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jonna-thure-agnes · 8 months

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Lisa Smit

#Lisa Smit

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screenshotingmonstertv · 2 years

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#ares #ares netflix #jade olieberg #Lisa Smit #netherlands

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pajorko · 2 years

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the oldest photos of wolfsburg players in the imago images gallery - part 2/3

feat. goalkeepers, wolf cubs and the dutch

Lisa

the longest noodle Kasia

baby Julia

and wolf cub Merle (I searched for our new signings, too, because I already love them)

more baby wolves: Joelle

and Lotta

Also, I wrote about the Dutch, so here they are (minus Dom and Jill):

Lynn

Shanice

and Joëlle (they did her so dirty with this one 😭)

I can still add one more pic but I don't have an idea for continuity so ummm here's Sveindis aka the most recent picture of them all (2020)

#vfl wolfsburg frauen #lisa weiss #kasia kiedrzynek #julia kassen #merle frohms #joelle wedemeyer #lotta cordes #lynn wilms #shanice van de sanden #joelle smits #sveindis jane jonsdottir #woso

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weclassybouquetfun · 2 years

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ELVIS may not receive a hunk of "Burning Love" at the box office but it won't be the fault of Baz Luhrmann's energetic directing style or Austin Butler's pitch- perfect performance.

Now I can finally know him as an actor instead of just referring to him as Vanessa Hudgen's ex.

At 2 hours and 39 minutes, it's unbelievable that this film has very little substance but it is crammed with style. If the production design wasn't amazing or costumes weren't so exquisite

Including repros courtesy of Miu Miu and Prada

and the music so feet-tapping, head-noddingly good that long runtime could have been an issue because my problem with Luhrmann's work is that it is too chock full. For someone who has a great legacy the reality is Luhrmann has only directed six feature films and it's like every time he gets a film he's afraid he'll never get to do another one so editing be damned. He's going to throw in the kitchen sink, the fridge, the washer. There's no throwing out the baby with the bath water. No -that's going in the film, too. His films (and even the short-lived Netflix series THE GET DOWN) can be too dizzying.

You don't need to have a working knowledge of Elvis Presley to enjoy his film. It's nice if you do (people on either side of me and my friend were big Elvis fans and they lapped this film up. They shed tears. They expressed regret at not getting able to see him perform). I don't think the film alone could have garnered that reaction if it wasn't for Butler's extraordinary performance. He was incredible. It's no wonder that when he found out Butler was going up for the role his former costar Denzel Washington contacted Luhrmann - of his own accord and without Butler's knowledge - and praised Butler.

Those who hate Elvis won't be swayed by this film. If anything they will hate that it glosses over every criticism that has loomed over his legacy (that he was a racist/culture vulture and an ephebophile). People expecting there to be something salacious made of his relationship with Priscilla Presley won't get that as Priscilla worked closely with Luhrmann on the film and in regards to their relationship, at worst he's portrayed as an absent husband and philanderer.

*Butler with Riley Keough, Priscilla and Lisa Marie Presley.

*Elvis' granddaughter actress Riley Keough on Butler's.

This film is solely focused on the symbiotic relationship between Elvis and the Colonel (Tom Hanks) and the bigger issue of artists who are taken advantage of due to ignorance and stars and dollar signs clouding their vision.

Being about Elvis music is a gigantic part of the film. Austin Butler sang as younger Elvis but as he got older they blended Butler's vocals with Presley's (much like what was done in BOHEMIAN RHAPSODY with Rami Malek, Marc Martel and Freddie Mercury's vocals).

Knowing Luhrmann and how he's not afraid of being anachronistic, I was curious as to how the film would use the songs from the soundtrack. The soundtrack a mix of covers and songs inspired by Elvis' hits was used sparingly as to not completely disrupt the film - Kacey Musgraves' "Can't Help Falling In Love" plays softly underneath a scene, Jack White's blistering guitar riff from his cover of Elvis' "Power of My Love" punctuates another, Doja Cat's "Vegas" is blended with Big Mama Thornton's "Hound Dog". The end credits features Eminem and Cee-Lo Green's "The King and I" and Måneskin's cover of Elvis' "If I Can Dream".

