#roven

[palsuke]

大多喜小学校と周辺の街並み

[florasletter]

96th Oscars Winners Portraits for Best Director, Best Picture, Best Leading Actor, Best Supporting Actor, Best Editing, Best Cinematography and Best Original Score Photographed by Matt Sayles

[dadsinsuits]

Charles Roven

[aceartistactivist]

Honey that is NOT his name 😭

[the-imaginative-hobbyist]

Congratulations to Oppenheimer winning big at this year's Academy Awards. Well deserved.

[mauricioreyna]

Hiding won't absolve your sins.

-You think I want to be forgiven?

15 Et datum est illi ut daret spiritum imagini bestiæ, et ut loquatur imago bestiæ : et faciat ut quicumque non adoraverint imaginem bestiæ, occidantur. 16 Et faciet omnes pusillos, et magnos, et divites, et pauperes, et liberos, et servos habere caracterem in dextera manu sua, aut in frontibus suis : 17 et nequis possit emere, aut vendere, nisi qui habet caracterem, aut nomen bestiæ, aut numerum nominis ejus. 18 Hic sapientia est. Qui habet intellectum, computet numerum bestiæ. Numerus enim hominis est :et numerus ejus sexcenti sexaginta sex.

Apocalypsis B. Joannis Apostoli - Biblia Vulgata

[thedovahcat]

Just WHO is the BBEG in this anyway??

[denimbex1986]

'Margot Robbie and Cillian Murphy — she the star of “Barbie,” he of “Oppenheimer” — have shared an experience, one unique in film history. On July 21, 2023, their two movies came out, and instead of cannibalizing one another during a time when box office receipts were sluggish, they actually boosted each other, creating the global phenomenon known as “Barbenheimer.”

On paper, the two movies couldn’t be more different. Greta Gerwig’s “Barbie,” produced by Robbie’s company LuckyChap Entertainment, is the story of the world’s most popular doll, who, after going on a journey to recover from an existential crisis, becomes a woman; Christopher Nolan’s “Oppenheimer” is a biopic about J. Robert Oppenheimer, the physicist who oversaw the invention of the atomic bomb. What they have in common, though, is that their directors made wholly original films, ones guided by their inventiveness, and it was the innovative spirit of “Oppenheimer” and “Barbie” that in turn inspired audiences to be creative and participatory in their fandom for both films. The memes, the double-feature TikToks, the costumes people wore to go out to theaters again and again to experience Barbenheimer — after COVID had nearly destroyed in-person moviegoing — “Barbie” and “Oppenheimer” proved joy is still to be had (as well as profits, with the box office for “Barbie” at more than $1.4 billion worldwide, and “Oppenheimer” recently crossing $950 million).

In other words, Robbie, sporting a “Barbie”-inspired pink polka-dot shirt with matching heels, and a darkly clad Murphy have a lot to discuss when they meet for Actors on Actors — a rendezvous during which Murphy professes he now knows what a meme is, after famously claiming ignorance about them in a 2017 interview.

CILLIAN MURPHY: Congratulations on your reasonably successful film. You’re a producer on the movie as well. How did you know a “Barbie” movie would connect with audiences in the manner that it did?

MARGOT ROBBIE: Yeah, 90% of me was certain that this would be a big deal and a massive hit, and 10% of me thought, “Oh, this could go so badly wrong.” It was all about Greta Gerwig. And it was like, “If it wasn’t going to be Greta, then, yeah, this could have been an absolute disaster.”

MURPHY: She was always your first choice?

ROBBIE: I just wasn’t going to let her say no. It was about six years ago we got the property. We got it out of Sony, set it up at Warner Bros., got Mattel’s blessing to let us produce, then went after Greta. Obviously, I didn’t know it was going to be the cultural phenomenon that it ended up being.

MURPHY: When did you realize that?

ROBBIE: It was all the way along. The fact that it’s Greta Gerwig, people are like, “Greta Gerwig and a ‘Barbie’ movie, what?” And then the pictures of Ryan Gosling and me Rollerblading on Venice Beach came out and went even wider than I was expecting. I’d been thinking big for it, and it still turned out bigger than I expected.

But what about you? Did you think so many people were going to watch a movie about the making of the atomic bomb?

MURPHY: No. I don’t think any of us did. Christopher Nolan was always determined that it would be released in the summer as a big tentpole movie. That was always his plan. And he has this superstition around that date, the 21st.

ROBBIE: Do all his movies come out on that date?

MURPHY: In and around the 21st of July — they always come out then.

ROBBIE: It’s a good date. We picked that day too!

MURPHY: Yeah, I know.

