#tom shankland

[sacredwhores]

Tom Shankland - The Children (2008)

[sesiondemadrugada]

The Punisher (2017-2019).

[proverbialschoolmarm]

[pandalikeelf]

No Night Is Too Long (2002) dir. Tom Shankland

[k-wame]

JACK O'CONNELL as Paddy Mayne 2022 • SAS: Rogue Heroes (TV Series) • S1·EP1 • dir. Tom Shankland 

[evilkitten3]

ok so my hometown actually has a separate page for notable people, yeesh. uh, i'm assuming we're being asked about people who were born there? assuming that, i'm not sure which of these is the most famous, so take your pick:

ben affleck

andy samberg (and the other two lonely island guys)

sasha velour

peter buck

john and tom fogerty

phil lesh

lil b

david brower

margaret melhase

c.j. anderson

chick hafey

julie heldman

eddie house

billy martin

bob melvin

terrell roberts

amani toomer

lenni brenner

frank chin

ursula k. le guin

julia vinograd

albert scott crossfield

sam shankland

probably ben affleck of ursula k. le guin are the most famous here. i'm leaning towards affleck tho

[peppermintbuttlemon]

Here's the link for the interview with director Tom Shankland, where he mentions Joe's accident.

https://www.reddit.com/media?url=https%3A%2F%2Fpreview.redd.it%2Fl259o5ng7en91.jpg%3Fwidth%3D750%26format%3Dpjpg%26auto%3Dwebp%26s%3D34d729ecb522a1c3acc651072272f2b770ae7cf2

It's not mentioned anywhere else and, on twitter, someone asked him during the autos what happened and he supposedly said it was during cooking (tweet has been deleted, unfortunately) but, later on, during a panel, he refused to answer, prompting the thought that it was something embarrassing and not to do with cooking.

And it was the middle finger, you can on Make Up, as well, that he has bandage around it. Here's a link with a pic of it.

https://x.com/greendrat/status/1569045466058473472

Oh it SOMETHING embarrassing it’s gotta be

[delectablywaywardbeard-blog]

Sul set del Gattopardo, 'ma non è il remake del film'

Le scene in fase di ripresa sono quelle del Liberation Ball e dell’arrivo delle carrozze a Palazzo Biscari a Catania. La domanda a Tom Shankland, regista della serie Netflix Il gattopardo, kolossal prodotto da Indiana Production e Moonage Pictures e composto da sei episodi in lavorazione, arriva a tarda sera, senza mezzi termini, dopo una delle tante giornate di ciak, stop, inquadrature a campo…

[smhalltheurlsaretaken]

Every time I read Les Misérables or its manga adaptation by Takahiro Arai (which is, without hyperbole, a masterpiece and the BEST, most faithful and most moving Les Mis adaptation that I know of) I am just SEETHING that the BBC series was allowed to exist. Even Shoujo Cosette (2007) is closer to the spirit of the books, and Javert and Gavroche and the little brothers survive Shoujo Cosette.

Like, oh, the musical is *bad* and we need to "free the legacy of the book from it" and "finally make a faithful adaptation"? Tom Shankland, you pretentious, arrogant, self-deluded wanker. Kiss my French copy of the book as it flies into your stupid head, because a Japanese man understood it a million times better than you who's from one our closest neighbor countries.

Seriously, what were you thinking making Javert black? - that it checked out because he was kind of a social outcast? You wanker. The whole point of his character was that his 'otherness' couldn't be seen. His origins - being in born in prison to vagrants - disgusted him because they tainted him, because he hated to be associated with filth and crime - not because he was visibly 'different'. If you make him black in 19th century France you make it impossible for him to become that anonymous cog in the machine of justice he prides himself in being, AND you superficially equate the alienation he would have suffered as a black man with his book-canon SELF-alienation, where he essentially considers himself a dog and has no ambition of rising in status, but finds his self-worth in being a well trained, efficient hound instead of the rabble. How could the two experiences POSSIBLY be similar? What even was your thought process? ‘Oh, this character has no friends and we need more diversity, let’s slap some melanin onto him?’ If anything Javert can be read as Romani, so congrats on erasing that because being Romani and being black still wouldn’t be remotely the same experience, and it’s still important thematically that he passes as white. 

And also, making Javert attracted to that hot, sexy, sexy Jean Valjean body? You imbecile. Javert takes pride in the fact that he has no moral flaws or 'twisted desires' to speak of - which is how he would have perceived any unlawful attraction towards anyone, be it a married woman, a man, or, and especially, a convict - and the whole thing is that he is right about that: he doesn't desire. (In fact, he and Jean can both easily be read as asexual.) Javert is not some repressed Catholic-guilt-ridden hypocrite à la Claude Frollo, he is utterly passionless except for the pursuit of justice, and he doesn't have *anything* other than his hatred of crime and criminals lurking beneath his stone cold exterior. That's his whole problem! He can't conceive of living for anything other than the law (so again in relation to my previous point: he hated his origins because his parents were criminals - rooting his identity issues in race first and foremost is huh maybe not the best choice) to the point than when his worldview is turned upside down and he can’t rely on the law as his absolute moral guide, he kills himself. 

