#of filmmaking

[maaarine]

“I've read a number of dissertations where people take the movie to task for, well if you're making a cautionary tale, then Fincher misses the side of the barn.

Because he doesn't understand that he's made Tyler Durden so attractive. I mean, that's an absurd point.

I'm making a movie where Edward Norton has to find Tyler Durden extremely attractive.

He has to give up everything to move to this miserable part of town, and live in a hovel, and give over his life to his guru.

So the notion that you would draw a frame around it and say, watch out everybody...

It's not a cautionary tale. It's not Requiem for a Dream. It’s not Sarah T. - Portrait of a Teenage Alcoholic.

It's about a guy who gets seduced into a way of life. Granted, 90 minutes later it does not work for him in many many many ways, and continues to not work for him in ways he could never have imagined.

So from my standpoint, the idea that you're supposed to provide the audience with some sort of like, look out, don't find this in any way amusing or seductive!

It seems anti the story. It’s stupid and reductive.”

Source: Clique x David Fincher, réalisateur culte de Fight Club et Seven - CANAL+

[artfilmfan]

Israelism (Erin Axelman & Sam Eilertsen, 2023)

[ghost-in-the-corner]

Also, props to Allan???

He's a doll most people have never heard of. He got discontinued forever ago cause he was perceived as gay by consumers and they didn't like that.

But I love that he had an actual role in Barbie. He was very queer coded, yeah, but he didn't like when all the Kens turned to Patriarchy. He was so uncomfortable that he wanted to abandon Barbieland all together. He knew it was wrong.

And then he helped the Barbies get themselves back. He had a pink jumpsuit and sunglasses and went out all stealthy to get the Barbies in the van. He even voted at the end to keep the constitution the way it was.

Big Allan fan over here.

[razcunningham]

[accoffee7]

Something silly...

[brw]

My least favourite type of internet person is the person who claims fanfic is over thousands of years old or whatever. I understand we like to joke but fanfiction is fundamentally tied to fandom culture and is a very specific way of engaging with media. Religious texts based off other religious texts is not fanfiction and it is worrying the only way you can justify your interest is by comparing the two. I promise you you don't have to reinvent the wheel to write fanfic you can just do that but we don't have to say "Shakespeare wrote fanfiction about Richard III", there was not a Richard III fandom in 1592, that was called the divine right of kings.

[reuels]

Poor Things (2023) dir. Yorgos Lanthimos

[verymarykate]

this is a comment on the sinking thing 🚢

[womantoday]

Shaunese Crawford (photographer, cinematographer, director)

website, Boogie Down Cinema, Facebook, IG, TikTok

[dsrptstudios]

Lost movie - lost producer?

I searched my uni's online archive for anything related to the 'Simularcum' movie (unfinished? lost? bootlegs?). Jackpot. This is why it was never properly released.

[writingwithfolklore]

If it doesn’t impact the rest of the story, you didn’t raise the stakes

              I recently went back to a chapter at the midpoint of my novel and changed a huge detail of it because I thought it didn’t raise the stakes enough as it was. Because of this change, I had to go through every single scene and chapter beyond that point and edit it to fit in and make sense. It was annoying, but that’s how I knew I achieved what I wanted to.

              Raised stakes change everything about a story.

              If your characters can continue on as they were, then you didn’t really raise the stakes at all. This heightened pressure or danger has to be heightened enough that their lives as they know them are different now.

              Consider this: at the midpoint, you introduce a mutated form of a monster your characters have been facing that’s more deadly and intelligent than its predecessor. It’s a super scary scene, but after that, your characters go back to their safe house to talk over how best to kill it.

              Suddenly, this new monster doesn’t feel as much of a threat. It’s just another element of the same threat they’ve already been facing.

              To properly use this element as a way to raise the stakes, it should take away something the characters rely on—safety, allies, powers, etc. Something they can’t get back, and don’t get back for the rest of the story. They now have to adapt to new circumstances, and things will never be as easy for them again.

              So maybe instead, they flee to their safe house only to discover that it’s no longer safe—the monster is smart enough to get through their hidden entrance and corner them. Now they’re stuck out in the open, taking turns keeping watch and slowly deteriorating to sleeplessness and stress.

              That’s a delicious steak.

[artfilmfan]

Lakota Nation vs. United States (Jesse Short Bull & Laura Tomaselli, 2022)

[ghost-in-the-corner]

One thing I appreciate about Barbie was the emphasis on age.

I was emotional when Barbie told the old woman how beautiful she was, and when Ruth came in and helped her become human.

It was also the fact that America Ferrera was the one having the crisis that caused Barbie to do the same.

The whole concept of the toy doesn't end in childhood. Cause she is an idea; Barbie is forever. She's everything. She's meant to inspire women to keep going for what they dream. You don't age out of these ideas, they grow with you, just like how Margot Robbie grew with America Ferrera.

[ao-xingyume1987]

( x )

[lostinmac]

I Saw the TV Glow (2024)

Dir. Jane Schoenbrun

[aurazoo]

Robbie Rodriguez has a new movie out that everyone hates and I genuinely can't wait to see it