#The Board Behind

[cross-border-communications]

Velletri, Rome. Grape harvest 2023, visits to the Arsial experimental vineyards begin.

In Velletri, Rome, the 2023 grape harvest signifies the start of tours to the Arsial experimental vineyards.

This year's grape harvest in Velletri, located in the province of Rome, is expected to be among the finest in recent memory. The warm and dry weather conditions have been favorable, benefiting the ripening of the grapes and preventing diseases. The winemakers meticulously executed every cultivation phase, from pruning to harvesting, while adhering to the timing and methods mandated by production regulations. This has resulted in an exceptional wine that exemplifies the unique qualities of the region. This brief post outlines the primary features of the wines available for tasting and purchase at their wine shop and wineries.

The wines from Velletri are renowned for their exceptional quality and diversity, which stems from an age-old tradition and biodiversity-rich terrain. Cesanese, Sangiovese, Montepulciano, Trebbiano, Bellone, and Malvasia Puntinata are some of the popular grape varieties. These wines stand out for their deep ruby hues, fragrant and fruity aromas, and well-balanced and lasting taste, while the whites boast a well-balanced flavor.

Image has been processed by The Board Behind © 2023

During the 2023 harvest, Arsial is providing the chance to tour their experimental vineyards located within the Velletri Demonstration Farm. Visits are available every weekday.

It's currently harvest time, and Arsial's Experimental Demonstration Company in Velletri, located at Via Cantina Sperimentale 1/a, is initiating the grape harvest with the resistant Sauvignon Rytos b grape variety.

As part of its demonstration efforts, Arsial provides winegrowers in the region and those who request it the chance to visit the experimental vineyards in Velletri, as long as reception limits are not exceeded. Starting on August 22nd, daily access will be allowed from Monday to Friday between 9 a.m. and 2 p.m. until the grape harvest concludes. If interested, please communicate your intent to participate by email or phone to the following contact information: Giovanni Pica, 347.9943431, [email protected]. Contact Giorgio Colatosti at 320.4049893 or [email protected] for more details.

The vineyard area of the Demonstration Farm encompasses just under 4.5 hectares and features over 130 vine varieties, including native and resistant options for wine and table grapes. Experimental trials are continually executed to confirm grape varieties' viticultural and oenological responses, all to minimize environmental impact during production.

Image has been processed by The Board Behind © 2023

If you want to discover more about the 2023 Velletri vintage, we invite you to visit the winery's shop and vineyards. There, you'll have the opportunity to taste and buy your preferred bottles of wine and typical local products.

In this regard, We suggest you visit the farm website for helpful information and contacts to schedule your tastings.

ARSIAL - Agenzia Regionale per lo Sviluppo e l’Innovazione dell’Agricoltura del Lazio (Regional Agency for the Development and Innovation of Agriculture in Latium).

Image credit Arsial

🟠 Italiano

Intro

Vendemmia 2023, Al Via Le Visite Ai Vigneti Sperimentali ARSIAL

La vendemmia 2023 a Velletri , nella provincia di Roma, si preannuncia come una delle migliori degli ultimi anni. Grazie alle condizioni climatiche favorevoli ha beneficiato di un clima caldo e asciutto, che ha favorito la maturazione delle uve e la prevenzione delle malattie. I viticoltori hanno seguito con attenzione tutte le fasi della coltivazione, dalla potatura alla vendemmia, rispettando i tempi e le modalità previste dal disciplinare di produzione. Il risultato è un vino di alta qualità, che esprime al meglio le peculiarità del territorio In questo breve post, vi raccontiamo le caratteristiche principali dei vini che potrete degustare e acquistare nella nostra enoteca e aziende vinicole.

I vini di Velletri sono famosi per la loro qualità e varietà, frutto di una tradizione antica e di un territorio ricco di biodiversità. Tra le varietà più apprezzate spiccano il Cesanese, il Sangiovese, il Montepulciano, il Trebbiano, il Bellone e il Malvasia Puntinata. Questi vini si distinguono per il loro colore rubino intenso, il profumo fruttato e floreale, il sapore armonico e persistente e i bianchi per sapori equilibrati.

Image has been processed by The Board Behind © 2023

Nel corso della vendemmia 2023 Arsial offre la possibilità di visitare i propri vigneti sperimentali all’interno dell’Azienda dimostrativa di Velletri. Visite tutti i giorni, da lunedì a venerdì.

È tempo di vendemmia. L’Azienda sperimentale dimostrativa Arsial di Velletri, in Via Cantina Sperimentale 1/a, inizia la raccolta delle uve, con il vitigno resistente Sauvignon Rytos b.

