#it's about the CINEMATIC EXPERIENCE

[sovamurka]

Hey, remember this "Ma Meilleure Ennemie" vinyl that we saw in "Pretend Like It's The First Time"?

This is a reference to Xayah and Rakan, League's famous inseparable Vastayan bird lovers.

Yes. These Xayah and Rakan.

...I thought I was dreaming until I saw the full design of this vinyl in the artbook. I am so happy about this, you have no idea 🥹💞

[martianbugsbunny]

BITCH they had a WHOLE LOTTA NERVE to SPECIFICALLY HAVE STEVE SAY "bro, it's hard to date when nobody has shared life experience with u"

......IN THE MOVIE WHERE THE GUY WITH SO MANY SHARED LIFE EXPERIENCES SHOWS THE FUCK BACK UP. THE GUY WHO LIVED IN 1940S NY WITH HIM. THE GUY WHO SERVED IN WW2 WITH HIM. THE GUY WHO GOT THE SUPERSOLDIER SERUM LIKE HE DID. THE GUY WHO MANAGED TO STILL BE ALIVE AND LIKE THIRTY IN THE 2000S JUST LIKE STEVE. WHAT WERE THEY THINKING. WHY WERE THEY SO STUPID

[kiledra]

There seems to be a not so secret anymore ingredient to producing the best movie of the year

(Besides handling the theme of a multiverse in a absolutely mindboggling, entertaining, mastermindlike way)

[youssefguedira]

I wish you would write a fic about irreconcilable artistic differences on a movie set between Joe and Nicky.

not really irreconciliable as in not solvable at all but you know i had fun with this

Joe squeezes his eyes shut, covering his face with both hands, and leans forward. His shoulders tremble uncontrollably. He takes a short, sharp breath, and another, and another, but he can’t quite seem to get enough into his lungs. There’s a lump in his throat and a weight in his stomach. He leans forward with a low, wounded sound and–

“Cut,” Nicky says softly. Then, because it takes Joe a second to hear him: “Joe, stop.”

Slowly, Joe raises his head. Wipes at his eyes and takes a few deep breaths to steady himself. Nicky’s already up, frowning ever so slightly as he looks at the camera. 

“What is it this time?” Joe manages. His voice is hoarse; he has to clear his throat once or twice. Nicky doesn’t look up. The clock on the nightstand reads 01.34, but Nicky’s changed it a few times over the course of the shoot. He has no clue what time it really is, only that it’s dark outside.

It’s just the two of them in the room. Nicky had wanted to keep this one small, just him and Joe and the camera. The apartment they’re in is nice, if a little empty, though Joe supposes that’s the point. They’re in the bedroom, Joe sitting cross-legged on the bed, shirtless, sheets bunched up over his lap, a phone lying on the nightstand behind him. One entire wall of the room is taken up by a floor-to-ceiling window which lets the moonlight in, though there’s a few low lights set up behind Nicky to send bars of silver light across the bed, because the natural light hadn’t quite been strong enough for the effect Nicky wanted. It’s otherworldly; it’s beautiful. 

Nicky still isn’t looking at him, so Joe says again, “What?” It comes out a little harsher than he means it to, but it gets Nicky’s attention.

Nicky runs one hand through his hair. Joe can’t see him well, not with the light behind him and the shadows in the room. “I don’t know,” Nicky says. “It’s missing something.”

Joe has worked with Nicky enough times before. It’s not that he doesn’t like working with him - they’re friends - but he can’t fucking read him, and so after the sixth take of the same scene he can’t help but take it a little personally. 

Joe reaches for the bottle of water hidden just under the bed and takes a long drink, mostly to keep himself from snapping. What time is it? “I can try again, but I can’t do this indefinitely, Nicky.”