*You're not imagining things - yes, Kodi Smit-McPhee, the human stick insect - supplies a song for the soundtrack as his character Jimmie Rodgers Snow.

Other songs used that is not in the soundtrack includes a Britney Spears/ Backstreet Boys mash-up of "Everybody (Backstreet's Back)" and "Toxic" which surprisingly works in the midst of a montage.

#movies #film #elvis presley #baz luhrmann #austin butler #elvis movie #elvis #maneskin #music #biopic #riley keough

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popentertainment-moviereviews · 2 years

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ELVIS (2022)

Starring Austin Butler, Tom Hanks, Helen Thomson, Richard Roxburgh, Olivia DeJonge, Luke Bracey, Natasha Bassett, David Wenham, Kelvin Harrison Jr., Xavier Samuel, Kodi Smit-McPhee, Dacre Montgomery, Leon Ford, Kate Mulvany, Chaydon Jay, Josh McConville, Patrick Shearer, Adam Dunn, Yola Quartey, Alton Mason, Gary Clark Jr. and Anthony LaPaglia.

Screenplay by Baz Luhrmann & Sam Bromell and Baz Luhrmann & Craig Pearce and Jeremy Doner.

Directed by Baz Luhrmann.

Distributed by Warner Bros. 159 minutes. Rated PG-13.

The story of Elvis Presley always seemed to be an odd fit for the hyperactive filmmaking style of Baz Luhrmann (Romeo & Juliet, Moulin Rouge, The Great Gatsby), a concern that is only partially alleviated in this latest glitzy-but-overwrought take on the life and death of the King of Rock and Roll.

Presley is an iconic character in pop culture – 45 years after his death people still make pilgrimages to his home and his gravesite – who has been often portrayed on film, sometimes well, sometimes not. Elvis has sort of the perfect American story, a dream turned tragedy in which talent, good looks, and raw charisma led a young country boy to unparalleled heights, only to lose it all to drugs, sycophants and mental illness.

Relative unknown Austin Butler (he was previously probably best known for the short-lived series The Shannara Chronicles and The Carrie Diaries) is a revelation as Presley, capturing the man’s essence and swagger.

A little more problematic is the performance of Tom Hanks as his manager Colonel Tom Parker, buried under a ton of makeup and a rather bizarre accent. It is hard to tell how much of this off-puttingness is due to the performance, how much is due to the disguise, and how much is due to the fact that the Colonel was just a weird, inexplicable guy. Perhaps Hanks is nailing the role, but he always feels off, which is a problem because The Colonel is every bit as important – maybe even more so – to this story than Elvis is. (In fact, the film probably should have more accurately been called Elvis and the Colonel.)

A guy I know, who is more of an Elvis expert than I am, has come to the decision that Luhrmann’s quick cuts and flashy graphics are supposed to be visual cues for the story as seen through the eyes of the ill and drug-addled Parker. While I think that may be giving Luhrmann a bit more credit than he deserves, if that is really the case then maybe it does work better.

However, in the second half, when Luhrmann allows the film to actually play out with less of the gaudy cuts and cheesy gimmicks is where the film finds its footing. (Luhrmann has a tendency to front-load his flashier tendencies in his films and then eventually settles into a storytelling groove.)

The story itself is well known and shown in broad gestures, you don’t learn anything here that you wouldn’t have found in any extended article about the King, but still the Presley story is fascinating enough that it’s always worth seeing.

So while Elvis runs a bit too long (two hours and 40 minutes!) and some of the early scenes are a little vertigo-inducing, overall it is a fairly good film with a star-making lead performance.

Besides, both Priscilla and Lisa Marie Presley – Elvis’ widow and daughter – have been very vocal in their support of the film, claiming that it got Elvis more than any previous film had. And I guess they should know.

Jay S. Jacobs

youtube

#Elvis #Austin Butler #Tom Hanks #2022 #Movie Review #Jay S. Jacobs

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filmphotographyjournal · 2 years

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by Lisa Smit

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youngfcs · 1 month

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Hi doll 🤍 could you possibly help me with a full template for Gigi Hadid?

Hello dear 🤍 hope you like it!

