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meddling-in-horror · 2 years ago

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page turners to screen dreams: adaptations from book to film

It’s hard to deny the power of a good adaptation. Growing up in a generation where there was a good ten years where I saw many of my favorite books adapted for the screen in varying degrees of ‘close enough to be enjoyed on its own’ to ‘single handedly killed the vhs industry’ (iykyk), I have an appreciation for adaptations done not-so-well. However, this also means that when a story I love is adapted well, I appreciate it all the more, two of my favorites being Jonathan Demme’s The Silence of the Lambs and Henry Selick’s Coraline.

Starting with Silence, the key to this adaptation lies in the screenwriting of Ted Tally. While Thomas Harris’s ability to write interesting and three dimensional female characters who exist without being defined by the men around them is questionable, the combination of Demme’s direction, Tally’s writing, and Jodie Foster’s performance as the iconic Clarice Starling make her a fully fleshed and believably interesting character. I was a fan of the film long before reading the book, and became even more of a fan afterward reading both book and Tally’s screenplay. Some of my favorite moments in the film are ones where Tally lifted dialogue directly from the text of Harris’s novel, often with little to no change. In particular, Jack Crawford’s line “You spook easily, Starling?” has always been a moment that I enjoy, particularly because of the silence surrounding the moment as Clarice takes in the scene of Crawford’s office and the crime scene photos of the Buffalo Bill murders. This is an incredibly strong book-to-film adaptation that’s strength lies in the moments that were taken directly from the source material, and were interpreted flawlessly by Tally, Demme, and the cast as a whole. Overall, Silence is something that I would consider a near perfect interpretation of Harris’s original text, a trend that Tally continued with the screenplay for the prequel Red Dragon.

There is also the matter of changes that must be made to make a book more suitable for the screen. For this, we can look to Henry Selick’s adaptation of Neil Gaiman’s Coraline. While not my first Gaiman book (it was Stardust, and at 9 or 10 I was most assuredly too young to be reading it), this one remains my favorite (one day I hope to get my illustrated copy signed by both Neil himself and Chris Riddell). There would have been no way for Coraline to be on the big screen without making several changes. In the novella, most of the story is told through the titular Coraline’s inner monologue, as she spends much of the story wandering the grounds of her new home completely alone. Since spending nearly two hours watching a child talk to herself wouldn’t necessarily make for a very interesting movie - at least in this context, Selick introduced the character of Wybie. He also tied Wybie further into the story by changing one of the ghost children from - what I assume is - the child of a faerie to his grandmother’s identical twin sister. The film, while not an exact adaptation, retains every single element of Gaiman’s original story that makes the novel so intensely frightening. The changes made allow the film to be read easier on the screen, and for the audience to watch Coraline interact with the world around her in a way that feels more realistic, whether she’s in her own home or in the world of the Other Mother. Selick’s writing sells the image of a truly lonely girl, who - while surrounded by people - feels isolated in a new and unfamiliar environment across the country, and abandoned and neglected by her parents.

Adaptations, good or bad, are created to be enjoyed. While some are good enough to be considered something separate from the source material, some are certainly not (LXG I’m looking directly into your eyes). Nevertheless, I feel like the adaptations I’ve mentioned here are among the best there are.

#the silence of the lambs #jonathan demme #ted tally #henry selick #coraline #neil gaiman #stardust #the league of extraordinary gentlemen #eragon #phycological horror #children's horror #adapted horror #book to film

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lynsburner · 1 year ago

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your fics are so amazing!! where do you usually get inspiration from?

Thank you so much! Also, my apologies, because as always, it's time to give an unnecessary, long-ass answer to questions that should take a second to respond to.

So, this is threefold.

One: I love me a rom-com. I love two people who should be together finally find their way to each other. Some of my favorites are What If? (also called The F Word in some places) which to me is friends to lovers excellence, and there's a scene where they turn the "grand gesture" trope on its head that I LOVE, About Time (and the message of living every day to the fullest), and I really did like Plus One, which is another great friends to lovers time. Also, as we know, I am a sucker for Practical Magic. I just like writing stories like these lol

Two: .... don't hate me for this, but spite/determination LMAO. There were fics that I wanted to see/read but couldn't seem to find them... so I wrote them myself!

I didn't really get into reading/writing self-insert until a few years ago, and even then, I was mostly reading the silly/Wattpad-level bad ones with friends as a joke. But, like most things I do, it went from being ironic to unironic really quickly and I thought to myself, "Hey, if these people can do this, so can I!" Most of these stories lived on my notes app and I exchanged them with a single friend. The more (once I realized who and who wouldn't judge me for writing these) friends who saw them encouraged me to publish them. And now I have this burner account lol.

So, long story short: there are just things I wanted to read and I thought "Well, if no one else will... guess I'll have to step up to the plate. "

Not that I think I'm writing anything revolutionary. This is my burner account self-insert blog. My name isn't really Lyn. This is my little secret aka my commitment to the bit is truly... unmatched.

And three: My first ever published fic from this account was inspired by a genuine long-distance relationship I was in at the time (he was also just as tall, and had long hair, but from a neighboring country lol) and being frustrated I couldn't meet them because of the pandemic. So I kind of channeled that want (and even some of the moments we had shared) in there.

The second one in that series was inspired by more real-life experience, as well as a shit ton of tik-toks of plus-size women having shared their experience of more conventionally attractive people trying to flirt with their significant others in front of them. I really wanted to attempt to subvert expectations with that one and say while it might feel good in the moment, constantly being overlooked because of the body you lived in fucking SUCKS.

The third in that series literally came together in a week of just an idea I had that was just like... yeah this relationship is hard... and no one's perfect.. but love, man! I also just desperately needed a vacation IRL lol Plus, a lovely anon kept messaging me about that series and I had the urge to revisit it.

With the most recent one, that angst was actually scrapped dialogue from the third in that series that I just wanted to explore more? Like that one had the end goal of them getting engaged and I knew if I had them genuinely yelling at each other, that engagement wouldn't be earned. So to a blank slate of a couple it went to! Also, lbr, Unreal Unearth is truly so tragic when it comes to its themes (specifically about love) so I pulled from there a teensy bit.

And, then the chaptered one was fully inspired by that tumblr post that was like "He's a sound guy. Shite Craic. Would not have him round for cans, on my life" where they described Andrew as a dude who only mopes and smokes weed. I just thought it would be very funny to make him a bit of a cynical asshole. Plus, I technically have a film degree, and dreams of becoming a professional screenwriter in me, so writing dialogue is my absolute favorite thing. Love silly banter between two people who just need to kiss already.

Again, so sorry for this being so long, but I am a sucker for an ego-boost-filled deep dive.

#lyn needs to stop talking #lyn’s lore is complex but it involves silly bits and a man from what i hear is the new jersey of ireland #truly there is no immediate source it's just my brain going 'what's on the menu today madam' and then running it by a few friends #but yeah that real long distance relationship is why I don't listen to unknown when I listen to UU in full I'm sorry andrew it wrecks me

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57greenstreet · 1 year ago

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Willem De Schryver is the upcoming talent of ‘Knokke Off’: “I get a few messages from girls a day”

He is very young, promising and makes girls hearts beat faster. The new pretty boy of acting Flanders is called Willem De Schryver (21). Fils à papa [=daddy’s boy/rich kid] in “Knokke Off”, besides being a student with big dreams. In this interview he talks about the consequences of his increasing popularity with the girls and goes into more detail about the intimate scenes he had to film with Pommelien Thijs. “As soon as I heard ‘cut’, I asked her if she was okay.”

In ‘Knokke Off’, his dad is a wealthy investor and he divides his time between drinking cocktails at a beach club, snorting coke in nightlife and fixing his wavy hair. But the “self-righteous, arrogant jerk” – his words – he plays is hard to find when he sits across from us, carefully sipping his flat water. “Fortunately”, he grins. “And I’m not really into Knokke either. When I was younger I went on a week trip there once, but it’s not my world. My mom is a guidance counselor at a school and my dad is a lawyer, but whenever we went to the coast, we went to Nieuwpoort to build sandcastles on the beach, not to sunbathe in a white-painted beach bar. But to each his own of course.”

‘Knokke Off’ is De Schryver’s big breakthrough. He previously appeared in web series ‘WTFOCK’ and he also had a role in ‘Déja Vu’, but this is his introduction to the general public. A gamble last summer, because young Tervurenaar [= person from Tervuren] interrupted his acting degree at KASK in Ghent for it. But the jump turned out to be the right choice, as the response to the series has been unanimously positive. And that he can act, is also noticed by the – mainly young – fans, who undoubtedly dream away in his bright green eyes. “I regularly receive messages on Instagram, yes”, Willem laughs. “What is a lot? At least a few a day. It’s nice to notice that the series is catching on and I even read in your newspaper that the youth from Knokke completely recognizes themselves in it, but my girlfriend shouldn’t be afraid. She also fully supports me in what I do.”

