#Jeremy Blackman

[bluen3hey]

1999  Magnolia

#magnolia #paul thomas anderson #julianne moore #tom cruise #melora walters #jeremy blackman

[abs0luteb4stard]

W A T C H I N G

#MAGNOLIA (1999) #TOM CRUISE #PAUL THOMAS ANDERSON #JULIANNE MOORE #WILLIAM H MACY #PHILIP SEYMOUR HOFFMAN #JASON ROBARDS #JOHN C. REILLY #HENRY GIBSON #Melinda Dillon #Philip Baker Hall #Ricky Jay #Alfred Molina #Michael Murphy #Melora Walters #Jeremy Blackman #DRAMATIC #ENSEMBLE CAST #WATCHING #PHILOSOPHICAL MOVIES #REGRET #death #life choices #mistakes

[watchingalotofmovies]

0s & 1s

0s & 1s    [trailer]

James Pongo's got a cushy job, a busy social life and an alluring love interest all coming at him right through his laptop. When he wakes up after a night of partying to discover that his computer is missing, his hyper-connected reality takes a nosedive.

The story is a bit odd and nothing to write home about. But its realisation is very inventive. It has a do-it-yourself-at-home vibe. But it's still remarkable on a technical level. There's a LOT going on on the screen.

While I never used AOL myself, the movie still brings back some ancient computer usage memories. Watching the film today makes you feel old.

#0s & 1s #Eugene Kotlyarenko #Morgan Krantz #Jeremy Blackman #Ryan Reyes #Matty Cardarople #Ahna O'Reilly #recommended

[boardchairman-blog]

**Shots of the Episode**

The Umbrella Academy (2019)

Season 3, Episode 1: “Meet the Family” (2022) Director: Jeremy Webb Cinematographer: Neville Kidd

#shots of the episode #the umbrella academy #umbrella academy #jeremy webb #umbrella academy season 3 #umbrella academy s3 #neville kidd #jeremy slater #steve blackman #netflix #elliot page #david castañeda #emmy raver lampman #robert sheehan #aidan gallagher #five umbrella academy #jordan claire robbins #sci fi #screencaps #cinematography #2022 #2022 tv #2.00:1 #tv screencaps #tv stills #the hargreeves

[kermodefan94-blog]

The Umbrella Academy (Netflix) Season 3. Review (MIld Spoilers)

More of the same but with major diminishing returns.

In terms of superhero adjacent streaming series debuting in 2019 the diverging paths of Netflix’s, The Umbrella Academy and Amazon The Boys are an interesting point of comparison. One has blossomed into one of the best most critically acclaimed multilayered shows on TV. The other is The Umbrella Academy. Season One is mostly fun with some engaging characters and quirky style but was never truly…

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#Aidan Gallagher #Colm Feore #David Castañeda #Elliot Page #Emmy Raver-Lampman #Genesis Rodriguez #Gerard Way #Jeremy Slater #Ritu Arya #Robert Sheehan #Steve Blackman #Tom Hopper

[byneddiedingo]

Tom Cruise in Magnolia (Paul Thomas Anderson, 1999)

Cast: Jim Beaver, Jeremy Blackman, Tom Cruise, Robert Downey Sr., Henry Gibson, Clark Gregg, Luis Guzmán, Philip Baker Hall, Felicity Huffman, Philip Seymour Hoffman, Thomas Jane, Ricky Jay, Craig Kvinsland, William H. Macy, William Mapother, Alfred Molina, Julianne Moore, Michael Murphy, Patton Oswalt, Mary Lynn Rajskub, John C. Reilly, Jason Robards, Paul F. Tompkins, Melora Walters. Screenplay: Paul Thomas Anderson. Cinematography: Robert Elswit. Production design: William Arnold, Mark Bridges. Film editing: Dylan Tichenor. Music: Jon Brion.