“I know, I know,” Nicky says, fidgeting again with the camera, “it’s not you, it’s just–” 

“What else could it be?” Joe interrupts. He’s not stupid. This scene doesn’t work if he can’t get it right, which means the entire film doesn’t work if he can’t get it right. More than anything else, this one depends on him. No music, no camera movement, no dialogue, nothing but him and the camera. And he wants to do it right, he loves this project almost as much as Nicky does, but there’s a hollow feeling in his chest and he’s spent the last however-many-hours having a near-complete breakdown over and over again and it’s still not right. And Joe doesn’t know what it is he’s doing wrong.

“I don’t know,” Nicky says quietly. Now he is looking at Joe, and Joe can’t tell if he’s disappointed, or angry, or – or what. He’s perfectly expressionless, as always. 

Joe loves this job. And he wants to get this right. But it doesn’t mean it’s not one of the hardest things he’s ever had to do, and he’s tired.

“I don’t have much more left in me, Nicky,” he says, and this time he does snap. He wipes at his eyes again, can’t look at Nicky. He’s supposed to be making himself vulnerable, above all in this scene, but suddenly he can’t stand the way Nicky’s looking at him. “Pass me my hoodie.”

“Joe–”

“I can’t. I can’t keep doing this.” He kicks the sheets off and gets tangled trying to do it, grabs his hoodie when Nicky offers it, pulls it over his head in one fluid motion and gets out of there as soon as he can. Thankfully, there’s only Andy and Nile in the other room, Andy lying back on the couch with her feet up and Nile perched on the arm of it. They both look up at Joe as he enters, both look like they’re about to ask, and Joe can’t stand it, can’t be in here a second longer, can’t–

“We are done for the day, I think,” Nicky says behind him, startling Joe. He hadn’t realised Nicky was there.

Andy raises an eyebrow, but doesn’t argue. It’s already the second day of trying to shoot this scene: they’re running the risk of falling behind schedule. 

“We’ll find something else to do tomorrow,” Nicky says. “I’ll look over everything tonight. We will try this again on Monday.”

Andy and Nile look at each other. Nile shrugs. 

“Get some rest, Joe,” Nicky says. 

Joe shoves his hands in his pockets and doesn’t say a word.

–--------------------------------

He doesn’t get called in the next day at all, and he doesn’t interrogate it too closely. Takes the day off, pretty much, because they’ve only really got one scene left to film, and there’s not much more he can do for that. Nicky had wanted to leave it to the last, and Joe had agreed, at the time.

At about nine pm, someone knocks on his hotel room door, which is unusual on a day where they don’t have a night shoot to do. When he opens it, Nicky is on the other side. Joe lets him in without a word. 

“I wanted to apologise,” Nicky says, standing in the middle of the room and looking as uncomfortable as Joe’s ever seen him. “For last night. I was pushing you too hard, and I should not have done.”

Joe closes the door behind him. Nicky fidgets with the sleeve of his hoodie. 

“Sit down,” Joe says. 

Nicky does, settling himself on the edge of Joe’s bed, not quite looking him in the eye. Joe joins him, after a moment. 

“At the risk of sounding cliche,” Nicky says, “it’s not you, it’s me.”

Joe laughs, mostly because the phrase sounds so strange coming from Nicky and also because out of everything he’d thought Nicky might say, he hadn’t expected that. 

Nicky smiles slightly, too. Then he gets up and heads for the minibar. “Mind if I have a drink?”

Joe shakes his head. Nicky gets out a little bottle of wine, glances at the label, and takes a swig straight from the bottle without bothering to get a glass. 

“I can’t seem to get it right,” Nicky says. “You know I wrote almost fifteen different versions of that scene?”

The scene in the script itself is barely a page long. “No,” Joe says. 

Nicky nods. Rubs a hand over his face. “I wanted it to feel real. I thought if I could get it right, it would… help, somehow. I don’t know.”

It’s the exact same reason Joe said yes before he even read the script, when the whole thing was just an idea in Nicky’s head, when they were talking about it over drinks at Andy’s and Joe was in love with the idea almost immediately. He knew exactly why Nicky was writing it; he knows, now, exactly why it needs to be right. But at the same time – “I don’t know if that’s possible, Nicky.”

