. Go out and find what is real, because it’s definitely not here.”

With its deft, dazzling blending of the profound and the humorous, the optimistic and the cynical, it’s difficult to think of anything released since The Truman Show that comes as close as it does to being a modern-day Frank Capra movie. It’s hopeful, but has its eyes wide open. There’s a darkness in the themes of the film that is never replicated in the colors on display.

While everyone involved delivers career-best work, we must principally credit the triumvirate of talent at the center of the film: director Peter Weir, screenwriter Andrew Niccol and star Jim Carrey.

Star Jim Carrey and director Peter Weir on the set of ‘The Truman Show’ (1998).

Weir is a director who inspires much online love whenever his name is mentioned, but he isn’t really mentioned all that often. Or at least as often as he should be. The Australian filmmaker has delivered masterpieces across multiple genres, and it’s extremely sad that he hasn’t directed a movie since 2010’s not-quite-true World War II drama The Way Back, arguably one of his lesser works. That’s also, insanely, one of only two movies he’s made since Truman, the other being Master and Commander: The Far Side of the World, the wide and rabid affection for which regularly kicks up on Twitter (not to mention demand for a sequel).

Weir doesn’t do many interviews, and while this 2018 Vanity Fair article marking Truman’s twentieth anniversary has many quotes about the film’s modern relevance, Weir doesn’t offer any commentary to that effect, presumably preferring to let the work speak for itself—though in this 1998 interview he did talk about the relationship between the media, the general public and the people we become fascinated with, as a “complex situation”.

The Vanity Fair article does, however, reveal a fascinating ‘what if’ scenario relating to Christof, the god-like director of the in-movie TV show played by Ed Harris, who offers up a pile of pretentious auteur clichés: mononymous, beret, etc. (beyond the whole god thing, that is). When Dennis Hopper, originally cast in the role, wasn’t working out, Weir considered playing the role himself, which would’ve added yet another meta layer. It brings to mind how George Miller styled Immortan Joe (played by Hugh Keays-Byrne) after himself in Mad Max: Fury Road, or how Christopher Nolan’s haircut shows up in most of his films.

Ed Harris as Christof in ‘The Truman Show’ (1998).

And, at one point, it could have gone mega-meta. Weir, in the 1998 interview, talked about a “crazy idea” he had, a technical impossibility back then but easily achievable with live-streaming now. “I would have loved to have had a video camera installed in every theater the film was to be seen [in]. At one point, the projectionist would … cut to the viewers in the cinema and then back to the movie. But I thought it was best to leave that idea untested.” Imagine.

Weir also played a role in helping to shape the originally much more overtly dark screenplay into the cheerier (on the surface at least) shooting script, which is solely credited to fellow antipodean, New Zealand-born Niccol, also a producer on the film. Both men have done the majority of their work in America, but it’s tempting to credit the film’s tone-perfect sense of heightened Americana to the degree of separation offered by their foreign provenance. In any case, it’s clear that open-air mall designers were paying attention.

Niccol’s original screenplay made his name in Hollywood, and revealed a storyteller excited by big ideas. He moved into directing with the smaller-scale Gattaca, released a year prior to Truman (itself delayed to meet Carrey’s availability). Niccol’s subsequent filmography includes several legit bangers (Lord of War hive step up!), and his endearing dedication to lofty allegories in a genre setting makes him an increasingly rare breed in Hollywood.

Like Weir, he is not the greatest fan of giving interviews, but the Vanity Fair piece quotes him making an interesting point: “When you know there is a camera, there is no reality,” thereby making Truman “the only genuine reality star.”

It’s a sentiment echoed by MusicMoviesMe, who writes that “‘Truman Show’ beats all other reality shows out there like Bachelors, Survivors and Kardashians. Come on, when you know there’s a camera at your tail, there’s no reality. So yes, Truman beats all reality shows out there bar none!”

The role was perfectly suited to Jim Carrey’s affected mannerisms, and his status as one of the world’s biggest stars meant he could relate to Truman more than most people. Then, at least. Nowadays, of course, we are all Truman.

“It is always incredible to see how far The Truman Show was ahead of [its] time,” observes The Closer79. “In a world where celebs are monitored 24/7 and we are showered with unnecessary private information on the web, where talent-free wannabes become famous and where you sometimes [wonder] what kind of surreal show society you are in—Truman and his fake show life cleverly have anticipated all of this. Only Truman knew nothing of his luck and he was granted an escape from his glass prison. We don’t really have this possibility… Aren’t we all Truman? Sometimes even voluntarily…”

Austin Burke concurs: “I have always known that I really enjoyed this film, but I had no clue that it would hold up so well years later… Could this be because the strange world that he finds himself in is far more similar to our world today? Possibly, but the idea and themes are so much more relevant now compared to when this originally released.” And while DallasFrance is conscious of piling on about the film’s prescience, his review highlights how there really is no limit to the film’s meta qualities:

“Instead of writing a review about how this film predicted social media, or how we’re all Truman, or yadda yadda yadda, I’ll instead fixate on the miraculous fact that two absolute legends were cast as primary viewers of the Truman Show:

1. The old lady from The Running Man who starts betting on Ben Richards (Arnold Schwarzenegger). ‘He’s one bad motherf*cker!’

2. The villain from The Karate Kid Part II:

‘Live or die, man?!’ ‘Die!’ ‘Wrong!’ *hooooonnnkkk*

I’ve never seen either of these actors in any other roles. With the second one, I felt like I was watching a character from my childhood watch a character from his childhood come to realizations about the characters in his childhood. So actually… the movie’s really about me.”

Never change, LB membership.

We are all generally pretty aware of how ahead of its time The Truman Show was, but that doesn’t lessen its impact. Maddie’s review shows that there’s always some new angle to consider: “Imagine being an extra in this movie… You would be an extra, playing an actor, playing an extra. Think about that long enough and tell me that doesn’t make you want to walk into the ocean.”

Kev goes even further: “Watching other people watch somebody else while also watching that person while also watching the person watching over that person is a great reminder that watching is weird, and to be watched is to not own yourself. Don’t watch, don’t try to be watched. Just live.”

Or perhaps Will encapsulates the film’s ability to present an ever-evolving message best, writing that, “clearly, this is video proof that we live in a simulation.” Beyond mere prescience, The Truman Show is a telling mirror to whatever era it is viewed in. Its message will continue to evolve.

Now that we’re finally (touch wood) emerging from the pandemic, it will be fascinating to see what The Truman Show has to say about its audience and the world they live in, in years to come. Rest assured, it will be well-documented by you, the Letterboxd audience.

Also: can Peter Weir please make another movie? Like, seriously.

Related content

A Meta-Reality: Robert’s list of layers of film in life and life in film

Follow Dom on Letterboxd

#the truman show #truman #peter weir #jim carrey #andrew niccol #letterboxd #lockdown #quarantine #coronavirus #pandemic #movies #comfort films #comedy #truman show

40 notes · View notes

thecandlesticksfromlesmis · 4 years ago

Note

My sister's college's theater group decided to FILM their musical one person at a time and edit it together(!!) and I'm in engineering grad school, and am aware that art school is a v v different experience but this made me think: how are you guys doing this? Are you ok? How do you learn to direct if there can't be two people on screen together? Is it like the Tom Holland thing where he didnt know who was in scenes with him? Are the editing students happy about this? If you dont want to answer I totally get it but I'm asking because engineering not in person kills me so I just. Can't fathom what you're doing. I wish you the best 💙

HEY omg yeah it’s a mess. It’s been a mess since this all started and I think it will continue to be a mess for the rest of this year.

Rest of post under the cut cause I’m just ranting.

So when everything first hit, all filmmaking was stopped completely, which for me as a screenwriter was fine because I am not required to be on set unless I wrote the script (or have been bamboozled into script supervising ugh) anyway. But I know it hurt literally every other discipline, especially cinematographers because they need to touch cameras in order to learn and the school provides all their tech.

Towards the end of last year, the school started back up with productions, making it mandatory for all the films to be shot on our big sound stages (usually we have free rein of all of LA and a little outside it in shoot in) and to include a COVID safety supervisor. Our sound stages were upgraded with new air ventilation systems and the school also rented out other stages to accommodate the huge number of shorts that needed to be shot.

In order to be on set you had to have proof of a negative COVID test and have isolated in your home for two weeks before shooting. On set was a big production of face shields and masks and sanitizer and staying six feet away from each other---except for the actors. The actors could be in scenes together, provided they did all the steps above and agreed to be close to someone in a scene.

No one is happy lmao. It’s pushed back thesis schedule SO MUCH, that lots of people in my class will still be having to shoot and finish thesis after we technically graduate this year. Technically, I’m still responsible for writing a script for a project that was cancelled and removed from the “you need to do this to graduate” list. It’s been rescheduled to shoot in August when I will be rigorously prepping for the huge event where I pitch all my project to industry execs. I don’t wanna do it, but my whole team still wants to so ya know 🤷🏼‍♂️

I have no clue how the fuck the production designers are functioning. I hope they’re still able to go to the school to access the building stations and literally all their materials. Editors have to go into the school to do their work because AVID costs so much money and no one is gonna buy it personally and that’s what they edit on! Directors are being dramatic as usual (lol I love some of them but goooood the shit they’ve put writers through y’all).