Paul Thomas Anderson's movies are so loaded with crazy stuff that it's possible to recall only some of the jaw-droppers in them, like the "milkshake" scene in There Will Be Blood (2007) or the rain of frogs in Magnolia. That's why it's always worth rewatching them after some passage of time. There is so much more going on in Magnolia than I remembered. It's really the detail work that comes to the fore when you watch it again. The film has that loose, semi-improvised quality that I have come to admire in Godard. I'm talking especially about Philip Seymour Hoffman's touching performance as Jason Robards's nurse, John C. Reilly's naive cop, Melora Walters's scattered druggie, Philip Baker Hall's disintegrating game show host, and Julianne Moore's descent into hysteria. Most of the attention on the first viewing went to Tom Cruise, who lets out the manic quality that we had only glimpsed before in his work. The performance earned him an Oscar nomination, as over-the-top and supposedly out-of-character performances tend to do. (We would later, in the Katie Hughes era and as his commitment to Scientology came to the fore, come to wonder how out of character this manic Cruise really was.) I think the movie is too long (it runs 188 minutes), and that perhaps some of its segments exist only because of Anderson's commitment to the actors who made his breakthrough film, Boogie Nights (1997). I'm thinking here of William H. Macy's character, which seems to me like a dangling thread in the fabric of the film -- though it does result in a wonderful scene in which Macy and Henry Gibson compete for the attention of a hunky bartender (Craig Kvinsland). As for the frogs, I refuse to speculate on their "meaning," preferring the reaction of Stanley (Jeremy Blackman): "This happens. This is something that happens."

#Magnolia #Paul Thomas Anderson #Tom Cruise

[number5theboy]

I think a lot of s1's successful writing comes down to the fact that success and renewal wasn't guaranteed. They had no idea if they'd get picked up again so they had to keep it contained, and thank God. S2 got cocky, it knew it could get away with underutilising some of the siblings and leaving threads unfinished and dangling an awful cliff-hanger, because why wouldn't it get a season 3? I also think characters got to have good arcs in s1 but regressed back to their popular initial selves in 2.

Oh, this is interesting. I can see that, though who knows what the behind the scenes was like. I think a major part is also that no writers except for Steve Blackman (who writers first and last episodes each season except for S1E01, which was penned by Jeremy Slater, and we thank him for it) made the jump from S1 to S2, S2 had a completely different writing staff, some of which returned for S3.

I do kind of admire them essentially writing what mostly amounts to a filler season for S2, it is a bold move lmao. It did feel like appealing to the widest common denominator, making the show more palatable and mostly refusing to deal with any big consequences of S1. Ironically, I think that the cliff-hanger is one of the better parts of the season, regardless of what they ended up doing with it. I will say this, out of the three cliffhangers we've gotten, I think that the S1 one was by far the most powerful and the most fitting to the story that had been told, it felt like a logical and satisfying conclusion. It felt appropriately symbolic and open-ended.

Which characters do you think took a step back in the writing? I'd be interested to hear your thoughts, I have thoughts on the character writing in S2, choices were made, not all of them good, some of them genuinely horrible.

#Replies #Anonymous #Negativity

[kattahj]

I haven’t enjoyed The Umbrella Academy much this year. I’ll probably go into specifics once I’ve finished the season (which I’ve been too disheartened to do so far), but it was like everything I originally liked about the show was lessened in season 2, and lessened even further in season 3, and the spirit of it got more cold and mean-spirited. (And no, by “the spirit of it” I don’t mean Ben. *g*) There have been some scenes I liked, but they were getting fewer and further between.

And I know it’s not based on the comics storyline anymore, but some of the things I liked best about season 1 weren’t in the comics either, so I didn’t think that was it.

So I did what I’ve previously done with Haven and looked at the writing/directing credits for each episode, and lo and behold.

Green is writers/directors who came on board in season 1, yellow is from season 2 and red is from season 3.

The first and last ep of season 3 have season 1 writers/directors on board, though in both cases with newer people involved. Episode 3.4 was created entirely by people from season 2, episodes 3.6 and 3.7 entirely by people from season 3, and the rest are a mix of seasons 2 and 3. Apart from the showrunner Steve Blackman, the only person from season 1 who still has credits for season 3 is Jeremy Webb.

So yeah. It’s not the same show anymore.

(Tagging because, while my perspective is mainly negative, I can see this as being of interest even for people who enjoyed the season more than I did.)

#the umbrella academy

[ratasum]

tagged by @synchrosgw2, @praise-joko, & @forsaken-constellation RULES: You can usually tell a lot about a person by the type of music they listen to. Put your playlist on shuffle and list the first 10 songs, and then tag 10 people. No skipping!

I am SO sorry my music taste is honestly terrible I have no favorite genre and no pattern to what I enjoy. I don't have a full generic "me" playlist, though, so I just pulled ten of my longer character playlists and hit shuffle on each one.