Intense sex scenes

Just like youth series ‘Euphoria’ and ‘Liefdestips aan mezelf’, the creation of screenwriter Luk Wyns checks all the boxes of a modern youth series. Public drug use, physical violence, sex scenes… In the second episode, for example, De Schryver’s character Alexandre grabs his girlfriend, played by Pommelien Thijs, by her throat and they also have an intimate sex scene in the toilet. Tough for a young actor without much experience. “Of course those are not scenes like all others”, Willem shakes his head. “Days before it sometimes goes through your head that those scenes are coming. But you know it in advance and when they arrive you should – within set boundaries – completely go for it, I think. In ‘WTFOCK’ I also had pretty intense sex scenes with a boy, when I was only 17. That was intense, but on set those things are much more technical than they look.”

“We also approached it professionally and with caution on the set of ‘Knokke Off’, you also don’t want to put the other person in a position where they feel uncomfortable. In the scene where I grab Pommelien by the throat and they call ‘cut’, I immediately ask her if everything is ok. We keep those kinds of scenes light by always discussing it very well before and afterwards, by setting boundaries, together with an intimacy coach. But it’s also about concentrating on your posture. As an actor it’s more like a choreography, it never ceases to amaze me how it looks so sensual on screen afterwards.”

Like Schoenaerts

What follows for De Schryver is a new fiction project that he can’t say anything about yet, going back to drama school in September and a lot more castings. “It feels like I’m living my dream”, Willem says. “I hope that I can keep doing this forever. Like Matthias Schoenaerts or Matteo Simoni, they make it seem so easy.” Whether he also thinks of the very highest? “Everyone who acts, sometimes thinks about Hollywood. And dreams are allowed, right? Ever since I saw Tom Hanks in ‘Forrest Gump’ as a little boy, he’s been my favorite actor. Doing a film with him is the ultimate childhood dream.”

‘Knokke Off’, a new episode every Friday on VRT Max.

do you have hln+? willem has a new interview

no sorry :( maybe you could ask someone from belgium? i’ll translate the interview if it’s not too long!

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seeingteacupsindragons · 2 years ago

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Your posts about writing as well as your analysis of YuuMori's story always inspire me so much. I am sorry if this question comes off as intruding or if it's been asked before, but what do you think about creating writing classes in college, if you have been taking them? Also, what do you usually do to improve your writing?

Thank you so much! Your blog is truly a blessing for someone who loves YuuMori and creative writing.

Thank you very much!

So, as mentioned in my About, I graduated with a degree in Creative Writing (sort of--not technically, but for all functional purposes, yes). As you can imagine, I took a great many creative writing classes in college.

As for what I think of them...hm. I certainly don't think my degree was useless. Spending four years focused on writing, reading, and the English language did help me as a writer.

I had many workshop classes and was forced to try writing things and styles I'm not used to (for the Grades), which was really helpful in just. Trying new things. And I had to write all the time and got feedback, which is always helpful. I got introduced to Screenwriting for the first time and really learned how to do it!

Of course, this depends on the creative writing program you're enrolled in and the teachers you have, as they will all be different in different ways. They will all offer different opportunities.

Mine required us to take a History of the English Language course (how the English language was formed and developed from a linguistic perspective) and a course on Structure of English (a hard-core, upper-level grammar course where you really learn how the parts of English go together and how they work). These are so important to learning a writing style (plus I find it interesting). I had editorial courses and was exposed to how call for submissions and anthologies worked. I was also expected to take a few genre courses, so I got to take a sci-fi lit course where we studied sci-fi classics like we would any other classics (fantasy lit never ran while I was a student, but it was offered as well, as was children's fiction, fiction of war, detective fiction, etc. Things like that).

However...there was a lot of nonsense in many of the classes. Many of my writing professors had very strong idiosyncrasies, and many if not most university-level creative writing teachers absolutely hate genre fiction. Most people love it! And yet the opinion persists in literary circles. You likely won't get a lot of genre-fiction practice in college.

Note that in my experience, high school creative writing classes are exactly the same.

So I think it takes a certain kind of person to get a lot out of them. Someone that knows what they like to read and write and is willing to take pieces and try new things for themselves to work into their own stuff without completely internalizing everything their teachers are going to say. The teachers are often being very ridiculous about stuff. Your classmates are going to be ridiculous about stuff. But they will also have good insights sometimes. You have to be able to separate these things.

All writing has an audience, and it's important to remember that "people randomly assigned to read your work for college classes" are very likely to not be yours--or at least, many of them won't be.

And there's a lot I've learned outside of my degree that I wish I had been more exposed to in class.

As for what do I usually do to improve my writing, these are things you can do without a college degree. Lots of writers don't have one! I think most college degrees can be cobbled together learning things outside of a university setting--think of computer science being learned in practical coding and experimentation with computers--that's what writing can be, too. Think about the stuff I listed: you can do a lot of that without classmates and professors if that's what works for you. You can get the textbooks yourself.

So:

Read a lot, and read very carefully and with an eye for how the story is put together and the intentional choices of the author and what effect they have. I write meta on my blog about some of it, especially the things I like. It helps me think about things different and really cements them in my mind.

Write a lot. Try different things. Try exercises and prompts. Really explore what you can do with the written words and see what works for you and what you enjoy.

Get feedback on your writing. From readers and from other writers, although remember they will have very different reads and experiences from your work and can provide different kinds of feedback. I have learned so much from my CPs criting things I'm doing wrong and telling me what works.

Critique stuff yourself. This is important as reciprocal relationships with other writers are very important, but like the first bullet point, thinking about writing carefully and how it works, in order to help someone else better it, is super helpful to your own understanding of writing. You're going to be a hypocrite sometimes telling people that they made a mistake you've also made--who cares, you can both fix it.

#writing

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vaveyard · 2 years ago

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Hi, Victoria :) First i want to say that i really love your books, they kinda help me to get out of a reading slump a little while ago so thanks.

I have been aspiring to become a writer since i was a little girl, i mean i never tought i would actually consider pursuing a career as one but lately… i have been trying to find a major and i was thinking about giving western languages and literature a chance but it is a very open major and it does not guarante a stable future at all (no major really does but anyways…)

And i wanted to know if you ever had doubts before you choose a major, i think it was on screen writing but i may not be remembering correctly and it is also a major that just has a risk to not to be capable of moving so far, i mean like in life

And when i mean doubts, i mean like it is hard to make money cause it is not stable and it is based on your present works, and there is always a chance that you just won’t ever get a good year and sell, so i just don’t know if i would like to spend 4 years in college to feel lost over and over again not knowing where i will end up

and i probably rumbled much but i appreciate every answer, if you can…

and again i really love your books and you kinda do inspire me

I have doubts constantly, all the time. It kind of comes with the territory, based on my experience and the experience of other creators I know.

Going into college, and coming out, the prospect of finding a job with a screenwriting degree was terrifying. I'm still kind of perplexed things have worked out so far.

#ask

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therealvinelle · 4 years ago

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Vinelle (and muffin since I know they'll see this too~!), I don't know if you guys have made a post ranking the Twilight books and why (including Bree and L&D if applicable) but I'd love to hear your opinions! (also if you could rank the Twi movies from least worst to most worst and why that'd be awesome too! 030 hi key love your rants on the movies and would love to hear y'alls thoughts more on them)-Sw

You’ve caught us out, anon.

And thanks to you, we spent last night watching Breaking Dawn Part 2 so we could rank it. @theoriginalcarnivorousmuffin hadn’t seen it at all, while I half-remembered it from years ago. A terrible time was had because that movie was unwatchably bad.

Since this ask was sent jointly, our answer was co-written.

So, without further ado, movies first:

1. Twilight

This is a bad movie, but it’s recognizably a movie. The scenes are connected, there are things it did well, and we could tell you what the plot is. The awkwardness, for instance, is very well done. The weaknesses are glaring, the main one being that the film never sells us on the characters of Bella and Edward, nor on their relationship, relying instead on the audience knowing they’re in love because- well, they’re in love.

Diving deeper into Edward and Bella, there’s an understandable explanation for this. Edward of the books is terrifying, and I don’t think there’s a translation to screen that could have kept the romantic atmosphere surrounding him that we see from Bella’s point of view.

Bella can listen to Edward eating Biology and how he explains that it means how much he loves her and not blink. An actual audience hearing that dialogue will have second thoughts.

Right out of the gate, Twilight has a very difficult task: Salvage Edward Cullen while still producing a somewhat recognizable character who will take the same actions (or near the same actions) that Edward Cullen did in the book.

In the effort to make Edward palatable but save some of his original character he loses his more terrifying lines (as well as his hilarious ego) but becomes weird, awkward, and vaguely creepy. Edward Cullen of the films is that weird, friendless guy in your high school who you feel kind of bad for but don’t want to eat lunch with.

Bella faces a similar transformation. Bella’s insecurity is completely removed (or else the screenwriters somehow failed to notice it). As a result, we get this strange antisocial girl who is too cool for school because she’s a stuck up bitch.

Between Edward, this creepy guy who sits next to her in Biology, and Bella, this girl who enters school too good for everyone else, we see no reason why they would ever be interested in one another.