Basically, it’s all around absolutely NOT what we signed up for to earn our masters. This school’s big selling point is hands on, collaborative work, and it’s really tough to do that now. Writers have less to deal with, but what I wouldn’t give to be sitting in workshop, giving notes to people in conversation form, rather than trying to have a natural dialogue over zoom. It sucks! And I miss my friends.

There was this beautiful room on campus, that was a “no talking zone” in the library, that I used to work in every day. It was a room full of screenplays--like stacked shelves top to bottom of bound screenplays, some original behind glass doors, some signed by writers. It was really good place for me to focus on what I came here to do. I really really miss it. It made me feel a part of something! I have barely left my house for a year and now all the words I’ve written are trapping in our one bedroom apartment and it’s so stifling. The stories are blending together and GOD I can’t wait to get a break.

I’m burnt out and tired of the one thing I know how to do.

But I’m going to end this on a bright note! Mike and I are getting our second shot soon, we’re working on a film project right now, I’m finishing drafts of stories I’ve been working on for so long. If everything was the way it was before all this, the things I’m accomplishing would feel so small and not impressive. But now I’m realizing just how hard they really are to finish, and I should be less hard on myself in the future!

Anyway, thanks for asking! Hope engineering grad school is going well. I’m sure it’s hard with all this going on too! Wishing you the best 💚

#COVID #grad school #film school #writing #ask #2minutes4yeehawing

19 notes · View notes

callioope · 5 years ago

Text

HEY GUYS! I watched the livestream of Rogue One with writers Gary Whitta and Chris Weitz. I took notes. Because that’s what I DO. I jotted down some of my takeaways. Please note I was watching RO, watching the stream, taking notes, and also doing a few other things so these MAY NOT BE PERFECT. Please feel free to correct me if you see something I misrepresented. That said I tried to be accurate.

YES they DO TALK ABOUT the romantic chemistry between Jyn & Cassian but that is literally at the end, but feel free to peruse the rest of the points because there’s some pretty interesting insights (some good and some bad O_O like Cassian’s original storyline, yuck)

ANYWAYS let’s go

Inglourious Bastards inspired the Lah’mu scene (Gary Whitta wrote this scene, although he admitted it changed a lot but a lot of the structure and ideas stayed in)

In the original version of the script, Lyra was a Jedi in hiding, but this was one of the first things that got killed

Mads thinks he plays a bad guy, but Gary thinks he played a good guy

They talked about how Galen originally wanted to use kyber crystals for energy, but it got weaponized (which is talked about Catalyst)

stormtrooper doll is a gareth edwards touch

idea was that there’d be good people on the Imperial side and bad people on the rebel side

Cassian’s first scene on the Rings of Kafrene was written by Tony Gilroy (who wasn’t present in the stream) later. In the earlier versions, the DS is something that Jyn goes and finds. It was much more like Zero Dark Thirty where she was putting together the clues, and it was a battle for Jyn to get the rebels to take it seriously, but that was too much of a slow burn. So the Tivik scene was to replace that and introduce the idea that Cassian can be dark. Everyone admired Diego’s beautiful bit of acting as he's just lost a little bit of his soul in the fight for justice, the morality is the first victim. It’s very subtle but it’s one of Gary’s fave pieces of acting in the movie

Chris said for awhile they had Ord Mandell, then shifted to the notion of something more like in Casablanca, so a bit of a flavor of that, a part of the Empire that has been taken over that is under violent oversight

Gary said in the original, Jyn went to Ord Mantell (mentioned in Empire?) to find an arms dealer to help her find Saw, then went to another planet where Saw was living on a moon called Yarid

Budget realities played a part in the decision making to scale this back; they wanted to put so much more but just couldn’t fit it in

Originally we were supposed to see the rebels evacuate Dantooine and move to Yavin 4, but it didn’t really accomplish anything in the story accept to nod to SW fans. It didn’t move the story forward and would have cost too much

It was Tony Gilroy writing with Jyn getting freed on Wobani. Some original ideas had toyed with possibilities that she was a deserter or Rey-like scavenger, but obviously you can’t do that once you learn what the the Empire does (chris)

Only time they didn’t use a title card was Mustafar bc they wanted fans to go OH SHIT IT'S MUSTAFAR, also worked bc Mustafar would have been one of those off-the-map planets

Gary was responsible for getting Mothma in the movie

How much did the Yavin 4 briefing get worked on? A lot. sort of inspired by a scene from Apocalypse Now.

“I think this movie really beautifully bridges the gap between the original and prequel” and one of the ways it does that is JIMMY SMITS

Lots of gushing over Yavin. “Gareth just shot the shit out of this movie.” so much praise for Gareth’s vision. “Gareth can compose a shot unlike anyone I know.”

The Yavin 4 set was fully contiguous; you could walk from the inside all the way outside in one continuous shot.

K-2SO is a great example of how one character can have many fathers. John Knoll originally came up with him and he was originally a rebel logistics droid envisioned to be a “black C-3PO” (whatever that was supposed to mean - Gary wasn’t sure). Gary proposed that he could be an Imperial droid that was captured by the rebellion and reprogrammed. K-2 was really limited with what he could do working for the Empire, but once he was liberated, he was going to speak his mind. Chris and Tony and Alan all gave him more life, everyone has a little piece of K-2′s parentage.

Only ever one casting choice for Saw, which was Forest Whitaker. Gary also knew Ben Mendelsohn would be cast as krennic, but no one else was cast at that point -- he knew it was down to 3 choices for Jyn, but wouldn’t say who

Chris brought Bodhi into the story (Gary said so but Chris wasn’t sure)

For Tarkin, they took shots from the ANH and unused takes. There was also a mold of Peter Cushing that had been sitting in a prop shop for decades (I didn’t get what movie it was, something where he needed a large prosthetic eye or something), and they scanned that.

Binoculars that Jyn and Cassian look through on Jedha were inspired from the scene in ANH (like when luke looks through them on Tatooine)

Chris was responsible for Jedha, Temple of the Whills, and Chirrut’s connection to the Force. And Bor Gullet, I think. They said Bor Gullet delights in traumatic memories (more delicious to him). There was a cut idea/scene: Bor Gullet made Jyn trade her traumatic memories for information she wanted.

They talked about the two dudes Jyn runs into that are also in ANH and how they survived the destruction of jedha only to get killed by a Jedi the next day - they must have needed to get a drink at a cantina after narrowly leaving Jedha. Puts their presence at the cantina in a new light.

Screenwriters would tell you this [Jyn saving the girl on Jedha] is a classic “save the cat moment” so that we like that character that otherwise we might not -- like jyn [RUDE, but I think they were joking] [also i took beginner screenwriting in college and YES the “save the cat moment” was like lesson 1 lol

They wanted this war to look like a proper war, and [Jedha] really looks like something you might see happen. Wanted people to feel like it wasn’t just about stormtroopers hassling the guy on the street corner but there were real lives at stake

Commentary on Jyn’s Awesome Fight Scene: this is the first moment Cassian really realizes that Jyn is no one to be messed with

They guessed that Tony came up with the K-2 gag after Jyn’s fight sequence

Lots of good commentary here about how action scenes need to serve a purpose, they can’t just be fighting: they gotta reveal character and story -- don’t write the specifics of the fight, but write what the action is supposed to mean, let choreographers make it look good

Chris said Gareth kind of requested a character like Chirrut, and Chris had been messing around with a Force priest and they became the same guy. Baze was originally a murderer and criminal, and Chirrut was his confessor figure, and they had a weird codependent relationship in which Malbus would commit crimes and Chirrut would forgive him for it. But in this they are both Guardians of Whills. Baze saving Chirrut reminds Gary of Indiana Jones shooting the guy with the sword. Good example of action sequence having a purpose: showing Chirrut & Baze’s dynamic

Coming up with names in SW -- no real formula, you just know it when you hear it

Lots of freedom to come up with new stuff as long as it doesn’t grossly violate canon. Two Tubes was Tony Gilroy or maybe someone just before him

Allegedly Bib Fortuna’s cousin is in scene at catacombs

Someone wanted a Tusken Raider to leave Tatooine to be one of the rebels, but that was vetoed bc they don’t leave Tatooine

“you don’t want every star wars movie to feel like a remix of your greatest hits” - gary [me: LMAOOOO not everyone got that memo!!!]