Sting, Ray Chen - What Could Have Been

Reel Big Fish - Somebody Hates Me

Mountains vs. Machines - Chosen Ones

Penelope Scott - Rät

Eva Noblezada, Jewelle Blackman, Yvette Gonzales-Nacer & Kay Trinidad - Any Way the Wind Blows

The Pretty Reckless - Miss Nothing

Stark Sands - Charlie's Soliloquy

Patent Pending - Brighter

Greek Fire - Top of the World

Jeremy Jordan, Kara Lindsay - Something To Believe In

...okay I take it back I have more showtunes than I expected on there.

ANYWAY I don't know if everyone's been tagged yet so uh. @wall-legion if you haven't been, you're up.

#not gw2 #my taste is apparently primarily ''showtunes''

[elgatodeltren]

do u think Steve Blackman had the jeremy renner app

#tua shitpost

[multiprises]

« I’ve just ended the world, twice. And you? You’re just meat in spandex. And I bet you don’t want the all world watching when I’ll prove that to you.»

Meet the Family, The Umbrella Academy, 3.01

Jeremy Webb (D), Steve Blackman & Michelle Lovretta (S), 22/06/22

#the umbrella academy

[singeratlarge]

HAPPY BIRTHDAY to Hank Ballard, Brand X’s 1977 LP LIVESTOCK, Jake Brockman (Echo & the Bunnymen), film composer Carter Burwell, Michael Carabello (Santana), trumpeter-bandleader Don Cherry, Imogene Coca, Linda Evans, Fabolous, composer-violist Lillian Fuchs, Kirk Hammett, Mexican Golden Age actor-singer Pedro Infante, Amanda Lear, Cherokee activist Wilma Mankiller, Paul McCartney’s 1985 single “Spies Like Us,” Metallica’s 1997 RELOAD album, Jeremy Mohler, Eugene Ormandy, Graham Parker, John Parr, Herman Rarebell (Scorpions), Cindy Blackman Santana, Rudy Sarzo, Compay Segundo, Duncan Sheik, astronaut Alan Sheperd, the 1930 Fred Astaire/Bob Hope musical SMILES, Howard Thurman, Shania Twain’s 2002 UP! album, Brenda Vaccaro, J.C. Watts, Kim Wilde, Owen Wilson, and the Great American singer-songwriter Johnny Mercer.

Among his many hit songs are now-standards such as “Autumn Leaves” and “Moon River”—all told he wrote lyrics for 1500 published songs. Besides winning many awards, he co-founded Capitol Records, the first “indie label” of the 20th Century not dependent on the film industry or other corporate interests. Mercer was one of those fabled “napkin writers,” meaning he’d grab any scrap of paper handy, throw down lyrics, then have a demo ready within hours. “Ac-Cent-Tchu-Ate the Positive” was inspired by a sermon he heard on the radio. Normally he’d pitch the song to other singers but it was perfect for his voice. His recording was a Top 10 hit and has been used in several films. Here’s my take—I’ve grown fond of it and it’s a touchstone of my “assisted living home set.”

https://johnnyjblairsingeratlarge.bandcamp.com/track/ac-cent-tchu-ate-the-positive

#johnnymercer #positive #accentuate #singersongwriter #greatamericansongbook #napkin #film #soundtrack #assistedlivinghome #carehome #johnnyjblair #singeratlarge #birthday

#Johnny Mercer #positive #singer songwriter #birthday #Johnny J Blair #Singer at Large #San Francisco

[rolliaa]

Adam allbright cameraman

#Adam allbright cameraman series#

Macy, Alfred Molina, Julianne Moore, John C. Paul Thomas Anderson (director/screenplay) Jeremy Blackman, Tom Cruise, Melinda Dillon, Philip Baker Hall, Philip Seymour Hoffman, Ricky Jay, William H. Scott Hicks (director/screenplay) Ron Bass (screenplay) Ethan Hawke, Reeve Carney, James Cromwell, Richard Jenkins, James Rebhorn, Sam Shepard, Max von Sydow, Youki Kudoh, Anne Suzuki, Rick Yune, Seiji Inouye, Celia Weston, Cary-Hiroyuki Tagawa Producers, Directors, Screen Actors, and Writers Guild AwardsĢ000 Wide-release films January–March Opening & Los Angeles, California, U.S.Īcademy of Motion Picture Arts and Sciencesīritish Academy of Film and Television ArtsĪcademy of Science Fiction, Fantasy and Horror Films Writers Guild of America, East & Writers Guild of America, West Seuss' How the Grinch Stole Christmas's opening weekend became the highest debut for a Christmas-themed film.Įvents Award ceremonies DateĪcademia de las Artes y las Ciencias Cinematográficas de Españaįrench Academy of Cinema Arts and Techniques Chicken Run became the highest-grossing stop motion animated film ever.The top 10 films released in 2000 by worldwide gross are as follows: Highest-grossing films of 2000 See also: Lists of box office number-one films § 2000 The most acclaimed films of the year are Gladiator Traffic Crouching Tiger, Hidden Dragon American Psycho Almost Famous, Requiem for a Dream, and Erin Brockovich.