In an attempt to make these characters likeable they made them both unlikeable and boring. The film series as a whole never recovers from this (indeed, the quest to make Edward look good keeps leading to stranger and stranger places).

It also forgets to explain why the Cullens live among humans, they’re attending high school… because. It’s a movie that explained to us all those terrible 2010 era memes and “still a better love story than Twilight”. And frankly, those memes were great, better than the movie. Case in point.

Everything is weirdly blue, which is atmospheric but also makes everything and everyone washed out. Everyone is super pale, so you have Mike looking just as vampire-y as Edward. However, it’s recognizably a movie. It introduces the characters, recognizes that the audience needs to be informed of things that are important to the plot, and most scenes are in some way connected to the plot. This is more than can be said for the other films, which is why it lands the top slot.

2. Eclipse

Eclipse earns its second place by process of elimination. The remaining three were worse. Eclipse also features Edward being cuckolded mercilessly, which is hilarious. Oh, and Victoria playing Riley, that was another beautiful scene.

Apart from that it’s just a deeply boring, borderline unwatchable movie.

Special shoutouts go to:

The opening scene of Riley getting turned, a ridiculous and poorly executed scene that served no purpose for the movie whatsoever.

Rosalie dropping her backstory without any context, Bella walks up to her and Rosalie launches into this horrific story for no particular reason. Both her and Jasper’s backstories could have been cut, as they served no purpose to the story and felt really thrown in there.

The many, many redundant scenes. The Victoria chase that ends with the Cullens and Quileutes squabbling could have been cut entirely. So too could the Seattle subplot with the newborns and Bree.

It’s a movie that isn’t about anything in particular, so it throws subplot spaghetti at the wall to see what sticks. It dutifully regurgitates the Jacob/Bella/Edward love triangle while also trying to convey that Bella’s about to lose her mortality, while also trying to introduce suspense and excitement with the newborns. It fails to execute either of these, and it also fails to tie them together.

3. New Moon

The movie that wanted to skip itself.

This movie had two jobs, show that Bella is depressed when Edward leaves and convince the audience of Bella and Jacob’s strong friendship. And apart the rotating shots and the occasional Stewart voiceover, the former becomes one of those “just stay with us on this one, guys” failures, and the second is failed on every level. Jake and Bella are much closer at the beginning of this movie than they were in canon, and a montage of Bella hanging out with her buddy is just that, it’s a montage of Bella hanging out with her buddy. It speaks volumes that Stewart’s voiceover has to remind us she’s depressed and Jacob is helping her heal, because there’s no indicator on screen that this is happening.

This, in turn, makes Bella/Jake as weak and unconvincing as Bella/Edward was in the previous movie. We just have to take on faith that these people are important to each other because that’s what we’re told.

There’s also the wolves, who are completely butchered. In the books, there’s this great mystery with bears in the woods, there’s Bella wondering why Laurent ran off, there’s build-up, then when we find out what’s actually been happening it’s a satisfying explanation, all the pieces come together really nicely. This is not the case in the movie. Meeting the pack is just weird in this context, because we never wondered who they were. Bella is randomly invited to breakfast, we meet Emily with the scarred face who won’t ever have a line again, and that’s it, these characters don’t become important to the movie in any way. It’s a pointless scene that could have been cut, much like so many other scenes in these movies.

Apart from that, the Volturi scene from the books is butchered so I hardly recognize it, and Alice, Carlisle, and Edward’s characters are assassinated to an impressive degree considering they were barely in the movie.

It was hard to watch.

It lands third place because somehow, Breaking Dawn was worse.

4. Breaking Dawn Part Two

I’ll just list the positives: the intro was very pretty and promised a better movie. It was also long, which we appreciated because it took away from the movie’s runtime. (This is not at all an exaggeration, a lot of the time watching all five movies was spent looking at the remaining runtime and groaning.) The Tommy Wiseau sex scene in the sex cabin was uncomfortable, but the fact that it would have fit perfectly in The Room made it funny. The Romanians were genuinely, unironically, great, because of all of Carlisle’s trashy friends, these were the only ones the movie didn’t try to convince us weren’t trashy.

This movie ranks above Breaking Dawn Part One because of the things listed above.

Apart from that, something all of these movies, but especially the last four, suffer from is that they don’t have plots so much as they have a check list of things to put in the movie before they can call it a wrap. This movie is the worst offender of that, and it’s made worse by the film’s expectation that the people are fans who already know what’s happening, and therefore don’t need anything explained. I’ll explain what we mean by that.

We get Bella waking up a vampire, and absolutely nothing is explained. If you don’t know what happened in the last movie then fuck you. Bella then goes hunting, we get the hiker, we get the mountain lion, she goes back to meet Renesmée, finds out Jake imprinted on her daughter, we get the sex cabin, the handwrestling with Emmett. The Charlie problem is introduced (poorly), only to be solved a scene later with emotional payoff that had absolutely no buildup. All of these things, and the rest of the movie as well for that matter, feels like we’re just crossing items off a list.

Since the audience is expected to already know the story, the story only bothers to explain about half of what’s happening, if half. Who’s the lady living with Charlie? If you don’t know, don’t worry because it’s not important anyway. When did Kate and Garrett fall in love? If you don’t care, that's understandable, because they’ve barely interacted in the movie. Who are the Amazonian women? Do they have names? Don’t worry about it. Did Alistair actually leave, if so did that have an impact? Well, Bella stared at a window for a few seconds.

Every so often the characters will start quoting the books, and it’ll be completely out of place because these movies veered off course long ago. Carlisle references his great friendship with Aro, a friendship that was only briefly mentioned at the beginning of the second movie. Aro randomly starts talking about how scary human technology is.

All of these scenes feel like Marcus is telling the story, he’s just listing events waiting for the story to be over, and forgets a lot of pertinent details because he doesn’t care enough to remember them. There’s no effort to tie these scenes together, no effort to build up to anything.

There’s also one significant failure, and this is a failure shared by all five films, but it affects the plot (I use the term “plot” loosely) of this movie which is why it gets a special shoutout here. Vampires in these movies look human. The fact that Bella has to ask Edward is Gianna the secretary is human says it all, because in the books you know instantly, there’s not even a question. This makes the Charlie subplot ridiculous, because Bella looks and acts the same as ever. She had a trashy makeover, maybe, but she’s still Bella. Watching her get human acting classes after we watched her act perfectly human is just silly. Now, we’re all for suspension of belief, but this movie just pencil drew a moustache on her and the audience is supposed to go “My god, Bella, I didn’t recognize you!”

We then get to the atrocious fight scene, which was somehow worse than I remembered. It was also oddly long for a giant fake out. This scene took significant run time and it turns out to have 0 effect on the plot. And when we get back to the real world, the tonal shift is extreme. You can’t go from Jane being choked, dragged across the snow and face eaten by a wolf to her standing around chilling. We could have skipped it entirely, just had Alice touch Aro’s hand, and he goes “Ah, I see, cheerio.”

The end credits were pretty funny, “here are these random characters with bit parts in previous movies, isn’t this nostalgic?”. Nice try, movie. The fact this came after an extended clip show of the great romance of Edward and Bella, through blurry montage images that failed to be convincing in their original films let alone this one, just made it even more hilarious. Hope you didn’t completely ruin the director’s career, though honestly you should a bit.

5. Breaking Dawn Part One

As you can probably tell by the above entries, the fact that this is the worst one is really saying something. All the movies were hard to watch, but this one required pure strength of will to power through.

The big issue is that Breaking Dawn shouldn’t have been split in the first place. However, it was, and that meant that we got a movie that was almost entirely filler. (Followed, somehow, by a movie that was also largely filler.)

We get everybody preparing for the wedding. What do Mike and Jessica think of Bella and Edward getting married? What’s that, you don’t care? Well, now you know anyway. We get the full wedding, as in the whole fucking thing, including the afterparty. We get Bella and Edward traveling to their island, and there’s filler in the filler where they go clubbing in Rio. We then get every minute detail of the wedding night followed by every minute detail of the honeymoon.

There’s fanservice, and then there’s this. This was live action fanfiction.

NOTHING that in any way is relevant to the story happens, the closest we get is Irina looking stoned. Too bad the Denali’ refusal to help out in Eclipse was cut from the last movie, in fact I’m not sure they were mentioned at all previously in these movies (I think maybe Edward had a one-line reference in Twilight?) so this means nothing to people who haven’t read the books.

We then get to the pregnancy arc, which could have been Rosemary’s Baby but is instead as outrageously boring as the first half of the movie was. The director must have realized as much, because he gives us Jacob’s alpha plot that should have been cut from the movie (yes, I know it was in the books, but the thing about adaptations is that things have to go. For the record, I think Meyer should have cut it too). That subplot was straight out of an anime, by the way. Jacob claiming his ancestral rights as alpha while listing off his titles and the soaring music, was… every shounen anime, ever. Complete with the shitty voice acting.

It was a soul-crushingly boring movie.

Something that screws over the last four movies is that they were made to feed the fangirls, and generate revenue because the producers knew the fans were coming to watch the books they liked come to life, so they just had to throw scenes from the books and into the movies and let the magic happen. This is a terrible way to adapt something.