Guardians of the Whills: Chris said when he came on board, he wanted to go into some deep George Lucas stuff so he looked at the OG screenplay of SW which is pretty “cuckoo bananas” but it’s unfilmable because it’s so gigantic. but there were so many cool things in it. Originally the Force was known as “The Force of Others" by Lucas so he had Chirrut often referring to it as such

There had to be physical tapes because that’s what was mentioned in ANH. Similarly, Tarkin said it was the first time they destroyed a planet in ANH, so they had to do a smaller test that didn’t conflict with canon but we still get to see the DS do it’s thing

Gary said he got sick of everyone on the internet saying “If the empire’s so smart how come--” so he wanted to make it happen for a reason

Chris said - John Knoll, who apparently has some kind of engineering background, said a project the size of the DS, there’d be hundreds of flaws that would bring down the station. Gary responded - it makes sense that there would be a flaw, but it’s more interesting if the flaw would be there deliberately

They went back to the idea that SW was a fairytale and “only one key that the lock fits in in a fairy tale”

They talked a bit about the “nerdy stuff” and technical details, like how fast does a Star Destroyer go, how fast is travel through hyperspace,” but they were pretty insistent that Star Destroyers go at the speed of narrative. Hyperspace moves at the speed of plot. They don’t think about the gritty details. Story always wins. You try to hide those bits. If tech stuff comes into conflict with story, the story has to win. If you can make it work great, but story should win otherwise. [MY TAKE: I think it’s lazy and you might as well try to make it work if you can, BUT I agree that it shouldn’t necessarily hang up the process, per se.]

They talked about Jyn & Co witnessing the test on Jedha and how it’s important that Jyn & Co witnessed the terrifying destructive power of this weapon, so they know better than anyone how important it is to stop this thing

They said Saw always died in the weapon test. Originally it was on a different moon, but always planned for him to die like that.

Gary mentioned in ANH, there’s more than one empty chair in the DS conference room, but Gary wished there had been only one chair so it could have been Krennic’s specifically and he wasn’t in it.

The idea was that Mothma and other Generals were desperately trying to avoid a war and trying to find a political solution to this crisis, but Palpatine is stringing them along long enough for the DS to be ready. So the Rebels have been strung along and played for fools by Palpatine, but once we realize the Empire has built a genocide weapon, the Rebels finally wake up to the idea that the only solution now is war. Empire has forced our hand. the movie is about the idea that tyrannical regimes always fall bc they go too far and they do something so terrible that people are forced to stand up and fight back. If the empire had never built the DS, Gary thinks they could have won the war and ground the Rebellion down. but bc they got greedy they forced the entire galaxy to take the war seriously, so the DS was really the Empire’s undoing

The Rebellion was like the equivalent of the Second Continental Congress, with squabbling factions and not able to get anything done, and the Empire was able to win in the beginning bc they are authoritarian, unified top down

Gary came up with Eadu, but it was originally in the first act. The whole movie got restructured. Originally they went to Eadu very early and discovered they were building the giant dish for the DS. That was the first scene that Jyn had the clue that the Empire was building something terrible. Later it became less a place where the dish was built and more just where they were harvesting and refining the kyber crystals.

It was originally Saw’s X-Wings that attacked Eadu

“rain = mood” idk who said it but that line popped

originally there were local people called Eadui who told story how facility had poisoned rivers and valleys and farmland. Gary wanted to put a face on the crimes the Empire had committed

Mads doesn’t believe that what Galen did absolves him

In Gary’s version, Krennic came to inspect final version of the dish

Cassian was always meant to be compromised in both Gary and Chris’s versions. He was a double agent: for a long time, he was working for the Empire. Chris added: he had lost people who had been killed by Saw Gerrera, and all he wanted from the Empire was the go ahead to kill Saw rather than Galen. That transmogrified along the lines post-Chris and post-Gary into a rebel intelligence officer who had done terrible things. In the original idea, he changes heart after seeing the Death Star bc it wasn’t what he signed up for, and he had to win back Jyn’s heart bc that DS reveal happens after his double agent ness is revealed.

In the original, Jyn actually gets Galen back to the rebel base, but he’s beyond saving, but his whole speech he gives Jyn in his last moments happened in a medbay

They talked about the score instead of the awesome fight scene after Eadu so BOOO on that. I mean yes the score is brilliant but still I wanted insight into this scene.

I blanked out a little because I was mad they didn’t talk about the Eadu fight scene argh

They were talking about Krennic standing his ground against Vader. and then someone said it was probably something among the Imperial officers that “you haven’t really made it until you’ve been choked by Vader.” O_o sorry we could be talking about Jyn and Cassian DAMNIT

the debate scene on Yavin 4 was recontextualized. always this idea that the rebellion is not one monolithic entity, it’s a collection of worlds all of whom have own leaders and own opinions. rebellion historically messier because it’s democratic and harder to get things done.

briefly toyed with a Leia appearance (chris) at the big conference scene, but best for Jyn to give the most rousing speech here.

Who wrote the hanger speech? Spirit of it might be Chris’, but Chris thinks it’s Tony Gilroy. Big difference from version Gary wrote: Jyn convinced the rebels. But he thought it was cool now that Jyn goes rogue and it’s only when Mothma finds out she’s committed to that that she makes the decision to back her up. But in the original she convinced Mothma, and everyone got around the table and said here’s the plan. Chris thinks it was in one of his drafts that they went off on their own.

in Gary’s version Jyn was Rogue Leader.

Chris had grunts complaining all the flyboys create dramatic names for their squadrons but that got nixed

Gary had idea that K-2 had scraped off his markings but had to have them painted back on to go to Scarif and K-2 hated it

Mothma talking to Bail is one scene that survived word for word form Gary’s original script

They talked a little bit about the decision to have the characters die, but I was drafting a question and missed it

They talked about how they came up with Scarif and decided to make it tropical -- what sort of place hasn’t been seen before? sort of coming from production and gareth. but also building these places to fulfill the needs of the story -- like building a walkway that only one person can get across

a lot of extras in Scarif were real ex-military, and Gary said a couple of the X-Wing pilots were real-life RAF tornado pilots

didn’t have Blue Squadron in the ANH bc it interfered with the blue screen

Gareth said “give me a mon calamari that looks like churchill’ and that’s Raddus

Chris and Tony killed pretty much everybody. Sounds like Gary just killed K-2? Unclear bc I missed the main part of that when they were talkinga bout it.

They commented on how RO is one of the darkest tonally movies but also so colorful, beautiful blue sky

They wanted to pay tribute to Battle of Endor

they couldn’t remember who was responsible for ‘stardust’ but it wasn’t gary or chris

who’s idea was it to cut off the “I’ve got a bad idea about this”? gary had a different version of it, Jyn said “I've got a good feeling about this” (which ultimately got used in Solo)

Someone asked about the footage in trailer that wasn’t in the movie: Chris heard on good authority that the TIE fighter in front of Jyn was actually never intended to be used, was always a trailer-specific moment. he said he didn’t know how she would have gotten out of that one. k-2 died on the beach. chris wasn’t sure but as the scenes get cut together in production and post, the narrative necessities can change bc of logistical needs. but some shots were so cool they were perfect for trailers. Some talk on how trailers and movies are very different things in general.

Gary said originally there were two separate facilities on Scarif: vault and comm tower were separated by stretch of beach. so needed to liberate plans from vault and get across beach to tower. as they looked at what they had, there were too many moving parts and they wanted to simplify, so they put vault and tower in same complex.

did they ever consider letting Chirrut pull the lever using the force? NOPE.

“I am one with the Force and the Force is with me” was Chris. it goes on, it’s supposed to be like a psalm for Jedi, but eh wanted a sort of lord’s prayer type of thing.

HELL YES someone asked about the romance between Cassian and Jyn! Was there any romantic potential in any script? YES!!! they said!! yes!!! And Chris said he wouldn’t be surprised if a kiss was shot either!

BUT they went on to say they wanted to side-step the trope that every male and female hero have to be involved.

But clear GARY said yes early on, there was definitely romantic chemistry that got scaled back to a mutual respect, but they’ve obviously grown close. Gary doesn’t think there was anything romantic and they said people found that refreshing. ‘what they’ve been through is the meaningful part” and “‘the stuff that is happening around them is too important" and “it speaks to their character that they wouldn’t let that intrude”

someone said it was like they were walking into a sunset but it was a mushroom cloud and THEN someone QUIPPED that it was sorta like the sunset walking into them RUDE

There was more after that but that was pretty exhausting to keep up with!!!! so i’m wiped. anyone else get any fun takeaways that I missed?

#rogue one

213 notes · View notes

pocketmouse18 · 3 years ago

Text

Thank you so much to @herosofmarvelanddc @cloudypaws and @mtab2260 for the tag! This was so much fun to think about :)

(fair warning, I wrote too much for many of these...)

1. How many works do you have on AO3?

Just 2 :)

2. What's your total AO3 word count?

450,577 if I did my math right!

3. How many fandoms have you written for and what are they?

Officially? Just 1 - Agents of Shield (two, I guess, if you count MCU as separate, since I use characters from both...). Off the record, many more than that! I have lots of bits and bobs from other fandoms that I tinkered with when I was younger, still getting the hang of writing, not brave enough to post things, etc. etc. Some of those include X-Men, Harry Potter, Percy Jackson, the Fosters, Star Wars, the Hunger Games, the 39 Clues, and a few others I can’t remember. None of those will likely see the light of day, mostly because they’re unfinished, not very good, and just not reflective of who I am as a writer anymore, but they were fun to play around with at the time :)

4. What are your top 5 fics by kudos?

I just have the two, but The Important Thing is to Try wins, hands down, with 1227. Shoulder to Shoulder has 95, though, which I’m also very proud of! Important Thing has a definite advantage, being as long as it is, so I don’t know if that’s really a fair comparison between them.