ROBBIE: One of your producers, Chuck Roven, called me, because we worked together on some other projects. And he was like, “I think you guys should move your date.” And I was like, “We’re not moving our date. If you’re scared to be up against us, then you move your date.” And he’s like, “We’re not moving our date. I just think it’d be better for you to move.” And I was like, “We’re not moving!” I think this is a really great pairing, actually. It’s a perfect double billing, “Oppenheimer” and “Barbie.”

MURPHY: That was a good instinct.

ROBBIE: Clearly the world agreed. Thank God. The fact that people were going and being like, “Oh, watch ‘Oppenheimer’ first, then ‘Barbie.’” I was like, “See? People like everything.” People are weird.

MURPHY: And they don’t like being told what to do. They will decide, and they will generate the interest themselves.

ROBBIE: I think they were also really excited by the filmmakers. People were itching for the next Chris Nolan film and itching for the next Greta Gerwig film. To get them at the same time was exciting. You’ve done five movies with Christopher Nolan now, right?

MURPHY: This is six, actually.

ROBBIE: So you like the guy? A big fan.

MURPHY: It seems to work. This is the first time playing a proper lead role for him. There’d always been supporting parts over the years — it’s 20 years we’re working together. Emma Thomas, his wife, the producer, she called me because Chris doesn’t have a phone. So she put me on to Chris, and he said in his very understated British way, “I’m making this movie of Oppenheimer — I’d like you to play the part.” I had just finished something; I wasn’t doing anything. I did realize then that it was different than the other jobs I’d done with him, because it was the story of Oppenheimer’s life. And then when he eventually gave me the script, it was written in the first person, which I’d never read before, and so I —

ROBBIE: The script was written in the first person? The big print would be like, “I’m going to put the cup down and walk towards the door”?

MURPHY: Exactly, exactly. Which I’d never read before. And so it was very clear that he wanted it to be truly subjective storytelling. And that did add to the feeling of “Oh, fuck, this is a biggie.”

ROBBIE: Why do you love working with him? And why do you think he loves working with you? I know you’re going to have to maybe be really humble and be like, “I don’t know, why does he like me? I can’t understand.” Take a guess.

MURPHY: With Chris, it’s just the work. He’s not interested in anything else other than the work and the filmmaking. And he’s incredibly focused, and it’s incredibly rigorous.

ROBBIE: When he called you and said, “Movie about Oppenheimer,” were you like, “Gotcha”? Or were you like, “Who’s that? I should go read a book.”

MURPHY: I knew the very basic Wikipedia level. I knew about the Trinity tests, and I knew about the Manhattan Project and then obviously what happened in ’45. But I didn’t know what happened afterwards or anything like that.

ROBBIE: So you read a lot to prep. What else did you do?

MURPHY: Walk around my basement talking to myself.

ROBBIE: Really? I prep like a psychopath as well. Did you have a thing that would get you into him?

MURPHY: Physically, there was loads of pictures of him, and he always stood with his hand on his hip. He was such a slight man, but he always stood with this very kind of jaunty angle. So I nicked that pretty early as a physical thing. And then Chris Nolan kept sending me pictures of David Bowie, like in the Thin White Duke era, with the big voluminous trousers.

And how about you? Such a difficult character. It’s this kind of 20th-century icon, but not a real person. How did you figure it out?

ROBBIE: It was so weird prepping Barbie as a character. All my usual tools didn’t apply for this character. I work with an acting coach, and I work with a dialect coach, and I work with a movement coach, and I read everything, and I watch all the things. I rely on animal work a lot. I was maybe 45 minutes into pretending to be a flamingo or whatever, and I was suddenly like, “It’s not working.”

I went to Greta, like, “Help me. I don’t know where to start with this character.” And she’s like, “OK, what are you scared of?” And I was like, “I don’t want her to seem dumb and ditzy, but she’s also not meant to know anything. She’s meant to be completely naive and ignorant.” And Greta found this episode on “This American Life,” where it was a woman who can’t introspect, who doesn’t have the voice in her head that’s constantly narrating life the way we all do. This woman’s got a Ph.D. and is extremely smart, but just doesn’t have that internal monologue.

MURPHY: Is she happy?

ROBBIE: Yeah, totally.

MURPHY: Is she happier, do you think?

ROBBIE: Oh God, I wondered about that. She kind of thinks about exactly what’s in front of her — a spotlight to what exactly is in front of her at the time.

MURPHY: Well, that’s perfect, right? We should talk about the costumes. So you’re clearly still not sick of pink then?

ROBBIE: No, I’m not done with pink yet. Yeah, the costumes were incredible. I mean, you just can’t have a “Barbie” movie without the color pink. And everyone really got on board with that. I’d make a “On Wednesdays, we wear pink” day. Do you know that reference from “Mean Girls”?