The POINT of Javert's dynamic with Jean Valjean is that it's not personal to him - even though countless adaptations have gotten that one wrong - it's about The Law. He's not obsessed with Jean Valjean, they just happen to cross paths serendipitously over and over - he's obsessed with The Law. Why would you make him attracted to Jean?! 

ALSO, yeah, faithfulness to the book, that’s why you made Fantine a brunette and Cosette a blonde - exactly like in the 2012 musical movie you hate so much - WHEN IT’S THE OPPOSITE IN THE BOOK. You gigantic, self-sufficient prick. 

AND FINALLY because I can't bear to think about this travesty any longer: making Jean Valjean angry 24/7. Why. What. Have you read the book at all. You butchered the Petit Gervais scene and that alone would take too long to explain, but how could you DARE make Jean a violent man and borderline abusive father when he hasn’t been angry since THE VERY BEGINNING OF THE STORY. Seriously, Jean doesn’t act out of anger at all after his encounter with Bishop Myriel, not even with the Thénardiers, that’s his whole character!!! How could you Dumbledore-“he said calmly” his scene where he endures torture for Cosette’s sake - when he is *supremely calm* the book and you make him act like an animal. 

I hate that this thing exists. I hate it so bad. Jean felt SO GUILTY for entertaining for half a minute the hope that Marius would die, and you made it look like he regretted dragging him through the sewers. Wtf. Oh yeah, and possessiveness? From the guy who IMMEDIATELY lets the most precious person in his life go the second he knows she’ll be fine without him, because he feels like he doesn’t deserve her and should under no circumstances tarnish her happiness with his dark past?? WHAT?! 

Jean Valjean is the kindest, most loving, most gentle, most compassionate shining beacon of goodness of a character ever written, who was able to completely turn away from his rage and bitterness and love his fellow man so much that he gives money to people trying to rob him, and spares the lives of his worst enemies, and throws his life away to save one innocent, and dedicates his whole being to a girl he owes nothing to, and you wrote him as an angry, possessive monster. F*ck. 

Congrats on making the Thénardiers mixed race, btw, love how going for race-blind casting because you wanted forced diversity resulted in you perpetuating awful racial stereotypes. That’s the kind of representation we needed, the money-hungry, thieving, child-abusing f*cking Thénardiers. Like it makes any sense whatsoever. (HEY, REMEMBER THAT THENARDIER - THE GUY YOU CAST AS A PAKISTANI-KENYAN MAN - BECAME A SLAVE-TRADER IN THE BOOKS, YOU IDIOT?)

Who even authorized any of this 😭😭

I can forgive The Musketeers, because the show didn’t even attempt to pretend for one second that it was going to follow the books, and it’s entertaining enough to make up for it, but BBC shouldn’t be allowed to touch French IP ever again after this pretentious self-aggrandizing trashfire. 

[charlottebartlett]

ok. oK. OK. OKAY.

So my Tumblr is fast becoming a Lee Williams-appreciation page.

[jungen-problemm]

No night is too long, 2002, dir. Tom Shankland.

[genevieveetguy]

We don't hit kids here.

The Children, Tom Shankland (2008)

[tv-moments]

The Serpent

“Episode One“

Director: Tom Shankland

DoP: Seppe Van Grieken

[vintagewarhol]

[oswincoleman]

Here is a new interview with Tom Shankland, lead director of The Serpent. It’s a great interview in which he talks about many aspects of the filming process, and how the real life characters came on set to take a look, and comment on what was going on.

But in particular, I want to highlight what he said about Jenna Coleman:

Me and Jenna joked at the start of the shoot that when she signed up to play Marie-Andrée , in the original drafts, Marie-Andrée was a cool, enigmatic figure who just did a lot of smoking on the balcony. With each new script revision, Marie-Andrée came more and more out of the shadows – now Jenna had a lot of work to do!

This says everything about how amazing Jenna is. The story of Marie-Andrée – how complicit was she? How much did love blind her? How much did the fantasy of reinventing herself overwhelm her moral sensibilities? This was an incredibly complex role. On the first day we met, Jenna read one of the toughest scenes of the whole story when Marie-Andrée finally breaks down with Charles in a street in Kathmandu, and all her anxieties erupt to the surface. Jenna was totally fearless as she launched in to this scene in a language she’d been learning for about 24 hours – she blew me away!

Aside from that scene, most of Marie-Andrée ’s real feelings are never to be found in the dialogue. Jenna’s ability to convey Marie-Andrée ’s insecurities and silent suffering were absolutely compelling. Sometimes, these moments did indeed happen on that balcony, smoking…

[lifeisacinemahall]

‘The Serpent’ review: like its subject, slick and vicious

‘The Serpent’ review: like its subject, slick and vicious

In October 2008, Charles Sobhraj married Nihita Biswas. He was 64, she all of 20. The two fell in love when she applied as an interpreter for his French lawyer. He was—and continues to be—incarcerated in a jail in Kathmandu, Nepal. This mind-boggling alliance is mentioned as a card title as the curtains drop on The Serpent, an eight-part series on the serial killer who, in the mid-1970s, was on a…