5. Do you respond to comments, why or why not?

Yes! Or at least, I always try to! I just can’t believe someone would be kind enough to take the time to tell me what they thought of my story, so I always want to take the time to thank them and return the favor :) Plus, as I’ve learned, it’s a fantastic way to get to know some really lovely people!

6. What's the fic you've written with the angstiest ending?

Well... I technically only have one story that has an ending, at least on Ao3, and it’s not an especially angsty one, since it ends in Phil and Melinda getting married :) I have some angsty chapter endings in Important Thing, if that counts? I’m not even sure if any of my unpublished fiddlings have angsty endings (most don’t have endings at all lol)... I don’t mind writing angst, but I don’t know if I’m capable of making something without a happy (or at least hopeful) ending.

7. Do you write crossovers? If so, what is the craziest one you've ever written?

Not really, unless you count AoS/MCU crossovers (which I guess technically count, but also I would argue it’s not a true crossover since (and I will die on this hill) AoS is a part of MCU canon). When I was younger I was a fan of playing around with crossover AUs more so than the actual characters crossing paths (so like, what if these characters from XYZ were demigods or went to Hogwarts or what have you, and not so much what would happen if the X-Men met Luke, Leia, and Han on one of their space adventures). I started writing a crossover between AoS and the Marvel Rising cartoon once (which again, not sure if that’s a true crossover, since Daisy was in Marvel Rising, but I digress), where Coulson tasks Daisy to work with Kate Bishop and Rayshaun Lucas to collect and train a team of young Inhumans, starting with Kamala Khan, but I ran out of steam pretty quickly when it got too plot heavy.

8. Have you ever received hate on a fic?

I don’t think so. I’ve had some people not understand some choices that I made, but they asked it in a way that I thought was perfectly nice, and I was happy to talk about it with them. Sometimes people get “mad” at me when I cause pain and suffering, but I know that’s all in good fun :)

9. Do you write smut? If so, what kind?

Nope, not for me. I don’t read it or write it, personally. Writing a kiss is hard enough!

10. Have you ever had a fic stolen?

Not to my knowledge! Important Thing is probably too long and unwieldy to ever steal :P

11. Have you ever had a fic translated?

Someone once asked me on FFN if they could translate Important Thing to Russian, which was basically the coolest thing I’ve ever been asked!

12. Have you ever co-written a fic before?

A fic, no. I’d love to try sometime! I had a friend in college who I co-wrote with A LOT, though, so I know I enjoy that process, given the right partner. We wrote several short plays together (ranging from ~15-50 minutes in length, including one that we wrote in a single afternoon!), selected scenes from a larger (unfinished) play inspired by historical letters we found in an archive that were sent between a man from Massachusetts serving in the American Civil War, his wife, and his 8-year-old son, and several scripts for TV sitcoms (2 pilots for 2 different shows, plus additional eps for those pilots, and a couple of later eps for a different show that a classmate of ours wrote the pilot for - we were trying to practice what it would be like to be on a staff with a showrunner haha). The sitcom scripts in particular I’m very proud of, and could talk somebody’s ear off about if asked (one’s about ghost hunters and one’s about a DnD party!), but maybe that’s better saved for another post ;)

13. What's your all-time favorite ship?

That’s a very hard question for me! Mostly because shipping stuff is usually one of the last things to register for me when I’m thinking about shows/books/movies I like haha... I’m always a sucker for Philinda, and younger me was rather taken with Percabeth, I suppose.

14. What's a WIP that you want to finish but don't think you ever will?

Hmm, several, really. The aforementioned AoS/Marvel Rising crossover I think could be really cool if I got it to work, but I don’t think that’ll ever happen. I also have a WIP that’s like an angstier version of a Hallmark Christmas movie AU where Daisy has to come home to her small town right before Christmas and figure out what she wants out of life, but I’m a little stalled out on that one, mostly because I’m waffling on who the charming love interest should be and because I don’t have enough of a plot, just lots of feelings about coming back home to a place you thought you had left behind lol.

I’d put Important Thing and it’s (as of yet) untitled sequel on here as things I want to finish, but I’m much more determined to see those through, so I don’t think they qualify for the “never will actually write” part of this question :)

15. What are your writing strengths?

I don’t know if other people agree with this, but I think I write pretty decent dialogue. My “training” (if you can call it that) is in, as you might have figured out by now, script and screenplay writing (those were the only creative writing classes I took in college). So having a sense of the rhythm a conversation needs to have and how to write dialogue that sounds mostly like how people really talk (but shined and tightened up enough so that it’s not actually like verbatim dialogue, which is far less interesting to read!) is something that I feel like comes pretty easily. I also think I do okay with similes and metaphors - my brain tends to work in that way. It’s easier for me to think of stuff (feelings, especially) in terms of comparing it to more familiar things than to just think of the thing directly, if that makes sense?

16. What are your writing weaknesses?

If I was being honest, this would be a very long section, but I know it’s not fun to read a big ol’ paragraph of someone self-criticizing, so I’ll keep it to one or two items ;) A big one for me is pacing, I think. I tend to write more than I need to and to over-explain things, so my chapters get very long and sometimes don’t really go anywhere? Until all of the sudden, they DO, because things need to HAPPEN! I’m a pretty rigorous self-editor, but I do have a really hard time cutting out sections (unless they’re really just not working), so even if it would help the pacing to leave out this conversation between character A and character B, I often can’t make myself cut it. I also think I struggle sometimes with balancing my ‘showing’ and my ‘telling,’ especially in the sense of me over-explaining certain things - like when it comes to feelings/facial expressions/etc, for example. I compensate for that in Important Thing by making it a part of a few people’s POV, but it’s not really a good habit to have in general. Also spelling! I’m really bad at spelling and run my stuff through robust spellchecks and text-to-speech before I post anything to make up for it :)

17. What are your thoughts on writing dialogue in other languages in a fic?

I do it with some regularity, although I always get nervous about doing it wrong! It’s hard to avoid in AoS, where characters are spies and should (in theory, at least) have a working knowledge of multiple languages (”We’re spies, I thought we all learned languages?!”). Even in an AU, where characters aren’t spies, I like to try and pay homage to that, plus pay homage to certain characters’ native languages or just general multilingualism. I’ve spent a fair amount of time around people who speak more than one language, so I feel like it’s a natural part of groups of people to have more than one language spoken. I have a pretty good handle on written Spanish, a patchy idea of French, plus I know some Russian phrases from my dad and some German words from my grandfather, but I do rely on internet translation a lot. I usually run stuff through google, then run it backwards to see just how far off the initial translation was, then consult some actual, like, language learning sites to see if there’s particular idioms or common phrases that use different words than what google will give me, then run those words through backwards in the place of the original words to see if I can massage the whole thing to sound reasonably competent. Languages like Russian or Mandarin (which have their own alphabets/characters) are the hardest, since I have to also try and do a transliteration. I always try to put an apology/disclaimer in the notes any time I write in a language that isn’t English, because I’m sure I make lots of mistakes.

Also, I tend not to italicize words that are in other languages, because it looks weird on the page to me to set the other language apart like that (and because I italicize mainly for internal thoughts or emphasis, and usually what’s being said in another language isn’t internal or being emphasized). I put a rough translation at the end so we don’t have to pause the story for a parenthetical translation, but because the translation’s not right there, I try to either put in enough context clues that a person can still understand what’s going on, or I make sure that what’s written in another language isn’t critical to the overall understanding of the scene.

18. What was the first fandom you wrote for?

Officially, it’s AoS, since that’s the only fandom I’ve published for. I think the first true fandom I wrote fic for was probably either Harry Potter (entirely populated with OCs lol, I just liked using the world/setting), Percy Jackson (a mix of OCs and canon characters), or X-Men (all canon characters). I was a bit of a latecomer to fanfiction, though, like, I wrote a ton as a kid, but mostly original stuff, because I didn’t know that fanfiction in its current form was even allowed until I was in high school lol.

Oh! I almost forgot one! I’m not sure if this really counts as a fandom, but it’s definitely the earliest version of fanfic I wrote haha... I was like 12 and I wrote more than one story of an OC joining Robin Hood’s band of Merry Men, and then also one of that same OC becoming a knight of the Round Table, so like... do what you will with that information haha.

19. What's you're favorite fic you've written?

I can’t choose between my two darlings :( I mean, okay, technically it’s probably Important Thing. That story’s my baby. It’s huge and I’ve been working on it for almost 2 years, and I’ve poured a lot of my heart and soul into it. I’ve fallen in love with the universe I built in it, so much so that I wrote an entire prequel and have very concrete plans for a lengthy sequel. But I can’t not crow about Shoulder to Shoulder (the aforementioned prequel!), too... I’m just really proud of that one - it has a lot of firsts for me. First completed story. First romance-focused story. First foray into expanding the Important Thing universe. But yes, if I have to choose, then Important Thing wins. That’s a story that I started writing exclusively for myself - to give myself characters I could relate to and to explore a style of AoS fic that I loved reading - and that’s a story I will always and forever be proud of.