MURPHY: I had forgotten that reference.

ROBBIE: On Wednesdays, they wear pink. And so if you didn’t wear pink on set, you got a fine. And then I’d donate it to charity. It’s always the guys, I feel like, that are like, “Oh, finally I have permission to wear pink and get dressed up!” It would get crazier and crazier until Ryan would be like, “I think I need a mink.” It would just get insane.

In my opinion, there are two kinds of people in this world. There are the people who are obsessed with “Peaky Blinders,” and then there’s the people who haven’t seen “Peaky Blinders.” I obviously sit in the first category, so can we please talk about Tommy fucking Shelby for just one minute? I mean, that was years and years of your life.

MURPHY: Yeah, it’s like 10. That was also a 10-year adventure. We started shooting at the end of 2012.

ROBBIE: Is there going to be a spinoff movie?

MURPHY: I mean, I’m open to the idea. I’ve always thought that if there’s more story to tell …

ROBBIE: Please do it. Please! Obviously, I’ve now revealed that I am a big fan of yours, not just “Peaky Blinders.” I also love your sleep story on the Calm app. But because I’m a fan of yours, I have watched a lot of your things on YouTube, and it’s out there on the internet that you are not that aware of memes and things like that. First of all, is that true? And second of all, if that is true, were you even aware of the Barbenheimer phenomenon, or were you just blissfully unaware because you use a dial-up phone or something?

MURPHY: I have two teenage boys. I do know what a meme is. Now I know that there are memes about me not knowing what a meme is.

ROBBIE: It’s a great meme. It’s like the “Inception” of memes. A meme within a meme.

MURPHY: Genuinely at the time I did not know. But people forget that was a long time ago.

ROBBIE: I might not have known back then what a meme is. I’m not that tech-savvy.

MURPHY: Exactly. And I think children started that stuff, right? Now that it’s become this sort of meme that’s eating itself, I am aware. But it’s mostly because of people either sending it to me or showing me and saying, “Look, you gotta look at this.”

ROBBIE: You see any of the Barbenheimer fan art?

MURPHY: I mean, it was impossible to avoid any of that stuff.

ROBBIE: Weren’t there some great ones? People are so clever. People kept asking me, “So is each marketing department talking to each other?” And I was like, “No, this is the world doing this! This is not a part of the marketing campaign.”

MURPHY: And I think it happened because both movies were good. In fact, that summer, there was a huge diversity of stuff in the cinema, and I think it just connected in a way that you or I or the studios or anybody could never have predicted.

ROBBIE: You can’t force that or orchestrate that.

MURPHY: No, and it may never happen again.'

[felsjustart]

Part IV of the commissions I took on back in spring for my kitties surgery.

Amelia x Roven belong to @chemicallyme & their husbando, respectively.

Not only were these characters fantastic to play alongside in our Descent into Avernus campaign, but the people they belong to are both pretty fantastic too! ❤️

I took longer on this then I'd hoped, but caught myself taking breaks from it to do studies on several things before coming back to it. I love how much this pushed me to work on things I normally overlook: details, chubby and hairy men and consistent lighting on several different textures! I'm quite happy with it, and wanted to capture the sunshine that I know Amelia is! ☀️

Cropped/close up below the cut!

[the-ultimate-squish]

Please do not buy squishmallows irl unless purchased secondhand. Sources below

Squishmallow Alternatives + my current reasoning for the tournament (subject to change)

More info with sources

Official Boycott (this blog is not part of the official boycott)

[adamwatchesmovies]

Oppenheimer (2023)

Visually striking, magnificently performed and expertly written, Oppenheimer is the kind of movie that doesn’t really contain any twists but makes you feel like you need to see it more than once. This is a movie that sticks with you.

In 1954, J. Robert Oppenheimer (Cillian Murphy) attends a private hearing before a Personnel Security Board to dispute his clearances. As the man who helmed the Manhattan Project, Oppenheimer feels personally responsible for the use of nuclear weapons. He seeks to limit their use and the development of future, more devastating weapons. As part of the hearing, Oppenheimer’s past is examined. Everything from his time studying experimental physics in Cambridge to his working relationships with famed physicists, his supposed communist ties and his many extra-marital affairs are laid bare.

The first thing to discuss is the picture’s running time. Oppenheimer clocks in at about 3 hours if you include the credits. That’s a lot but only in the sense that you probably shouldn't start watching it at 10:30 pm. In practice, it doesn’t feel long; not at all. In fact, the extended running time is one of the reasons why this film is so successful. There are A LOT of people to keep track of. We meet Albert Einstein, Niel Bohr and other physicists you haven’t heard of. More relevant to Oppenheimer's personal life is his second wife, “Kitty” (Emily Blunt), the woman he has an affair with, Jean Tatlock (Florence Pugh), his brother, Frank (Dylan Arnold), the director of the Manhattan Project, Gn. Leslie Groves (Matt Damon), and the man who recruits him, Lewis Strauss (Robert Downey Jr.). If this movie was cramming everything in 90 minutes, you’d struggle to remember who’s who, what are they doing and why.