#Adam allbright cameraman series#

2000 saw the releases of the first installment of popular film series X-Men, Final Destination, Scary Movie, and Meet the Parents.Īmong the films based on TV shows are Mission: Impossible 2, Traffic, The Adventures of Rocky and Bullwinkle, Charlie's Angels and Rugrats in Paris: The MovieĪmong the movies based on books (and TV shows) is Thomas and the Magic Railroad.

#Adam allbright cameraman

[viktorfredriksson]

»Magnolia« (1999) – Ambitiös eller pretentiös?

Efter att »Pulp Fiction« (1994) tagit världen med storm sökte alla filmbolag med ljus och lykta efter just sin Tarantino. Fram steg Paul Thomas Anderson, blott 27 år gammal, med »Boogie Night« (1997) – en lika självsäker som stilsäker skildring av 70- och 80-talets pornografiindustri i Kalifornien. Anderson geniförklarades över en natt och anförtroddes följaktligen total kreativ kontroll i sin nästa film. Resultatet blev »Magnolia« – en drygt tre timmar lång, nattsvart film om livets stora frågor. Tack för det Quentin.   

Filmen kretsar kring en handfull karaktärer och utgörs i grunden av tre övergripande berättelser, vagt länkade till varandra. Den kanske mest centrala handlar om familjen Partridge. Sonen Jack (Tom Cruise), numera känd som Frank Mackie, är en känd teatralisk föreläsare/sexguru för förvirrade män (tänk er en Jordan Peterson-prototyp eller en slags hyperbolisk och ultramisogyn kusin till »Fight Clubs« Tyler Durden). Frank är alienerad från sin döende far Earl (Jason Robards), som på sin dödsbädd söker förlåtelse för att ha övergivit sin son. Earls nya yngre fru Linda (Julianne Moore) gifte sig med honom för pengarna, men börjar på hans dödsbädd att utveckla riktiga känslor för honom. Vakande vid sin sida har Earl även sköterskan Phil (Philip Seymour Hoffman) som får i uppdrag av Earl att leta reda på den förlorade sonen.

Den andra berättelsen handlar om Jimmy Gator (Philip Baker Hall), programledare för »What Do Kid's Know«, ett underhållningsprogram (skapat och producerat av Earl Partridge) där smarta barn tävlar mot vuxna. Jimmy är populär och framgångsrik i sin yrkesroll, men är likt Earl döende och försöker försonas med sin försakade och drogmissbrukande dotter Claudia (Melora Walters). Jim (John C. Reilly) är en rättrådig polis på patrull som hamnar i Claudias lägenhet efter klagomål om högljutt musikspelande. 

Sedan har vi stackars Donnie (William H. Macy), tidigare underbarn i »What Do Kid's Know«. Därefter tog föräldrarna prispengarna och stack. Donnie blev dessutom träffad av blixten och stjäl numera pengar från sin arbetsgivare för att skrapa ihop till en tandställning – något han tycks tro kommer lösa alla hans problem. Parallellt till denna berättelse ser vi Stanley (Jeremy Blackman), nutida underbarn i samma TV-program, på väg att slå alla rekord men pressas samtidigt till bristningsgränsen av sin obevekliga far. 

»Magnolia« är en ensemblefilm i ordets rätta bemärkelse – och det är omöjligt att inte drabbas av vartenda livsöde. Karaktärerna är sällsynt välcastade, välspelade och välskrivna. Ingen rollprestation ska förbises, men Julianne Moore, Tom Cruise (som personligen kontaktade Anderson efter att ha sett »Boogie Nights«) och Jason Robard skapar filmscener att förlora sig i. Regissörens egna förhållningssätt är talande: 

I begin writing with a list of the characters' traits, everything about them. Most studio films begin with a concept and then fill in the characters, which are often generic. The great films give you a person, or people, and their world. That's my goal.