Mother:

Hiam Abbass (55-63) [Palestinian descent]

Laila Bagge Wahlgren (44-51) [Palestinian descent]

Plien van Bennekom (45-53) [Dutch]

Babette van Veen (47-55) [Dutch]

Father:

Ric Roman Waugh (50-56) [Palestinian descent]

Scott Waugh (45-53) [Palestinian descent]

Thom Hoffman (55-65) [Dutch]

Reinout Oerlemans (44-52) [Dutch]

Brother:

Eric Saade (25-33) [Palestinian descent]

Michael Malarkey (32-40) [Palestinian descent]

Florian Kampen (18-25) [Dutch]

Ruben Pol (18-28) [Dutch]

Sister:

Dina Shihabi (26-34) [Palestinian descent]

Josie Totah (16-22) [Palestinian descent]

Romee Strijd (20-28) [Dutch]

Lisa Smit (22-30) [Dutch]

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tonin-terets · 1 year

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vimeo

Back Market: Monster from Johnny Kelly on Vimeo.

Monster realises Monster is a monster.

We were commissioned by Back Market to tell this story to help encourage people to wean themselves off tech product launch cycles. We used a combination of live action puppetry, 2D facial animation and stop motion.

A lovely bunch of people worked on this, to name but a few: James Noellert designed the human characters. Andy Gent and his team made the puppets and some sets. Other sets were made by Aslyum. Previs and VFX adeptly handled by the beautiful brainiacs at Nexus. Full credits below——>

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CREDITS

Client: Back Market Co-Founder & CCO: Vianney Vaute Strategic Advisor: Seth Farbman Creative Director: Jeff Johnson Creative Director: Steve Peck Head of US Marketing: Woody Wright Executive Producer: Melanie Baublis Strategic Consultant: Jeff Kenyon Lead Art Director: Victor Antonelli Head of Content: Eugena Ossi Expert Copywriter: Adam Pasulka Hannah Laloum: Creative Studio Manager Lucy Hargrove: Social Media Manager

Production Company: Nexus Studios Director: Johnny Kelly Executive Producer: Josephine Gallagher Executive Producer: Camila de Biaggi Senior Producer: Josephine Gallagher Production Manager: Ruyi Meer Production Assistant: Max Bigg VFX Supervisor & Lead Compositor: Germán Diez Studio CG Supervisor: Mark Davies Editor: Dave Slade Art Directors: Melanie Climent & Callum Strachan Character Designer: James Noellert 2D Animators: Chris Cray, Joe Sparkes, Matt Partridge Motion Graphics Animation: Bethany Levy, Abel Kohen Compositors: Gareth Tredrea, Hugo Vieites Caamano, Sander Saks, Victori Jalabert, Alexandre Gaudiano Storyboards: Richard Buxton Puppet & Set Build: Arch Model Studio Sets & Puppets: Andy Gent, Lisa Hill Set Build: Asylum Set Supervisor: Peter Tilbe Set Technician: Josh Guess, Tom Bull, Daniel Tynan

Live-Action & Puppetry: Director of Photography: Matt Fox 1st AD: Robert Thorpe Production Manager: Rhian Gwenlan Runner: Kai Rajakulasingam 2nd AC: Rosamund Freeman Grip: Kevin Foy DIT: Phoebe Frazer CCTV Operator: Liam Coles Focus Puller: Ben Jones Gaffer: Paul Allen Electricians: Jono Yates, Bill Rae Smith, Michael Smit, Ed Riley, Tim Jordan, Auxane Verdier, Ana Krkljus Catering: Lords of Poké

Lead Puppeteer: Tim Cherry Jones Puppeteers: Shakara Carter, Kim Scopes Lead Animator: Tobias Fouracre 1st AC (stop motion): George Warren Set Maintenance: Mark Chippington Puppet Maintenance: Sofia Serrano

Grade: Aubrey Woodiwiss Post house: Untold Studios Grade Producer: Simon Downie

Voice Over: Geoff Grimwood, Pacific Blain Sound Design and Mix: Jon Clarke Audio Producer: Ciara Wakley Sound Studio: Factory

Music Composition: Q Department PR & Marketing: Valentina Tarelli, Nancy Edmondson, Isobel Wise, Stephanie Anjo Behind The Scenes: Juliette Dalton @ 2Dice Productions Medics: Simon Lee, Paul Mawson

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thephotoregistry · 3 years

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