Having that extra bit of time to process everything is a blessing. Those extra minutes also allow director Christopher Nolan (who co-wrote the screenplay with Emma Thomas and Charles Roven) to show us what makes Oppenheimer tick. There’s an immensity to the picture. We understand the destruction these weapons are capable of and the responsibility that accompanies them because we saw how big a project it was, how long it took and how worried the people were during their development. The secrecy, the uncertainty, how it consumed the lives of those involved. We understand the magnitude of what Oppenheimer and his team unleashed when no one else seems to.

One of my favorite things about biographical films is that they teach you about people. Specifically, they teach you to love some and hate others. Well, maybe that says more about me than about the movies. During Oppenheimer, you’ll develop a love-hate relationship with many people. On the one hand, Oppenheimer is so mature in his handling of the nuclear equation. In other aspects of his life, he’s so irresponsible he threatens to doom us all. Why can’t he stop cheating on his wife? Why can’t he understand that associating himself with communists puts him and his work at risk, regardless of how little he actually believes in the political system’s merit? The one you’ll develop the strongest feelings for is undoubtedly Lewis Strauss, but he’s in the movie a lot. You might excuse him as a… complicated person.

Pairing the pink-infused Barbie with Oppenheimer, preferably as a "Barbenheimer" double-feature (two 5-star movies in my book) is fun and begs an important question: which do you watch first? I saw both, back to back. The funny thing is that in some ways, they're not as different as they'd seem. Both, for instance, contain surreal fantasy sequences that allow us to peer into the protagonist's mind and ask big questions about where their titular characters belong in our world, how they affect(ed) it and what we, as audiences, can learn from that. The main difference is that Barbie is often funny and uplifting, while Oppenheimer is somber and heavy. That might make you lean towards the doll movie second, as a way to leave the theater feeling good, but honestly, you can't go wrong with the reverse order either. While Oppenheimer can feel overwhelming, teetering towards the depressing, it's also so well made, so powerfully acted and so grandiose of an experience that ultimately, it makes you feel good to have witnessed it. See them both. See them more than once - just don't start your marathon at 10:30 pm. (August 11, 2023)

[florasletter]

Al Pacino after presenting Best Picture to Christopher Nolan 23 years later after working with Christopher in Inmsonia (2002)

[destinyc1020]

"Is there still a desire to continue Uncharted after an impressive box office run, especially for the time in which it was released?

Oh yeah! We had a really good time with that movie. The fans really liked the movie, and people who didn’t know anything about the game really liked the movie. So we are definitely looking to make another one of those."

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

Yes.... PLEASE give us an "Uncharted" sequel!! 😁🙏🏾

Buff Tom = Yes Please!

Wet T-shirt Tom = Yes Please! 🥵😁

[milliondollarbaby87]

Oscars 2024 - Winners!

Here are the winners at the 96th Academy Awards: Hollywood, CA – March 10: Chirstopher Nolan and Steven Spielberg during the live telecast of the 96th Annual Academy Awards in Dolby Theatre at Hollywood & Highland Center in Hollywood, CA, Sunday, March 10, 2024. (Myung J. Chun / Los Angeles Times) Best PictureOppenheimerEmma Thomas, Charles Roven and Christopher Nolan, Producers Continue…

[mantaypeli]

Oppenheimer

★★★★★ Apabullante. Acercarse al cine de Christopher Nolan es cada vez más una experiencia sobrecogedora y, por momentos, intimidante. La capacidad del cineasta británico para embarcar al espectador en sus historias ya desde el mismo arranque es algo digno de alabar en estos tiempos de multipantallas y déficit de atención generalizado. Porque, a priori, plantear una biopic de tres horas sobre ‘el…

[mandyraine]

Author interview with suspense/horror author Sue Rovens

Author Sue Rovens will be at Tomes of Terror (Saturday, October 26) at Bobzbay Books/Red Raccoon Games in Bloomington, Illinois from 10am to 4pm!

Sue Rovens is an indie suspense/horror author who lives in Normal, Illinois. She has written five novels and two books of short horror stories. Track 9, her second novel, received a starred review in Publisher’s Weekly (May 2018). Roven’s short story, “Coming Over,” from her book, In a Corner, Darkly (Volume 1) was turned into a screenplay and short student indie film by the theater department…