Nicky sighs. “I know.” He crosses back over to sit beside Joe again, takes another drink from the bottle. “But there is something missing, and I cannot seem to find it. And so it does not feel real. And I know this is not easy for you.”

“It’s not,” Joe says plainly. 

“But you know,” Nicky continues, “I could not have trusted anyone with this but you. If you had not said yes, I would not have done this.”

That, Joe didn’t know: he knows he’d been Nicky’s first choice, but he’d assumed that’s because they know each other well enough already. But it makes sense: the reason Nicky wrote the script is the same thing they’d bonded over. 

Even still, it’s a lot. “I don’t know if I can do it the way you want,” Joe says. 

Nicky looks up at him from where he’s been running his fingers over the label on the bottle absentmindedly. “If you want to stop, I can–”

“No,” Joe says quickly. “But I don’t think it’s ever going to be exactly the way you felt.”

Nicky looks away. “It is a lot to ask,” he says. “I know this.”

Joe doesn’t think; just reaches over and takes Nicky’s hand. “I know,” he says. “Trust me.”

Nicky takes a deep breath. Then he nods. "Okay."

[joyflameball]

Good luck folks

[kikikoijo]

Queer media really just always be like ✨HANDS✨

She Makes My Heart Flutter (2022) | The Eighth Sense (2023) | The Eighth Sense (2023) | My School President (2022) | Fragrance of the First Flower (2021) | GAP The Series (2022) | A Time Called You (2023) | Moonlight Chicken (2023) | My School President (2022) | Dangerous Romance (2023)

Gif creds: @damnthosewords @tomystars @forcebook @firstkhao @gabrielokun @weiwuxian @liveasbutterflies @mantrisanu @bevioletskies @liyazaki

Part 2/? (Part 1)

[thiinka]

Just saw Look Back in the theater. It's a perfect manga to film adaptation: integrity to both mediums, an actual reason to be adapted, and intentional and loving filmmaking as a celebration of human collaboration are all here. The music, voice acting, visual composition, backgrounds, and animation are amazing.

Even if you've already read the original, please, if you can, go see this. It's incredible.

[mumblesplash]

mcu and mcu-adjacent writers who acknowledge sleipnir’s backstory but try to spin it so the original myth was ‘a misunderstanding’ or change it into something more palatable are fucking cowards. loki is that horse’s biological mother and if you can’t face that you don’t have what it takes

[singingowlfeather]

The whole thing about theater kids singing out loud in a movie theater to the Wicked movie and getting mad about people criticizing them about it is just so telling about where people are mentally these days.

Them telling people to ' just stream it' and openly having no basic respect for the audience and the performers is such an ironic response for a theater kid to have.

There's literally going to be a sing-along event that is happening on Christmas so just wait until then stop disrespecting other people and basic movie etiquette. It's not hard.

It's not about ' not letting people have their fun' it's about being a basically good and thoughtful human being.

It's not about you.

[papayafiles]

barbenheimer who? SINGAPORE GRAND PRIX.

[rotisseries]

alright im giving in im finally asking. what in the everloving fuck is narines

HIIIII HELENA honestly I'm so glad you asked I think you'd love them but BASICALLYYYYY one of my mutuals, hella, @tbos-main, has this really cool original fantasy wip, the blood of serpents, which I am OBSESSED with so I do fandom post about it like any other media, and two of the characters are nate and rin. well. naithairan and herines technically but I'm on nickname basis with them. and I can explain tbos in more detail but since you asked about narines specifically, they are two characters who are very much on opposing sides of the central conflict and in a way that IS irreconcilable like. it has to be genuine all consuming hate it's bad. but they're also narrative foils and parallels and whatnot and outside of the main ideological difference in regards to the central conflict, they are very similar people in a very fucked up way, they're both martyr figures with a lot of religious themes, they both have had to learn the language of violence well, they both are willing to go to unfathomably low depths of morality and monstrousness in the pursuit of protecting the people they love, they're both incredibly calculating and callous, and so they have this INSANEEE dynamic that is very much "I see me in you I see everything I hate about myself in you I need to kill you because I need to be killed but yet I cannot kill you because that would be like taking a knife to myself and we recognize each other deeply and intimately in a very specific way no one else can and I HATEE you for it" and so like. they should fuck about that. obviously.

