#i102

[vintag3thrifts]

Check out this listing I just added to my Poshmark closet: Jeerzes Black Heavy Weight Graphic T-Shirt Men’s Size XL.

[htcustomstudio]

Sheet1

Sheet1!A1:I102

[ugurcifdaloz]

KADIN KODLARI

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[clonewarsarchives]

#102, JUL 2008

THE CREATOR STRIKES BACK

DIRECTING THE TROOPS

THE CREATOR STRIKES BACK

Speaking to starwars.com, Star Wars creator George Lucas discusses the forthcoming animated movie The Clone Wars.

starwars.com: Why was now the right time to bring Star Wars to animation?

Lucas: This is a project we’ve actually been working on since the end of Revenge of the Sith. I’ve worked in animation before with Steven [Spielberg] in A Land Before Time, John Korty on a film [Twice Upon a Time] and a few other things. I love animation. I started out in film school in animation, and I felt it was time to explore that medium, and then at the same time be able to explore a part of Star Wars that is so vast that you can’t deal with the Luke Skywalker/ Anakin Skywalker saga... you get to deal a little bit more with the minutiae of The Clone Wars.

Clearly this has a different look than anything that’s come before. Can you share with us the methods you went ahead and developed to do this, and the thinking behind the design of The Clone Wars, and also the design of the characters?

In order to create The Clone Wars, I had to develop a whole new studio. We’ve really been able to advance our animation ambitions. When it comes to the look and feel of The Clone Wars project, I wanted to do something that was in the realm of anime, design-wise, but still different. So I said, “How can we do this along with a strong storytelling sensibility?”

I have a tendency that — just like with Star Wars, which is based in the 1930s Republic Saturday matinee serials, or Indiana Jones, which is based on the same thing — I wanted to give it a look and the feel of something that’s from the past. So everybody was fairly amused in the animation community that we picked Gerry Anderson and Thunderbirds to be our inspiration. It has a very stylized look. I didn’t want it to look like Beowulf, which we could’ve done, or The Incredibles, and when you’re doing animation about live action actors and everyone knows what they look like, you really do have to come up with a sophisticated and dynamic caricature of these people.

A lot of people are excited about the new characters that you’ve incorporated into the storyline, great new good guys and great new villains.

We added a new character. We needed to change the dynamic between Obi-Wan the mentor and Anakin the Padawan, which is where we left them. That’s how they entered The Clone Wars. We wanted to make that relationship become more dynamic... sort of like Butch Cassidy and the Sundance Kid. They’re now equal. They’re now partners. They’re now working together.

But we really wanted to have that Padawan-mentor relationship, so we gave the most unlikely person a Padawan, which is Anakin, and we made the Padawan a girl. She’s very feisty. She’s very outgoing and independent-minded, which gives Anakin a real challenge, because he’s sort of like that too. He’s trying to clean up his act by teaching her to settle down and think and not be so aggressive.

She gets in her share of action.

She’s a great character. She’s turned out really fantastic.

DIRECTING THE TROOPS

STAR WARS: THE CLONE WARS SUPERVISING DIRECTOR DAVE FILONI—CURRENTLY WORKING FLAT OUT ON THE FORTHCOMING THE CLONE WARS MOVIE AND TV SERIES—FOUND TIME TO OFFER REVEALING INSIGHTS INTO THE EAGERLY ANTICIPATED ANIMATED FEATURE. WORDS: JONATHAN WILKINS

Insider: What prompted the decision to produce a full-length theatrical version of The Clone Wars?

Dave Filoni: George [Lucas] saw completed footage of what it was going to look like. We always watch our dailies in an actual theater, and when we started showing him the results he instantly said “Wow, this looks great on a big screen.” So from the get-go, once George saw what was being produced, he said the fans really should get to see this on the big screen—and the seed was planted. We started to think of it in terms of this really working as a feature.

We are all eager to show fans something they know is Star Wars, but that’s different. It’s that difference that makes us all so excited about this, and the opportunity to work with Star Wars in animation.

The Clone Wars has a unique look, yet it retains that distinctive Star Wars feel. Was it difficult to ensure it felt like part of Star Wars?

I think that’s something you worry about, since Star Wars is so well known. You want to make it something that the fans are going to relate to, but also something that the average viewer who’s not into Star Wars relates to. I think it grabs both those groups. The first thing we had to do was get a really talented group of people that were familiar with the look—production staff, artists who loved the material—and we looked at the films and used them as a source, because it’s already so well designed. Of course, George Lucas being a big part of it was the capper that really said, “OK, this is going to be Star Wars” because George is the crucial ingredient.

