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hymn2000 · 5 years ago

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Chiquitita - MCU AU fanfic - C27

Story summary: Something strange is happening. Someone from space has made their way to Earth, armed with a strange weapon. Targeting teenagers, their ray gun, when fired, turns the victim into a toddler. The Avengers set out to stop this, and find a way to reverse the effects. However, they don’t all come out of the battle unscathed.

Previous chapters: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

Part of my Frostiron and Spiderson series.

Warnings/themes: de-aging, family stuff, corporal punishment (early chapters only), mental health stuff, hurt/comfort, hospital/medical stuff

Chapter 27 - Sick And Tired

Loki sat in the reading nook, little Peter fast asleep on his chest. Tony sat down beside him.

“You can’t stay in here all day”

“What makes you so sure?”

“Loki... You know he’s not got much time left as a toddler. Maybe we should let him go a bit mad, play with all his toys at once and stuff like that. I get he’s having a nap now, but you’ve just kinda been sat with him all day”

“We’ve been reading and doing his flashcards”

Tony sighed. “Give him to me”

“He’s comfortable”

Tony sighed again. He stayed quiet. For a moment, Loki did too.

“...You never even tried to understand”

“Loki, please”

Loki swallowed. “Jo Jo understands”

Tony sighed irritably. “Of course he agrees with you. He-”

“I said he understands” Loki interrupted. “Not that he agrees”

Tony took Peter from him and stood up, much to Loki’s dismay.

“Tony! Give him back”

“No. I want to hold him”

“You want to turn a gun on him too”

“Loki, you’re being deliberately awkward. The reversal gun isn’t like a gun gun. It’s gonna help him, not hurt him”

Peter squirmed in Tony’s arms as he woke up, whining.

“Hey, bambino. How are you doing?”

Peter looked up at Tony, and across at Loki. “Thirsty”

“Yeah? No problem, kiddo. Let’s go and get you a drink”

Loki sat down on the carpet, watching Peter playing with his trains.

“Hey, darling” he said gently.

“H’y da’y” Peter said indistinctly.

Loki looked at him. “What have you got in your mouth?”

Peter made a run for it, but Loki was fast, and caught him quickly. He forced Peter’s mouth open, retrieving the offending object.

“Is that- is that a circuit board?! TONY!!!”

Tony soon came into the room. “Yes?”

“What the hell is this?” Loki said, holding up the circuit board.

“Oh, I misplaced that earlier!” Tony said, taking it from him. “Thanks, honey. Where did you find it?”

“In our sons mouth”

“Oh” Tony laughed awkwardly. “Sorry”

“You can’t leave things like that lying around when we’ve got a toddler roaming about. You should know that by now”

“I’ve said sorry! Look, no harm done. No harm done, right, Peter?”

“No harm done!” Peter grinned.

Loki sighed and stood up, lifting Peter into his arms.

“Daddy! Put me down!” Peter protested.

“Why don’t we go and do some painting?” Loki suggested.

Peter immediately brightened. “Ok!”

“Oh Loki, come on!” Tony whined.

Loki ignored him, and swept out of the room.

Just as Tony expected, Peter was covered in paint when he went into the kitchen later that day.

“Brilliant”

“He’s wearing an apron, Anthony”

“I hope you haven’t got paint all over the breakfast bar”

“Cleverly observe the newspapers, darling”

“I painted a picture of my rocket!” Peter grinned. “And this is the ducks at the park, and this is us swimming, and this is me and mumma, and this is me with you and daddy!”

“Ooh, aren’t they lovely?” Tony said, looking at Peter’s paintings. “You’re quite the little artist, aren’t you?”

Peter giggled happily. Tony ruffled his hair.

“Well then, chick. I think you need to go and have a bath while I get tea ready”

“Oh” Peter looked at Loki. “Can I play with my toys?”

“You can play with your bath toys, yes” Loki said. “Take your apron off. We’d better do as we’re told”

Peter took his apron off and lay it down carefully on the table. He jumped down from his seat, blinking up at Loki.

“Bath time?”

Loki nodded and took his hand.

Loki took his time washing Peter, being as gentle and thorough as possible. Peter frowned. Loki wasn’t making eye contact and talking the way he usually did. Something was wrong.

“Daddy?”

Loki looked at him. “Yes, darling?”

“Are you sad?”

Loki paused. “Maybe a little bit”

“Why?”

“It’s not something I can explain to you. You don’t need to worry about me”

“Do you wanna play with my bath toys? They make me happy when I’m sad”

Loki smiled. “Yeah, let’s play with your toys. We just need to rinse your hair, and then we can play”

“My water wheel!” Peter said. “I want my water wheel!”

Loki finished rinsing him off and then found the water wheel, pressing it to the inside of the bath. He handed Peter a beaker to be getting on with, and found some of the best bath toys for Peter to play with. Peter hummed happily to himself, keeping the wheel turning with cupfuls of water. Loki lined a few boats up on the water and put a little rubber duck on each of them. He found the big duck that quacked when it hit the water, and floated it in the bath. Peter grinned and giggled. He kept pouring water over his water wheel, quacking away to himself, imitating the big duck. Loki stroked the boys wet hair gently.

“I love you”

“I love you too” Peter said, and continued quacking.

Loki looked at the tiny boy. He looked at his bright eyes and his little interested face. He looked at his little nose. He looked at him, and thought how tiny and perfect every part of him was. He looked at the little smile on the boys face.

“You are such a good boy, my little darling” he said gently. “You’re such a good boy”

“Can we go to the park tomorrow?”

“We’ll see” Loki sighed.

“What are we having for tea?”

“I don’t know. Other daddy is cooking”

Peter stopped quacking and dropped the beaker in the bath.

“Peter?”

“I heard something”

Loki listened, and heard footsteps. A moment or two later, Tony opened the bathroom door.

“Daddy!”

“Hey, chick” Tony said. He looked at Loki. “Tea’ll be ten minutes”

“Ok” Loki said. “We’ll be in soon”

Tony left, and Loki looked at Peter.

“Time to get out of the bath, chick” Loki said.

“Do I have to?”

“I’m afraid so. We need to get you dried and into your night clothes so we can go and have dinner” Loki said. “Ok?”

Peter looked at his toys, and reluctantly pulled the bath plug out. Loki carefully lifted him out of the bath and wrapped him up in a warm towel. He picked him up and cradled him close.

“Let’s get you sorted”

Loki and Tony let Peter stay up later than usual that night. After tea they went into the living room and put on a Wallace and Gromit DVD. Loki gave Peter a little bit of fizzy pop in his sippy cup as a special treat. Peter sat on the floor with his drink, rocking his baby doll in its cot with his foot and lining his little toy dinosaurs up on his legs. As usual, his rocket was under his arm.

Tony put an arm round Loki’s shoulders. “I love you, you know”

“I know” Loki said. He sighed. “I love you too. I just don’t like you right now”

Tony sighed. “I know”

“Do you remember that song on Oliver and Company that always made him cry?”

“Once Upon A Time In New York City” Tony nodded. “You put that film on when he was in such a bad way. It still makes him cry now. God, it makes me cry too. I honestly don’t know how we got through losing May. Seeing him cry just absolutely destroys me”

“You used to sing to him” Loki said. “When he was crying, you’d just sing to him. Your voice would crack, but you’d just about manage not to cry. Most of the time, anyway”

“We sent him to school way too soon” Tony said. “He wasn’t ready to go to school. He wasn’t ready for any of it. Do you ever think about how it would have worked out if we’d done things differently?”

Loki nodded. “We were both horrible to him at times throughout that year. I was horrible to him before I went on my sabbatical. You were horrible to him while I was away. We made so many mistakes. How could we expect to look after him when we were mourning so heavily too? Yes, we sent him to school too early. We did lots of things too early... It feels like a nightmare, doesn’t it? If you think back properly? God, it was horrendous. He was absolutely destroyed by what happened. We should have forced him to see a therapist straight away. We should have worked through it with him properly, professionally. Maybe things would have been better if we had”

“Maybe. But... Loki, I know we did so much wrong. But we did our best. We were in a horrible place. Like you say; we were mourning too. Both of us still had other commitments too. And then to suddenly have him full time, and for the worst possible reason? We did do our best, I know we did. We tried to keep him fed, and we kept him clean and dressed and we tried to be there for him whenever he needed us. Sure, there’s things we did that we shouldn’t’ve, and we didn’t address everything we should have, and not in the right way. But you know we did our best”

Loki looked at little Peter, who looked so contented and interested, watching the DVD.

“Do you ever think that our best wasn’t good enough?”

“It was all we had, Loki. We did the best that we could under those circumstances. He got better, didn’t he? He’ll never be the person he was before the accident, we know that. But he’s as good as he’s gonna get”

“It makes me feel sick” Loki said. “Thinking about the way he was, the way he was feeling. Doesn’t it you?”

“Loki...”

“I’m serious, Anthony. Just think about it for a minute. Think about him begging on his knees at May’s funeral, begging her not to leave him. Think about how angry he was in the days following, all of that shouting and screaming. Think about those depressing months that followed. Think about the fact that he was in tears far more often than he was out of them. Think about the day we found out what those kids at the first school had done to him. Think about the day he found out about us and May. Think about how scared he was that year. Think about-”

“Stop it” Tony said. “Please, just stop. I know it was horrible, I know it hurts, I know what it was like. But we got through it. It’s done, Loki. All of that is done with. It might have been hell on Earth, but it’s done with now. It’s all in the past. Peter’s better now”

“The toddler doesn’t remember any of that horrible stuff”

“Loki, don’t. You can’t keep saying this stuff. I love the toddler, I really do, but that doesn’t mean we should keep him this way”

“What if I don’t want teenage Peter any more?”

“Don’t say that. You don’t mean that”

“Don’t I?”

“No, you don’t!” Tony hissed. “...Do you remember the song from Tarzan I used to sing to him?”

Tears filled Loki’s eyes, and his face crumpled. He rested his head in his hand, half-covering his face.

“I can’t do this”

Tony held him tighter. “I used to sing it to you, too”

“Don’t do this”

“I love you, Loki. I love both of you so much. You’ve been great with the toddler, but you know we can’t keep him like this. We need to give our teenage son his life back. All the horrible memories, yes, but all the good ones too. Think about him laughing, Loki. Think about his smile, and his jokes, and the way it feels when he wriggles under your arm for a hug. Think about how excited he is when he tells us about his patrols or when he’s been round at one of the Bunnies places. Think about how proud we feel when we see him win his swim competitions... Remember the look on his face when we told him we wanted to adopt him”

Loki turned and buried his face in Tony’s chest. “I can’t let go of this little boy”

“It’s not goodbye. It’s just a flash, and then we’ll have a slightly heavier son to hold. The son we adopted. The one who called us dad first”

“You’ve been dad far longer than I have”

“That doesn’t make him any less your son. You know that” Tony rested his mouth against Loki’s head.

“You’ve always been his favourite. You always will be”

“He’s still your son too. You’re still daddy Loki... I know you’re scared”

Loki swallowed hard. “We’ve got the chance to give our son a life where he’s happy. This little boy is happy, he’s never been anything but happy. How can you think it’s wrong to give him this chance?”

“Would you give up your life for one where you’ve never been hurt?”

“He’s not giving up anything. He’s still got us”

“What about his friends? Loki, he doesn’t even remember May”

Loki just buried himself further into Tony’s chest and clung to him. Tony held him tight.

“Can I tell you a secret?”

Loki didn’t say anything. Tony took a minute. He sighed, and spoke:

“I’m scared too”

Loki waited until Tony was fast asleep, and then snuck into Peter’s room. Much to his surprise, the toddler was awake. He was sat up in bed, holding his rocket in both hands and looking thoughtful.

“Hello, darling” Loki said gently. “Are you ok?”

“I woke up” Peter said. “Do you think daddy will make me a real rocket if I ask him to?”

Loki blinked hard to dry the tears that had welled in his eyes. He was glad of the night light, as the blue glow probably did a good job of hiding his emotions. He sat down on the edge of the bed.

“It’s late, my darling” he said. “I think you should try to go back to sleep”

“Oh” Peter said. “Ok. Are we going to the park tomorrow?”

Loki swallowed. “We’ll see”

Peter looked at his rocket and set it aside. He held his arms up to Loki.

“Sleepover?”

“What do you mean?” Loki asked, lifting the toddler into his arms and holding him close, breathing in his scent.

“You stay in my room tonight”

“Of course, if that’s what you want”

“Yep” Peter said. “My bed is enormous, so there’s room for you too!”

“So I see. Well then”

Loki pulled the covers back and climbed into bed. He set little Peter down on his back and gave him his rocket, and then lay down on his side beside him. Peter wriggled closer, pressing his side against Loki’s chest. Loki propped himself up on his elbow, looking down at the boy.

“Comfortable?”

“Mm” Peter nodded, hugging his rocket against his chest. “If we don’t go to the park tomorrow, can we go swimming instead?”