Special shoutout too to having to watch Taylor Lautner run around shirtless in four out of five movies. That was very uncomfortable and none of us needed that in our lives, Lautner included.

Super special shoutout to the fact that we disagree with nearly all the casting.

And this isn’t the post for that, but all of the characters were butchered. Some more than others, and some more insidiously than others. It’s the big things, like Carlisle’s character being turned on its head since he thinks all vampires are damned, exactly the opposite of what he thinks in the books, and the little things, like Jasper and Bella being buddies who bicker fondly in New Moon.

Then the books:

1. Midnight Sun

HANDS DOWN. This is easily our favorite thing to come out of the entire Twilight franchise.

Edward is every kind of crazy at the same time, all the time, and it makes every single sentence packed with delirious entertainment. Reading this book is having a stroke, a psychotic episode, and watching five different true crime shows all at once. We adore every letter of it. (That’s no exaggeration, we even laughed about Edward capitalizing “Son” when Carlisle refers to him as “son” in conversation.)

The book was more than we’d dared to hope for, one of those rare books that makes you go “This was written just for me.”

2. Twilight

The one that started it all.

Vampires are wonderfully creepy. Things like Bella staring at Carlisle acting like the mundane town doctor shortly after learning just how old he is, Alice explaining how vampires kill all, and the uncanny valley perfection of the Cullens all add to the otherness of these vampires, and the general atmosphere of the book.

The love story is convincing. Edward seen through the eyes of Bella is wonderful, the red flags are there but if it weren’t for the books that followed we wouldn’t have decried the ship the way we do.

3. Eclipse

Breaking Dawn is the more interesting book, but Eclipse has less things we outright don’t like. We get to know all the characters better, Edward and Bella are their usual beautiful selves, and it’s overall peak Twilight.

4. Breaking Dawn

Would have ranked much higher, we like what it did. Without it we wouldn’t be in this fandom now, as it brought so much amazing content. The baby plot is fine by us, Carlisle’s friends are great, the Volturi confrontation is a beautiful, if bleak culmination of preventable events. There’s a lot of great stuff in this book.

Unfortunately, and there’s just no diplomatic way to put this, so I’ll just come out with it: there’s too much Jacob.

He no longer had a reason to be in the story, given the way Eclipse ended he had every reason not to be in it. In spite of that we get an entire third of the book from his point of view, and then damned if he’s not shoehorned into the last third as well. He added absolutely nothing to the story, he was just there taking up space and being possessive of a toddler. His POV section was tough to get through, and his presence in book three was just painful. He should have been cut.

5. New Moon

This was the book we had to power through. There are some very good things in it, most notably the Volturi scene, but the Muffin and I enjoy Twilight for the vampires, and that makes Laurent and Hallucination!Edward the highlights of the part of the book where Edward is gone.

There’s also the fact that Jacob isn’t a very compelling character. He has to carry the book now that the Cullens aren’t doing it, and he simply isn’t up for it.

Yes, we’re aware that these books are ranked according to how much Jacob is in them. We don’t even hate him, not at all, it’s just that he’s boring.

(That being said, the books at their worst are better than the movies at their best. Jacob narrating his perfect playdate with Renesmée would still be preferable to… I’m trying to think of a good scene from the movies. Hm, nevermind.)

As for The Short Second Life of Bree Tanner and Life and Death, only I have read Bree Tanner and I don’t remember it well enough to give a proper assessment. I was bored with the OCs, though, bored to tears, throughout that book I was itching for Victoria and the Cullens. We have not read Life and Death, but we’re offended by its existence so it ranks bottom.

#books vs. movies #twilight movies #twilight books #the twilight saga #twilight renaissance #twilight meta #twilight #movie review #twilight review #i'm using all the tags tonight #the carnivorous muffin #thecarnivorousmuffinmeta #Anonymous #ask #long post

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iwritebutshouldi · 3 years ago

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Sentiment in a Bottle

Summary: You work as a coordinator for Fox Studios. The new project currently being in progress is the X-men movie! Things start out as always but when Evan Peters hits you with his car accidently, it starts an avalanche... Evan Peters x Reader! slowburn (very)

Warnings: None in this chapter, but there might be some smut in the future.

Chapter: 1.

You searched for the cream around you. You were sure that you had left it somewhere on the table back in the morning, but the mess the actors and actresses left after breakfast made it close to impossible to find anything there.

You sighed tiredly and started cleaning up the paper cups and plastic cutlery that were laying all over the little brown table. This was not exactly the job you applied for three years ago...

Technically, you were a coordinator. You warned the actors (and actresses) to get ready a few minutes before their take, dragged them to their makeup trucks and basically made sure that everyone was where they needed to be on time throughout the day. Even though on paper you were still just a simple coordinator, in the past years you had also became a personal assistant, lunch responsible, coffee machine and sometimes therapist. Unofficially of course.

But you still loved your job. Hollywood and the world of the movies had always attracted you like an oil lamp attracts moths, there was nothing you could really do about it. You even got a degree at an art school - as a screenwriter - but your chance to really become one had just not arrived yet.

Your coordinator work simply started out as an internship at Fox, but you did your job so well that the studio decided to keep you after finishing your school. You didn't mind as this way you could really get to know your way around the behind-the-scene parts of the movies and also worked on your scripts in your free time, hoping that one day you might can prove your bosses that you were worth it.

When the last paper plate landed inside the black plastic bag, you contentedly rubbed your hands together and returned to looking for the cream to put into the coffees for the stars of the film your studio had been working on lately. The new X-men movie! You loved it. You loved the cast as well as the crew and the mood in the building was always light and fun. Everyone always made fun of everything and they had these little games to play with each other which was always fun to watch.

You looked at your small digital watch on your wrist to check the time. 10 minutes, you had left to prepare for the 8 stars that worked on their takes that day. You knew how they liked their coffees by heart after the first month of making it for them every single day so the recipes weren't a problem. Jennifer asked it with sweeteners and no cream, Michael simply black, James asked it the sweet way and with quite much cream... And the butter! Damn, you forgot the butter again!

Evan Peters liked his coffee with butter instead of milk - the vegan way - but for you it was so unusual that you always forgot to bring it with you in the mornings. You just hoped there was some leftover in the small fridge of the studio's kitchen and your heart beat up happily when you opened the door and did find some in the back of the refrigerator.

"Ah, thank god..." you mumbled to yourself as you bent down to grab it out and you were lucky since it was just the right amount as well. You still flinched, after weeks of making it every single day, when you dropped the little piece of cold butter into the hot liquid and impatiently stirred it with a spoon until it finally decided to melt away. You still had Alexandra's, Sophie's, Tye's and Nicholas' coffee left in 3 minutes.

Your hands worked fast and with routine, you even had one single minute left before the takes are over and everyone has a break. You quickly grabbed a tray and placed everyone's cups on it, balancing your way out of the kitchen to be able to serve the caffeine to the stars just before lunch arrives finally as well. You heard the ring bell above you when you reached the area of green and blue screens, half filled with stage-sets to help the actors imagine their surroundings while acting.

"Yes... LUNCH!" you heard Jennifer's voice in the distance and smiled to yourself how she always announced it like an alarm clock - everyone silently agreeing with her that it was indeed time for a good lunch. People worked a lot here. 16- and 18-hour days weren't rarities and meals were often late. Like almost every single day. You lost a few pounds immediately after you had started working in the industry, both from stress and the irregular meals as well.

"Here." you reached his cup towards James who reached you first. Then Jen, Michael and everyone one after one, all of them smiling gratefully at you but... where was Evan? Only his cup was still on your tray. You looked around yourself, looking for a silver wig in the sea of people and you finally noticed him sitting in a corner, typing on his phone with a serious face.

To make your job easier, you grabbed the cup into your right hand and placed the empty tray under your right arm, dancing between your busy co-workers. None of them looked your way just hurried towards something that was important for them so you had to be careful not to spill the drink in your hands.

You sighed tiredly, feeling a thin strand of hair falling into your face when you finally made your way into the corner where the actor was still sitting all by himself. You coughed, but he was so into his phone that it was not enough for him to notice you at all.

"Here's your... coffee." you said the last word, imitating a quotation mark with your free hand by the side of your head, but smiling kindly, making it clear that you were only joking. You teased him sometimes about the way he chose to drink his caffeine, but not too much so you wouldn't annoy him.

"I saw that." he said when he looked up at you and reached towards his shot of coffee. You felt his fingers slightly touch yours and since physical contact wasn't a usual thing between the stars and you, you felt your cheeks blush slightly.

His face remained serious but you could see the corner of his lips twitch a little. He usually had a tired expression laying across his features when he wasn't acting, making it hard to find out what he was thinking about, but - even though you worked on the same set with him for the first time ever - you had already learned it was just the way he was.

"Thanks." he said before sipping into his cup.

"Of course." you smiled politely at him, and just when you turned away to go and prepare the table for the actor's lunch, you heard his voice again.