Nell’ambito delle proprie attività dimostrative, Arsial offre la possibilità ai vitivinicoltori della regione, e a quanti ne facciano richiesta, nei limiti delle possibilità di accoglienza, di visitare i vigneti sperimentali di Velletri.

Dal 22 agosto, l'accesso sarà consentito tutti i giorni fino al termine della vendemmia, dal lunedì al venerdì, dalle 9.00 alle 14.00.

Gli interessati possono comunicare la propria adesione, a mezzo email o telefono, ai seguenti recapiti:

• Giovanni Pica – 347.9943431 - [email protected]

• Giorgio Colatosti – 320.4049893 - [email protected]

La superficie vitata dell’Azienda dimostrativa si estende per poco meno di 4,5 ettari, sui quali sono impiantate oltre 130 varietà di vitigni tra autoctone e resistenti, sia da vino sia da tavola. Le prove sperimentali, finalizzate a verificare le risposte viticole ed enologiche dei vitigni, sono svolte sempre nell’intento di diminuire l’impatto impatto ambientale della conduzione.

Image has been processed by The Board Behind © 2023

Se volete scoprire di più su la vendemmia 2023 a Velletri, vi invitiamo a venire a scoprire i loro vini nelle loro enoteca e vigneti, dove potrete assaggiare e acquistare le bottiglie che preferite. Troverete anche una selezione di prodotti tipici locali.

A tal proposito, vi consigliamo di visitare il sito web della Agenzia, dove troverete informazioni utili e contatti per prenotare i vostri tour e degustazioni.

ARSIAL - Agenzia Regionale per lo Sviluppo e l’Innovazione dell’Agricoltura del Lazio

Press release sent initially by Andrea Titti, Editor-in-Chief at Meta Magazine.

We appreciate your kind presence and attention to today's story. Thank you for joining us today.

⏩ The Board Behind

#the board behind #theboardbehind #Velletri #grape harvest 2023 #ARSIAL #italian wine #food and wine #wineyards #wine tours #wine tasting #made in italy #castelli romani

[victimized-martyr]

Sorry I never gave a proper update on tumblr——

here’s some brainstorming doodles from Keo and me on the white board and some examples Keo made in my notebook. I won’t forget it, one of my harshest note was “NEVER draw Kenny in 3/4!! Trey hates that!” 🤣 The story leads stressed that Trey is very particular with acting decisions and poses, most of which don’t translate into the animation. It’s for him at the editing stage, to “make his voice sing”. Getting into Trey’s head, funnily enough, requires FEELING. Feeling what he’s going for in terms of delivery, to learn what not to take literally in his script (when trey says “kathleen kennedy is like terminator” it’s not what you initially think it means), what emotion or gesture to put in to elevate a joke, to get the message through. It’s so fascinating!

In short, I didn’t make the cut. I was “too fresh”, and needed more experience with the technical aspect of storyboarding…. but I was complimented by Keo for my intuition, something that can’t be taught. I was over the moon when I was told I got the style of the show, whereas other trainees with 10+ experience couldn’t. Some of them tested but don’t even watch the show!! That’s crazy, but I guess that’s to be expected. My knowledge of the show and deep love for the characters got me this far, but I need to work on my actual story boarding skills (keo said my struggles are in composition and scaling) to stay!! 💪🏼 I’m taking this… as a not yet, not a no. I’m already on their radar, in their database, I’m incredibly lucky I got to make my THIRD connection in the studio, I just need to work on myself until I can arrive. I’m so grateful for all the support from friends family and industry moots to get me this far, it’s only the beginning of the year but I don’t think anything could top what happened to me this March!!!!!

#south park #kyman #i’m tagging kyman bc the damn ship got me this far too credit where credit is DUE 🤣🤣🤣🤣 #behind the scenes #it’s so funny actually I drew in a lil kyman moment in my boards at the studio (not as like a haha i’m a sneak this in. more like. it just. #flows outta me lol) #and when i received notes on that panel the leads didn’t say anything abt my kyman…. they zeroed in and kinda argued w/ each other if i #should have drawn more details for the lockers or not 🤣🤣🤣 #Keo came clutch so I followed his advice in not drawing the details but greg insists abt drawing them in #and then they went into ‘well trey doesn’t say anything when I do/don’t draw them in’ and i kinda stood there like 🧍🏻‍♀️ #I thought the whole thing was hilarious in the end #maybe I should draw that moment jgkgfjfh #talk tag #I feel like I scammed everyone like…. I’ve never professionally boarded in my life. How the hell did i get this far.