Were there any particular styles of animation that provided inspiration for the project?

We looked at the first Clone Wars TV series that Genndy Tartakovsky had done for Cartoon Network and looked at the design that Paul Rudish had done for it, and used those for inspiration. They had a lot of the same challenges that we did: How do you translate these well-known characters into animated form? We wanted to respect the work that they had done. I had just come off Avatar at Nickelodeon so I was very much in that frame of mind and brought a lot of what I was doing there to Star Wars, so that was definitely an influence. I brought Justin Ridge, one of the assistant directors, with me and several people from Avatar followed; we all love anime, so I think there’s a broad range of influence from that area as well.

How exactly do you direct animation?

Well, it’s collaboration. Animation is a group project, and you need to have a clear vision of what you want to do. Then you need to work with your artists and your writers to make sure that you’re all on the same page and to see what they can bring to the project and to the story. Once you’re sitting in editorial, looking at the shots and pacing out the story, that’s where you really start to get more creative and bring the story to life. Really, it’s the collaboration that’s the important thing. There are just so many people involved, from the initial story idea to what you finally see up on the screen; it’s really an amazing effort.

Is it helpful that everybody knows Star Wars?

I’ll say it time and again at work, “Well, did you look at the reference?” If we’re talking about clone troopers or certain guns, or certain other weapons or vehicles I’ll say “Well, did you watch Attack of the Clones? Because those are in Attack of the Clones.” It’s definitely great to have the six films as our style guide for everything we’re doing.

So I guess you don’t get to shout “Faster! More intense!” like George has been known to do?

Actually I do that all the time! It works for Star Wars! It’s one of the things that maybe I’ve adopted from George, but you need that intensity. It sounds cliched, because as fans we all know he says that, but I can tell you, there’s really something to it! How important is continuity versus storytelling? We’re very aware of continuity, we want to maintain it, and so it’s very important. Yet when you look at what George did with the prequels, there are obviously some things that I think the fans assumed would have been one way but that George decided would be different. There’s Threepio being built by Anakin Skywalker—I never saw that coming! It all depends on what the purpose is and what you’re trying to tell in the story. Then you have to balance that version for the continuity argument. We have tried to stay very looped-in with people who focus specifically on continuity to make sure. Each decision each judgment, is made carefully, so it’s really a balance between the two.

Do you have any parts of the movie that made you think “Wow! That worked better than I thought!”?

It’s easy to cite a lot of action sequences, but I think that Anakin and Ahsoka have some moments where they’re talking and really figuring out how they’re going to relate to one another. Those scenes really work well and that holds the whole thing together.

Is there anything that you’d do differently following the rapid developments in CGI movie technology?

It’s almost a joke between George and me, because when you make a movie, you learn so much in doing it that you would probably do it differently next time. I think that this movie is very much like that. I love so many parts of it, and yet because of the experience, and working with George, I’m a better director now than I was.

I would do things differently now, of course. He’ll tell me “Well, David, you can’t change everything.” I’ll say “Wait a minute!” because, of course, he’s known for making changes!

You’ve mentioned George has been very hands-on with the production: what’s the most important or surprising thing that you’ve learned from him?

I think it’s really editing. Nathan Tucker, my editor, would really attest to that fact. We work very hard on the footage and George comes in and looks at it with us. He’s really amazing, how he can get sequences and move them around to really push the tension and dynamics of what’s going on in the story. I’ve had to be a real student of that in the last few years, and that’s probably one of the most important things I’ve really tried to grasp.

What was it like hearing the fan reaction to The Clone Wars trailer at Celebration IV?

That was pretty amazing, I have to say. Luckily, there were some of the crew from The Clone Wars in the audience. I think that was really uplifting because we work in secrecy a lot, up on the Ranch, and we’re not able to get a reaction from people that aren’t working on it. To finally get some kind of reaction from the fans was great for everybody. We went back to the Ranch doubly energized to really do this, do it well, and do it for the people that care about the movies.

Was there a sense of pressure that you had to live up to huge expectations?

Yes, there’s always that because it’s Star Wars. If I wasn’t on this side, I’m sure I’d be the fan out there saying “Well, this better be good!” You know, we’re all trying to live up to that. That’s our focus.