"You should try it first, you know." he said, placing a gum between his lips when you looked back at him. When he saw your confused expression - at first you seriously thought he was meaning something about the gum - Oh, God, were your mouth stinking?? - he gestured at his coffee. "This, I mean." his eyes seemed to be twinkling in his amusement for a second and you felt yourself blush even harder than before.

No! Stop it. Being embarrassed around the actors is so unprofessional. You're not some fangirl! You are working here...

"Oh... Yes! The coffee... I will! Definitely!" you said, but in the same way parents reassure their children about something that is not true at all, just to calm them. You saw him chuckle before turning away from him. You still had to prepare the table for the others! You hushed the image of his eyes staring at you out of your mind quickly before it could cause you any harm and concentrated on your job instead for the rest of the day...

***

The next morning you woke up forgetting everything completely. You hummed a song happily as you rode on your road bike on your way to the studio, maneuvering your way between the cars stuck in the everyday morning jam on the streets of Los Angeles. Fresh morning breeze tickled your face and you felt it was going to be a good day. For some reason you felt that nothing could stop you that day.

And oh boy, how wrong you were...

The car came out of nowhere - even though you swore you had checked both sides of the road before crossing on your bike. You fell, no, you flew off your vehicle in such a perfect arc that even a professional athlete would have envied you. You did not really have time to react so your body hit the ground just like a ragdoll.

You felt a sharp pain struck your chin and basically every limb of your body but you were lucky as you felt that you didn't hit yourself seriously. Bruises and frayed skin would remain on your body for days, you were sure about that, but nothing terminal.

"God damn it..." you mumbled as you sat up, stroking your chin with your hand. So much about the perfect day...

"Jesus Christ, Y/N!" you heard as the door of the car that had hit you swung open. "I'm so sorry! Are you okay?" he crouched next to you, and when you gathered your strength to look up at him you almost fell back another time.

It was Evan...

#evan peters #evan peter fanfic #evan peters x reader #fanfic #fanfiction #writers on tumblr #writer #x-men #xmen #xreader #x reader #quicksilver

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trifle-of-doom · 4 years ago

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The Hawk X Demetri Manifesto

Okay, here is the thing. Despite being well past my teens, there's a particular ship of Cobra Kai that has drawn my attention, this ship being Hawk/Eli x Demetri. When I first watched the show, I was actually more invested in the adult characters storylines than the teens. I immediately rooted for Johnny and Carmen, and I was always hoping for more interactions between them. But then I saw episode 2x05, in which the atmosphere between the Binary Brothers becomes way more dense, and that's when I started to see some potential for them. Not because I'm a deranged person who fosters abusive relationships, but because I immediately caught the hurt/comfort dynamic of the duo, which is something that works really well when it comes to fictional relationships. However, it wasn't until 3x10 that I said, "Ok, that's official, I need to see more of these two! I totally support them!" And I was quite surprised to find a fairly large amount of people who are very committed to this pairing, to the point it's caught the attention of the screenwriters/producers as well. Honestly, I don't know if the showrunners will ever have the guts to make them an official couple, and chances are their supporters will have to keep reading between the lines of their bromance, but in any case, here is my take on why Hawk/Eli x Demetri is an option worth to be considered.

#1 - The Bromance

If there's something that many years of navigating the Internet taught me, is that the main driving factor for fan-made ships is the presence of either a solid relationship based on mutual brotherly love or a bitter rivalry that may or may not flow into hate/obsession. If you consider anime fandoms, there are thousand examples that fit into either of these categories: Yugi and Jonouchi from the Yu-Gi-Oh series (yes, that's how old I am), Yugi and Kaiba from Yu-Gi-Oh, Sakuragi and Rukawa from Slam Dunk, Light and L from Death Note, etc. And our Hawk and Demetri fit into both categories. When we first see them, they are the stereotypical nerdy friends (possibly childhood friends?) sitting at the losers' table, who have no one else but each other. When Eli is at his most sensitive and fragile, you can tell he feels comfortable being with Demetri by the genuine smile he has on his face as Demetri is joking with Miguel at the canteen table. Through his sarcasm, the mouthy kid acts as a catalyst to deviate the attention from Eli, speaking for him, reprimanding Johnny when he makes fun of his lip and trying to make him feel safe. Besides, you can see a certain degree of frustration in Demetri when Kyler and his gang are harassing Eli, and he's unable to do anything to defend him. And they even have a jingle for their friendship with a robot dance, I mean, how cute is that? But of course, a solid friendship between two helpless nerdy guys is not enough to spark a ship to be rooting for. In order for the magic to happen, another key ingredient is needed, i.e. a little bit of angst. Which brings us straight to the next point.

#2 - The Angst (aka the Hurt/Comfort Dynamic)

Even though I never liked the Twilight saga or any similar urban fantasy young adult works, I can easily see where the appeal comes from; the attraction to a charming, dangerous person who could either protect you from any harm or crush you like grape. Although with different franchises, I wasn't immune to the bad boy trope either (Yes, I'm looking at you, my teenage self drooling over Grimmjow from Bleach). If we can appreciate the genuine, brotherly friendship between nerdy Eli and Demetri, the shift that Eli makes as he transitions into Hawk and becomes more aggressive and dominant gives their relationship a totally different flavor. Attrition sparks a certain tension that, in the viewer's eyes, could either flow into a brawl or into passion.

During the mall fight, Demetri comes to the realization that his former best friend is actually someone who can crush him like grape. We see Hawk intentionally harming him for the first time, and Demetri's heartbreaking expression as he drops the line: "You'd actually hurt me?" And if that line gave us a pang in our hearts when we first watched Season 2, imagine rewatching it now that we know what happens in Season 3. Demetri is chased down the mall, running for his life, and then he's locked in a grip, as his best friend menacingly advances towards him. Demetri appears as the damsel in distress, however his friend is not the one who will fight to protect him, but rather his tormentor.

During the party at Moon's, Demetri manages to briefly go through Hawk's mask and reach out to Eli, thanks to a casual conversation about Dr Who. But then the beer incident happens, and Demetri defends himself with the only weapon he has – his loudmouth. The situation is reversed, and for a brief moment, he gets to be the dominant one as he discloses all Eli's most intimate secrets. Demetri is now actively contributing to the Hurt/Comfort dynamic; he's no longer just a target, but he's doing his part to enlarge that gaping hole that has formed between them. And Hawk didn't take it well.

From this moment on, Demetri becomes a sort of obsession to Hawk, who hunts him down the school, teasing him and taunting him sadistically, like a serial killer from a horror movie, during the big fight. Of course, in real life, this would be completely insane, and the police/a social assistant/psychiatrist should be called, but in ShipLand, these situations are pure gold. Okay, we get it, Hawk wants to get revenge for the humiliation at the party, and he wants to crush that nerd part of himself he sees in Demetri, but he does it with such an intensity that it borders on ridiculous. It's like this is his twisted way to acknowledge Demetri's presence. Eventually, Hawk ends up smashed into the trophy case, and I confess I felt a little disappointed when Demetri broke that hug to give Hawk a roundhouse kick. I mean, it was a great comeback, but I was sincerely hoping for a "No hard feelings man, let's get outta here!" scenario.

Getting back to the sick and twisted way Hawk acknowledges Demetri's presence, he destroys his science project after he got jealous due to him being confident in his nerd self and laughing around with his ex girlfriend (whom the writers insist he still has a crush on). Speaking of Moon, I have a feeling she likes Hawk mostly based on his badass appearance. Remember when she goes "I like this (mohawk) and I love these (muscles), but I'm not dating a bully"?

Then the football match happens. Okay, let's break this down. Demetri trips Hawk and acts all sassy, and a fellow Cobra Kai is immediately ready to take him down, but Hawk stops him. "Fight smart, he says". Too bad that literally 5 seconds earlier he had shoved a kid to the ground just because his ex girlfriend (again, duuuh~) ignored him when he winked at her. And then, as he's trying to intercept the ball, BANG, Hawk hits Demetri, sending him to the ground, pretending it was an accident. So, what does this tell us? That Hawk has some serious anger management issues? Yeah sure, but also that he cares about fighting smart only as long as it serves as an excuse to leave Demetri for him, because he's his designated target. Again, this is all but romantic, and it doesn't necessarily have to be interpreted as him lusting after his friend, but it's undeniable that this dynamic offers a lot of ship fuel.

The arm breaking thing is just too painful to even analyze. We see a completely helpless Demetri begging for mercy to his ex best friend, who has made No Mercy his life motto. And that scream, oh that scream. All I wanted to see was Hawk realizing what he had done and throwing himself on his knees while begging for forgiveness. But I'm glad that at least we get to see he feels awful for what he's done, and I like to think that, as he got home, Eli cried out all the tears he had in his body thinking about poor Demetri at the hospital, with a swollen broken arm, all because of him. Of all the situations, this is undoubtedly the most deranged and extreme, and if something like this happened in real life, the wrongdoer would deserve to be punished and would definitely need to be sent to therapy. But in ShipLand, this opens the road to many, many different scenarios, in which the bully understands his mistakes and shifts back to the good side, or the two share a tender moment after they reconcile, or the traumatized character has to to learn to trust the other one again, or the bully becomes overprotective of his former victim, etc.