“We’ll see. You need to go to sleep now”

Loki stroked the boys fluffy hair gently. Peter looked up at him, yawning so that his nose wrinkled.

“I think you’re tired” Loki said gently.

He lay down properly, pulling the covers over them and putting an arm round Peter, holding him close.

“Goodnight, daddy”

“Goodnight, darling”

Peter closed his eyes and soon fell asleep. Loki stayed with him, listening to the soft sounds of him breathing, and stroking his hair and face gently. He could hear the clock ticking on the wall, and it made his heart thump harder still. He felt so sick. He kissed Peter’s cheek gently.

He couldn’t sleep for ages. For a long time he just lay there, holding Peter close, choking back tears, and wishing morning would never come.

#my writing #fanfiction #mcu fanfiction #marvel fanfiction #frostiron #irondad and spiderson

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eene-fangirl · 5 years ago

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Giant Rabbit (An Ed, Edd n Eddy/ Wallace and Gromit Crossover)

Note: This is another crossover from Wallace and Gromit The Curse of the Were-Rabbit. I will write more scenes based on this movie.

Time was not on their side. The sun was only just beginning to set over the pink and orange clouds. Soon, it would be dark and the moon would appear from behind the clouds. It was only a matter of time before Edd was a huge rabbit, stalking the town and all its vegetables.

Now fully aware that he was the beast, the horrible news only caused Edd to faint. That took away precious time, trying to get him to wake up. Luckily, Eddy had his cologne which woke Edd up in an instant. One whiff of that and Edd was running up the wall.

Studying the blueprints to his mind-o-matic machine, Edd had no clue to what he was doing. All the pieces of the machine, lights, the outer metal rim, and pieces of broken glass surrounded him on the table of his father’s garage. Luckily, his parents were gone. Like that was anything new. It’s tough to say if they would have noticed the fluffy bunny ears sprouting out of Edd’s head.

“Try putting this part here, Double D!” Ed suggested trying to attach an orange piece of machinery to wires. “What do you call this part again?”

Edd stared at the piece of machinery with a blank expression. Eddy watched from the far end of the table, mostly at Edd’s reactions. If only he could have seen his own expression of pure horror when he transformed into the were-rabbit last night. Best avoid that topic. Edd had a lot on his plate right now.

“Um... that... I’m not sure where that part goes... But, oh!”

Suddenly, Edd’s eyes beamed like a child seeing chocolate in a candy store window. The young man snatched the piece and started to nibble lightly on it.

“Double D, what are you doin’?” Eddy asked him as if he were insane.

Ed took the object away from Edd’s mouth, thinking that it may shock him. “This isn’t food!”

His cheeks turning red, Edd slapped his hands to his mouth in shock and embarrassment. “... I-I thought it was a carrot...”

Ed and Eddy exchanged looks. Then Ed snapped his fingers. “Maybe Rabbit Double D can help us!” And he raced up the stairs, shutting the door to the basement.

“No use, Ed!” Eddy called after with a little giggle. “There’s no use prying that bunny away from his science experiments!”

Meant to be a joke, Eddy caught his tongue immediately regretting what he said. Edd was miserable, tears threatening to crawl into his eyes as his mouth quivered. Edd had spent countless hours in his room, ignoring texts from his friends to hang out. And Edd felt awful for doing that, missing out on his last years of freedom before leaving for college.

“... It’s hopeless...” Edd uttered.

Eddy raised his eyebrows, very surprised. “Hey, don’t say that!”

Edd shook his head. “No, it’s hopeless. I’m not me anymore!” My mind has been reduced to the thought process of a rabbit! You... you were right, Eddy. This plan was illogical, consequential, and my worst idea ever!”

“Whoa, whoa, whoa I never said that this was your worst idea ever!” Eddy corrected waving his hands in front of him.

“I just wanted my science project to be something that nobody else has ever thought up! And now look at me! The machine is broken, I’m half rabbit, and soon I’m going to stalk the town of all it’s good people and food!”

Eddy snickered a bit. “Okay, little dramatic don’t think? You stalk vegetables, not people.”

Clearly, Edd was not in the mood for any jokes. Sighing, Eddy sat a little closer to Edd. “This time maybe you can control it somehow?” Eddy suggested.

Edd looked at him, misery. “Were you and Ed scared of me?”

His smile vanished. Then another idea! “You had the strength of Hulk! You could lift a tree!” Again not the best thing to say. Oh, he was terrible at this!

“I could have hurt you...”

“But you didn’t!”

Tears fell from Edd’s cheek. He could no longer hold it all in. “Oh, Eddy! I don’t want to be a giant rabbit!” And Edd burst into sobs, loud cries, wiping and even blowing his nose against his furry ears. Collapsing onto the table, Edd hid between his arms, sobbing into the wood.

Feeling his heart completely rip apart, Eddy got up and went over to Edd. Touching his back, Edd jumped and looked up to see who it was.

“Need a hug?”

Edd threw his arms around Eddy, hugging him tightly. Eddy let him soak his shirt with tears as he rubbed his back in slow motions. The friends hugged for the longest time. Eddy actually pet his ears. This actually made both of them crack up.

“You’re very soft,” Eddy admitted jokingly.

Despite everything, Edd realized he had his arms around Eddy’s neck. And Eddy’s arms were still hugging Edd’s waist. Blushing, neither pulled away. They liked the physical comfort, almost longing for it.

They hadn’t spent much of their senior year together. And that was mainly because Edd was scared to face his feelings. He was scared of what his parents, or what others would say. Nobody else mattered. This was his life!

“Eddy...”

That was when the doorbell rang.

#ed edd n eddy #eene #eene fanfiction #eddeddy #Wallace and Gromit #wallace and gromit the curse of the were rabbit

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letterboxd · 7 years ago

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Tristan Oliver Q&A.

“We have had far more problems shooting on a 5D than we ever did on film. The sheer absurdity of the throwaway society and obsolescence leaves a bad taste in the mouth.”

Cinematographer Tristan Oliver takes us behind the scenes of the Wallace & Gromit train-chase scene, a flood on Isle of Dogs, and the time he acted with Colin Firth, Rupert Everett and Cary Elwes in 80s British romance Another Country.

Oliver was the man behind many of the cameras on stop motion films including Isle of Dogs, Fantastic Mr. Fox, Wallace & Gromit: The Curse of the Were-Rabbit, ParaNorman and Chicken Run. He also filmed the Academy Award-nominated Loving Vincent.

We asked him some of your questions and some of our own (but we did not ask him “what is Wes Anderson like?”—read on to find out why).

Several Letterboxd members (including ReiJr, Curtis and Nicolas Inard) want to know what drew you to animation cinematography over live action, and what makes it interesting for you?

Well, obviously it’s a ridiculous way to make a living by any definition and I don’t think I ever really, actively wanted to do it. I just kind of fell into it. I was shooting some pop promos for friends and needed to borrow some lights and I knew a couple of people at Aardman—at that time it was literally a couple of dozen people. They said “Oh great, what are you doing next week?”

It was so great—they never used to schedule anything. They just used to ask you in and you’d stay until the job finished a few weeks later. So I stayed as a freelancer with them for a very long time. At the same time, I had a child, so I needed some regular income. I stuck at it at Aardman and I was good at it and they liked me.

It was an exciting time inasmuch as they were reinventing the entire look of stop-frame [animation], because stop-frame really was kids’ TV up until that time—it was super quick and rough and very crudely photographed. Big, soft lights and go home and forget about it. So what we started to do was create a very cinematic look for it, and make it into a much bigger canvas and bigger screen. Our driving motivation was that we made no concession at all to the fact that it was animation, we just tried to make it look nice.

[Animation] was a genre that was neglectful of its cinematography, and even now, I meet animators who don’t really care about it. It’s all about puppets as far as they’re concerned, and I think generally anyone watching the films doesn’t really care about cinematography. It’s the Cinderella department. People are all over the props and puppets.

Immediately getting a little more technical, how does one pull off a rack focus with moving stop motion elements in the shot? —Gina

That’s very interesting because of course stop motion isn’t moving. It’s entirely static until you move it. So a rack focus is just broken down into as many frames as you want it to take place over. So if it’s a twelve-frame or an eight-frame rack focus, in one way you can put a piece of tape over the lens and you move it one notch each frame. Or, we use a motion control computer to do it, which we do these days because it’s much smoother. The animator will press a button, the camera takes a frame, the motion control computer moves—and the animation software will trigger what needs to be triggered.

Although the camera move is conceived in real time, you know, A-to-B, if it takes four seconds you can run it at four seconds or you can run it at a frame a time—now move your puppet and off it goes. So the puppet follows the camera, as it were.

Motion control is one of the things that really liberated us. When we were setting up Chicken Run, that was suddenly a film that needed to play out on a cinema screen rather than a television screen, and moving the camera through space was one of the ways to expand that space. We kind of take it for granted that we can do that now.

Cinematographer Tristan Oliver on set

I was wondering how different lighting a set for a stop motion film is compared to a live-action film and maybe what some challenges of lighting a stop-motion film are? Thanks, I love your work! —Ben

Thank you Ben! Well. I would say that aesthetically there should be no difference because, coming back to my original point, one’s aim should be to make something look beautiful and not really concede in any way to the fact that you are shooting animation.

But there are some issues. Primarily of course the size of what you’re shooting—and this means that relative to the characters you’re shooting, the camera is very, very large. The camera is kind of the size of a small car inside a domestic environment. It’s normally as tall as the character, so you do have issues lighting the character without the camera getting in way. You also have enormous issues with depth of focus because normally we are working right up to the minimum [focal point] of the lens. So to get stuff looking natural, you have to work at a very tiny aperture to get the depth of field that you’d find acceptable in live action.

A puppet’s head might only be the size of the top of my thumb and if I focus on its eye I might find that its nose and ears are unacceptably out of focus. So we are really asking the lenses to do something they were never really designed to do well, which is to work at tiny stops. Most lenses are optimized around ƒ/4, ƒ/5, ƒ/6 and we typically use them around ƒ/14. We really do beat them into submission.

The other issue is heat, of course. We don’t want to be cooking the animators or the puppets or the environments. Luckily, we don’t need a huge amount of intensity with light because we can vary our shutter speed, because we are taking shots one frame at a time. But we do need to keep sets comfortable. We do occasionally use large lights—especially if we’re shooting daylight exteriors—because you very quickly give away that they’re models [if] the shadows fan out, and real shadows don’t do that. They remain parallel, or “coherent” as we call it.

Has LED lighting changed DOP work for stop motion? —Tim

Yes, LED has in many ways transformed our world. The reason being that it’s very tiny so you can hide it and it’s very cool so it doesn’t produce any heat, and also you can dim it without the colour changing.

As an example, on Isle of Dogs we have a large theater set which is all painted with red and black lacquer in the Japanese style and it is lit by paper lanterns (which are actually made out of painted resin). Each of those lanterns contains a very small incandescent bulb, so when you dim those the colour gets very warm and orange. But then we have other [LED] fixtures in that environment and they can be dimmed right down but their colour doesn’t change, so you can keep a very dim but pure light point and that makes the warm stuff read warmer. It’s all about showing the eye where the light is. LEDs just have that purity of colour which doesn’t change with intensity.

And the other thing I wanted to say is the main difference is the sheer number of units we’re shooting on. We typically run between 40 and 50 units, and I’m having to be across all of those in terms of how the film looks. So I’m personally hands-on lighting a lot of those but I can’t do all of them. I have a couple of other guys who help me out and they work to my brief so that it looks like one person did it.

It is a huge, very busy environment in a very large stage with a lot of people running around. I think people’s impression of animation is a very ponderous, dull thing but actually, although it takes a long time, they’re working as quickly as they can. And they’re all working on their own.

Wes Anderson with his Isle of Dogs cast

What type of personality do you think you need to work in stop motion? There’s a stereotype that you must have to be very patient, but the reality is quite different?

I think the idea of “patience” is... I don’t even know where that comes from. That is what we call one of the “top five questions”. That, along with “tell us what is one of the most difficult things you had to do on the film” and “what is Wes Anderson like?”.

I don’t know what anyone’s being patient about, really. Where’s the patience? An animator is animating. He (or she) is working as fast as he possibly can, doing a very complicated performance through the medium of a puppet. So he is undergoing a degree of concentration it would be impossible to imagine and around him sets are being built, painted, lit, set up.

In all respects it is exactly like a live action department—it’s very busy, there is no downtime. So this concept of patience is entirely erroneous. What you actually need is stamina. Not patience. Because this is five or six days a week, 60-hour weeks for two years. And it’s intensely busy. Because of the length of time it takes to shoot, we’re in a rolling process of pre-production even when we’re in production. People are constantly losing their temper and constantly screaming and running out of the studio. To think there’s some kind of monkish, trappist environment… [shakes head].

Which villain did you find more terrifying from the films you worked on? —Manny

They’re not that scary are they, because they’re puppets, but I guess the best villain is Feathers McGraw from The Wrong Trousers, because it’s a penguin and it never speaks, and yet it has a sense of menace to it that is so thorough. It hasn’t even got pupils! It does occasionally blink but it mostly just sits there and... looks. It’s amazing how well it works.

