#scenes i filmed this year

[kitteecassee]

it’s tradition for me at this point with my current content shooting partner to have a sip of my wine when i’m finished blowing him, am covered in cum and making sure to record the entire elated sipping👏🏾

i look so happy and fulfilled, an adorable mess of a cat if i do say so myself aha

[mychapel-004]

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.

[screwpinecaprice]

Movie Night 🍿

[sandflakedraws]

so i'm readin various stuff on the xray cause this silly film is my current source of joy and

wait

hold up.

what...

WAHT ??? WHAT

XRAY CAST DESCRIPTION????

YEARS???

xrAY dESCRIPTION eXPLaIN!!! WHAT DO YOU MEAN FLOYD WAS HELD CAPTIVE FOR YEARS, WHAT SECRET INFO DO U HAVE ACCESS TO???

[wanderer-clarisse]

wanted to try something new and paint a night scene - I'm sure there's still lots to improve but I'm happy with how it turned out!

[silkjade]

by the time his eyes drift from the realm of ink and paper, the late afternoon sun has long seeped through kaleidoscope glass, dancing in threads of gold, as it weaves a crown of light and shadow atop her head. the air shimmers with hazy opalescence, and the beguiling tricks of his heart, echo the words penned by his late-grandmother, ‘may my child alhaitham lead a peaceful life.’ ….and he thinks this might be it. for love lies within the transience of time: in the fleeting daylight and the quiet solace, in the comfort found of a life unadorned. and so he makes a decision he dares not say aloud just yet, but a smile curves the corner of his lips, as he endeavors to imagine the tranquility of a life with her — forever.

illustrated by @/_hui.an on instagram; this was my second time working with them, and it was just as lovely as the last ! reblogs are okay, but please do not save or use — thank you ♡

[spicyboelives]

Cooper Howard-The Ghoul

How much of the Ghouls personality is a front/act he puts on to hide his true feeling about the shit he has to do in the wasteland? Could he answer that guestion?

[mikimeiko]

Pride (Stephen Beresford, 2014)

[chirpsythismorning]

I’m sorry but nothing will ever beat Finn’s drive playlist that he made during s3 filming, with songs like Me and Michael, The Basement, Gay Thoughts and No Woman lmaoooo

[kwillow]

Started this back in February when it was more topical but... I suppose no time is a good time for romance as far as Theo is concerned.

[prideprejudce]

I don’t think I’ve ever been so happy a scene was cut from a show

[ravnervn]

Okay fuck it. I need to exorcise this from my brain. This has haunted me for 2 or 3 years since I saw this film by chance, so I am going to, as best I recall, recap the plot. And then at the end I will say what it is so you can understand why it haunts me. I will say off the bat that you might read this ramble and go "huh this sounds good actually" and it is not. It is not a good movie.

So the film is framed as a story being told to someone -- we're not quite sure whether it's meant to be taken literally or allegorically but the ending and some other details IMPLY it's actually true.

So there's our narrator, who is an average mortal guy living a happy life. And then there's our second protagonist and actual main character, a celestial bureaucrat whose order's numbers are drawn entirely from those who have been denied a chance at a normal happy life. Whilst they can forsake their status to become mortal, as far as the bureaucrat and his peers are concerned, they are happy and performing a valuable service to reality. Our MC has been sent to Earth to investigate a threat to his organisation, and to do so he has infiltrated the narrator's life, seemingly metaphysically convincing everyone that he is the narrator's brother -- except the narrator, who sees through him and ends up convinced to help our MC as it's mutually beneficial; once the mission is done, the narrator's life returns to normal and the MC returns to his role.

So what's happening is that a rival organisation to the MC's has started up and is diverting... Okay so you can see the obvious parallels here and "worship" would fit, but I'll use the film's term of "love" because it's thematically coherent. Anyway, this organisation has a big scheme they're going to hatch to divert all love away from the Rightful Celestial Bureaucracy, and it's up to our protagonists to stop them.

See, the thing going on here is that love is finite. If someone only has one thing to love, they'll love it wholly, but if they have two things to love, that divides the love in two and so on. If they find something they love more than the original object of affection, it could fully supplant it, and that's the crux of the villain's plan.