#3 - A Rewarding Reconciliation

Finally, we come to the reconciliation, in which Hawk makes his heel-to-face turn. While we've seen him torn with doubt for an entire season about his sensei's teachings, his actions and the people he wants to surround himself with, the key factor that drives Hawk's redemption is the sight of his best friend being held down for him to beat. And with an epic stunt and his awesome KEEEH screech, Hawk jumps to the rescue of his friend. Like many of us, Demetri thought this was still part of the "Only I Can Torment Him" dynamic I discussed earlier, as he steps backwards a little concerned, but then he understands that action was actually meant to save him, and the two begin to fight side by side, in sync, watching each other's back. You can see Demetri's eyes sparkling at the thought of having his friend back.

Also, not only Demetri stands up to alpha bitch Tory in defense of Eli, but he also speaks for his friend when he's faltering, just like he used to. So kudos for Demetri.

#4 - The Red Oni, Blue Oni Dynamic

Binary Brothers are two sides of the same coin and complete each other with opposite character traits, visually expressed by the color red and the color blue. Being the color red typically associated with violence, rage, passion and irrationality, as opposed to blue, which is associated with calmness, melancholy and rationality, red is clearly the dominant color. Again, this opens many interesting scenarios for shippers.

#5 - Body Language

Besides the situations I described above, which may or may not be read from a romantic/attraction standpoint, there are also a collection of small gestures I noticed when rewatching the series with a more attentive look on their relationship.

- Demetri's heart-broken expression when Eli shamefully covers his lip during the anti-bullying announcement.

- The smile Demetri gives when Hawk responds "Hell yeah!" after Aisha proposes to crash Yasmin's party, implying he's learning to embrace this new wild side of his best friend

- The astonished look with which Demetri watches Hawk at the tournament and the way he's pissed no one knows his real name.

- How deeply hurt Demetri is when Hawk belittles him by saying: "Five against three. More like two and a half." He even tries to reply, but he's caught so off guard that words die in his throat.

- How Demetri takes a step towards Hawk during the mall fight, before Sam makes him back off, and how sadly he looks at Hawk's nearly unconscious body after Robby defeated him.

- How Demetri smiles and nods when he briefly connects with Eli at Moon's party, despite the mall incident.

- How Hawk watches Demetri juggle with the cleaning product from behind his bike helmet (how did he stuff the mohawk in there by the way)?

- Hawk's psychotic/sadistic faces when he smells Demetri's blood, and how he likes to hunt him down like he's his prey.

- Hawk's secret impulse to comfort Demetri after the arm breaking (I hope you get nightmares of Demetri's howl of pain for the rest of your life, Hawk).

- The way Hawk twitches his upper lip when he sees his friend Demetri in danger.

- How Hawk and Demetri are so absorbed in their new-found friendship, that they're caught off guard, and Demetri swings Hawk to allow him to deliver a kick using their handshake as a lever. And how they keep fighting together, shaking each other's hands even when they're out of focus and the attention is on Miguel vs. Kyler.

- How they're standing so close at Miyagi Do, in comparison with the other Red/Blue partners.

In conclusion, this kind of relationships are engaging and entertaining to watch, and they make us wish the best for the characters. They make us hope that, in the end, as Miguel puts it, love really conquers all (and what is friendship if not a form of love?), despite all the hurt they did to each other.

So this is it. I hope you enjoyed my Ted Talk. Feel free to share it with whomever you want, especially if you need some solid reasons why this ship has got some good potential.

And remember: the ship is in the eye of the beholder.

#HawkMeat #Hawk x Demetri #Cobra Kai #Eli Moskowitz #Demetri #binary brothers

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stormly · 4 years ago

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Guide To Special Effects In Movies

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#interior design #Unreal Engine #animation #animation software #video editing #youtube videos

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zashamalkin · 4 years ago

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Hockey with the Malkins

Match TV interview with Geno and Anna below the cut.

The Match TV observer attended the filming of a touching family mini-film, in which Nikita Malkin, the son of Pittsburgh forward Yevgeny Malkin and our channel's TV star Anna Kasterova, made his debut as an actor.

If you only knew how much work it costs to shoot a one-minute clip for Match TV! A lot of TV cameras, an operator rolling on the ice on a segway - he must catch a good frame and keep balance on a hydro scooter. Producers, screenwriters, technicians.

This is the process I found myself in when I arrived at the skating rink in Maryina Roscha, where the Malkins were filming. We get up carefully at the side with Anna Kasterova so as not to get into the frame when Zhenya and their son Nikita are caught in the lens, who score a goal into the opposite goal. And we are streaming on Instagram @matchtv_channel . And the questions are not even from me, but rather from the fans. These questions come to us live.

- Anya, you recently returned to the big broadcast, you work for Match TV. What emotions?

- Even in the tenth year of broadcasts, I will say that before each release I feel some degree of excitement. This is normal and natural. And you also need to feed on information. One broadcast I have - the Football Champions League, the second broadcast - the Biathlon World Cup ... Everywhere you have to be in the subject to feel confident.

- Is this the first joint shooting of Zhenya and Nikita?

- Yes, except for my videos for Instagram ... And here is my child! - Anya reacts to Nikita passing behind the glass. - I think he keeps well on the ice for his four years.

- How do you teach your son to hockey?

- Dad and coaches teach. Individually. Nikita spends a lot of time on the ice, and this is the most important thing.

- Does Zhenya feel like a fish in water on the set?

- I think he is very comfortable. Moreover, Zhenya skates in the frame, plays hockey and does what he loves. But for Nikita, this is the first serious shooting. And I noticed that the kid was a little worried. A huge number of people around, a film crew. Everyone says something, sets some tasks.

- Is it hard to be a hockey player like Malkin?

- And what do you think? Of course, you have to work hard. Zhenya has training sessions almost every day. And in the offseason there can be two of them.

During the season, you get up at seven in the morning every day. Regular flights, matches, one day off every 10 days. You have to watch your health - the older, the more. Only healthy lifestyle, alcohol to a minimum. Eugene does not use at all during the season.

Plus, when you are a star of that level, there are always great expectations from you. And this also puts pressure on the psyche. And think for yourself whether it is easy to live like this.

- Even jet lag is not a joke when there are four or six flights a week.

- It is easier to fly around America, there the maximum time difference is three hours. This is if you get from Pittsburgh to California. But I think that Zhenya has already got used to such a regime during his career.

- Can you imagine in your family that Nikita Malkin will become a goalkeeper?

- No!

- Why?

- Well I do not know. The kid looks good with a stick and a puck. But time will tell. When he is only four years old, it is difficult to say something.

- Zhenya's parents look at Nikita ... They remember Yevgeny Malkin at the age of four - and they see Nikita Malkin at the age of four. Does the son look like his father in terms of inclinations?

- There are no such comparisons. And you understand that these are grandparents. For them, the grandson is a priori better. Plus Nikita has more privileges and opportunities with such and such a dad. Zhenya had fewer of them. What is better and how? Time will show.

Yes, the baby is only four years old. He has zeal, some kind of success. But everything will be clear only in a few years.

- We're talking the day after the official All-Russian Hockey Day. You probably don't celebrate this holiday in your family ...

- Well, we have arrived! Why not? Of course, we celebrate! I even gave my wife a gift, I prepared it specially. This is his professional holiday.

- What would you wish for your husband?

- The fourth Stanley Cup is understandable. And also - Olympic gold. This is real, and I really hope so.

Filming lasted about five hours. Maybe even six. When I caught Evgeni Malkin already in the corridor on the way to the car, the Pittsburgh forward looked like after an intense hockey game.

- What is harder, Evgeny - to play a hockey match or to have such an acting shift?

- When you are filming, it is very exhausting! And you feel out of place. Somewhere you need to show acting skills, somewhere to look good on camera. It is very difficult.

When you skate on ice, yes, it's mine. But shooting outdoors, indoors, not to mention the stage, is a completely different job. And she squeezes you out emotionally. What if you forget some words? You must always be mobilized. But this is also interesting.

- Nikita skates very well at the age of four. How do you teach your son?

- I'm working with him. Plus, on the set there was coach Dima, who also works with Nikita. And the son also goes to school with children on Saturdays and Sundays. That is, there are about five classes a week. And I am always on the ice when Nikita is engaged. Somewhere I give a hint, somewhere I consult with the coach what is the best to do. We can say that I am sharing my experience.

- It is also important for children which coach you get. And then there were recently scandalous cases when the coach knocked children with a club on the helmet. These videos were tearing the web apart. Although Nikita Kucherov and Nikita Gusev went through such a school ...

- Now there is a different world, different priorities. I will not let anyone bang my child on the head with a club. But I will not hide, I also went through this hockey school. There were moments that the coach could shout. Sometimes he treated us harshly.

You should understand that there is one coach and 20 players in the group who do whatever they want in training. Now I go to children's workouts and I see it all. These are children, they are naughty, they run in different directions. Sometimes the coach can break loose and even scream.