Given the fact that audiences and fans in particular know the characters really well, what sort of challenges were there in getting them exactly right?

It was very difficult early on when we were designing the characters. It was a real trick to get them, especially Anakin and Obi-Wan, to look right. They went through a lot of interpretations. We had a lot of opinions from the crew because people love and know these characters. In particular, Anakin was very difficult to nail down. Instead of going for a dead-on actor likeness we’d just go for, “Well, what makes someone a Skywalker?” and look at that. That’s what really got us over the hump for Anakin.

Anakin is obviously an established character, but you get to introduce an all-new character. What can you tell us about his new Padawan Ahsoka?

Ahsoka really stands between Anakin and Obi-Wan. If you look at Obi-Wan, he’s the Jedi who believes in the Old Republic, and Anakin’s leaning towards a new order. Then you have this young girl who’s in between. She’s really trying to figure out what is going on and deal with decisions she has to make. She was trained as a peacekeeper, [but] now she’s forced into being a soldier, like all the Jedi. How do these young Padawans react to that? It’s one of the interesting stories that we get to tell. Anakin is so adept at what he’s doing, as is Obi-Wan, so she’s a great character to have. We took a lot of notes from Carrie Fisher’s performance as Princess Leia and how she reacted to very strong characters like Luke Skywalker and Han Solo. We try to get a bit of that into this young girl. That’s a big inspiration.

The movie also features Asajj Ventress. Whose decision was it to use Expanded Universe characters and is this something that we might see more of?

I think it’s always interesting to see which Expanded Universe characters turn up in a Star Wars movie or the Star Wars TV show, like when Aayla Secura turned up in Attack of the Clones—that was a big deal. Asajj Ventress was a natural because of her role in the previous Clone Wars [animated micro-series]. She was somebody that we all thought we could use and develop. How does she fit into the saga, with Dooku and the Sith?

As far as other characters, we’re always looking at it. In truth, there’s so many characters in the films that we didn’t really get to see a lot, like Kit Fisto and Plo Koon. You could go around the [Jedi] Council’s chairs, and have 12 episodes right there.

You’ve compared The Clone Wars to the Star Wars Tales comic books.

Well, the Star Wars Tales are great. You can pick them up again and again. Killian Plunkett did the story about C-3PO and Darth Vader on Cloud City. You see inside C-3PO’s head and he has these reflective moments. It’s great, because Killian’s now working on the show. Those are all great stories and we’re doing similar things, like looking at the clones. You can do so many different stories just about the clones to try and get into the heads of these guys. What kind of soldiers were they? How individual were they? There are just a ton of questions around them, so we look at those and look at the Jedi Council. We were all so excited the first time we saw a Jedi Council member: who were these guys? Why does that guy look like that? What does their lightsaber look like? It’s just exciting to get to explore things like that, if George wants to, and if we find that character interesting.

We know how most of these characters end up—does that create any restrictions on the story?

Sometimes there are certain situations that we just have to observe and be aware of. Obviously, in Revenge of the Sith General Grievous and Anakin have, quite plainly, never met each other face to face. You’re constantly amazed that what seems like a restriction becomes a really creative outlet, something that’s not done the easy way but done the hard way. It’s thrilling and exciting.

Are there any cool Easter eggs that dedicated fans should look out for in the movie?

I’m a fan, and because so many people working on this are fans, there are Easter eggs throughout this movie and the series that fans will appreciate; things that my mother would not have a clue about, but will be nice little winks to the fans. Someone out there will get a big thrill! That’s fun and exciting

[internutter]

Challenge #03390-I102: Ignominious Beginnings

Wraithvine killed a man by accident in attempting to stop them from robbing a shop. Unfortunately, accidents happen. Then learn the man was just desperately poor and his death meant his family was now facing starvation with a very sick wife and four small children in their little, run-down, shack of a home on a failing farm. -- Lessons

A moment, a mistake, and now a mortuary. The man now on the slab had had a home, a family, and some desperate mission to make him snatch a tray of bread rolls right in front of the world's most powerful Wizard. Nobody else would have thought twice about it, but Wraithvine was like no other.

For starters, ze had just buried hir full-elven grandson. Who had perished of old age.

Ze tried paying for a resurrection, but it had failed. Now, ze paid for Speak With the Dead. Two spells that Wraithvine had no grasp on. Yet. It was a lesson that ze would embed in hir nature for the rest of hir life. There is always more to learn. That, and, Don't get egotistical.