What is it about penguins in animation? There are so many… Surf’s Up. Madagascar. Pingu…

Feathers McGraw and Wallace in Aardman Animation’s The Wrong Trousers

When stop motion films were first shot digitally, sensor noise was an issue that sometimes led to ‘crawling’ artefacts between frames. Has this been mitigated in newer camera hardware, or is it something you still need to watch out for? —Matthew

Do you know what? I read that question and I thought “I have no idea what you’re talking about!” I’m completely unaware of this as an issue. The only film I think that may have been an issue on was Corpse Bride. We did have issues with the 5D which was used as the default animation camera for about ten years. But those issues were to do with the chip heating up and causing fluctuations with the density and the contrast. But the camera I used for Isle of Dogs and also Aardman used for Early Man, which is the Canon 1D X, was pretty damn good. Pretty stable. So it’s kind of ironed out. I mean, you know, no camera on earth is designed to shoot stop-motion animation. I mean why would it be? So we’re always looking for the next camera.

I know that Pete Kozachik is an extreme fan of 30- to 40-second shutter speeds, which is frankly ludicrous. That may have resulted in excessive sensor noise, but that’s more to do with the shutter speed.

How do you handle having to start an insanely complex shot again after an error?

That’s a very interesting question and I’ll tell you why: because the only reason that we reshoot is if there’s an animation problem. Because nothing gets shot until everything is right. So everything is tested. The lighting, the motion control, set dressing, everything is run in front of the director to the point where they say yes, good to go.

The reason is: you can’t ask an animator to reshoot a shot if they’ve done nothing wrong because you’ve cocked it up. So only animation issues are reshot. And from that point of view, it doesn’t bother me in the least, because I just go in and make sure they’re good to go, and they just go again. It’s their loss of time, not my loss of time. They’re normally quite okay about it. Most animators don’t mind having a second go because it does give them the opportunity to improve.

If there’s a catastrophic tech error on the other hand… We did have a flood on Isle of Dogs. We had a massive hole in the roof and a torrential thunderstorm and we lost some stuff in that way. So that becomes an Act of God, a force majeure, and you just have to get on with it.

But also we do monitor what’s going on, so I tend to pop in and just make sure the animators are okay and do my daily rounds. If I see an animator has unwittingly missed a focus point or position because they hadn’t been concentrating, I would inform the first [assistant director] and say “we need to restart this shot”. But because of the critical mass of shooting on 40 to 50 units, if you have an issue, it’s not really an issue. It can be frustrating, that’s all.

Gromit and friends in Curse of the Were-Rabbit

What, if anything, do you miss about the 35mm Chicken Run and Curse of the Were-Rabbit days?

There are things I miss about 35mm days. The structure of the day is far more coherent when you’re shooting on film, because you start your day looking at the rushes, looking at the dailies, then you go into the edit suite and you look at that material cut in, and then you go to the studio floor and address what needs addressing. Whereas when shooting digitally, every time someone finishes a shot you all have to go and look at it, get them turned over, and so on.

There is also far less downtime for animators and bizarrely I think they suffer from that because the process of sitting down and discussing shots and comparing notes is over. The experience of sitting in a green room and getting into a conversation with two or three old silverbacks of the industry is gone really.

The other thing is it’s no quicker shooting digitally. We shot Chicken Run in 78 weeks and we shot Isle of Dogs in 86 weeks, so it actually took longer.

A problem you get with digital is you suddenly have far too much choice. We would do everything in-camera on film. We would use painted backdrops for skies. Everything would be shot into camera, and now of course you can just shoot green screen and decide what your background’s going to look like later.

You’re giving yourself way too much choice because you can. So the amount of creative decision-making is thrown to the end of the movie. That seems like liberation but in fact it’s just putting off what could otherwise be a perfectly reasonable decision. And I think living with what you’ve done isn’t a bad way of working.

And the other thing—which has nothing to do with the practicalities of shooting—which appals me, is that every time we do a movie you have to buy new cameras, because they wear out, so they have a life, and they always stop manufacturing the damn things.

Halfway through Isle of Dogs they stopped making the camera we were shooting on! We had 50 and we had to find another 30 and we had to scour the world for them because Canon was no longer manufacturing them.

Whereas at Aardman, I could take a camera off the shelf that was made in 1928 and I’d know that I was using a piece of 70- or 80-year-old technology that was just going to keep going. We did not lose a shot on Curse of the Were-Rabbit or Chicken Run to a camera problem.

We have had far more problems shooting on a 5D than we ever did on film. The sheer absurdity of the throwaway society and obsolescence leaves a bad taste in the mouth. That at the beginning of every movie you have to spend $300,000–400,000 on new cameras.

At the end all those cameras are [sold on] eBay. The sheer fact of having to put all those cameras on eBay is absurd.

The famous train-chase scene in The Wrong Trousers

Can you tell us any good stories about the train-chase scene in The Wrong Trousers? (Emma guesses it must be the most challenging scene you’ve ever worked on, and there’s no doubt it is one of the best action scenes in a film, ever.)

Ha! Do you know how long ago that was? My daughter Sally was born the second week of shooting The Wrong Trousers and she’s just had her 26th birthday. However, I can tell you exactly about the train chase because it was a lot of fun, that particular segment.

So what you have, of course, is you have this chase that appears to take place in an infinitely huge environment, because the train is moving. We did some crude math and decided the train would be moving at 50mph if it was scaled up. So we did some tests and it looked really slow. So we just kept going up and up and up. And in fact it’s now moving at about 200mph scale-to-scale.

It’s tiny, absolutely minute, the train. We devised this method for shooting where you never see both ends of the train at the same time, so it’s either being pushed or it’s being pulled. It’s attached to the camera, [which is] on a crane hanging over the set. And the camera either had a rod that was pushing or a thread that was pulling. There is no motion control at all.

Laid on the floor is a tape measure and a pointer pointing at the tape measure. We’d hit the camera button—it had a two-second exposure—and we’d push the train 10cm [3.9in] along the track. So it’s moving at 10cm a frame. That’s a lot of distance to cover. And as the train is pulled or pushed, its wheels naturally go around on the track, so it self-animates its own spinning wheels as it goes along.

And we had a set that was a sort of long living room. It was Wallace’s living room but stretched, so it was about five meters long. At one end there was this huge sofa and the camera would go along following the train and it would go behind the sofa and as soon as it moved we’d pick the sofa up and take it down the other end of the set and the camera would move around the sofa and the train would keep going again.

And then when the penguin flies through the air, we actually mounted a sheet of glass in front of the camera—a big sheet of glass so you could see the set through it—and then the penguin was animated across that sheet of glass from right to left. So it looked like it was flying through the air, but the camera was still moving—everything was moving at 10cm a frame—so that’s 2.4 meters per second on double-0 gauge (if you know anything about trains). If you scale that up you’re moving at a hell of a lick!

So the penguin is stuck to the sheet of glass each time he is moved?

He’s had his back sliced off him so he’s like half a penguin, a bas-relief, if you like.

Then there are two other bits on that sequence. (It’s a very big sequence, obviously, there’s a lot to tell!) One is when the train goes around the corner. So for that I built this tiny dolly, which was a wedge of timber with four furniture casters on it and a massive Mitchell camera mounted on top of it. The track went under the camera, and I actually knelt on the set and hand dollied it round the bend.

I thought “this is fantastic!”. But when we actually shot it, what I had completely neglected to register is that as you hit the button the shutter goes around and it completely obscures the eye-piece—so I did it blind, really.

And the other shot is where the camera goes under the table. I can’t actually remember how we did that. I think we had a table that just broke away. But it’s all in-camera. There are no special effects at all.

We had a crew of six on that film. And only 150 shots in the whole movie. It’s amazing. The camera just sits there and watches what’s going on. It doesn’t cut, cut, cut. The camera sits there and you watch the whole sequence of penguin looking up at museum and all the other scenes.

Wes Anderson’s Isle of Dogs

Did you have a favorite moment on Isle of Dogs?

[Laughing] The last day! There are certain bits of Isle of Dogs that I greatly enjoyed bringing to the screen, but overall it was a slog. Working with a director who is an auteur gives you far less scope to exercise your own creative imagination, so you become reactive rather than proactive. That can be frustrating. That isn’t saying that the film isn’t fabulous and everyone will love it, but in terms of saying I loved that and I did that, it isn’t really my work. It’s something that I “enabled”, if you will.

There are some things that give you a degree of satisfaction. The problem with these movies is they are vast machines that roll on, so the intense personal satisfaction that I used to derive from shooting stuff like The Wrong Trousers is kinda lacking, because it’s such a huge thing.

I had a lot of fun shooting ParaNorman. By my own admission, I think I made a really, really good job of it and I think it looks fantastic. I enjoyed the directors, I enjoyed working at Laika. It was great.

What are five films you love for their cinematography?

I love Conrad Hall so I would always have Road to Perdition, his last movie, which I think is absolutely stunning. The beauty of shooting that film, dying and then getting a posthumous Academy Award is fantastic.

Seamus McGarvey is a great talent and I think Atonement is a beautiful looking film.

Casablanca is absolutely beautiful in black and white. That’s an astonishing looking movie. God, absolutely stunning.

I just think the standard of cinematography is so high at the moment. Production values just generally are so much better than they were 20 years ago—you can see a lot of bad movies but they’re very rarely badly shot.

The latest Blade Runner is fantastic. I’m so glad Roger [Deakins] won an award for that. Revolutionary Road, he did a fantastic job on that as well.

Any women cinematographers you have an eye on?

I realise that’s a prod, but Mudbound is a very handsome looking movie. I think [Rachel Morrison] did a fantastic job on Mudbound. Ask me in another ten years and I’m sure I’ll have many more names.

Did you ever meet Roger Deakins?

No, never. I met Jack Cardiff a couple of times, in his 90s. He was very twinkly. He’s a very naughty man—I think he had sex with nearly every leading woman that he worked with, which given that he is about five foot four is astonishing. He wrote a fantastic book called Magic Hour which has some absolutely awesome anecdotes in it. It’s well worth a read.

Could you have imagined in your wildest dreams that you’d spend a quarter of a century working in this field?

Tristan Oliver on set

My wildest dreams? Like some hideous nightmare! I mean, “no” is the answer. I think I’ve always kind of felt that I would be getting out of it at some point. You very rapidly become pigeonholed in this business. Because it’s what I do, it’s what I get asked to do. People are ludicrously conservative about this.

A case in point is Loving Vincent. The reason I got that job was because I knew about animation. But I actually shot a 90-minute, single-camera, live-action movie with a dolly, cranes, the works, in 16 days, which is pretty good going for a 90-minute movie. Then someone took it away and whilst I was shooting Isle of Dogs they painted all over it!

But isn’t it weird that I got the job because I knew about animation? That’s what the business is like—a crazy, slightly blinkered view. But all my films get seen by a lot of people. They’re proper big movies, they go all over the world.

What memories spring to mind when you think about Another Country all these years later? It must feel like another life.

Ha! 35 years later. The thing about that movie is that’s kind of what made me do what I do today. I didn’t really know anything about films until I did that movie, and I became very friendly with the camera crew [director of photography Peter Biziou, who later won an Academy Award for Mississippi Burning, and camera operator David Garfath, who also worked on The Empire Strikes Back]. I was really interested in it.

At secondary school I had done my exams in physics, biology and chemistry so I had a technical knowledge. I absolutely adored acting. I really, really, really enjoyed acting, but it just never happened for me. I had at one point to make a decision about whether I was going to live in a tiny flat by the seaside and do a couple of commercials and a pantomime every year and end up in a blazer and cravat, or do something that would make me a living. So I did spend a couple of schizophrenic years being a clapper loader and an actor, then I went to film school.

But my memories of that film are very intense and very fond. I mean, that was a real eye-opener for me. I’d never been in that environment before, surrounded by those sorts of people doing that job. It was deeply affecting. I think it damaged me for about five years. Although it was only a few weeks of my life, I then had to go back and finish my degree and the phone never rang. Everyone was interested in Rupert [Everett] and Colin [Firth], or Cary [Elwes]. Although only Colin really became a superstar.

In hindsight I’d have got myself a publicity agent and gone out there and sold myself. So I do this now. I lead a life of anonymity.

Look at an animated feature: in terms of awards, all it’ll be up for is best animated feature. The Annies don’t ever have a category for cinematography, and they have a category for everything, even an award for the floor sweeper! I wrote to them and asked them in the nicest possible way, why don’t you have a category for cinematography? And they went, ‘Oh it’s far too expensive to introduce new categories’. Then a year later they introduced two new categories. It’s absolutely absurd. We go very unconsidered in this world. Trying to gain membership of any professional organisation is impossible.

I’ve shot six movies and every one has been nominated or won an Academy Award. And I’ve shot short movies that have won or been nominated. They just go, ‘Yeah, it’s animation though isn’t it’.