I think most people have probably answered this tag game at this point, so I don’t want to accidentally retag anyone! If you haven’t yet, and would like to join in, please do! This is your invitation <3

5 notes · View notes

agentnico · 5 years ago

Text

Top 20 Best Movies of the Decade (2010′s)

Now that we have entered the 2020s, it’s time to look back on a decade of movie magic. To emphasise the importance of each year, I’ll balance things out by including two films from each year for my Top 20 list. I’ve tried to pick films that both defined this decade as well as appealed to me personally, so my list will of course, as always, be different from yours, but hopefully, I won’t totally irritate you with my humble choice, which I deem worthy to post online for the public eye to witness.

2010:

INCEPTION - “You’re waiting for a train...” Christopher Nolan unarguably is the most exciting and original directors working today. Each time he releases a movie, its an event. A literal must-see at the cinema. Which is why this isn’t the only film of his you will find on this list. With Inception, Nolan gives us a movie that is both enjoyable and imaginative, rewarding the audience for the attention that it demands. Filled with so much detail that if you miss certain shots, you will completely get lost in confusion of the narrative (as confusing as it already is). It’s intense and complex, with great performances from the likes of Leonardo DiCaprio and Tom Hardy, this movie will leave you lingering for more even after that mysterious ending.

SCOTT PILGRIM VS. THE WORLD - “You cocky cock! You'll pay for your crimes against humanity!” Once again, another exciting director on this list (oh there are so so many!). Ever since Edgar Wright emerged from the British isles, he’s given us some of the funniest films of the past decade and onwards. His Cornetto Trilogy is a blast, Baby Driver is a blast, Ant-Man was going to be even more of a blast if Marvel allowed Wright to do his magical shenanigans his way, and the upcoming Last Night in Soho will surely be a blast also. With Scott Pilgrim vs. The World Wright creates a meta-clever universe taking inspiration from comic books and video games and filled to the brink with wink-wink-nudge-nudge humour, this is an exciting and very sarcastic over the top endeavor. Also, Brie Larson in this movie.....phew!! And unsurprisingly, its all a blast!

2011:

DRIVE - “I just wanted you to know, just getting to be around you, that was the best thing that ever happened to me.” Drive is more of an elegant exercise in style, and its emotions may be hidden but they run deep. A shamelessly disreputable, stylish, stoic, ultra-violent thriller with amazing stunt work, one of the best opening sequences of any movie this decade and a neon-pumped soundtrack that’s a must-own for all vinyl users, if you still haven’t seen Drive, there’s only one thing you can do. Clue: it’s to go watch Drive.

MISSION: IMPOSSIBLE - GHOST PROTOCOL - “Your mission, should you choose to accept it...” Tom Cruise’s deal with the devil allows him to do some literally impossible stuff, and though I don’t condone his Scientology ways, the man’s stunt work and efforts in his area of expertise are worth all the praise and respect. To be honest, I’m commemorating all three of the Mission Impossible flicks that graced our screen this year (Ghost Protocol, Rogue Nation and Fallout). This franchise is like a game of dodgeball, except that Tom Cruise is the dodgeBALL, being thrown and thrust left and right like nobody cares. Also, with me being Russian, the fact that a movie manages to destroy the Kremlin and then have me not hate the film in the aftermath shows that this film is way too fun to hate.

2012:

DJANGO UNCHAINED - “Gentlemen, you had my curiosity, but now you have my attention.” Quentin Tarantino is one of my favourite directors working today. And Django Unchained happens to be my favourite film of his. The writing for this film is orgasmic (I went there!). The way the actors deliver the lines and the lines of dialogue themselves sound almost poetic to my ears. I can quote so many lines from this darn thing. The cinematography is immaculate. The soundtrack choice is great. The performances, my goodness, the PERFORMANCES!! Jamie Foxx does arguably his career-best work here, but also we have Christoph Waltz and Leonardo DiCaprio both chewing up the scenery, and I’m sure everyone has heard the story involving DiCaprio and the broken glass. Django Unchained is an easy choice on this list for me, and possibly in my Top 10 of all time.

LES MISERABLES - “Do you hear the people sing?” The film that is based on a musical that is based on a book that is based on certain true events. Tom Hooper did an interesting choice of having actors sing live in front of the camera during filming rather than pre-record their voices, and it works to grand effect, though Russell Crowe should have probably been given more singing lessons. The movie is one hell of a way to adapt such a popular stage musical. With an opening shot that emphasises the scale of this picture with a zoom-in towards this big ship during a storm being pulled by these poor prisoners, we are plunged into the despair and conflicts of various characters with adroit narrative thrust so that not a moment feels wasted or redundant. You’d think that a film with hardly any dialogue and an overall reliance on singing wouldn’t be so emotional. Yet, somehow, it works. Also props to Anne Hathaway for winning an Academy Award for being in a film for only 5 MINUTES!!

2013:

THE WOLF OF WALL STREET - “Sell me this pen.” Martin Scorsese’s mad look into Wall Street life is a bombastic caper and running at nearly 3 hours, Scorsese and his editing team manage to keep an astoundingly intoxicating pace that keeps you enthralled and engaged throughout. This one is definitely not for the families, as this R-rated fest is filled with drugs, money, sex and everything you can possibly imagine and paints quite the picture of the rich folks of Wall Street. And the middle of it all a bravura performance from Leonardo DiCaprio. Someone needs to give DiCaprio’s agent a raise, this is Leo’s third appearance on this list and we’re only in 2013!

THE WAY WAY BACK - “I'm afraid I'm going to have to ask you to leave. You're having way too much fun, it's making everyone uncomfortable.” Sometimes a little indie flick is enough to lift a human spirit. Real, fun, uplifting and innocent, The Way Way Back dedicated to anyone who felt awkward or out of place at some point in their life, which, let’s be honest, counts all of us. I’m not afraid to admit that. So stop being a b*** and reveal your sensitive side too! Yes, you, the person reading this. Who else could I possibly be talking to? Myself? Maybe. The Way Way Back though is one of the best feel-good indie films of this decade, with the loveable Steve Carell acting very unloveable and Sam Rockwell Rockwelling himself to charm city! If you’ve missed this one, treat yo’self and check it out.

2014:

THE GRAND BUDAPEST HOTEL - “And?? Where is it? What's it all about dammit don't keep us in suspense this has been a complete f***ing nightmare! Just tell us what the f*** is going on!!!” Easily Wes Anderson’s best in my opinion (I have a friend who would argue Rushmore and The Royal Tenenbaums has the better hand but I think my opinion is more valid because it's me), this movie is a glossy, colorful, whimsical deadpan affair with an energetic turn from Ralph Fiennes as the hotel concierge M. Gustave H. as he and his lobby boy run into various Wes Anderson regulars and deal with murderers, stolen paintings, love affairs, prison breaks, and all kinds of crazy shindigs, but all shown in such a casual Wes Anderson way. This movie is like a slice of cherry pie - damn fine!

INTERSTELLAR - “Murphy’s Law doesn’t mean that something bad will happen. It means that whatever can happen, will happen.” As promised, Christopher Nolan makes another appearance on this list, now with his space time-traveling epic Interstellar, where he takes inspiration from the likes of Kubrick and Tarkovsky to give us, as always, a tad bit confusing adventure with great visuals and an interesting narrative (though it does sometimes get lost in its own way), however, the key thing holding this piece together is the father-daughter relationship with Matthew McConaughey and Mackenzie Foy (and Jessica Chastain) managing to bring so much raw emotion to their respective roles that you can’t help but want to shed a tear. I mean, I haven’t cried for over 14 years, but I remember when I first watched this film, the audience around me was sobbing quite a few times during the duration of this movie. Give it to Nolan to give us the emotional moments!

2015:

MAD MAX: FURY ROAD - “Oh what a day! What a lovely day!!” Easily the best action movie of this decade. Sorry John Wick, neither you or Tom Cruise could defeat this beast. The sheer, limitless invention behind this movie's exhilarating, preposterous chase scenes highlights action filmmaking at its finest. With big monster trucks and a random guitarist rocking-it in the middle of all the action, it’s like a nihilistic version of a Cirque du Soleil show! And it makes Tom Hardy the calmest person on-screen; no idea how it managed that.

STEVE JOBS - “I sat in a garage and invented the future because artists lead and hacks ask for show of hands.” If there is anyone who can make formulaic, mathematical or technological sound fun and exciting, its Aaron Sorkin. The man has a talent for writing screenplays about difficult and complicated topics yet turning them approachable for the casual moviegoer. Pair him with director Danny Boyle, and the result is Steve Jobs, a look at the man behind the phone. Narratively set during three important product launches of Jobs’, we get to see the behind-the-scenes of his relationships with his colleagues and family members, and this character study is one that could have easily fallen into generic biopic tropes, but it holds it’s own right till the credits roll. Also props for showing that Seth Rogen can actually do a serious role. Who would’ve thought that pot-smoking fella had dramatic chops in him?