En av filmens andra stora stjärnor är såklart Aimee Mann. Det numera klassiska soundtracket sveper fram likt en flodvåg som växer sig större och större mot ett oundvikligt klimax; intensiteten i musiken matchas av en effektiv korsklippning mellan de olika berättelserna, där karaktärerna borrar sig djupare och djupare in i sig själva. Stämningen som skapas är närmast hypnotisk – det är nästan fysiskt omöjligt att vända ögonen från skärmen. Symbiosen mellan musik och karaktärer kulminerar i Aimee Manns utsökta »Wise Up (It’s Not Going to Stop)«, där rollfigurerna helt plötslig börjar sjunga med i filmens soundtrack. Konstigt och vackert på samma gång.

Filmen ställer många frågor men kommer med få svar. Den mest uppenbara tematiken kretsar kring familj (av den dysfunktionella sorten), ansvar, smärta och sorg. Och sedan, förlåtelse: Vad kan vi förlåta? Vad bör vi förlåta? 

Filmen skulle även kunna läsas som en uppvisning i toxisk maskulinitet, långt innan det blev ett kontroversiellt modebegrepp. Men faktum är att »Magnolia« (1999) vid sin tid var en i raden av populärkulturella kommentarer om en maskulinitet i kris: »Trainspotting« (1996), »American History X« (1998), »Fight Club« (1999), »American Beauty« (1999) och »Office Space« (1999) för att nämna några. 

Anderson ställer sig även den lika fundamentala som stora och tidlösa knäckfrågan: Varför sker saker och ting? Slump, tillfälligheter, sammanträffanden, ödet – vad helst man väljer att kalla det. Detta manifesteras redan i den säregna prologen där tre separata historier vävs samman genom ett antal osannolika, till synes slumpmässiga, sammanträffanden. »This is not just something that happened,« vädjar berättarrösten. »This cannot be ‘one of those things.’ This, please, cannot be that… this was not just a matter of chance. These strange things happen all the time.«

Alla de hemskheter som filmens karaktärer utsätts för, alla de meningsfulla sammanträffanden som inträffar – man kan såklart bli religiös för mindre, tycks Anderson föreslå. De bibliska undertonerna bubblar upp till ytan i filmens mest berömda scen där staden plötsligt drabbas av ett intensivt grodregn – en biblisk blinkning till Exodus 8:2 (den uppmärksamma tittaren kan skymta talet 82 på olika ställen genomgående under filmen). 

Rationalisten vilar sig istället mot sannolikhetsläran. Eller som Wikipedia-sidan om Carl Jung-begreppet synkronicitet konstaterar:

Att sannolikheten för ett sammanträffande upplevs vara liten är dessutom inte detsamma som att den faktiskt är liten – man behöver ta hänsyn till den samlade sannolikheten för alla händelser som man skulle ha upplevt som lika meningsfulla, vilket kan vara ett mycket stort antal.

Även filmkritikern Roger Ebert poängterar en dualitet: 

Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.

Med andra ord: oavsett om du är agnostiker, ateist eller hängivet troende – oavsett om du sätter din tilltro till kvantmekanik eller högre makter –  »Magnolia« erbjuder perspektiv för alla. Konstiga saker händer.

»Magnolia« kommer aldrig vara en perfekt film. Det är inte Andersons mest visuellt fulländade eller mest kompakta film, men den utstrålar en ungdomlig vitalitet; det märks att det är en filmskapare som fortfarande är angelägen om att bevisa sig, och det märks att det är Andersons mest personliga film. Enligt vissa försöker han för mycket. Den vanligaste kritiken mot filmen är att den är överarbetad och pretentiös – och visst – hans senare filmer framstår som mer moget återhållsamma, men ingen annan av hans filmer är så vågad, så innerlig eller så oförglömlig. 

I slutändan låter sig filmens kraft och magnetism inte förklaras i ord. Det är tre timmar sann filmkonst som ska upplevas och kännas. Nästan alla andra filmer bleknar i jämförelse.

[tvsotherworlds]

[abovebelowaidan]

Created for Netflix by Steve Blackman and developed by Jeremy Slater, it revolves around a dysfunctional family of adopted sibling superheroes who reunite to solve the mystery of their father's death and the threat of an imminent apocalypse.

Personally I have watch every season and have loved umbrella academy and I have loved seeing the characters grow and the problem that face but I also love the posters for the show as for each season it stays relatively similar with the plane white background with black in fused in either strips, spirals,or checked.this also makes the actors stand out even more as they are the only thing in colour.

This also doesn’t give to much of the series away as they are all plane put fix into that particular season ways.