Well, what keeps getting you up in the morning, in terms of what you do?What do you think is the role of storytellers such as yourself and the teams you work with in our society?

Stories are what separate us from the beasts. We are the only animal capable of projecting abstract thoughts into the future or into the past and drawing analogies in that way. I think it’s what makes us human: the ability to tell stories. There’s no anything without story. People ask me what makes a great movie and I go “the script”.

People love to watch people acting stuff out. It’s peculiar. It’s not something that any other animal does. It’s very deep within us, this need to tell stories. In fact they’ve now decided that the way these neolithic cave illustrations have been structured, with animals with multiple legs, is because when they were lit by candlelight it gave the impression of running. As the candlelight flickered, these things galloped. It’s all about story.

Finally, tell us why we ought to visit Bristol, the home of Aardman Animation?

Why would one visit Bristol?! Well, it has a thriving arts and animation scene. It’s a little bit laid-back. It’s rather like Portland in that respect. If you were in the UK and you wanted a day out I’m sure it’s right up there with Bath. It’s next door to Bath so you could probably do both in a weekend. But the thing about Bristol is it’s so nice, it’s so comfortable, that people used to go there and never leave.

I’ve experienced this many times because when I was crewing up Fantastic Mr. Fox—and indeed Isle of Dogs—I asked some of my old crew from Aardman to come and work with me. And they were all incredibly reluctant and it’s only 110 miles away! They were happier to be unemployed in Bristol than come to London, which terrifies them because there’s too many people there. Portland is where young people to go to retire and Bristol is the graveyard of ambition.

Our thanks to Tristan Oliver for his time and energy and to Fox for arranging the interview. See the accompanying list of favorite cinematographers and the questions thread.

#aardman #chicken run #isle of dogs #wes anderson #cinematography #cinematografia #animation #stop motion #claymation #wallace and gromit #letterboxd

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justanothercinemaniac · 8 years ago

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Epic Movie (Re)Watch #166 - Wallace & Gromit: The Curse of the Were-Rabbit

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Mostly.

Did I see it in theaters: No.

Format: DVD

This post is dedicated to the memory of Peter Sallis, who passed away while I was writing. The voice of Wallace, we’ll remember always the love he had for his dog and how he was crackers for cheese.

1) Wallace and Gromit were the stars of three original short films published by Aardman animation before this movie was released. All of them were directed by this film’s director: Nick Park. All of them were nominated for an Oscar for best animated short film. The final two (“The Wrong Trousers” and “A Close Shave”) won that Oscar. Wallace and Gromit are icons of not only British animation but animation in general, yet this is their only feature film to date. Having said that...

2) According to IMDb:

Nick Park wanted the DreamWorks logo to play an epic theme, like something akin to Star Wars: Episode IV - A New Hope (1977). He wanted audiences to think that Aardman had sold out to Hollywood, before the film reverts to the classic Wallace & Gromit theme over the opening credits. The intro was also one of the last scenes filmed.

3) As the opening credits play the camera pans across a series of family photos featuring the titular pair, telling it’s own little story in them. It’s actually a perfect way to introduce their relationship: Wallace’s love for cheese, Gromit’s sort of impatience with Wallace’s shenanigans, but also the deep friendship they have.

4) The vegetable shop in this film is called Harvey’s.

5) Peter Sallis as Wallace is a delightful treat.

Dreamworks originally wanted the performer - who had played the character since “A Grand Day Out” was released in 1989 - replaced by a bigger star. Nick Park firmly refused (casting Helena Bonham Carter and Ralph Fiennes in original roles to give Dreamworks this desire) and the film is better for it. Having a big name voice Wallace would be distracting. Sallis defined who Wallace was, playing the character until 2008′s “A Matter of Loaf and Death” (which is his last performance as the character). He brings with him a charmingly dimwitted yet sincere nature. There is no malice in Wallace, no annoyance. He is a totally warm and lovable character and I am grateful to Sallis for bringing that to him.

As I’m writing this I see that Peter Sallis has just passed away at 96. His agents announced, “It is with sadness that we announce that our client Peter Sallis died peacefully, with his family by his side, at Denville Hall on Friday 2 June.” I dedicated this post to his memory above but would be remise if I did not emphasis just how much of an impact he not only had on this series, but the world of voice over animation as a whole with his iconic character of Wallace.

6) Gromit is one of the finest examples of character animation ever.

Gromit has the strongest personality of any character in the film without voice or even a mouth. His snark, his heart, his humor, who he is, is ALL in the eyes. In the movement of his eyebrows. It is truly remarkable when you think about it, especially considering how iconic a character he has become.

7) I have never related to a character as on this subject as deeply as I do with Wallace.

Wallace: “The fact is, I’m just crackers about cheese!”

8) Helena Bonham Carter as Lady Tottington.

Bonham Carter is one of the most sincere voice over performers I’ve ever heard, with her role in Corpse Bride just as delightful as in this film. There is no ego to Tottington, you don’t even think you’re listening to Bonham Carter. You are listening to the optimistic, earnest, trusting, kind, and sympathetic Lady Tottington and I think that works wonderfully.

9) Ralph Fiennes as Victor Quartermain.

Like Bonham Carter, Fiennes is able to remove all sense of ego and just serve the character Victor is. No stranger to voice over work (notably The Prince of Egypt before this film), Fiennes is able to let loose and have fun with what is essentially a real dirt bag of a person. And although we may not like Victor we love to hate him and I credit both the filmmakers and Fiennes for making that possible.

10) The decision to go with the horror subgenre for this film is an interesting one. Much like how “The Wrong Trousers” felt like a Hitchcock movie, Curse of the Were Rabbit uses the established tropes of horror well by creating a unique atmosphere and having fun with its established tropes. A strong early example of this is when the priest in the film encounters the Were-Rabbit. He’s walking through a gloomy cemetery at night, hears a strange noise, goes into his church and then something is creeping up on him. Something we never really see. You could have opened the film that way and we would’ve understood what kind of tone it was aiming for.

11) There is also a lot of fine misdirection with the Were-Rabbit before the reveal towards the end. It is totally plausible and believable that it is one of Wallace’s rabbits run amok based on the way the filmmakers treat it, but also when you rewatch it you can easily see how the final twist works perfectly even if the filmmakers aren’t as in your face about it.

12) Like all Wallace and Gromit projects, this film has an incredibly strong sense of humor. The town meeting in the church is a wonderful example of this. From the organ player doing a, “dun dun dun!” after a startling statement is made, to this visual:

Strong visual and verbal humor are abound in a way which makes this film wonderfully funny.

13) I’m Gromit in this situation.

Wallace [after Quartermaine asks how they could catch such a big rabbit]: “With a big trap!”

Gromit: [Face palms.]

Townsperson: “By jove, he’s got it!”

[Townspeople start cheering.]

14) The lady rabbit trap is also another wonderful example of humor this film has. It is not only wildly creative but shows off some more of Gromit’s wonderful physical character.

15) While Gromit is alone waiting for Wallace to come back to the car we are given some surprisingly wonderful tension. The noises, the jumps, it is right out of a horror film and works wonderfully well.

16) Wallace transforming into the Were-Rabbit is wonderful. It’s straight out of the Wolf Man and a wonderful piece of animation. It is the big twist of the film: our hero is the monster! And the way everyone reacts to it is just hysterical.

youtube

17) They had to make this joke, didn’t they?

Victor [after the priest says the Were-Rabbit can only be killed with gold]: “Gold?”

Priest: “Yes. 24...carrot. [He chuckles].”

18) The rabbit Hutch turning into Wallace is absolutely fantastic.

Everything out of Hutch’s mouth is 1) a sped up version of Peter Sallis’ own voice and 2) a line that was either said earlier in this film or in a previous Wallace and Gromit. I think that concept is just hysterical and love that they included it in the film.

19) If you want to understand how wonderfully weird this film is, just consider this line.

Wallace [tearing up]: “Oh Gromit! I don’t want to be a giant rabbit!”

20) There are two jokes which I find straight up hysterical back to back.

Quartermaine [to the police officer]: “I don’t want to cause any panic, but the beast isn’t actually dead yet.”

Police officer [through his megaphone]: “The best isn’t actually dead yet?”

Quartermaine [after firing off a bullet to calm the crowd down]: “Now listen carefully. I’ve only got two [realizes he just shot off a bullet]...ugh, I’ve only ONE gold bullet left!”

21) I just love how THIS is what lets Lady Tottington know the Were-Rabbit is Wallace.

That hand gesture is so iconic for the character that even Hutch the rabbit spoofs it quite frequently.

22) The entire “Dogfight” between Gromit and Quartermain’s dog is an excellent showcase for how the series incorporates amazing action with wildly strong humor (as they did in the train chase in “The Wrong Trousers”). It is by far my favorite scene in the film, and when they have to insert another coin to keep going has my rolling with laughter.

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23) The scene where the Were-Rabbit “dies” and turns back into Wallace is lifted directly from Lon Chaney Jr’s The Wolf Man and I just love that.

24) Of course cheese brings Wallace back and everybody has a happy ending.

25) I just need to get this out of my system:

(GIF originally posted by @marshmallow-the-vampire-slayer)

Wallace and Gromit: The Curse of the Were Rabbit is another excellent piece of animation from Aardman studios. It has the warmth, humor, heart, and characters we’ve come to expect not only from the filmmakers but from the series itself. Peter Sallis SHINES as Wallace and the additions of Helena Bonham Carter and Ralph Fiennes works wonderfully well. It is an excellent piece of animation and filmmaking in general. And I would be regretful if I did not make one last dedication to the late Peter Sallis. He may be gone, but children and fans everywhere will always have the warmth of his voice through the character of Wallace.

#Wallace and Gromit #Peter Sallis #The Curse of the Were Rabbit #Aardman #Nick Park #Helena Bonham Carter #Ralph Fiennes #Epic Movie (Re)Watch #Movie #Film #GIF

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vincent-marie · 8 years ago

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Chicken Run Review

Back when I was a kid and we got "Prince of Egypt" on VHS for Christmas, one of the bonuses on the tape was an early trailer for "Chicken Run". At the time I was a huge fan of the Wallace and Gromit shorts, and seeing the same studio working on a feature film was enough to make me want to see it.

I saw it in the theaters, and it was a very fun experience for me. I got it on VHS, and it was my favorite movie for a while. I recall I watched it so many times to a point where it annoyed the hell out of my sibling.

It not only has a very special place in my heart as something nostalgic, but it's also pretty cool looking back on Dreamworks animated films when the studio was still trying to find its niche. Before "Shrek" became such a very literal monster hit and the studio built its identity on "subverting" Disney while at the same time stealing their thunder.

"Chicken Run" was the first major project Dreamworks had released in conjunction with Aardman, and was enough of a hit that Aardman would continue making films while under the Dreamworks umbrella.

But after almost seventeen years I'm finally able to take off the nostalgia goggles and ask: Does it hold up in the long run?

I'd say… yes and no.

At first I thought since it was Aardman's first film that they might have been a little rusty at doing a feature because they had previously only done shorts and TV shows. The transition to theatrical movies can be a hell of an adjustment.

However it turns out that "Chicken Run" has a lot of very solid elements on its own merits. It just has one major weak link, and it wasn't Aardman's fault. I'll get to that later.

The overall execution of the film is effectively cinematic. Even back when Aardman was only making the "Wallace and Gromit" shorts, a lot of us forget just how much they elevated stop-motion animation from just a cute little novelty like holiday specials to something that could be like a Hitchcock film. With "Chicken Run", the music is excellent, the character animation is fantastic, the voice acting top-notch, the models, props and sets well-crafted, and the majority of the characters are quite memorable and charming. (Everybody loves Babs, she's such a sweetie.)

A few things haven't aged so well about it, though, particularly the dynamic between Mr. and Mrs. Tweedy. Due to the current awareness of the abuse of men at the hands of female partners, the old Henpecked Husband routine really isn't funny anymore. On top of that there's Mrs. Tweedy insisting that the chickens organizing is "all in [his] head", and that just has a faint stink of gaslighting.

With that said, it could be read as just how vicious and ruthless Mrs. Tweedy is as a villain. That it adds a layer of pure evil; if that's how she regards her husband, then she's an even bigger threat to the chickens.

I've heard her compared to Cruella DeVille, and that's not an invalid comparison. Though with the way her chicken pies are advertised as being something warm and down-to-earth while she is vicious and greedy at heart, it reminds me a bit more of Mom from "Futurama", except not as humorously foul-mouthed. Interestingly, she too has a habit of casually slapping her sons, though that's more effectively framed as irreverent slapstick as opposed to being dark and menacing.

There really is something pretty crazy about how Tweedy's farm is run like a prison camp. Or the fact that Mr. Tweedy comes from a long line of egg-farmers but we can safely assume they didn't have any troubles with escaping chickens.