Because the villain is a fallen celestial bureaucrat who lost his ability to hold onto his celestial form and was forced to become mortal. His plan for revenge is to supplant the love people have for his former order with love for a false idol, thus destroying the whole celestial bureaucracy. The fact this is considered a legitimate and real threat by the celestial bureaucracy implies that this is, metaphysically, how this works. Even if we take this story allegorically, the allegory still has the basis "love is a finite resource and you learn to make do".

Obviously our heroes defeat him, and obviously during this time they've genuinely bonded and decided that maybe having this guy as a brother/maybe having a loving family as a mortal is okay actually. So our celestial bureaucrat becomes a mortal and this whole story becomes just a funny whimsical reframing of the brothers' childhood.

Yes, childhood. Because here is where I unbury the lede and reveal that the villain is the CEO of PuppyCorp, whose plan is to give everyone a free puppy so that they'll love babies less, because the celestial bureaucracy is BabyCorp.

The movie I have just described to you is Boss Baby. I am being deadly fucking serious.

[flanaganfilm]

Hey, Mike! Did moving to Los Angeles at the start of your career turn out to be all that you thought it would be? It’s a big step that a lot of people take, and I’ve never really heard you talk about those early years before. Did you ever contemplate quitting? And if so, I’m glad you stuck to it - we love your work!

Oh, I contemplated quitting many, many times.

I moved to Los Angeles in January, 2003. I had just graduated the previous summer from Towson University, and a group of five of us moved out together. Some wanted to be filmmakers, some wanted to be actors. We shared a 3-bedroom apartment in Glendale. The adjacent apartment was occupied by four other Towson alums. Between the two apartments, we called it "Little Towson." I didn't own a car at the start. I had no health insurance. I'd saved a few thousand dollars to get me through the first six months, but none of us had jobs at the beginning. I remember applying (and being rejected) for a job at Walmart. I combed Craigslist looking for non-union editorial gigs.

I had told myself I'd give it five years, and if I hadn't gotten any traction, I'd move back to Maryland.

People started dropping out pretty quickly. One of my roommates (and one of my best friends) had moved out here to be an actor, and only lasted a few months before he decided to go back. It's overwhelming and terrifying to take a leap into a city as expensive as LA, and you're surrounded by people who all want the same career that you want. But it feels like there is a thousand foot wall circling the industry, and it seems impossible to scale it.

I found work doing odd editorial jobs before working as a logger, than an assistant editor, then an editor on a few reality shows. I shot and cut those local car commercials you see on late night cable. And I frequently ran out of money and overdrafted my account. As more and more of our original group gave up and moved back East, I started to feel more and more crazy. A lot of my friends from school were getting married, buying houses, having kids. I felt pretty delusional as my 5-year deadline came and went, and I still hadn't found any way over or through that wall. When we started to talk about making Absentia in 2010, I had been in LA for more than 7 years. I was working two jobs as an editor. I found out I was going to be a father. It felt very much like whatever I'd wanted to happen by moving to LA was not going to happen. Absentia was kind of last-ditch effort. Ultimately, the five year plan I'd allowed myself when I moved to LA turned into a 9-year plan. I started shooting Oculus - my first "real" movie - in the fall of 2012, just shy of my 10th anniversary in Los Angeles. That movie wouldn't come out for a while after that, so by the time I actually had a career as a filmmaker, well over a decade had passed struggling in LA.

For most of that time, my refusal to move back to Maryland looked (and felt) like a delusion. Only afterward did it start to look like "tenacity." And it never felt like "persistence" or "determination"... it felt insane. It felt like constant, daily frustration and rejection. And when I couldn't pay the bills, or couldn't land a job, it felt downright embarrassing.

For what it's worth, the only difference I've seen between people who "make it" out here and don't are that the ones who made it all stayed long past their expiration dates. I've seen wildly talented people pack it up and head home. Talent helps a lot once the door is open, but really the only thing that opens the door is persistence. To the point of feeling insane.

[the-phoenix-heart]

okay so I've been spending a lot of time thinking about Harry Potter recently and trolling the wiki for reasons and I have the weirdest observation about the series.

