#the cinematography is on point

[pr1ncessasuke]

Ping Pong the Animation sketch bc I just finished it today and it touched my heart 💗

[mumblesplash]

comics as an art form make me insane. they’re so difficult to do well. there’s so many different ways to make sequential art work and most of them are deeply unintuitive. onomatopoeia that feels completely ridiculous to put down often reads seamlessly. panels on a page become a fractally nested image composition challenge that’s only possible to lose because if you do a good job no one will notice. you have to direct the readers’ eyes on a specific path across the page but also account for the fact that they won’t follow it. comic time isn’t linear. if the order of events isn’t crystal clear the story becomes incomprehensible. sometimes you need to do this on purpose. all this for a medium almost universally considered less effective than animation and less respectable than plain text. even its own name doesn’t take it seriously

[homosexualslug]

realized that both the beginning and the end of the happy paris stage of Loumand's relationship has this same contrasting orange to blue/green color scheme. and like. the visual metaphor of Armand literally leaving his cold, lifeless world behind him and choosing the bright, golden warmth of life with Louis instead of killing him like he was supposed to in that tunnel. but as soon as he chooses the coven over Louis, he separates from the warmth like oil in water that was never supposed to be there. and now he's back out in the cold. I'm normal about this, btw.

[moonspirit]

"The outside world must be ten times bigger than inside the walls!"

"The burning water..."

"The plains of ice..."

"The ocean..."

"And the fields of sands..."

"Eren, someday I hope we get to explore the outside world."

[mikimeiko]

The Fall of the House of Usher | Miniseries (2023), Mike Flanagan

[noahsartt]

Tom Cruise & Brad Pitt in Interview with the Vampire (1994) dir. Neil Jordan

[escapismthroughfilm]

⋆˚ ｡⋆Interview with the Vampire (1994) dir. Neil Jordan⋆˚｡⋆

[axgape]

[fuckyeahchinesefashion]

travel in postworld by 很烦

[insanity-laughs-under-pressure]

[mapofthedreams]

Beauty of Interview With the Vampire.

(also here ✨️)

[scary-white]

Sue's minimized involvement in Carrie (1976) is so sad because then you get people talking about the movie online and they refer to her as "the one girl who sent carrie to prom with her bf" and it's like NOOOO! That is the deuteragonist, and her name is SUSAN D SNELL. Her internality and her role in the book's narrative is so so important to highlighting and solidifying the novel's themes–and also she's just a really great character who is both highly relatable and also a cautionary tale against our own callous nature. I'm screaming, the '76 film did her and Amy Irving so fucking dirty. Justice for my girl.

[esqueletosgays]

INTERVIEW WITH THE VAMPIRE (1994)

Director: Neil Jordan Cinematography: Philippe Rousselot

[freetobeeyouandme]

"It would be really funny if Louis only still was with Armand to spite Lestat" -my friend who knows nothing about what will happen in IwtV after episode 2×03 making the funniest accidental prediction I have yet heard them make

[portraitoflestatonfire]

Dissolves in Interview with the Vampire 1.01, "In Throes of Increasing Wonder" dir. Alan Taylor (1/7)

[sensitivehandsomeactionman]

Rewatched 1x02 Wendigo

It's an easy-to-follow adventure, and as the second episode, has a feeling of confirming story style and motifs. They repeat the use of fake IDs. There's a cheeky wink to the audience about how implausible they are when they're imposters along with reassurance that as the heroes they have plot armor. The ep revisits blood dripping mysteriously from above, leading to a jumpscare horror. And revisits Dean ending up a total, muddy mess. There's detective-like interviewing and exposition, reminiscent of The X-Files, as well as the tell-tale woodsy wetness of filming in Vancouver, and a ritual explanation as to why they're taking a break from hunting for Dad.

A week has passed, and they found no clues in Jessica's death. Sam is understandably having nightmares and is withdrawn and somber and on edge. I do love that on rewatch the audience knows that Sam is hiding a secret and a guilty conscience. Dean sends many concerned glances Sam's way. The dynamic I see is Dean trying to direct their energies towards something more positive, which is solving Haley's case; the job John sent them to. I think it's a consistent strategy for Dean throughout the series to seek a hunting "win" as an emotional reset. And by the end of the hunt, we see it does revitalize Sam.

Dean says the iconic "saving people, hunting things, the family business" line. It's framed as "saving people, hunting things" = "the family business," and that works for the Kripke years. Now, having been through the whole series, I hear it as three separate things. The business (or workings) of family really is its own theme as the show goes on, and sometimes it doesn't have to do with the other two.

DEAN: Do you want to tell me what's going on in that freaky head of yours?  SAM: Dean... DEAN: No, you're not fine. you're like a powder keg, man. It's not like you. I'm supposed to be the belligerent one, remember?

I do find it strange to hear Dean say, "I'm supposed to be the belligerent one," except maybe it's said jokingly to get a reaction from Sam. So far Dean's been quite stoic when challenged, and likely to respond to hostility with smirky humor. Sam's more direct and quicker to be confrontational. Nice bit of foreshadowing with reference to Sam as "freaky" and about to blow up with anger, since the appearance of YED will expand on that later.

A few things that I especially enjoyed in this ep -- Dean's charm and chutzpah. The way he improvises on the fly. He's flirty but in a surprisingly sweet way. Sam's earnestness, knowledge, and fearlessness. His exhilaration when they finish the hunt. I'm also amused that starting here, bears come up as a civilian explanation for monster stuff.

It's hard not to take it for granted now, their chemistry as brothers. They especially feel like they're in their own world separate from the normal one, and we're privileged to peek into their experience. We're also privileged to enjoy their beautiful faces in cinematic closeups.

There's smarmy low-brow humor that seems characteristic of Kripke. I feel like he enjoys making the audience squirm a bit over it, just as he does with the horror gore. This isn't a show for nice bougie people, he seems to want to say, we like 'em rough around the edges. It's a bit of a caricature, but it's different, and feels harmless.

Harmless, like Dean's flirting. We can see through the artifice; we're in on the joke. Part of that joke is a show that's sometimes rough around the edges. Like the ep's final scenes making a big deal of Sam taking the keys to drive the Impala, followed by a long shot of them in Baby, with Sam on the passenger side. Oops! 😂