What's more is that Mr. Tweedy is right all along about the chickens being organized. I find it interesting that if the Missus hadn't been so focused on trying to make a quick profit and telling her husband to shut up, the mass chicken escape, and the waste of money spent on the pie machine that goes up in smoke, could have been prevented. If she had just not been a greedy, abusive spouse.

Now I'm going to move on to what I believe to be the very best part of the movie, and that is our main character Ginger. I daresay she's probably a one of the most underrated female badasses in animation. She's established from the start that she's clever, she's determined, and she doesn't let all that solitary confinement in the coal bin crush her spirit. And even during those times when she is at her lowest there's always something that gives her an idea or inspiration and she gets right back up.

It's also very clear that her fellow chickens are klutzes and they don't believe in her. Her escape plans could theoretically work if she just escaped by herself without the others tripping up all the time. But she doesn't. Instead she's determined to come up with a plan that could get all of the chickens out at once. Why? Because she really does care about them enough that she wants ALL of them to be safe. She may roll her eyes at them fouling up one of the plans again, and she has every right to be frustrated with them enough to want to just leave, especially after Bunty shoots her down at one of their meetings.

But she never does. She's staying with them and seeing to it that they get out as well. Towards the end of the movie when the crate takes flight, she's not even concerned that she's not on it. She's in awe because the plan worked. They are going to be okay.

On a certain level she's always reminded me of Lisa Simpson and her own sense of kindness, justice and integrity. Except that series often framed her as being obnoxious and self-righteous and therefore needed to be taken down a peg by the end of the episode. (I love the first eight seasons of "The Simpsons", but it has its problems.)

Ginger, however, is clearly in the right for most of movie. When Rocky is coaching the phony flying lessons she seems to be the only one who sees through his BS. And save for the unconvincing romantic subplot, she doesn't take any of his smug, condescending crap.

Again, the only thing that really gets her down is the physical impossibility of getting the chickens out. And, like I said before, there's still always that spark of determination that keeps her going, that gives her new ideas, that gets her back up. Nobody can hold her down.

I have to attribute a lot of Ginger's strength as a character to the voice performance. Julia Sawalha really helped to bring out a sense of sweetness and warmth to her, but also a lot of determination and a no-nonsense attitude with just a hint of snark in response to Rocky's self-serving BS.

Not to mention her integrity kindness makes for an excellent contrast to Miranda Richardson's selfish and sinister take on Mrs. Tweedy. (Who besides me would actually like to see Miranda Richardson play Cruella DeVille?)

But now that we've gone over the strongest link, we come to the weakest one in the entire movie, and that is the very existence of Rocky the Rhode Island Red.

Really what bothers me about this character is that he gets shoehorned into the story even though he does not fit the tone of the rest of the movie. Yet he becomes a major crux of the plot, and, for some reason, winds up a love interest for Ginger.

Even when I would say "Chicken Run" was my favorite movie, I never bought the romantic chemistry Rocky and Ginger are supposedly having. Their rom-com style bickering only made it apparent that they should only be friends, and nowadays the trope of "tough girl just needs a man to get her to loosen up" really pisses me off.

What's more is the whole Pie Machine Rescue sequence feels like an unearned opportunity for Rocky to "save the girl".

Now, I actually like the Pie Machine escape. The machine itself always reminded me of the sheep-shearing contraption in "A Close Shave".

But Ginger had already proven herself to be resourceful and quick on her feet, and yet she still apparently needs a man to save her. She probably could have rescued her own damn self out of that metal leviathan.

She still sort of does. At the very least, she saves Rocky's ass in the end before he gets roasted in the oven. She even does the Indiana Jones bit of going back for her hat before the door closes.

Yet afterwards even she gives Rocky all the credit for sabotaging the machine. Sure, he shoves the carrot in the gravy dispenser and causes pressure in there, but she also sabotaged it with a literal wrench in the works. Why is she giving him all the praise? She's well within her right to claim some credit too. Apparently the film just needs to further elevate and glorify Rocky.

I will say this, though. The whole "Strong Woman Who Needs To Be Saved By A Man" trope in this case still doesn't piss me off NEARLY as much as it did with Maid Marian in "Robin Hood: Prince of Thieves". In that movie it felt like it was making Marian superficially strong to make the movie look more modern and forward-thinking than it really was. Ginger, on the other hand, was already strong and well-developed in her own right and isn't just validation for Rocky's existence.

If anything, Rocky's the one who needs to be constantly propped up by the more interesting characters. He's not even very fun or interesting on his own. He is, as a friend and I have dubbed, generically cocky. He's no cheerful rogue with a heart of gold like Disney's take on Robin Hood, he's no girl-crazy, ego-driven goofball like Lupin III; he is, at best, a loose idea for a character that needs a lot more work done before the final draft of the script.

I think part of the problem may have been the casting. Not that Mel Gibson's voice acting for the character is necessarily bad, but with the way the character was written one would need a real force of personality to elevate him to an entertaining level of sleazy and egotistic.

During a streaming of the movie someone suggested that the late Phil Hartman would have been a far better casting choice, and we in the chat unanimously agreed. Yet another reason it's a crime against the natural order that we lost Phil Hartman when we did.

And there is an a very real behind-the-scenes reason for why Rocky feels so half-assed as a character compared to the rest of the film.

The short version is that while "Chicken Run" was in production, Dreamworks decided to stick their hands in the pot and Americanize it.

They introduced an American breed of chicken, played by a big name movie star who could pull off an American accent, and he even flies into the movie wearing an American flag cape.

The minute he makes his entrance the whole story becomes the tired "Liar Revealed" plot line that's been used in several lame-at-worst/passable-at-best US family features. "A Bug's Life", "Oz, The Great and Powerful", "Road to El Dorado", need I go on?

Why is that? Why has that story kept popping up in hackneyed mainstream American screenplays?

Might it be because of a subconscious social anxiety that most Americans in power keep getting rewarded and showered with praise in spite of not doing a day's work in their lives? And they're secretly afraid that they're going to be exposed as the undeserved, over-privileged phonies they really are?

Nah! That can't possibly be it.

Anyway, in the grand scheme of the plot, Rocky is ultimately useless. There's a well-known criticism of "Raiders of the Lost Ark" that Indiana Jones himself makes little to no real impact on the plot, and if he hadn't intervened, the Nazis would have still found the treasure, and still gotten their faces melted off.

Rocky is kind of like that, except he's not just a useless spectator. His whole part in the movie takes a huge chomp out of the screen time with other characters expecting great things of him, all amounting to nothing in the end, save for an narratively convenient last-minute rescue. (Which could have been avoided if he hadn't just outright ditched the chickens like the jerk that he is.)

Though, I do have to give that scene some credit: Mrs. Tweedy being thwarted by "Tricycle to the Head" is kind of funny.

Also in the scene when it's revealed Rocky could only fly because of a circus cannon, the overall execution is actually very good. There has no dialogue, just suspense. The audience doesn't see what Ginger sees when she unfolds the paper, but the look on her face indicates it's something big and not good. We don't get to see it until Ginger puts up the second half of the poster, and the revelation drops like a bomb as the thunder crashes above. The music, the camera work, the use of rain all makes for a very dramatic revelation.

I find it interesting that the one good thing to come out of the plot culdesac with Rocky is when he has already left the farm.

But not long afterwards Ginger comes up with the idea to build a flying contraption. She doesn't come up with it based on anything Rocky said, did or left behind. She's inspired by Fowler's stories of the Royal Air Force, which he had been going on about since the very start of the movie. She very well might have come up with the idea even if Rocky never flew into the coop.

While watching this movie during the streaming session, my friend who hosted it, Devon Baxter, theorized that a better story would have been if there was somewhat of an underdog theme going on with Fowler. That he could have just been seen as a joke to the other chickens but Ginger sees some value to his stories and get the idea from him to build the crate.

And now that I think of it, Mac, with her convoluted contraptions, could have also been an underdog with the way the other chickens fearfully cringed after her little catapult demonstration. Maybe like how they see Fowler as a crazy old coot, they could have seen Mac as a nut who "is gonna get us all killed".

Both Fowler and Mac could have been characters who weren't taken seriously by the others, while Ginger would be the one to see their value and encourage them to do this ambitious project of making a crate and flying them all to safety.

One can only speculate what the story could have been like if Dreamworks had just kept their mits off the story.

But with all that said, this is still a pretty good movie for Aardman's first feature film. And if this hadn't been a success, they wouldn't have been able to make the far superior "Wallace and Gromit: The Curse of the Were-Rabbit".

I'm always going to love this movie for its stronger elements. You really don't come across surprisingly well-written female characters like Ginger in mainstream movies very often. And I applaud Aardman for being one of the few studios left who haven't caved in to doing all CG animated films the way Disney has.

#chicken run #dreamworks #aardman #animation #movie review

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descentale · 8 years ago

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I got the art book! I looked through it and gushed over it. I mean... it’s not what I expected, since all it does is show concept art and the explanations behind it. Not much insight into the actual development of the game or its story, nor any in-depth explanations about... well, anything. It’s clear Toby isn’t terribly experienced in this sort of thing yet.

HOWEVER! I did manage to find some neato details about the characters that really caught my attention (AVOID THE REST OF THIS POST LIKE THE PLAGUE IF YOU DON’T WANT TO BE SPOILED ABOUT THE UNDERTALE ART BOOK!)

Flowey was partially inspired by a character called “Face” from a creepypasta by Cosbydaf about the Godzilla NES game. You guys should totally check it out, it’s super rad and image-heavy!

Toriel wasn’t always a Goat Mom. She was going to be an “overprotective humanoid goddess”. Pretty interesting how Toby has toyed with the idea of gods and goddesses even from the beginning.

Napstablook was originally a placeholder enemy. How much they’ve grown...

Papyrus was originally an irredeemable asshole. His personality was similar to Dedan from OFF, he wore a fedora, and his favorite show was “My Little Boney”. In other words, all the supposed makings of someone truly despicable. Personally, I’m glad Papyrus has changed entirely, but... come on, Toby, not all bronies are asshats!

Sans used to tell even more skeleton puns, and he ran a poker table at a casino (which no longer exists). What’s hilarious is that Toby’s notes about Sans clearly dictate that Sans never opens or closes his mouth. That everything is done through his teeth, from drinking ketchup to playing trombone. What’s especially hilarious is that he drew Sans not using lips on his trombone while Papyrus apparently WOULD use lips. Weird.

Undyne, for a long while during development of Undertale, had an interest in fashion and singing. Hmm... I think I have a headcanon coming on...

Alphys was originally going to be a boy! Toby grew to dislike that for some reason, so he slapped eyelashes on the design and BAM! Now Alphys is a girl. So glad for that, personally.

Mettaton was inspired by the robot from “Wallace and Gromit’s A Grand Day Out”. Which I’ve never seen and honestly need to check out. Mettaton was also going to be giant at some point. Also, his EX form was going to do some pretty fabulous shit during your battle with him.

Asgore was originally going to have brown hair. Toby actually forgets that his hair is blond now sometimes. Also, during the fight against him, he had more attacks with his trident (referred to as a spear in the book). This included raising it above his head and slamming it down with a roar, creating shockwaves. And... holy shit, Asgore looks really scary when he roars. It’s nightmare fuel to see such a sweet guy look so unholy. Another attack had Asgore spinning his spear around in a circle, which (I think?) you could only avoid by watching the spear’s color.

Asriel’s Angel of Death form was once more skeletal and rainbow-colored. Strangely enough, in both that form and in Omega Flowey’s design, there appears to be evidence of a Pink Soul. Hmm...

There’s also a ton of info on other characters I won’t get into. But anyway... I’m going to give everything I’ve found a serious think, and then come up with ideas I might implement into Descentale. I’m already thinking Undyne secretly loves singing and has an eye for fashion, though she won’t admit it to anyone because she has a certain reputation.

AHEM. Anyway. Toodles for now, and I’ll write more in the morning!

- The Author

#descentale #undertale #spoilers #undertale art book #undertale art book spoilers

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cameronwimbledon · 5 years ago

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Career information (In my own opinion) about Animation & VFX

In Animation you have to have good skills and be very good with using computers for 3D animation and drawing for 2D animation. The different careers for the VFX & Animation industry insists of: Animators, Visual Effects Artists, Producers, Concept Artists etc. Animators have to be very skillful for many reasons these skills could include patience, drawing, coordination, computing and many more. There are different parts of careers for animation for example: 2D Animation uses different frames of a drawing being put together. 3D Animation uses computers for models to rig a 3D character. Stop-Motion Animation uses a real life 3D models using different materials such as Plasticine, Lego or even fabric.

In my opinion 3D Animation is the most popular careers in the animation industry, this is because it takes less time than 2D Animation because with 2D Animation you have to have 24 frames of a series of drawings, to make one second of footage, which 3D Animation can be less frames per second to make a smooth animation. It is mostly used for feature length films. I think 3D Animation is more popular than 2D Animation because even though i got into it i think 2D Animation has gone down a bit.