I urge you not to be aggressive. You have to be patient and control yourself. Although I understand coaches and teachers that it is difficult to work with a large group of children. And it is necessary not only to control them, but also the parents who are standing around and shouting from behind the side are completely different.

Of course, children need to be handled carefully. You need to love them and not discourage them from playing hockey.

12/16/20

#evgeni malkin #anna kasterova #nikita malkin #match tv #off season 2020 #moscow #12/16/2020

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thexfridax · 4 years ago

Photo

Translated interview

Love and let love

Pamela Jahn, in: ray Filmmagazin, October 2019

// Additions or clarifications for translating purposes are denoted as [T: …]. //

Céline Sciamma’s brilliant ‘Portrait of a Lady on Fire’ opens the Viennale 2019. A talk with the French director about her ambitions, love and why you can do without men in her film.

She likes to think of herself as film activist [T: also see here], and looking at her work confirms this. Céline Sciamma is a force in French cinema, but this hasn’t yet created a ripple effect internationally. After her coming-of-age trilogy (Water Lilies, Tomboy, Girlhood), the French director and screenwriter Céline Sciamma now created an elegant but also radical period film with Portrait of a Lady on Fire. [T: Partly omitted short description of film] The two women slowly get closer to each other, determination turns into restraint, curiosity into desire, and Sciamma’s great skill is in making the intimacy between the characters tangible in a very sensual manner. Her brilliance and experience in utilising the cinematic art of seduction of all kinds make this film special, and it opens up a new perspective on the art of looking and thinking.

Interviewer: Part of the fascination for this film is in the process of discovery, the way that we, the audience, slowly get to know the face, the body, and the gestures of Héloïse. How did you develop this process from your perspective as screenwriter and director?

Céline Sciamma: First of all, it took a long time to write this. I don’t actually mean the writing itself but rather dreaming about it. The idea for the film came right after Girlhood, about five years ago. But then I allowed myself to just daydream about it for two, three years, without writing anything down, apart from a couple of notes, a page here and there, where I tried to find the right balance between the different approaches that I had in mind for the film. On the one hand, there was the idea that you implied, developing a choreography of discovery to show how someone falls in love with another person, and at the same time accurately convey this process through cinema with all its possibilities, step by step. In other words, I was interested in the joy of discovery, but also in the delay and frustrations that might occur with this. On the other hand, I also wanted to show the progression of a love story, its past, its future, this epic period of time where everything seems possible. I wanted to make a film about the dialogue of love, about its philosophy and poetry. And this takes time, to find the necessary balance, but also to steer the film in a direction that seems radical enough to me. It was important for me to find the right structure, in order to both integrate the dialogue of love and dialogue of art. That was my task, my personal mission. I had the ambition to convey all these ideas without becoming too theoretical. The film should seem playful instead, be exciting and fun – fun while filming and watching.

I: Were you inspired by certain paintings for the aesthetics of the film?

CS: My cinematographer and I, we discussed the lighting and the framing for a long time, and at one point [T: she] said: ‘Okay, let’s do this, we won’t consciously set it up like a painting, but secretly we both know it’s exactly like that.’ This means we didn’t tell ourselves that the whole thing should look exactly like a painting by Georges de La Tour or whoever [T: also see here, a pipe and a candle, hmm]. Quite the opposite. Our references came primarily from cinema, especially when it was about lighting a film with candles. But we were of course aware that everyone would say afterwards that it looks like it was painted. Cinema is about similar things after all: It is about lighting, composition, faces and silhouettes. There were no real references to paintings apart from one, but it was rather anachronistic, because it wasn’t from the same period as the film was set in. However, we always had to think about [Jean-Baptiste-Camille] Corot, a French painter from the 19th century, who mostly painted landscapes. But he also did a few paintings of women, women in landscapes. And we were quite thrilled about the way that the light seems to radiate from the figures in his pictures [T: also see here]. The figures somehow illuminate the painting, and we worked hard to create a similar effect with the colours and the clothes of the characters. [T: Also see here for an in-depth article on the cinematography of the film]

I: What were your film references?

CS: Barry Lyndon had certainly the biggest influence, not only on me, but on cinema in general, when it comes to lighting a period film. It doesn’t mean that we should do exactly the same as Kubrick did. Barry Lyndon is a film with an incredible amount of ideas, which make you think, and it’s a film that gives you more courage in what you do. That means, instead of duplicating something it’s rather about developing a standard, which you don’t have to necessarily adopt, but you can work towards it. And for that we developed our own methods to create a certain mood and aesthetics. Just like Kubrick who invented a lot for his film. He even came up with his own lens, so that he can produce the atmosphere he wanted. We made things and thought about finding a way to manage without candles in the picture, which was decided very early on. [T: also see here, here or here for Barry Lyndon]

I: The setting plays an important role in both films, Kubrick’s and yours. It develops its own character, in a way.

CS: That’s true. The building where we filmed had an unbeatable advantage: It hadn’t really been touched for years. It’s an old suburban city hall in the municipality of La Chapelle-Gauthier, about 70 km from Paris [T: also see here, h/t @podcastofaladyonfire]. When we found it, [T: we] weren’t quite sure. It seemed like a place from another time. But as soon as we stepped into it, we knew how it was. We also knew that everything should remain as it was. That’s not very common, because it’s usually about reconstructing the period in a period film, in which the story is set, so that you achieve the highest possible degree of authenticity and truthfulness. Apart from that, I mostly made all of my films in the studio. The apartments, where my protagonists lived, were all recreated. And now I suddenly had to struggle with a fourth wall. It would have made more sense not to film on an original location. It’s a paradox, but I really like it.

I: You made another conscious decision, which was mostly excluding men from your film.

CS: Yes, that was already clear from the outset. It wasn’t like I only killed the men in the cutting room. The main reason for this was that I wanted to tell a love story that is lived. And I wanted to talk about the possibility of their love, not about the impossibility. If I had included men, then it wouldn’t have worked, because the limits of what is possible would have been all too visible. We are very familiar with these limitations and I think, we don’t have to constantly talk about them. I wanted to give these women the necessary space to express themselves and fully live out their love. In other words: I wanted to give them time to imagine what their lives could look like in a world where they don’t have to constantly assert themselves against men.

I: Especially against men that try to interfere with their love.

CS: Exactly. I consciously avoided this conflict. I also didn’t want the two of them to question whether their love story is really possible or not. But that is a question of dramaturgy, not of gender. For me, it was about telling the story in a way that gives them the greatest possible liberty, but which they don’t have in reality. This is not only an imagined liberty but a very tangible one. Fundamentally, it is just another way to point out the limitations that clearly exist for both women. It’s just that we don’t show [T: these limitations], because they are quite obvious. I had the feeling that both women couldn’t imagine another life. Why should I put them in a situation where they fight a battle they cannot win anyway?

I: It seems that going back to the 18th century gave you more liberty to tell the story.

CS: Yes, it really was a liberating process for me, too. A process that made me more courageous as director. Even though, my films were always strongly anchored in the presence, and were in that sense bold, because they were politically motivated. This time I wanted to go a step further, not least because it’s about a female artist at work. The film was meant to playfully deal with the theme, so that you also see my own love for cinema. This is why it seems so intimate at times. Not because I tell my personal story, but because I keep my work less under wraps, treat it less like a secret but reveal it more as a gift.

I: It’s interesting that you not only excluded men but also didn’t include music so much.

CS: That was also a choice that I made in the beginning, or rather had to, because it meant that I had to write the script with this [T: exclusion] in mind. It doesn’t mean that a film without music cannot be musical as well. But you write differently. And it means that you have to show a strong sense of rhythm on set. That wasn’t a problem for me, because I’m anyway obsessed with rhythm. Deciding against music wasn’t meant to be for the challenge, but I wanted to put the audience into a state, where art is also inaccessible to them. So that listening to music will also become precious. The film is about the relationship between art and love, and how important art is for our lives. Listening is therefore meant to become an organic experience. For me, it was about showing that you can reclaim cinema with the power of music [T: also listen to this or this… I have no regrets 😁]. If you really think about it: The piece by Vivaldi, which is in the film, is a hymn, but it’s also typical music when you’re put on hold. It was really exciting to create an atmosphere where you rediscover this piece, which you heard so many times, and in a completely different context and with a new image in mind [T: the most heartbreaking scene ever, here goes Vivaldi, also see here].

I: The last scene of the film is breathtaking. But I can also imagine that it was a huge effort for you as well as for Adèle Haenel to hold this shot for such a long time.

CS: To be honest, that was the most important and most difficult shot that I ever filmed. And with difficult I also mean technically, because you have to ensure that the focus is retained. The poor guy, who had to take care of that, was in a cold sweat during the entire take. It’s not Hollywood after all. This means, he had to sit on a small chair, which was attached to a self-made vehicle that a couple of other men had to slowly move across the room towards Adèle. Everything was extremely improvised. But that’s what cinema is also about: technique. You create something with whatever you have at your disposal, so that there is this brief magical moment on screen, which moves people.

I: Did you also know from the beginning that you wanted to conclude the film with this shot?

