I finally found the screenshot of the latest shred of movie news we got from Jess, from 4/1/23, soon before she deactivated. Here’s to hoping we maybe get another shred of news before this tweet hits the one year mark? 😅
I have a great deal of problems with the 2003 movie (mainly that they sacrificed a neat story for mainly slapstick and screaming. AND THE CANONICALIZATION OF LITERAL HELL-) but one thing burned into my memory that will never not be funny is just the kinds screaming “GHOST BALL!” The entire movie. Rip Elizabeth, that was really funny im sorry girl.
I think it’s also spectacularly funny as a orb is a ligitimate form of supernatural phenomenon but to just have a little boy scream “BALLLL!” At it 💀
no i will not stop thinking about robbie williams having a one night only special show in melbourne for his upcoming movie instead of having extras, in his glittery silver jacket and greying almost mohawk, singing and shaking his ass as if he hasn't been a stay at home dad for the past two years <333333
Cinematography by: Seamus McGarvey, ASC, BSC
The Greatest Showman (2017)
Directed by Michael Gracey
Aspect Ratio: 2.39 : 1
“Michael [Gracey] already had a very strong visual notion of the film, as he had been working on it for such a long time. He had created a range of digital storyboards and previzualised scenes to sell the idea to the studio. These were quite elaborate and took the visual look away from a photorealistic approach and more into the realms of theatricality, artifice and the magical imagination. They had a sort of handmade quality – the live action was to be blended with old-school, painterly backdrops, and other elements such as miniatures of the Manhattan cityscape.
We didn’t look at any other films about Barnum and his life. Rather we talked about developing a Technicolor-based look to support the artifice. We considered the effect of the two- and three-strip Technicolor process on colour in movies such as An American In Paris (1951, dir. Vincente Minnelli, DP Alfred Gilks), Seven Brides For Seven Brothers (1954, dir. Stanley Donen, DP George J. Folsey) and The Robe (1953, dir. Henry Koster, DP Leon Shamroy). The idea was to take the real and transform it into this vivid, imaginative, magical Technicolor realm.” — Seamus McGarvey, British Cinematographer