Looking at Stop-Motion Animation, its probably one of the hardest careers in animation, this is because when you have a modeled character made out of Plasticine you have to move that character very slightly for about 24 times to get one second of footage its basically the same as 2D Animation but with this your constantly moving the model physically. With movies such as Wallace & Gromit or The Isle Of Dogs they have a different type of modeled mouth for each syllable the character says, this is a very hard thing to animate. This is a hard thing to do because not only that you don’t have to move the character but each time you have to change the modeled mouth, to what the characters saying, without damaging the model.

2D (Rigging) Animator is probably the easiest 2D Animation option out there, because once you’ve already got your 2D character on the set, you don’t need to redraw that character again it stays in the frame each time. The easiest thing afterwards is that you need a rigging skeleton for your character which is interlinked for different parts of your characters body e.g. Head, Arms, Legs. all you have to do each frame is move the skeleton.

2D Animation (linking to the thoughts above) is very hard this is because in the Television industry when making episodes for 22 minuets long it could get frustrating and difficult after a while TV Shows like: The Simpsons, Gravity Falls and Rick & Morty take about 8-9 weeks to make one episode which doing that for 20 times in a row non-stop is the hardest thing in the animation career. Shows like South Park takes about 1 week to make a episode which is probably the easiest way to do it.

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nightmareonfilmstreet · 6 years ago

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[Exclusive Interview] CHUCK STEEL: NIGHT OF THE TRAMPIRES IS a Teenage Fantasy Come True For Director Mike Mort

Many of us have spent most of our school years daydreaming and scribbling in our math books. Hell, most of us still daydream and doodle at our office job. But few of us have actually followed our dreams. Mike Mort has finally produced his passion project; a stop-motion feature-length film featuring a character he came up with as a teenager. Chuck Steel: Night of the Trampires is the product of four years of hard, repetitive work. Mort is credited as the writer, director, sculptor and voice of the primary characters, including Chuck Steel. I caught up with Mort at the Fantasia Film Festival to talk about the long process of crafting his masterpiece.

youtube

Chris Aitkens of Nightmare on Film Street: How are you feeling after the screening?

Mike Mort: Great. It went down very well. I was trying to listen to see whether some of the jokes were working. There seemed to be laughter all the way through so I think it worked.

NOFS: Has the cut changed since its world premiere?

MM: No, all we’ve done is we beefed up the sound slightly. It need just a little tweak and I think it’s working perfectly now. I was very happy with the screening.

“When I first came up with him, he was just a square-jawed action hero-type scribble in my school book.”

NOFS: I was very surprised to hear that you came up with Chuck Steel when you were 15. How has the character developed over the years?

MM: When I first came up with him, he was just a square-jawed action hero-type scribble in my school book. I started to just draw him over and over again in different scenarios. At some point, he was in a post-apocalyptic world, another time he was in a fantasy world. Over the years, I’ve made a number of scripts and story ideas around him, but the “trampires” idea came from joining up two ideas. The Night of the Trampires came to me as an idea for a low-budget horror which would be live action. And then I ended up joining that with the Chuck Steel storyline. This is the result, but it’s taken a long time just to get to this point, probably because I learned things over the years about writing and story structure. When I was 15, I didn’t know anything about that stuff, I was just drawing and sculpting. It’s probably good that it’s taken me so long, otherwise if I made it years ago, it probably wouldn’t be as good.

NOFS: When I was watching the original short [Chuck Steel: Raging Balls of Steel Justice], the premise seemed a bit more realistic. There are still elements that are completely zany, but why did you want to go for a more fantastical approach for the feature-length?

MM: Just because I wanted to put as many things in this film that I wanted. There are things that I wanted to do in animation for a long time like karate fighting, car chases, monsters, meltdowns, explosions, all those things that I wanted to try to find a way to make. And I thought, this is my one opportunity to do this, I’m going to put everything in this film and construct a story around these things I wanted to see in animation.

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NOFS: What was the reaction to the original short film?

MM: I didn’t attend Fantasia that year when it was shown. We didn’t do a huge amount of festivals because we went straight into making the feature film so we didn’t need to push it. One thing we would like is to get the views up on Youtube, it’s run up to about 250,000 views, but we would like it to be more than that so more people are aware of Chuck Steel as a character. The reaction to it was good, everyone liked it and my backers who backed the short film wanted to go straight into the feature film.

NOFS: Would you mind describing to me the pain-staking animation process?

MM: Where do I start? Can you be a bit more specific?

NOFS: All I know is that you have to make a different mouth for every syllable, you have to make different characters for all the crowd scenes…

MM: Yeah, we had a lot of crowd scenes in this film and a lot of villains in the crowd of Trampires. I wanted to make sure that they were all different and all look unique. The common thing with stop-motion films is, with background characters, change a head or change a hat, and you think it’s a new character. We wanted to make them all look completely different so that when you’re watching the film, it’s a visual overload, but not to the point where you don’t know what’s going on, but it feels like a real crowd because everyone is different. So it was hard to construct those things. It’s not hard to design those things, you just sit down and draw. It’s was hard on the budget we were on to actually create the stuff but we found ways around it. We made four or five different body shapes that we dressed differently. That was the only time where we standardized things for easy construction, and then all the heads and hands were unique to the characters. And we did that for all the humans and Trampires as well, that was probably one of the biggest challenges.

As for the lip-sync for the characters when they talk was the other big challenge where we stuck with the approach of hand-sculpting the lips every frame so the animator would take the head off, sculpt it, clean it up, put it back on. It’s crazy really but it has a nice look to it. That’s the technique we used on the short film, I didn’t want it to veer off wildly from the look of the short, so we stuck with that.

NOFS: Were there particular scenes in the movie that were difficult to animate?

MM: The fighting scene at the end with the clowns and all that was quite time-consuming because of the amount of characters running around. The foreground action would be the primary shot, but for everyone of those shots, we would have to shoot a background plate which had this crowd running around in the circus as well. And we could only do so much reuse of those background plates because we kept changing angles, we didn’t want to standardize it to one angle and then repeat the background. We did a little bit of that, but it’s very minimal. So the crowd were probably the trickiest.

NOFS: You’ve been animating for quite a while, what were some of the first projects you worked on?

MM: Years ago, back in ’92, I did a TV series called the Gogs, which was of a family of cavemen. It’s all on Youtube now, it was an idiot cavemen clay-mation. That took a few years to shoot, it was a half-hour special. I then did a few short films and most of my work has been doing commercials as a director or animator or model maker, whatever jobs turn up. But I was always chasing this project in the back of my mind because I wanted to make an action movie in stop-motion. People have tried to do stop-motion action on Youtube, but I wanted to do something slick and impressive. Took a while but we got there.

NOFS: You also briefly worked at Aardman studios as a director for Shaun the Sheep. I noticed you slipped in a small tribute to Wallace & Gromit in the short film. Is there anything you tried to sneak into the feature film?

MM: I did have conversations around this about whether we should do a little nod again, but we already did that in the short film, so we decided to leave it. Everyone knows Aardman and they do great stuff, but that thing in the short film was just a little gag. It’s not like we’re trying to wind each other up or anything.

NOFS: Have you heard any feedback from the Aardman people about Chuck Steel?

MM: I think Peter Lord [Producer of Chicken Run and Curse of the Were-Rabbit] saw it at Annecy and he said he liked it. I’d like to screen it for all those guys over there at some point, so they can see what we’ve been up to. And a lot of the animators who worked there worked on the film, so this is the pool of talent that we shared.

NOFS: What’s next for the film?

MM: We got more festival screenings coming up. We got FrightFest in London and Sitges in Spain, and a few other ones as well. Running parallel to that we are talking to distributors, trying to get a good distribution deal for it, theatrically hopefully, that’s the plan.

NOFS: Is there anything you would like to do with Chuck Steel in the future?

MM: I have two ideas for sequels. I haven’t started writing them out properly yet because I don’t want to count my chickens, I want to get this one out and hopefully it does well enough to allow us to do another one.

NOFS: Any last thing you want our readers to know?

MM: If they’re aware of Chuck Steel, the short film especially because that’s out there, then it would be good for people to like it, to share it as much as possible, get the word of mouth out about this character. Making an independent film at this level—because we’re not a $100 million film nor are we a $1 million film, we’re in that tricky part in the middle. We do need people to find us and follow us.

If you want to find out more about Chuck Steel: Night of the Trampires, you can visit the official movie website. Don’t forget to follow Chuck Steel on Facebook, Twitter and Instagram! And be sure to tell all your friends!

The post [Exclusive Interview] CHUCK STEEL: NIGHT OF THE TRAMPIRES IS a Teenage Fantasy Come True For Director Mike Mort appeared first on Nightmare on Film Street - Horror Movie Podcast, News and Reviews.

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meanwhileinoz · 7 years ago

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15+ Times Kids Movies Hid Absolute Filth In Plain Sight & Ruined Childhoods

Do you remember your favourite childhood movie?

Those innocent, usually animated, bright, vibrant movies? Like Space Jam or Toy Story! Well, you see, children aren’t the only ones who enjoy them, adults do too. As such, there is some very clever humour that slips over the heads of kids, but their parents definitely catch them. In fact, if you were to watch some of your old childhood movies now, you’d notice.

Like how Shrek’s thick accent made Lord Farquad’s name sound like Lord F*ckwad. I’m never trusting a “children’s movie” ever again.

And the results is absolutely freaking hilarious. Some of these movies are downright filthy, and we never even noticed. There’s no coming back from it.

#1 Space Jam

In Space Jam Bugs Bunny acts like a wooden board after Lola flirts with him. Did not understand that until much later

By 2354DarkKnight

#2 Robots

In Robots, the father is running down the street yelling “I’m gonna be a dad!!!” because his son is about to be born. When he gets home, a delivery truck is just leaving, and his wife says “oh, honey, I’m sorry, you missed the delivery…. but that’s ok, making the baby is the fun part” and holds up the box they are given with the parts to build their child with.

By Dadoaesop

#3 Goonies

In Goonies, when they’re trying to glue the statue’s dick back on, Mikey says “Guys, that’s my mom’s favorite piece. Mouth says “You wouldn’t be here if it wasn’t”

The first time it clicked for me, I nearly pissed myself.

By Gonzostewie

#4 El Dorado

The intro to road to Eldorado, when the two Armadillo jump behind a bush and the Bush shakes violently for 5 seconds, then an entire family of Armadillo jump out.

By Bobdog1994

#5 Aladdin and the King Of Thieves.

In Aladdin and the King of Thieves, when the thieves raid the wedding. The ground is shaking because of a stampede and the genie says, “I thought the ground wasn’t supposed to shake until the honeymoon.”

By ace2049ns

#6 Ratatouille

From Ratatouille, Linguini is trying to confess the real reason everyone thinks he can cook:

Linguini: [hesitantly] I have a secret. It’s sort of disturbing. I have a ra… I have a raaaaa…

Colette: You have a… rash?

Linguini: No no no. I have this-this tiny, uh, little… little…

[Collette quickly glances down at Linguini’s pants.]

By Meretrice

#7 Madagascar

I only recently realized that Sugar Honey Iced Tea in Madagascar stands for Shit.

By Maximus125

#8 Rocko’s Modern Life

Rocko’s Modern Life. The had a restaurant called the Chokey Chicken, a game called Spank the Monkey, and at one point Rocko worked as a sex line operator. Mrs. Bighead calls in and he is saying “Oh baby, oh baby”, with a sign behind him that says “Remember – Be Hot, Be Naughty, Be Courteous”.

They weren’t even trying to hide it, and it still took me 15 years later to realize.

By goatywizard

#9 Wallace and Gromit

In Wallace and grommit Wallace is stripped of his clothes and his manhood is only covered by a box. The box has “may contain nuts” printed on the side.

By Rawshark96

#10 How the Grinch Stole Christmas

In the grinch there’s a scene where they explain that “who babies” are delivered to their parents from the sky in baskets with umbrellas. One of the baskets lands in front of a house and the dad finds it and yells something like “honey, our baby’s here!” And then he takes a puzzled look at the baby and says “looks just like your boss”

By huesofelktongue

#11 Hocus Pocus

In Hocus Pocus, when the witches are getting onto the bus and Winifred tells the bus driver that they desire children and the bus driver replies, “Hey, that may take me a couple of tries, but I don’t think it’ll be a problem.”

I watched it recently and was like… yeahhhh that joke flew the fuck over my head during my entire childhood.

By wisniear

#12 Space Jam Part II

Space Jam, when the therapist ask Ewing if there’s anywhere else he has trouble “performing”, and getting an emphatic “NO!” from Patrick.

Took me a couple years before it dawned on me.

By ProjectShadow316

#13 Toy Story

I’m going to have to go with Toy Story Laser Envy I may have peed myself a bit the first time I caught it as an adult.

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By johnly81

#14 Toy Story II

Also during the “staff meeting” there’s a part where Slinky is defending Woody, so Mr. Potato Head takes off his mouth and repeatedly hits it against his butt as a way of saying “kiss-ass”. Not super dirty but I didn’t notice it until I was way older.