2016:

NOCTURNAL ANIMALS - “Susan, enjoy the absurdity of our world. It’s a lot less painful. Believe me, our world is a lot less painful than the real world.” Fashion designer Tom Ford does sew his suits well. Apparently, he can also make great films too, with 2009′s A Single Man and with said Nocturnal Animals. This movie is truly incredible and I remember it taking me and my friend by surprise when we first watched it at the cinema. It’s shocking. Horrifying. Depressing. Upsetting. Altogether exhilarating. Being of a fashion background, Tom Ford directs the hell out of this movie, with gorgeous shots and great use of colour as well as managing to masterfully create tension and suspense when necessary. Honestly, I know Tom Ford is probably busy at a department store somewhere, but the guy needs to make another movie. The man has a talent.

LA LA LAND - “Here’s to the ones who dream, foolish as they may seem. Here’s to the hearts that ache; here’s to the mess we make.” Oh, La La Land. Damien Chazelle’s follow-up to the also excellent Whiplash. People who know me well know how much I love this movie. An old-school tour-de-force musical that’s a love letter to jazz and the golden age of Hollywood. The city of stars never looked so good. Featuring catchy original songs, excellent dance choreography (the sequence to the song “Lovely Night” is especially memorable) and a romance tale ten times better than the forsaken The Notebook, La La Land is one special movie. I know many are put off by the film’s not so happy ending, however for me it was the only way this narrative could have ended.

2017:

BLADE RUNNER 2049 - “We’re all just looking out for something real.” Similarly to Nolan, Denis Villeneuve is proving to be one of the most exciting directors working today. He’s the man behind such films as *deep breath* Prisoners, Enemy, Sicario, Arrival and Blade Runner 2049. And those have all been done within the last decade. The man constantly makes quality movies of various genres, though lately, he has been leaning more towards science fiction, which is a-okay in my books, since as Blade Runner 2049 proves, he can turn science into fiction like butter on bread. A sequel made 30 years after Ridley Scott’s classic, this visually breathtaking piece is arguably even better than its predecessor with many moments giving you the “wow wow wow wow wow WOW!” factor, and when Ryan Gosling and Harrison Ford are both on-screen they are dynamite. Forget the new Star Wars film (that’s right, I'm throwing shade there), Blade Runner is where it’s at!

PHANTOM THREAD - “The tea is going out. The interruption is staying right here with me.” The supposed last Daniel Day-Lewis film, as he has now apparently retired from acting, but let’s be honest, nothing stops him from simply unretiring at any point. Exhibit A - Joe Pesci. However, like Pesci, if he comes back I’ll only be happy. He’s one of acting greats of our time, and his collaborations will director Paul Thomas Anderson bring out some of his best roles. Phantom Thread is a marvel of a movie. No, I don’t mean that’s its part of the Marvel Cinematic Universe, I mean as in it can fill one with wonder and astonishment. Phantom Thread is PTA’s Gothic dark fairy-tale romance film, which expertly planned shots and scenes where every word of the dialogue counts. There is no wasted moment. And as the film transpires to its dark and unsettling climax, one begins to realize that this, THIS, is what filmmaking is about. Telling an engrossing story in an interesting way with crisp-clear shots and off-the-chart acting at play, with great costume design on display, although the latter is unsurprising due to a major aspect of the movie revolving around fashion.

2018:

MANDY - “You ripped ma shirt!! You ripped maaa shiirrt!!” An acquired taste for sure, however, Mandy is indeed something truly special. From first glance, this film might seem like nothing out of the ordinary, especially from the point of view of the plot. Its the usual revenge flick. However director Panos Cosmatos’ vision and how he presents it is so much more unique. And what’s not love in this film? There’s something for everyone! It’s artsy and slow enough for the critics, hip and metal for the nonchalant, gory and violent for the hardcore genre fanatics and of course the Nic-Cage-rage factor is present for the fans of the actor. Alright, it may not be a family film, but this one is worth a watch. The whole thing is bound together by this psychedelic otherworldly environment, with the whole movie conceived in this dark, unsettlingly beautiful yet horror-filled aura that might stray people away, as it might be just too different for them, however, if you are looking for something different to watch, take mandy. I mean, watch Mandy!

A STAR IS BORN - “Music is essentially 12 notes between any octave. Twelve notes and the octave repeats. It’s the same story told over and over. All the artist can offer the world is how they see those 12 notes.” The film that began all the rumours surrounding Bradley Cooper’s and Lady Gaga’s affair. People, heads up, they are actors! They were putting on a performance! Jeez. That being said, I totally ship them. Nuff’ said. The film though? Yes, it’s good. Some country-style music, romance blooming, Gaga can apparently act, people sing about shallows for some reason...all together works for a pretty decent motion picture. Also, the fact that Bradley Cooper wrote, directed, produced and starred in this gives me so much respect for the guy. He poured his heart and soul into this. And Lady Gaga absolutely shines!

2019:

PAIN & GLORY - “Writing is like drawing but with letters.” Director Pedro Almodovar semi-autobiographical film takes a close look at how one deals with acceptance, being forgotten, symptoms of depression and generally all fairly negative attributes, but delivered in such an honest and profound way that there is a strange lightness that emerges from it all. Antonio Banderas is uncannily vulnerable in the lead role, delivering such an earnest performance that shows a man that is filled with melancholic regret who seeks his own form of redemption. This movie is a thing of beauty.

PARASITE - “You know what kind of plan never fails? No plan at all. If you make a plan, life never works out that way.” Parasite is easily the most original and surprising films of 2019, and possibly the decade, managing to subvert expectations and blend together so many different genres so naturally. To spoil any narrative element of this movie would be a sin, like this one in particular works best when not knowing anything about it. This movie comes to us from Bong Joon-Ho, a South Korean director behind such films as The Host, Memories of Murder, Okja, and Snowpiercer. It’s nice to see the awards ceremonies giving him the proper recognition finally. He deserves it.

That sums up my Top 20 Best Movies of the Decade list. Of course, there are so many other great films that came out in these 10 years, such as Whiplash, When Marnie Was There, Paterson, Silence, Kubo and the Two Strings, The Nice Guys...I can go on forever. Cinema is a constant ever-growing medium, and it is fascinating to see how it changes through the years, in some ways improving and in some parts not so much. In any case, I look forward towards a new decade of, hopefully, great movies, however, let’s be honest, for all these great films there’s always a Norm of the North, a Scout’s Guide to the Zombie Apocalypse or frickin’ Cats. But let’s hope those will be kept to a minimum. In any case, bring on the 2020s!

423 notes · View notes

unexpectedreylo · 5 years ago

Text

What Happened To TROS

There’s a show I watch on occasion called “Autopsy: The Last Hours Of...” featuring a medical examiner going over celebrity autopsy reports and explaining why the celeb died. (It’s on Reelz, in case you’re as morbid as I am.)

Many Reylos have gone over every statement uttered about the film and analyzed every bit of footage to see just what heck was going on with this movie. Based on what’s come out in the press I was about to pitch my own autopsy theories. But every day more comes out about TROS! Chris Terrio digging his hole deeper, Colin Trevorrow’s alleged “script” leaking on Reddit! As of writing, South Korea got the Art of TROS book first so images have been leaking all over the place.

Here are my takeaways at this point:

Problem #1: J.J. Abrams’s brand of filmmaking. Abrams is really good at fast-paced, fun-filled spectacle. He is also good at not explaining things, at interrupting every conversation with action/danger, and at forced, unearned moments that are more about winking at the audience than advancing the story/developing the characters. Case in point: Kirk and Spock acting out the Spock death scene from “Wrath of Khan” in “Into Darkness,” only with Kirk about to croak (he doesn’t). The movie did nothing to set them up as close friends. They were still sniping at each other the whole movie. So it’s unsurprising TROS also had all of those elements.

Problem #2: There was no plan. What’s come out since the film’s release seems to emphasize that they really had no clue how to wrap this thing up because nobody had a clue who these characters were or what their story means beyond Chris Terrio’s curious obsession with Luke and Leia. The audience attributed meaning based on what we got in TFA and TLJ but it seems like hardly anyone behind the scenes had any idea what that meaning was. They threw away George Lucas’s road map and decided to just keep driving until they got somewhere.