CS: Yes, it was the first image that I had in mind, when I started writing. It is one of those images that push you forward, when the doubts overwhelm you. And believe me, I gave up on this film more than once [T: 😱 😌]. But I always knew that if [T: the film came to life], then it should end like this. For me, this image represents a mix of joie de vivre and ancient dream [T: the text says ‘pures Leben’ or pure life, which has more of a positive connotation in German]. I can’t describe it any better. Perhaps it is the last secret that still remains for me.

—

Picture source: [1 / Julien Lienard/Contour by Getty Images]

#ray Filmmagazin #Céline Sciamma #Portrait of a Lady on Fire #October 2019 #Austrian interview #IDK this interview warmed my heart #The relationship between art cinema and music #DIY approach to film #Her ideas and their execution #That last scene #That last secret...#Thank you for your gift Céline #My translation #long post

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allthefilmsiveseenforfree · 4 years ago

Text

Dangerous Minds

Those of my readers who haven’t known me long may not know that I was once a corps member of Teach for America. I taught 10th and 11th grade English for about 5 weeks, then I was told on a Friday about my “involuntary transfer” to another school in the district, where I’d be teaching 7th and 8th grade English instead. I went from having about 110 students to about 190. My classroom had no books (textbook or otherwise), no pencils, no paper, no markers or chalk, but it DID have one of those folding lamps that come out of the ceiling at the dentist’s office. The kids had been in there for 5 weeks with a rotating roster of subs; they’d done no schoolwork of any kind. I was teaching in a very poor area of the city, and my students were predominantly Black and Hispanic. One of my 10th graders wrote his first personal essay about getting shot the previous year. I say all this to tell you that when Chad asked that I review Dangerous Minds, the 1995 adaptation starring Michelle Pfeiffer of the true story of Louanne Johnson’s experience teaching in inner city schools in California, I was prepared to laugh it off as a cringey, Lifetime-movie representation of my experience. Is that what I got? Well...

For the most part, what I got was a ball of anxiety in my chest. It’s well-worn territory, obviously. A teacher bonds with their students from the wrong side of the tracks, and ends up learning just as much from them as they learn from him/her. Usually poetry or music features heavily as a tool that can set the students free from the depressing circumstances of their lives. Depending on the rating, usually a student dies, and the teacher learns just how Important their job is, so they commit to it even harder even though it pays no money and garners no respect from the administration who just doesn’t “get it.” But these cliches and stereotypes and broad strokes exist because at their core, they’re true, and they make me anxious and uncomfortable and I can’t laugh at them or Michelle Pfeiffer being a Nice White Lady because I’m too busy being angry about the systems we put in place that straight up abandon so many kids, all in the name of white supremacy.

Some thoughts:

Oh we’re starting right off the BAT with “Gangsta’s Paradise.” Fantastic news. Two things I associate so strongly with this song is skating around the skating rink in 2nd grade and buying the Weird Al cassingle of “Amish Paradise” and wearing it out.

Ooh, the score was composed and performed by Wendy & Lisa! Love that, you don’t see nearly as many film scores as you should composed by women.

God, the salary is $24,700 a year and Louanne acts as though that is appealing - I can’t tell if that’s because it was 1995 or because teacher salaries are so dismally low that this feels like a good salary?

This scene in which Louanne goes into her classroom for the first time and the kids are all shouting at her and getting in her face and sexually harassing her and throwing paper balls at her is giving me stress hives.

Also her friend Griffith (George Dzundza) saying, “You wanna teach, so teach! All you gotta do is get their attention” is rather disingenuous. Trust me, you can have their attention, and still not be able to teach.

I’m excited to see Sally-Can’t-Dance from Con Air as Raul (Renoly Santiago). He’s honestly fantastic in this, with a tough exterior but a sensitive and gooey inner sweet boy. All of the teens give pretty solid performances, but he’s a real standout.

I recognize this is based on a true story and Louanne Johnson’s lived experience, but I am not sure it’s wise for any teacher, regardless of grade or subject, to be teaching her students how to fight each other. Or taking them to dinner on what looks to outsiders like a date. I know some people have a problem with the bribery (giving her students candy for speaking up in class) but I have no problem with it - you get paid to do all the dumb stuff you don’t want to do at work, why shouldn’t kids be compensated for going to school if they don’t want to be there? External motivation goes a long way to building up internal motivation.

Mm I do love me some Courtney B. Vance, but he’s such a quiet, condescending ass in this. It’s a different vibe than I’m used to seeing in a principal in a movie like this.

Ooh, Griffith grading papers and saying “What a fuckin’ idiot” is a real mood.

“Since when has the Board of Education done anything for us? We barely get fuckin lunch” is legit. The lunches my students were served in summer school were some of the most horrifying things I’ve ever seen. One day it was spoiled milk, white bread, and pickles. And one of my students put his in a microwave that was hidden in the back of my classroom behind some dividers and left it for a week. And just so you know, as stomach-churningly awful as that sounds, the day I found “pickle man” as my student called him, isn’t even in my top 5 worst days teaching list.

I like Griffith, and I’m glad Louanne has a friend, but frankly I’m not that interested in these interludes between them - they really feel like they slow down the momentum from the scenes of her in the classroom slowly earning the kids’ trust. The pacing is kind of a mess, because the most dynamic sections all revolve around the kids in the classroom, and I feel like that only makes up about a third of the movie.

One thing I know for sure is you do not get in the middle of a fight between students. I have a friend who worked in the same district I did who interrupted a fight and got punched in the face because of it. And her principal blamed her.

Oh wow the way the soundtrack picks up when Emilio finally engages in the class is some kinda cheesy. And it continues through the rest of the scene to a distracting degree. Oh Wendy and Lisa, I hoped for better.

Can I just emphasize that to reach these kids, Louanne uses her experience as a LITERAL MARINE by demonstrating she can kick all their asses, and then she bribes them by paying for 25 kids to go to an amusement park for the entire day with her?

Also, even if they like and respect her now, I call bullshit at any scene in which ALL of the kids are A) sitting in their seats or B) silent, and especially C) both.

Um suddenly feeling some weird vibes with Louanne and Raul having a dinner date at this fancy restaurant by themselves. Also, the double standard here is pretty telling - there’s no way this scene makes the movie if Louanne had been a male teacher and Raul was a female student.

Wait wait wait, she’s also loaning Raul $200? Like, is this why I didn’t make it as a teacher? Because I wasn’t a former Marine taking students to amusement parks and fancy dinners and lending them money? I was 25 and could barely afford rent. Maybe teachers who have enough money to take care of themselves are better equipped to take care of others. Idk, I’m just spitballin here.

Oh “Gangsta’s Paradise” is happening again! We already heard the whole song over the opening credits but now it’s happening again about 3/4 way through. I mean this song is definitely the best thing about the film, so I get it, but it feels weird that they think we wouldn’t notice it playing to completion twice.

Michelle Pfeiffer is doing everything she can to make this movie feel less cheesy and more real. Like, you can tell she’s really trying with her performance. Of course, it’s not like the character is a huge challenge acting-wise, but she is definitely committed to the part and can walk the line of both accessible and tough.

This scene where Louanne tells her class she is not going to be there next year, that what happened to Durell and Lionel and Callie and Emilio made her too sad to stay has not aged well at all. And it’s certainly true to life, and I say that as someone who did the same thing. It’s not something I’m proud of, but it’s a reality - the fact that I’m a nice white lady is exactly the reason that I can choose to leave when things get too hard. Just because the kids convince her to stay at the end in this very rushed “all’s well that ends well” way doesn’t sweep this scene under the rug, and it shouldn’t.

Ope, “Gangsta’s Paradise” shows up one last time in the credits for good measure.

Side note: after the film, I researched Louanne, and she’s still teaching, which honestly made me emotional (in a good way). And I’d like to point out the racist ass bullshit the studio and screenwriter Ronald Bass pulled by changing the poems the students read to Bob Dylan lyrics when Louanne originally used rap lyrics from popular artists in ‘89-’90 to teach the kids about poetry.

Did I Cry? No, but I did get heartburn from anxiety flashbacks.

This genre of film is easy to mock and parody because it tells the same story and hits the same beats to the point that they’ve become cliche. Ultimately, the truth at the heart of the movie (which is the un-nuanced and candy-coated depiction of Johnson’s real memoir, My Posse Don’t Do Homework) is that high schoolers crave someone who will see them and validate them, someone who is willing to put in the effort. The quality of the package that truth is wrapped in varies, and this one certainly leans in hard on stereotypes that feel like cheat codes rather than any real illuminating depictions of living teenagers. But as cringey as it is to watch, maybe it’s not a bad thing to remember that all people - including those who are trapped in poverty and all the cruel injustices that entails - want to be seen and valued for who they really are.

If you liked this review, please consider reblogging or subscribing to my Patreon! For as low as $1, you can access bonus content and movie reviews, or even request that I review any movie of your choice.

#121in2021 #dangerous minds #dangerous minds review #michelle pfeiffer #renoly santiago #courtney b vance #louanne johnson #movie reviews #film reviews #patreon review

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