By regalternative

#15 Rango

The entirety of Rango. Like the scene where he has to explain how Rattlesnake Jake is his half-brother, he says his mom had an interesting dating life.

By FreeDobby2k18

#16 Shrek

Shrek: So that’s Farquad’s castle?

Donkey: Yep, that’s the place.

Shrek: Do you think he might be compensating for something?

Later in the movie

Fiona: You know what? Stop it. Stop it both of you. You know you’re just jealous that you’ll never measure up to a great ruler like Lord Farquad.

Shrek: Well, Princess, maybe you’re right. But I’ll let you do the measuring when you see him tomorrow.

Or honestly anything from this movie.

By BucherundKaffee

#17 Ghostbusters

The scene in the original Ghostbusters when a ghost unzips Dan Akroyd’s pants in the bedroom and a little…something, something…is implied. Never got it. Watched the movie as an adult before the remake was released and freaked out that I had watched that as a kid!

By spookypanys

#18 Shrek, again.

Guess its more of a general “adult” joke, but the name farquad in shrek was written meaning fuckwad in reference to Michael Eisner or something. It made the movie so much funnier

By Ronaldraegansdick

http://ift.tt/2wwJL5Y

#ENTERTAINMENT

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trendingnewsb · 8 years ago

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100 Motivational Quotes To Bring Your Spirits Up

Let’s imagine that there is a car on the road. This car keep going all the time until one day it uses up all of its fuel. In fact, we, human, are like cars. If we keep working and running on our route everyday without giving ourselves fuel, we will be tired easily. It is important to fuel our life. Here are the 100 motivational quotes for you to fuel yourself and keep your life moving!

The key to life when it gets tough is to keep moving. Just keep moving.

Credit: Tyler Perry

Keep Smiling And one day life will get tired of upsetting you

DON’T LET PEOPLE’S COMPLIMENTS GET TO YOUR HEAD AND DON’T LET THEIR CRITICISM GET YOUR HEART

You can’t get unfamous. You can get infamous but you can’t get unfamous.

Credit: Dave Chappelle

Stages are getting higher and higher, and I’m getting older and older.

Credit: Iggy Pop

You’ve got to be honest; if you can fake that, you’ve got it made.

Credit: George Burns

When a gust of wind hits a broken bone, you feel it.

Credit: Shia LaBeouf

I wouldn’t support Limp Bizkit being on some snuff backyard brawling, fighting contest.

Credit: Fred Durst

Fun is like life insurance; the older you get, the more it costs.

Credit: Kin Hubbard

Freedom is just another word: It seems to get truer the older I get.

Credit: Kris Kristofferson

Life is not a matter of holding good cards, but of playing a poor hand well

KEEP CALM AND RIDE ON

When your arm gets hit, the ball is not going to go where you want it to.

Credit: John Madden

It’s just really hard to work and get better, building and planning for the future with the new Monte Carlo and keeping the race team intact and keeping them healthy.

Credit: Dale Earnhardt

When I go to the press conference before the game, in my mind the game has already started.

Credit: Jose Mourinho

In the sports arena I would say there is nothing like training and preparation. You have to train your mind as much as your body.

Credit: Venus Williams

I let people see the cracks in my life. We can’t be phony. We’ve got to keep it real.

Credit: Charles R. Swindoll

Life is a game. Money is how we keep score.

Credit: Ted Turner

Meditation makes the entire nervous system go into a field of coherence.

Credit: Deepak Chopra

Money was never a big motivation for me, except as a way to keep score. The real excitement is playing the game.

Credit: Donald Trump

Money is like an arm or leg – use it or lose it.

Credit: Henry Ford

LIFE IS LIKE A ROLLER COASTER. LIVE IT BE HAPPY ENJOY LIFE

When you visualize, then you materialize. If you’ve been there in he mind you’ll go there in the body.

Credit: Dr Denis Waitley

A buddy will keep you honest and add a dimension of fun to your workout.

Credit: Bill Toomey

I like sports, and I enjoy playing basketball and lifting weights.

Credit: Joel Osteen

I ain’t the same person I was when I bit that guy’s ear off.

Credit: Mike Tyson

When we first sold the Wallace and Gromit shorts to America, people suggested we get rid of the strange British accents and put clear American voices on them, and we held out.

Credit: Nick Park

Set the gearshift for the high gear of your soul, you’ve got to run like an antelope out of control!

Credit: Trey Anastasio

Some of today’s athletes do not have that kind of pride. They left school at 16, have never had a job in their life and are getting Lottery funding, earning money as an athlete.

Credit: Linford Christie

Get busy living, or get busy dying.

Credit: Stephen King

Caught between a strong mind, and a fragile heart.

One disco, one soft ball game, one lost love, one gay pride rally at a time.

Credit: Jasmine Guy

To me, cricket is a simple game. Keep it simple and just go out and play.

Credit: Shane Warne

There is no such thing as natural touch. Touch is something you create by hitting millions of golf balls.

Credit: Lee Trevino

you can still be dead With a beating heart and a pounding chest.

People work for a living. They got families to raise. Their lives are tough.

Credit: Ann Richards

I have a temper on me that could hold back tides.

Credit: Shirley Manson

If I cut you off, chances are, you handed me the SCISSors.

The older you get the more capable you get at managing life.

Credit: Rachel Weisz

You don’t have to swing hard to hit a home run. If you got the timing, it’ll go.

Credit: Yogi Berra

MOTIVATION IS WHAT GETS YOU STARTED. HABIT IS WHAT KEEPS YOU GOING.

Credit: Best MothalnomalQuotesinto

A horse never runs so fast as when he has other horses to catch up and outpace.

Credit: Ovid

DO NOT GET UPSET WITH PEOPLE OR SITUATIONS, BOTH ARE POWERLESS WITHOUT YOUR REACTION

It frustrates SS me that I have all these words inside of me that you will never get to hear.

Credit: Silence

Don’t let ambition get so far ahead that it loses sight of the job at hand.

Credit: William Feather

In sports, teams win and individuals don’t.

Credit: Fran Tarkenton

Don’t shed any tears for me. I got to live a dream most people don’t get to live.

Credit: Tony Dungy

My pitching philosophy is simple – keep the ball way from the bat.

Credit: Satchel Paige

Keeping score is for games, not friendships.

Credit: John C. Maxwell

As you get older, time speeds up but life slows down.

Credit: John C. Maxwell

The secret to getting ahead is getting started.

Credit: Mark Twain

The fact is I don’t drive just to get from A to B. I enjoy feeling the car’s reactions, becoming part of it.

Credit: Enzo Ferrari

My motto is, you have to get in a sport a day.

Credit: Paul Walker

I was hoping he would get up so I could hit him again and keep him down.

Credit: Mike Tyson

I’ve been lucky to work with people that I like most of the time. If I don’t like them, I’ll play head games with them to get their minds spinning.

Credit: Vince Vaughn

I couldn’t beat people with my strength; I don’t have a hard shot; I’m not the quickest skater in the league. My eyes and my mind have to do most of the work.

Credit: Wayne Gretzky

Baseball was one-hundred percent of my life.

Credit: Ty Cobb

You’ve got to have dreams to keep you going.

Credit: Steve Waugh

Be sure to taste your words before you spit them out.

KEEP QUIET, I M PINNING

Motivation is what gets you started. Habit is what keeps you going.

Credit: BestMolivattonalQuotesinAo

KEEP SMILING AND ONE DAY LIFE WILL GET TIRED OF UPSETTING YOU pure happy

In motivating people, you’ve got to engage their minds and their hearts. I motivate people, I hope, by example – and perhaps by excitement, by having productive ideas to make others feel involved.

Credit: Rupert Murdoch

People like to tear you down. People are always going to take shots. You’ve just got to go for it.

Credit: Joan Jett

It’s not life or death it’s a game and at the end of the game there is going to be a winner and a loser.

Credit: Bernhard Langer

I’m motivated by creating a level playing field for the world so that the weak have a chance.

Credit: Iqbal Quadir

A team takes on the personality of the head coach.

Credit: Ricky Williams

If the heavens throw you dates, you got to keep your mouth open.

Credit: Navjot Singh Sidhu

There’s a possibility in life in being OUT OF YOUR MIND JOYFUL Ali MacGraw SuPer OWN SOuL PRAH WINFREY NETWORK

Money cannot buy peace of mind. It cannot heal ruptured relationships, or build meaning into a life that has none. Richard M.

Credit: DeVos ll Quoteistan.com

Life is like a roller coaster It has its ups and downs. But it’s your choice to scream or enjo the ride.

Credit: DTag-pictures.com

The thing that drives most coaches out of coaching in college is they get tired of the grind of recruiting.

Credit: Bobby Bowden

It’s a mistake, when life hands you a tough lesson, to think that you can get back at life by not learning it Robert

I disagree with people who think you learn more from getting beat up than you do from winning.

Credit: Tom Cruise

I like almonds as a snack – keeps your energy up but doesn’t fill you up.

Credit: Ina Garten

I’ve told the guys to keep their heads up. I really believe we played a great game here.

Credit: Ricky Ponting

The reason sport is attractive to many of the general public is that it’s filled with reversals. What you think may happen doesn’t happen. A champion is beaten, an unknown becomes a champion.

Credit: Roger Bannister

My mind. wanders and I get lost in thoughts of you Curia no Comm

I can’t seem to get the thought of you and me being together Out of my head.

Life is like riding a bicycle. To keep your balance you must keep moving.

Credit: Albert Einstein

Only fools let compliments get to their head and criticism get to their heart Curia no.

Credit: Comm

As for our great King, when we venture into His presence, let us have a purpose there. Let us beware of playing at praying; it is insolence toward God.

Credit: Charles Spurgeon

The dread of lonliness is greater than the fear of bondage, so we get married.

Credit: Cyril Connolly

I go out there and get my eyes gouged, my nose busted, my body slammed. I love the pain of the game.

Credit: Dennis Rodman

It takes more than just a good looking body. You’ve got to have the heart and soul to go with it.

Credit: Lee Haney

More enduringly than any other sport, wrestling teaches self-control and pride. Some have wrestled without great skill – none have wrestled without pride.

Credit: Dan Gable

Laughter is the valve on the pressure cooker of life. Either you laugh and suffer, or you got your beans or brains on the ceiling.

Credit: Wavy Gravy

With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That’s where I want to get in golf.

Credit: Kenny G

I like silence; I’m a gregarious loner and without the solitude, I lose my gregariousness.

Credit: Karen Armstrong

I know of people who don’t believe it, but depression is an illness, but unlike, say, a broken leg, you don’t know when it’ll get better.

Credit: Marian Keyes

Instead of thinking Outside the box, get rid of the box Deepak Chopra

I enjoy now doing what I do… playing golf, relaxing a little, enjoying life.

Credit: Yogi Berra

I’ve got big shoes to fill. This is my chance to do something. I have to seize the moment.

Credit: Andrew Jackson

The cost of living is going up and the Chance of living is going down.

Credit: Flip Wilson meetvile.com

You’ve got to keep fighting – you’ve got to risk your life every six months to stay alive.

Credit: Elia Kazan

KEEP SMILING AND ONE DAY LIFE WILL GET TIRED OF UPSETTING YOU

KEEP YOUR EYES FOCUSED ON YOUR LONG TERM GO ALS EVEN IF YOU MAKE A MISTAKE GET BACK ON TRACK AND KEEP MOVING

You find that you have peace of mind and can enjoy yourself, get more sleep, and rest when you know that it was a one hundred percent effort that you gave – win or lose.

Credit: Gordie Howe

You only get one chance at your life so why not jump cars?

Credit: Dax Shepard

To get to be somebody who gets to love what they do for a living, that’s so rare, and so there must be some kind of price you have to pay.

Credit: Ethan Hawke

The post 100 Motivational Quotes To Bring Your Spirits Up appeared first on Lifehack.

from Viral News HQ http://ift.tt/2uXf0n8 via Viral News HQ

#IFTTT #Viral News HQ

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meanwhileinoz · 7 years ago

Text

15+ Times Kids’ Movies Hid Absolute Filth In Plain Sight & Ruined Childhoods

Do you remember your favourite childhood movie?

Like how Shrek’s thick accent made Lord Farquad’s name sound like Lord F*ckwad. I’m never trusting a “children’s movie” ever again.

And the results is absolutely freaking hilarious. Some of these movies are downright filthy, and we never even noticed. There’s no coming back from it.

#1 Space Jam

In Space Jam Bugs Bunny acts like a wooden board after Lola flirts with him. Did not understand that until much later

By 2354DarkKnight

#2 Robots

By Dadoaesop

#3 Goonies

In Goonies, when they’re trying to glue the statue’s dick back on, Mikey says “Guys, that’s my mom’s favorite piece. Mouth says “You wouldn’t be here if it wasn’t”

The first time it clicked for me, I nearly pissed myself.