Problem #3: There was no time. When I was a kid, I’d see t.v. ads for Paul Masson wine starring the late Orson Welles. The ads’ tag line was always, “We will sell no wine before its time.” Bob Iger’s philosophy is “FTS, give me that movie yesterday!” He announced a new trilogy to start in May 2015 at the end of October 2012. That was less than three years. Recall that it took months to find a director and they ended up junking Michael Arndt’s screenplay, with J.J. Abrams and Lawrence Kasdan having to do a quickie re-write in late 2013-early 2014. Abrams was casting the film at the same time. He asked for more time but all Iger would do is move the release date to December 2015 because he’d promised shareholders it would be out that year. I felt that TFA seemed a little rushed and this explains why. J.J. Abrams and Chris Terrio were officially running the show as of September 2017. Originally TROS was scheduled for May 2019 but again Abrams asked for more time and the film was bumped back to December 2019. Still, that’s only two years and two months. Twenty six months to figure out how to end a trilogy, end a nine-part series, and work around the unexpected death of one of its stars. Oh and do all of this while you hadn’t given Star Wars a thought in years along with a screenwriter whose knowledge is pretty wonky. Is it any wonder why the script sometimes felt like it was written at the last minute by college students pulling an all-nighter on speed? By comparison, George Lucas started writing the OT in 1973, three years before he shot ANH and four years before release. He started writing the PT in 1994, three years before he shot TPM and five years before it was released. Star Wars wasn’t based on a novel or a comic book. The whole saga had to be cooked up from scratch. It required more time and more thought.

Problem #4: They didn’t get the best closer. After TFA, Abrams didn’t worry about the long game for the trilogy because the original plan was to be one and done. He never had to think about Rey and Co. ever again...until Colin Trevorrow got the hook in June 2017. I don’t know if Kathleen Kennedy had anyone else in mind or not. But I am certain Abrams was either Iger’s or Walt Disney Motion Pictures head Alan Horn’s idea. Why him even if he admitted he’s not a good closer? It’s simple: TFA made $2 billion. With no plan, limited time, and a few years of not thinking Star Wars at all, he had to quickly wrap up a series, something by his own admission he’s not very good at.

Problem #5: Too many disruptions. George Lucas somehow managed to survive changing directors for each of the OT, having to let Gary Kurtz go, and the end of his marriage to Marcia Lucas, who just happened to also be the films’ editor. The ST had to contend with Michael Arndt, Colin Trevorrow, etc. getting fired and someone else having to step in and work from scratch. Rian Johnson seemed to be the only one able to get through production unscathed, only to get his film retconned because of the internet peanut gallery. Carrie Fisher unexpectedly died, forcing everyone to rack their brains on how they were going to finish this without her.

Problem #6: They were totally out of touch with what audiences liked about the ST. Before the arrival of Baby Yoda, Kylo Ren was the most searched Star Wars character. Yes, even more than any of the OT characters. While lots of people love Rey, they loved Kylo just as much if not a tiny bit more. He was the one descended from the legends of our youth: Han Solo and Princess Leia, Anakin Skywalker and Padmé Amidala. It also helped that a highly-talented, charismatic actor played him. I think audiences were rooting for him but didn’t expect him to die. Even people I know who otherwise really liked or loved TROS thought they shouldn’t have killed him off.

Reylo was also the gas in the ST’s tank, not only as a romantic duo but as physical representation of the push and pull of the Force itself. Their interplay makes each character more interesting and make the story overall more interesting (I had little to no investment in the Resistance vs. First Order brouhaha).

A logical person would’ve milked this for all its worth but instead they killed off their most interesting character and half of the most interesting relationship in the trilogy. They left their heroine alone in the desert. Had Ben Solo and Rey killed off the Emperor together and survived, and the movie ended with the two of them walking off into the sunset, TROS would have sailed past $1 billion and counting weeks ago.

#reylo #tros #ben solo #ben solo deserved better #ben solo deserved to live #reylo fandom

289 notes · View notes

babbushka · 3 years ago

Note

Hi, it's okay if you don't want to answer, I just wanted to ask you because I find you incredibly successful ❤ First of all, your works had a great influence on my decision to write. I said to myself, "I want to express myself like her, I want to be able to reflect what's on my mind on paper like she does." You inspired me and I started writing, hoping that one day I would get to the point where I'm successful like you. I know it'll take time to establish my own way of writing and it'll improve as I write. But when I write, I always get stuck, I think I can't convey what is going on well and rush it. I guess I make no progress. I don't know what to do, if you have any advice I would be happy to hear it. You don't have to answer if you don't want to, love your work ❤

Hello my dear anon, oh this is so kind of you to say! I'm absolutely honored to have inspired you to start writing, and I'm happy to give any advice for how you can continue on with this craft, for whatever that may be worth to you :)

(putting it under a cut because it's long lol)

Firstly, I would like to say that the word 'success' means different things to different people. There's success of public reaction, how it's received and all that, but there's also success of internal goals. I personally try to concern myself more with my internal goals, and less about how other people view the writing in terms of likes/kudos/reblogs, whether that's fanfic or my screenplays. These sort of goals vary depending on the piece, but usually they boil down to trying to make someone feel a certain way, or trying to make a certain point in the story.

For example, if I'm writing something that's supposed to be a hurt-comfort piece, then to me, it is successful if at least one person is comforted while reading it. If I'm writing something that's a horror thriller, then it is a success if I'm able to make at least one person feel that sense of fear, or at the very least, dread. It doesn't really matter to me how many notes it gets, or how many people read it, as long as I was able to impact one person (and that usually is myself lol) then the piece was a success, and I move on to the next.

I think it's important that you contextualize how you see success for your writing. My best advice really and truly is to write the things that you want, and not what you think will be popular. Write the plots that interest you, try to convey the emotions that you want to feel, do what brings you happiness. When you put your heart into your work, people will see it and be drawn to it, trust me.

In regards to getting stuck, oh my gosh have I been there before! We all have, it's a part of the creative process where at some point, all of us run against a wall, and have to be faced with how we're going to move forward. Please don't be discouraged by this, it is a natural part of the process, I promise. I have been writing for over a decade, in one form or another, and I still have moments where I have no idea what I'm doing! But, over the years, I've sort of figured out some tips or rather, things that I do to make writing a little bit easier of a time:

Outline your story. I don't care if it's 1k, 10, 100k -- outline. I don't care if it's just a oneshot or if it's a professional novel, you outline. Outlines can seem boring and unnecessary, but they are your best friend in terms of what the hell is going on in this story. This is where you really figure out what the plot it, how things happen, what the points of action are, all that jazz. I have an outline template that I can give you to use, if you'd like it. Outlining is the structure, it's the skeleton of your story, and without it, there's nothing for the meat (dialogue, descriptions, actions, etc) to stick to.

Warm up before starting on your WIP. It can be as easy as writing a string of nonsense, keysmashing, typing up random dialogue that has nothing to do with anything -- just get your brain moving and those creative muscles flexing. Then when you're itching to just work on the real thing already, delete the nonsense, and get to it.

Have smaller WIPs to work on alongside the big one. This does not work for everyone, but for me, I find it really helpful to switch gears when I'm stuck on a particular piece of writing. It's nice to say "okay, i have no clue how i'm going forward with this one, let's work on this one for a bit instead," because what tends to happen is that by giving your brain a break, it's able to flow ideas more freely, and you'll be past that sticky point in no time.

In terms of trying to convey what's happening on the page, I really do think that asking yourself a million questions to give context -- or rather, having a friend ask you them -- is so helpful.

Let's say for example, you have:

He put the book down.

Well, alright, that's pretty straightforward, and it works, but, it doesn't paint much of a picture. We simply need more context:

How did he put the book down?

Where did he put the book down?

What did he feel when he put the book down?

Why did he put the book down?

What is the significance of the book?

What did he do after the book was no longer in his hands?

When you ask yourself these questions, you can take 'he put the book down' and turn it into:

Slamming the weathered diary onto his desk, he blinked back tears, the shock of its contents too overwhelming for him to handle. Alone in the room, his mind races-- never in a million years could he imagine that his own father had endured such sorrow. He paces, unable to simply stand with this knowledge weighing heavy on his chest, his deepest fears realized. He never should have read the diary, but now the damage was done, and the words could not be unread.

or,

With a trembling breath of reverence, he let the smooth pages of the book flutter to a close as he gently set it back on the shelf. This was it, this was the very tome he had been looking for! The very same one that had been treasured for years, heralded as impossible, a myth, a legend. A light fills him, one of eager anticipation, but also of clawing fear: he must protect this book and the knowledge it contains, this he knows, so that it can never fall into the wrong hands. Leaving the library, he amends to return that evening with a way to smuggle it out, but for now, he must plan how.

Two very different interpretations, two very different images! All from the way we answer the defining questions of context.

It takes time, and practice makes perfect. Writing is a skill just like any other, and the more you do it, the better you will become, I promise. No one wakes up one day out of nowhere and is perfect at being creative, often, the beauty is in the process of learning and developing your craft. I know it can feel frustrating, but the very fact that you know you are struggling means you are getting better, because you can recognize where you're having trouble and are trying to fix it. That is something to be proud of, and something that I know you can work through in time.

I hope that you were able to find this helpful, and I'm sending you all my love!

2 notes · View notes

duhragonball · 4 years ago

Text

‘21

Amidst all the popular hype for seeing the end of 2020, it didn’t hit me until about lunchtime what the real highlight is that I’ve been waiting for: For the first time since 1999, the year finally ends in “numberty-number” again. It low-key irritated me that we had to call it “two thousand three” and I was relieved when “twenty-thirteen” caught on, but it still wasn’t right because it was too short, and now we’re back in the sweet spot, and I should be safely dead by 2100, so that’s one less thing I gotta deal with.