[Check the source for the rest of the story]

[cmweller]

Challenge #03507-I219: Making Amends

"When's Papa coming home?"

A young toddler goes to Wraithvine to ask about hir daddy. Wraithvine must now tell the family what happened to the farmer.

https://peakd.com/fiction/@internutter/challenge-03390-i102-ignominious-beginnings#@internutter/re-bkf-ra8shg -- DaniAndShali

Lulanie Tiller stared at the coils of hair on her table, and at the humble Elf who had appeared in her hut. She gave the being small chores to keep them busy until the children were sound asleep.

She made tea, and wound up the hair in ropes, and said, "What happened?"

"I aimed to stop a robbery. I... accidentally ended your..." A sob. A gulp. Genuine regret. "I ended your husband's life. I did not know his circumstances. I have done a great evil whilst attempting to do good. This... is counter to my vows, counter to my honour, and counter to my soul."

[Check the source for the rest of the story]

[syzygy-002]

🌀:　102 ▂▂▂▂▂▂▂ 　　　 　　　 　　　 　　　 𝑻𝒆𝒎𝒂: «momento no capturado en tv». El acto no se refiere a un momento malo, puede ser incluso muy bueno, pero por algún motivo en la transmisión no logró verse. Hay muchos, incluso los idols muestran su descontento con ellos, "lo hice, pero la cámara no me vio", "lo intenté, pero no salió en el capítulo final". 　　　　 Ejemplo: dije que mis fans son las más importantes, pero el programa decidió no añadirlo. 　　　　　 　　　 　　　 𝑰𝒏𝒅𝒊𝒄𝒂𝒄𝒊𝒐𝒏𝒆𝒔 🌱 Tag en tumblr: #i102 🌱 Decoración, estructura y extras a elección. 🌱 Publicar su actividad en mars. 　　　　　 　　　　　 　　　　　 　　　 𝑹𝒆𝒄𝒐𝒎𝒆𝒏𝒅𝒂𝒄𝒊𝒐𝒏𝒆𝒔 🌱 Post grupal o individual. 🌱 No se limiten por ser idols. 🌱 No es obligatorio

[giaiphapcskhgcalls2022]

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[closeddds-blog]

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[sunramovie]

【試写会中止のお知らせ】

【『サン・ラーのスペース・イズ・ザ・プレイス』試写会中止のお知らせ】

この度、新型コロナウィルス感染拡大の状況並びに、それを受けた緊急事態宣言の発令に従い、1���18日(月)に開催を予定しておりました映画『サン・ラーのスペース・イズ・ザ・プレイス』特別試写会の中止を決定いたしました。

楽しみにしていただいた皆様には深くお詫び申し上げます。 誠に申し訳ございませんがご理解の程よろしくお願いい致します。 今後とも本作品をどうぞよろしくお願い申し上げます。

https://tower.jp/article/news/2020/11/17/i102

[vintag3thrifts]

Check out this listing I just added to my Poshmark closet: Jeerzes Black Heavy Weight Graphic T-Shirt Men’s Size XL.

[designerkj]

For just $31.50 Imported S.M.L 75% Acrylic 25% Rabbit Fur Black TSH Ladies fashion scoop neckline short-sleeve open knit sweater Item Measurements: SIZE S Measurements: SIZE S Length:33" Waist:40" Bust:42"

[ugurcifdaloz]