By Gonzostewie

#4 El Dorado

The intro to road to Eldorado, when the two Armadillo jump behind a bush and the Bush shakes violently for 5 seconds, then an entire family of Armadillo jump out.

By Bobdog1994

#5 Aladdin and the King Of Thieves.

By ace2049ns

#6 Ratatouille

From Ratatouille, Linguini is trying to confess the real reason everyone thinks he can cook:

Linguini: [hesitantly] I have a secret. It’s sort of disturbing. I have a ra… I have a raaaaa…

Colette: You have a… rash?

Linguini: No no no. I have this-this tiny, uh, little… little…

[Collette quickly glances down at Linguini’s pants.]

By Meretrice

#7 Madagascar

I only recently realized that Sugar Honey Iced Tea in Madagascar stands for Shit.

By Maximus125

#8 Rocko’s Modern Life

They weren’t even trying to hide it, and it still took me 15 years later to realize.

By goatywizard

#9 Wallace and Gromit

In Wallace and grommit Wallace is stripped of his clothes and his manhood is only covered by a box. The box has “may contain nuts” printed on the side.

By Rawshark96

#10 How the Grinch Stole Christmas

By huesofelktongue

#11 Hocus Pocus

I watched it recently and was like… yeahhhh that joke flew the fuck over my head during my entire childhood.

By wisniear

#12 Space Jam Part II

Space Jam, when the therapist ask Ewing if there’s anywhere else he has trouble “performing”, and getting an emphatic “NO!” from Patrick.

Took me a couple years before it dawned on me.

By ProjectShadow316

#13 Toy Story

I’m going to have to go with Toy Story Laser Envy I may have peed myself a bit the first time I caught it as an adult.

youtube

By johnly81

#14 Toy Story II

By regalternative

#15 Rango

The entirety of Rango. Like the scene where he has to explain how Rattlesnake Jake is his half-brother, he says his mom had an interesting dating life.

By FreeDobby2k18

#16 Shrek

Shrek: So that’s Farquad’s castle?

Donkey: Yep, that’s the place.

Shrek: Do you think he might be compensating for something?

Later in the movie

Fiona: You know what? Stop it. Stop it both of you. You know you’re just jealous that you’ll never measure up to a great ruler like Lord Farquad.

Shrek: Well, Princess, maybe you’re right. But I’ll let you do the measuring when you see him tomorrow.

Or honestly anything from this movie.

By BucherundKaffee

#17 Ghostbusters

By spookypanys

#18 Shrek, again.

Guess its more of a general “adult” joke, but the name farquad in shrek was written meaning fuckwad in reference to Michael Eisner or something. It made the movie so much funnier

By Ronaldraegansdick

http://ift.tt/2xhq0Nm

#ENTERTAINMENT

0 notes

trendingnewsb · 8 years ago

Text

100 Motivational Quotes To Bring Your Spirits Up

The key to life when it gets tough is to keep moving. Just keep moving.

Credit: Tyler Perry

Keep Smiling And one day life will get tired of upsetting you

DON’T LET PEOPLE’S COMPLIMENTS GET TO YOUR HEAD AND DON’T LET THEIR CRITICISM GET YOUR HEART

You can’t get unfamous. You can get infamous but you can’t get unfamous.

Credit: Dave Chappelle

Stages are getting higher and higher, and I’m getting older and older.

Credit: Iggy Pop

You’ve got to be honest; if you can fake that, you’ve got it made.

Credit: George Burns

When a gust of wind hits a broken bone, you feel it.

Credit: Shia LaBeouf

I wouldn’t support Limp Bizkit being on some snuff backyard brawling, fighting contest.

Credit: Fred Durst

Fun is like life insurance; the older you get, the more it costs.

Credit: Kin Hubbard

Freedom is just another word: It seems to get truer the older I get.

Credit: Kris Kristofferson

Life is not a matter of holding good cards, but of playing a poor hand well

KEEP CALM AND RIDE ON

When your arm gets hit, the ball is not going to go where you want it to.

Credit: John Madden

It’s just really hard to work and get better, building and planning for the future with the new Monte Carlo and keeping the race team intact and keeping them healthy.

Credit: Dale Earnhardt

When I go to the press conference before the game, in my mind the game has already started.

Credit: Jose Mourinho

In the sports arena I would say there is nothing like training and preparation. You have to train your mind as much as your body.

Credit: Venus Williams

I let people see the cracks in my life. We can’t be phony. We’ve got to keep it real.

Credit: Charles R. Swindoll

Life is a game. Money is how we keep score.

Credit: Ted Turner

Meditation makes the entire nervous system go into a field of coherence.

Credit: Deepak Chopra

Money was never a big motivation for me, except as a way to keep score. The real excitement is playing the game.

Credit: Donald Trump

Money is like an arm or leg – use it or lose it.

Credit: Henry Ford

LIFE IS LIKE A ROLLER COASTER. LIVE IT BE HAPPY ENJOY LIFE

When you visualize, then you materialize. If you’ve been there in he mind you’ll go there in the body.

Credit: Dr Denis Waitley

A buddy will keep you honest and add a dimension of fun to your workout.

Credit: Bill Toomey

I like sports, and I enjoy playing basketball and lifting weights.

Credit: Joel Osteen

I ain’t the same person I was when I bit that guy’s ear off.

Credit: Mike Tyson

When we first sold the Wallace and Gromit shorts to America, people suggested we get rid of the strange British accents and put clear American voices on them, and we held out.

Credit: Nick Park

Set the gearshift for the high gear of your soul, you’ve got to run like an antelope out of control!

Credit: Trey Anastasio

Some of today’s athletes do not have that kind of pride. They left school at 16, have never had a job in their life and are getting Lottery funding, earning money as an athlete.

Credit: Linford Christie

Get busy living, or get busy dying.

Credit: Stephen King

Caught between a strong mind, and a fragile heart.

One disco, one soft ball game, one lost love, one gay pride rally at a time.

Credit: Jasmine Guy

To me, cricket is a simple game. Keep it simple and just go out and play.

Credit: Shane Warne

There is no such thing as natural touch. Touch is something you create by hitting millions of golf balls.

Credit: Lee Trevino

you can still be dead With a beating heart and a pounding chest.

People work for a living. They got families to raise. Their lives are tough.

Credit: Ann Richards

I have a temper on me that could hold back tides.

Credit: Shirley Manson

If I cut you off, chances are, you handed me the SCISSors.

The older you get the more capable you get at managing life.

Credit: Rachel Weisz

You don’t have to swing hard to hit a home run. If you got the timing, it’ll go.

Credit: Yogi Berra

MOTIVATION IS WHAT GETS YOU STARTED. HABIT IS WHAT KEEPS YOU GOING.

Credit: Best MothalnomalQuotesinto

A horse never runs so fast as when he has other horses to catch up and outpace.

Credit: Ovid

DO NOT GET UPSET WITH PEOPLE OR SITUATIONS, BOTH ARE POWERLESS WITHOUT YOUR REACTION

It frustrates SS me that I have all these words inside of me that you will never get to hear.

Credit: Silence

Don’t let ambition get so far ahead that it loses sight of the job at hand.

Credit: William Feather

In sports, teams win and individuals don’t.

Credit: Fran Tarkenton

Don’t shed any tears for me. I got to live a dream most people don’t get to live.

Credit: Tony Dungy

My pitching philosophy is simple – keep the ball way from the bat.

Credit: Satchel Paige

Keeping score is for games, not friendships.

Credit: John C. Maxwell

As you get older, time speeds up but life slows down.

Credit: John C. Maxwell

The secret to getting ahead is getting started.

Credit: Mark Twain

The fact is I don’t drive just to get from A to B. I enjoy feeling the car’s reactions, becoming part of it.

Credit: Enzo Ferrari

My motto is, you have to get in a sport a day.

Credit: Paul Walker

I was hoping he would get up so I could hit him again and keep him down.

Credit: Mike Tyson

I’ve been lucky to work with people that I like most of the time. If I don’t like them, I’ll play head games with them to get their minds spinning.

Credit: Vince Vaughn

I couldn’t beat people with my strength; I don’t have a hard shot; I’m not the quickest skater in the league. My eyes and my mind have to do most of the work.

Credit: Wayne Gretzky

Baseball was one-hundred percent of my life.

Credit: Ty Cobb

You’ve got to have dreams to keep you going.

Credit: Steve Waugh

Be sure to taste your words before you spit them out.

KEEP QUIET, I M PINNING

Motivation is what gets you started. Habit is what keeps you going.

Credit: BestMolivattonalQuotesinAo

KEEP SMILING AND ONE DAY LIFE WILL GET TIRED OF UPSETTING YOU pure happy

Credit: Rupert Murdoch

People like to tear you down. People are always going to take shots. You’ve just got to go for it.

Credit: Joan Jett

It’s not life or death it’s a game and at the end of the game there is going to be a winner and a loser.

Credit: Bernhard Langer

I’m motivated by creating a level playing field for the world so that the weak have a chance.

Credit: Iqbal Quadir

A team takes on the personality of the head coach.

Credit: Ricky Williams

If the heavens throw you dates, you got to keep your mouth open.

Credit: Navjot Singh Sidhu

There’s a possibility in life in being OUT OF YOUR MIND JOYFUL Ali MacGraw SuPer OWN SOuL PRAH WINFREY NETWORK

Money cannot buy peace of mind. It cannot heal ruptured relationships, or build meaning into a life that has none. Richard M.

Credit: DeVos ll Quoteistan.com

Life is like a roller coaster It has its ups and downs. But it’s your choice to scream or enjo the ride.

Credit: DTag-pictures.com

The thing that drives most coaches out of coaching in college is they get tired of the grind of recruiting.

Credit: Bobby Bowden

It’s a mistake, when life hands you a tough lesson, to think that you can get back at life by not learning it Robert

I disagree with people who think you learn more from getting beat up than you do from winning.

Credit: Tom Cruise

I like almonds as a snack – keeps your energy up but doesn’t fill you up.

Credit: Ina Garten

I’ve told the guys to keep their heads up. I really believe we played a great game here.

Credit: Ricky Ponting

The reason sport is attractive to many of the general public is that it’s filled with reversals. What you think may happen doesn’t happen. A champion is beaten, an unknown becomes a champion.

Credit: Roger Bannister

My mind. wanders and I get lost in thoughts of you Curia no Comm

I can’t seem to get the thought of you and me being together Out of my head.

Life is like riding a bicycle. To keep your balance you must keep moving.

Credit: Albert Einstein

Only fools let compliments get to their head and criticism get to their heart Curia no.

Credit: Comm

As for our great King, when we venture into His presence, let us have a purpose there. Let us beware of playing at praying; it is insolence toward God.

Credit: Charles Spurgeon

The dread of lonliness is greater than the fear of bondage, so we get married.

Credit: Cyril Connolly

I go out there and get my eyes gouged, my nose busted, my body slammed. I love the pain of the game.

Credit: Dennis Rodman

It takes more than just a good looking body. You’ve got to have the heart and soul to go with it.

Credit: Lee Haney

More enduringly than any other sport, wrestling teaches self-control and pride. Some have wrestled without great skill – none have wrestled without pride.

Credit: Dan Gable

Laughter is the valve on the pressure cooker of life. Either you laugh and suffer, or you got your beans or brains on the ceiling.

Credit: Wavy Gravy

With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That’s where I want to get in golf.

Credit: Kenny G

I like silence; I’m a gregarious loner and without the solitude, I lose my gregariousness.

Credit: Karen Armstrong

I know of people who don’t believe it, but depression is an illness, but unlike, say, a broken leg, you don’t know when it’ll get better.

Credit: Marian Keyes

Instead of thinking Outside the box, get rid of the box Deepak Chopra

I enjoy now doing what I do… playing golf, relaxing a little, enjoying life.

Credit: Yogi Berra

I’ve got big shoes to fill. This is my chance to do something. I have to seize the moment.

Credit: Andrew Jackson

The cost of living is going up and the Chance of living is going down.

Credit: Flip Wilson meetvile.com

You’ve got to keep fighting – you’ve got to risk your life every six months to stay alive.

Credit: Elia Kazan

KEEP SMILING AND ONE DAY LIFE WILL GET TIRED OF UPSETTING YOU

KEEP YOUR EYES FOCUSED ON YOUR LONG TERM GO ALS EVEN IF YOU MAKE A MISTAKE GET BACK ON TRACK AND KEEP MOVING

You find that you have peace of mind and can enjoy yourself, get more sleep, and rest when you know that it was a one hundred percent effort that you gave – win or lose.

Credit: Gordie Howe

You only get one chance at your life so why not jump cars?

Credit: Dax Shepard

To get to be somebody who gets to love what they do for a living, that’s so rare, and so there must be some kind of price you have to pay.

Credit: Ethan Hawke

The post 100 Motivational Quotes To Bring Your Spirits Up appeared first on Lifehack.

from Viral News HQ http://ift.tt/2uXf0n8 via Viral News HQ

#IFTTT #Viral News HQ

0 notes