[13eyond13]

Genuinely feel you can learn a lot about editing a story well by watching both the Lord of the Rings trilogy theatrical releases and the extended versions (if you know, you have several days of free time with which to spend carefully watching movies nonstop hahaha). Almost never did I think the things they cut were a bad idea to leave out. Watching them with the extra scenes added in often either threw off the pacing or tone of the story too much for me (eg. some of the stuff they cut out of the Shire scenes and the Council of Elrond scenes), went a little overboard on the campiness or overacting in a scene to the point it felt in poorer taste or a bit too unsubtle compared to the rest of the film (eg. those first scenes of Boromir and Faramir with their dad, the Mouth of Sauron scene), or were just plain repetitive and redundant character moments that became much more impactful when edited out to leave a single scene that did a better job getting the same point across. It's all useful writing advice stuff I would most definitely keep in mind if ever writing a story and then going back over it a second time to better polish it up.

[03349656115]

appleiphone

[maxellminidisc]

Miss when we just point blank called a film misogynistic instead of just slapping the term "the male gaze" on something. Like it's either always used poorly, or it used to work around and soften the "blow" of calling something misogynistic and voyeuristic.

[workathomemom13]

Furiosa’ Fires Up Cannes With 6-Minute Standing Ovation for Anya Taylor-Joy and Teary Chris Hemsworth

In a remarkable display of cinematic fervor, "Furiosa" ignited the Cannes Film Festival with an electrifying premiere that left audiences in awe and admiration. As the highly anticipated prequel to George Miller's iconic "Mad Max" series, "Furiosa" has been the subject of much anticipation and speculation. However, its unveiling at Cannes exceeded even the loftiest of expectations, earning a thunderous six-minute standing ovation and moving its stars, Anya Taylor-Joy and Chris Hemsworth, to tears.

The film, directed by George Miller and starring Taylor-Joy as the eponymous Furiosa and Hemsworth in a yet undisclosed role, promises to delve deep into the backstory of one of cinema's most enigmatic and beloved characters. Set in the dystopian world of the Wasteland, "Furiosa" takes audiences on a thrilling journey through a harsh and unforgiving landscape, where survival is a constant struggle and hope is a rare commodity.

The Cannes premiere offered a tantalizing glimpse into the world of "Furiosa," showcasing its breathtaking visuals, adrenaline-pumping action sequences, and gripping emotional depth. From the moment the lights dimmed and the opening credits rolled, it was clear that audiences were in for a cinematic experience unlike any other.

Anya Taylor-Joy's portrayal of Furiosa captivated audiences, with her fierce determination and steely resolve bringing the character to life in vivid detail. Taylor-Joy's performance was nothing short of mesmerizing, showcasing her range as an actress and solidifying her status as one of Hollywood's brightest talents.

Equally impressive was Chris Hemsworth's performance, which reportedly left the actor visibly moved during the film's emotional climax. While details about Hemsworth's character remain shrouded in mystery, his presence on screen was undeniable, adding depth and complexity to the film's narrative.

But perhaps the most unforgettable moment of the evening came during the film's conclusion, when the credits began to roll and the audience rose to their feet in a spontaneous display of appreciation and admiration. For six minutes, the theater echoed with thunderous applause and cheers, a testament to the film's undeniable impact and the talent of its cast and crew.

As the applause finally subsided and the lights came back on, it was clear that "Furiosa" had left an indelible mark on the Cannes Film Festival and the hearts of all who had the privilege of witnessing its premiere. With its captivating story, stunning visuals, and powerhouse performances, "Furiosa" has set the stage for what promises to be an unforgettable cinematic journey, one that will undoubtedly leave a lasting impression on audiences around the world.

[boyfriendsmalec]

24 hours to go until we get two new episodes of The Eighth Sense 🙌