ERKEK KODLARI

A101 ANGEL A102 ACQUA DI GIO A104 ACQUA DI GIO ABSOLUTE A113 ARMANI BLACK CODE A114 ARMANI STRONGER WITH YOU A115 ARMANI STRONGER WITH YOU INTESELY B101 NASOMATTO BLACK AFGANO (UNISEX) B102 BVLGARI WOOD ESSENCE B103 BURBERY HERO B104 BOSS BOTTLE B105 BVLGARI BLACK B106 BURBERRY CLASSIC B107 BVLGARI MAN IN BLACK B108 BVLGARI MAN TERRAE ESSENCE C101 212 CAROLINA HERRERA C108 BAD BOY C109 CAROLINA HERRERA HEREOS C114 CALVIN KLEIN EUPHORIA D102 DAVIDOFF COOL WATER D110 DIOR HOMME D112 DONNA KARAN DKNY E104 ARMANI HE F101 FAHRENHEIT G101 GIVENCHY PI H101 HUGO BOSS CLASSIC H102 HERMES H24 H106 HUGO BOSS ENERGISE I101 INVICTUS INTENSE I102 ISSEY MIYAKE I103 INSENSE ULTRA MARINE GIVENCHY I104 INVICTUS AQUA J101 JEAN PAUL SCANDAL J102 JEAN PAUL CLASSIC J103 JOOP HOMME J104 JIL SANDER SUN MAN K101 KENZO CLASSIC L101 LE LABO SANTAL 33 L105 LACOSTE RED L106 LACOSTE ESSENTIAL P101 DE MARLEY PEGASUS P102 ONE MILLION LUCKY P103 PHANTOM P104 PENHALIGONS THE BLAZING MR SAM P109 POLO BLUE R103 ROCHAS S102 SCULPTURE T103 BLACK ORCHID (UNISEX) T104 VANILLE FATALE TOM FORD T105 FUCKING FABULOUS T106 NOIR EXTREME T107 OMBRE LEATHER V102 VALENTINO UOMO W111 BLACK XS PACO RABANNE W120 212 SEXY MAN W122 BVLGARI AQUA W126 DIESEL FUEL FOR LIFE W128 ONE MILLION W129 ONE MILLION ELIXIR W133 DOLCE GABBANA THE ONE W139 DIESEL ONLY THE BRAVE W143 HERMES W150 CHANEL BLEU W158 DIOR HOMME INTENSE (RUJ KOKUSU) W160 YSL HOMME W161 212 VIP W163 ONLY THE BRAVE TATTO DIESEL W164 GUCCI GUILTY W170 COSTUM NATIONAL INTENSE W171 VICTOR ROLF SPICE BOMB W172 ABERCROMBIE FIERCE W173 JIL SUNDER ABSOLUTELY W174 VERSACE EROS W180 INVICTUS W181 ETERNITY ACQUE CALVIN KLEIN W183 CREED AVENTUS W184 TRUSSARDI DONNA W185 TOBACCO VANILLA W189 HUGO BOSS BOTTLE INTENSE W190 ARMANI GIO PROFUMO W191 SAUVAGE W192 SAUVAGE W197 ANTONIO BANDERAS BLUE SEDUCTION W198 CHANEL EGOISTE PLATINIUM

[jasperscuriosity]

I just added this listing on Poshmark: Express Editor Black Trouser Work Pants 2S. #poshmark #fashion #shopping #shopmycloset

[internutter]

Challenge #03507-I219: Making Amends

"When's Papa coming home?"

A young toddler goes to Wraithvine to ask about hir daddy. Wraithvine must now tell the family what happened to the farmer.

https://peakd.com/fiction/@internutter/challenge-03390-i102-ignominious-beginnings#@internutter/re-bkf-ra8shg -- DaniAndShali

Lulanie Tiller stared at the coils of hair on her table, and at the humble Elf who had appeared in her hut. She gave the being small chores to keep them busy until the children were sound asleep.

She made tea, and wound up the hair in ropes, and said, "What happened?"

"I aimed to stop a robbery. I... accidentally ended your..." A sob. A gulp. Genuine regret. "I ended your husband's life. I did not know his circumstances. I have done a great evil whilst attempting to do good. This... is counter to my vows, counter to my honour, and counter to my soul."

[Check the source for the rest of the story]

[cmweller]

Challenge #03390-I102: Ignominious Beginnings

Wraithvine killed a man by accident in attempting to stop them from robbing a shop. Unfortunately, accidents happen. Then learn the man was just desperately poor and his death meant his family was now facing starvation with a very sick wife and four small children in their little, run-down, shack of a home on a failing farm. -- Lessons

A moment, a mistake, and now a mortuary. The man now on the slab had had a home, a family, and some desperate mission to make him snatch a tray of bread rolls right in front of the world's most powerful Wizard. Nobody else would have thought twice about it, but Wraithvine was like no other.

For starters, ze had just buried hir full-elven grandson. Who had perished of old age.

Ze tried paying for a resurrection, but it had failed. Now, ze paid for Speak With the Dead. Two spells that Wraithvine had no grasp on. Yet. It was a lesson that ze would embed in hir nature for the rest of hir life. There is always more to learn. That, and, Don't get egotistical.

[Check the source for the rest of the story]