What is JKR's deal with Ravenclaw women?

I mean consider our main Ravenclaw girls: Luna Lovegood and Cho Chang (and Marietta Edgecombe). Luna in the movies is portrayed as whimsically queer, and that's not inaccurate to the books, but in the books she is more often a punchline than anything. She's a parody of the Ravenclaw ideals of creativity and openminded-ness to the point where she believes crazy conspiracy theories.

But she's our most positively portrayed Ravenclaw. Which is more than I can say for Cho and Marietta. Cho is portrayed as a pitiable character, someone so emotional and loyal that she is sympathetic, but the narrative portrays her overemotional nature and loyalty as bad traits. She's so emotional she'll blow up over perceived threats, and dwells on trauma, and it makes her a drag to talk to. And her loyalty is a bad thing because she chooses to be loyal to Marietta. Marietta is ESPECIALLY treated awfully. Marietta is scared for her mother's job that she rats out the DA and for her choice she is forever branded a traitor at 16, and this is completely justifiable. Like, if Hermione can jinx a paper to disfigure a person's face than couldn't she just jinx the paper to make it physically impossible to reveal the DA, except perhaps under the influence of veritaserum? Like the film did? But no, Hermione is instead more preoccupied with punishing than preventing (an insane thing for me to say, I'm sorry Hermione it's not your fault that your author is kinda insane about women).

(And just as a sidebar but Marietta is also given an illustration that makes it clear she was kinda ugly before the pimples which is so rude, but also so like JKR.)

Then you have very minor characters like Padma who are just generally portrayed as kinda bitchy. Padma gets off better than her sister in terms of being treated as bitchy, but it seems like Padma always carries the stigma of being disappointed by Ron at the Yule Ball.

But this goes back even FURTHER, to the oldest Ravenclaw student we are introduced to, Helena Ravenclaw.

In the films, again, Helena's scene with Harry is haunting. She's treated with respect and tragedy (almost all of the dialogue in the film is original). But in the books, yes we actually get her tragic backstory, but she is portrayed as haughty, vain, and prideful.

You can also add in Trelawney there as a Ravenclaw who is treated like a joke (crazy* and alcoholic).

And consider that the two women we know were almost in Ravenclaw, Hermione and McGonagall, end up going to Gryffindor and are portrayed as better off for it.

And like there is more to explore here. The four Ravenclaw men we really get to know are Filius, Ollivander, Xenophilius, and Lockhart. Xenpohilius is a conspiracy theorist (and a death eater sympathizer I just know it) and Lockhart is a buffoon who only really upholds the Ravenclaw wit and is skilled at memory charms.

(There's this crazy part of the Ravenclaw wiki page that actually compares Lockhart to Cho Chang because they both wanted to be popular. WHAT.)

Meanwhile you have Ollivander who is a positive Ravenclaw character, but is also barely in the books and Filius Flitwick. And Filius is a positive character but it is also canon that the Sorting Hat almost put him in Gryffindor, which seems like a pointed attempt to make it clear he's better than most Ravenclaws. Because he's got something of a Gryffindor edge to him.

I don't really know what the whole point of me going on this rant was about, other than just to point out that JKR is weird about Ravenclaws and the women in general. Almost all of them aren't allowed to actually uphold the actual values of their house: Wisdom, Intelligence, Learning. The only traits they ever really uphold is Wit if they are popular and Creativity, which seems to be a nice way of saying they're crazy conspiracy theorists. The only characters that really get anything good out of the house are Minerva and Hermione, and them being hatstalls is only meant to emphasize their intelligence in comparison to their Gryffindor peers. Otherwise Ravenclaw seems to just be JKR's go to bitchy/we need a villain who isn't Slytherin house.

*When I say "crazy" in this post I am referring to how JKR treats the characters. Babbling, loony, conspiratorial, and not in their right minds.

[oceanicpoetry]

Loki's arrival: official concept art (by Andy Park)

[austinslounge]

✨️Austin Butler and Zoe Kravitz share passionate KISS 💋 on set of new film "Caught Stealing" | Daily Mail (NYC)