Really, even “numberty hundred” rings true to me. “Nineteen hundred” sounds like a year. “Twenty-one-oh-six” sounds like a futur-y year, which is even cooler. So did “Two thousand five”, until I was actually living in it, and it sounds even worse now that it was a long time ago and adults will talk about their childhood happening in that year. Daniel Witwicky would be old enough to get married and grow a fancier beard than me. That’s nuts. My point is that, honestly, it’s the year 3000-3019 that I have to worry about, so if I ever decide to go vampire, those will be the years I hide in the ocean or force society to reset the calendar, whichever’s easier.

I spent New Year’s Eve finishing Superliminal, which I bought on Steam after I watched Vegeta play it on YouTube. It has a similar look and feel to the Stanley Parable, so if you liked one you’d probably enjoy the other, although Superliminal has a different theme. I kept hoping I’d find some secret passage that I wasn’t supposed to take, and a narrator would scold me for finding the “Chickenbutt Ending”, but it doesn’t work that way. Superliminal’s all about puzzles and awesome visuals, but it does have the same soothing design aesthetics as TSP. Honestly, I enjoyed just wandering around in Stanley’s office, and Superliminal does the same thing with a hotel and several other settings. It’s nice.

This got me thinking about how I kind of did everything there was to do in The Stanley Parable, and I sort of wished they would add new stuff to the game, but I’m not sure there would be much point to that. I could play the older version, but it presents the same message, just with different assets. The Boss’s Office would look different, but it’d be the same game. And this got me thinking about various “secret chapters” in pop culture. Secrets behind the cut.

I first heard about this idea in the 2000′s, when fans invented this notion that there was a secret chapter of Harry Potter and the Order of the Phoenix. I read a website that tried to explain the concept, and of course it lauded J.K. Rowling with all this gushing praise for working an Easter egg into the book, a literary work of “well, magic.”

That pretty well sums up my distaste for Harry Potter, by the way. These days, JKR has thoroughly crapped all over her reputation and legacy, but in the 2000′s it felt like half the planet was in a mad rush to canonize her as a writing goddess, to the point where fans were congratulating her for writing secret chapters that didn’t actually exist. The idea was based on lore from the books about Neville Longbottom’s parents. They were patients in a mental hospital, and he’d go to visit them, and they would give him bubble gum wrappers, intended to demonstrate how far remove they’ve become from reality. The secret chapter lies in those wrappers, which all read “Droobles Best Blowing Gum” or some such. What if Neville’s parents were only pretending to be mentally ill, so as to throw off their enemies? Naturally, they would want to stay in contact with their son, so the bubble gum wrappers would have to contain coded messages. Said code involves unscrambling the letters on the wrappers to make new words, like “goblin” or “sword” or “Muggle” or “Dumbledore”. The problem is that you can also use it to make other words like “booger” or “drool” or “booobbiess.” Play with it enough, and you can make the code say anything you want it to say, which means it’s no code at all.

But the idea was that the not-yet-published sixth HP book would reveal all of this gum wrapper nonsense, and Neville would decode the messages and discover all of his parents’ super-cool adventures. I’m not sure why we needed a secret chapter if Book 6 was going to explain all of this anyway in several not-secret chapters, but that was the whole point. Fans didn’t have Book 6 yet, and they were so desperate to read it that they started trying to extrapolate what would happen next based on “clues” from the previous five. That’s like trying to figure out what Majin Buu looks like by watching the Androids Saga. I guess some wiseguy would have guessed that he’d resemble #19, but that’d just be blind luck.

And when you get down to it, this whole secret chapter business is really just a conspiracy. This is literally how Qanon works. Some anonymous jackass posted vague “hints” on an imageboard, and people went goofy trying to interpret them and figure out what would happen in the future. They call it “research” because they spend a ton of time on this, but there’s no basis to any of it. It took me a few minutes to figure out that you can spell “Muggle” with the words in “Drooble’s Best Blowing Gum”, but that’s not research and it doesn’t prove anything. But all these guys keep looking for “Hilary Clinton goes to jail next week” and lo and behold that’s all they ever find.

In the same vein, the gum wrapper thing was really a complaint disguised as a conspiracy, disguised as a “magical secret chapter”. At least a few fans wanted to see more Neville in their Harry Potter books, they wanted Neville’s parents, or someone like them, to have cool spy adventures or whatever else. The point is, they clearly weren’t getting what they wanted out of the printed works, but they didn’t want to turn against their Dear Beloved Author, so they started casting about for an alternative reality, one where J.K. Rowling wrote a cooler story and hid it in the pages of the one that actually went to press. So instead of just saying “Hey, Order of the Phoenix was kind of a letdown, I hope there’s more ninjas in the next book,” they said “Rowling is a genius because I wanted ninjas and she’s definitely going to give them to me, I have the gum wrappers to prove it.”

The same thing happened all over again when the BBC Sherlock show took a turn for the nonsensical. I don’t know from BBC Sherlock, but I watched the fascinating video critique by Hbomberguy, and it sounds like the show did tons of plot twists until it stopped making sense altogether in the fourth season. If you skip to 1:09:00 in the video, you’ll hear about fan theories that suggested that season four was supposed to be crappy, as part of a secret meta-narrative plan that would be paid off in a secret, unannounced episode that would not only explain everything, but retroactively justify the crappy episodes that came before. But it’s been a few years and it never came to pass, so I think we can call this myth busted.

Most recently, I think we’ve all seen a lot of talk about the final season of Supernatural, where I guess Destiel sort of became canon but only one guy does the love confession and the other doesn’t respond. But I guess he does say “I love you too” in the Spanish dub, which means the English language version was edited for whatever reason. It’s not exactly a secret episode, but the implication is that there’s more to this than what made it to the screen. So the questions turn to what the screenplay said, what the writers and actors wanted to do, etc. etc. My general impression is that SPN fans are a bit more used to crushing disappointment, so they’re not quite as delusional about this show being unquestionable genius, like Sherlock and Harry Potter. Maybe this is an Anglophile thing? Like, if you suck at something with a British accent, people will accept it more unconditionally?

I had seen something on Twitter about how there should have been a secret Seinfeld episode in the 90′s. Someone suggested it at the time, they tape a whole episode, then wait until 2020 to air it, because by then it would be worth a fortune. But they didn’t do it, because it costs a lot of money to make a TV episode, and if you don’t air the show right away, you aren’t making that money back any time soon. Yeah, you might recoup a fortune someday, but Seinfeld was making a ton of money then. It exposes the fannish nature of the idea. A fan would love to discover a cool secret chapter, but a content creator isn’t necessarily keen on making a cool thing and then hiding it where few people would find it.

I thought about doing this myself recently. Maybe Supernatural gave me the bug, but I thought “I’m writing this big-ass story, so what if I wrote me a secret chapter for it? Wouldn’t that be cool?” But no, it wouldn’t be cool, because it’d be the same work as writing a regular chapter, and the same stress I feel when I hold off on publishing it. Except I’d just never publish it, I’d put it in some secret hole on the internet and hope that some superfan who might not even exist can decode whatever clues I leave.

I mean, it’d be awesome if it got discovered and everyone loved it. “Hey, I found this hidden chapter! Mike’s done it again!” And I could bask in the glory. But what if no one finds it? Then I just wasted my time, right? I want people to read my work. My monkey brain needs the sweet, sweet validation of those kudos and comments, folks. Once I realized that, I understood why no one else would want to do a secret chapter either. Easter eggs are one thing, but the bigger bonus features they put on DVDs were pretty easy to find, and with good reason.

I think that’s what made the Stanley Parable so appealing to play, because it teases you with the idea that you can “break” the game and find some extra content that you weren’t supposed to see, but as you go exploring all those hidden areas, it gradually becomes clear that this is just part of the game; you were meant to find all these things, and that’s why they were put here. It’s hidden, but he secret aspect of it is just pretend.

I suppose that what I like about games like TSP and Superliminal is the illusion of secrets more than the secrets themselves. I like roaming through the hallways, having no idea what I might find ahead. I kind of wish I could open all the doors, and not just the ones the game designers put stuff behind, but the reality is that there’s nothing on the other side. I used a cheat code once to explore the unused doors in TSP and it’s just a bright white field on the other side. Interesting to look at, but not much of a reveal. Honestly, the doors themselves are more appealing than anything that could lay behind them.

And that’s probably what makes secrets so fun. They could be almost anything, but once you open the present, the number of possibilities drops to one. If they had ever made that Secret BBC Sherlock Episode, I doubt it would have lived up to expectations, but fans could amuse themselves by imagining what could have been in it. In the end, though, things usually don’t justify the hype. For every Undertaker debut at Survivor Series 1990, there’s a Gobbledygooker debut at Survivor Series 1990. It’s impossible to manufacture a secret with a guaranteed payoff.

8 notes · View notes