[dilftanger]

cat licks his paws does some pushups after falling down completely on purpose

pics are mine do not repost

#he was so goofy during warmups! kept trying to flick pucks into the camera on the boards behind the net too #kris letang #extra live lb #a

[gunsatthaphan]

👁️👄👁️

#only friends #only friends series #first kanaphan #force jiratchapong #gmmtv #thai bl #bl drama #I JUST--------- #WHAT DOES THIS MEAN #I bet its just gonna be San owing Top money or some shit dfjhgkfd #Book behind the board like 👀👀👀 lmao

[canisalbus]

I had a dream with Vasco and Machete last night, I don't remember all details, but I do remember people talking about Machete being some sort of fallen angel or something. I even saw flashes of his angelic form in between, I'll have to draw those when I get back home. It was both scary and delightful.

.

#aaa that sounds so poetic #and epic #and cool #you're having way nicer dreams than I do #??? #answered #salem-lunaris #earlier this week I had an apocalyptic dream where earth was about to blow up and I thought “oh geez I have to warn The Dogs" #so I went to their house and this time their decor was oddly grandmacore sorta pastel and vintage and well worn #I can't recall what we talked about but Machete had just started some new meds or had some procedure done to him #he wasn't feeling himself his pupils were freakishly blown out and he couldn't walk or talk properly so they weren't planning to evacuate #Vasco dropped me off to the spaceship airport (his car was yellow) #but first we got some shady alien takeout that looked like red plastic straws and ping pong balls in a yellow toy bucket #we hugged and I boarded the dingy spaceship #and then the dream morphed into a vague retelling of that Raised by Wolves series #I felt bad about leaving them behind knowing they would get smashed to smithereens later that day

[bennygotmilk]

📷 chris young

#never getting over the size difference actually #the quiet tuck of the head against auston #love how jt is kinda represented in this pic by the fan wearing 91 behind the boards #toronto maple leafs

[pbnmj]

tiny doodles of ben from like a gajillion years ago

#my peter-ben interaction boards are fucking locked behind storyboard pro paywall I WANT THEM BACK WITHOUT PAYING #completely forgot to export . hate everything. everything in my folders are unfinished im sorry #spider-man #ben reilly #ben #mayday #my art

[bernard-the-rabbit]

Some character designs I did these past few months for various assignments :3

#i made it clear with all my teachers #this is my last year and i want to make as many historical shit as possible #the first one has a comic behind it and i'm going to post it soon :3 #then we have the boarding game assignment #the calendar (for this one the theme was blue and i decided to make different time periods every month) #and then webtoon that is with the worst teacher ever but the other class is so boring im waiting for mondays #my trashy art #characters #character studies #character design #original character

[flanaganfilm]

Hi Mike!

I am loving the LONG posts you’ve been making about your career and films. I wonder if there is any such one for ‘Ouija: Origin of Evil’?

‘Doctor Sleep’ was the first film of yours I had seen where I went “What else has this guy made?” And I was so surprised to learn Ouija was yours as well, it took me back to that college date! When I bought it on blu-ray and showed it to my friend, she saw Alice and Doris and went “It’s Shirley!”

Id love to know what your thoughts and feelings are on the film, 7 years later. Cheers!

Sure thing! This will be a fun one... I had such a great time making that movie.

Back in the spring of 2015, we were shooting Hush. Blumhouse was coproducing the movie with Intrepid Pictures. This was my second outing with Blumhouse after they came aboard Oculus at tiff in 2013, and they'd even hired me do a little uncredited consulting on another movie they'd made - a teen horror flick called Ouija. The first Ouija movie was... well... not great, but it made a lot of money. And I mean a LOT of money. A sequel was inevitable.

Jason Blum started calling me about the project while we were working on Hush. Initially I passed on it, I wasn't interested - I wasn't sure how to make a movie about a Ouija board interesting, and I didn't see myself as a sequel filmmaker. It just wasn't a movie for me.

If you know Jason at all, you know he is one of the most persistent and persuasive people in the business.

He wouldn't take "no" for an answer, and the phone kept ringing. The bar was low, he argued. The first movie performed very well, and because the franchise was just hung on a board game, there was kind of a blank canvas. "What movie do you want to make, buddy? Because I promise you'll wait your whole career for someone to make you this kind of offer again. You are a fool if you don't say yes."

He finally made me an offer that I couldn't refuse: I could approach the film from any viable creative direction I wanted, just as long as it connected somehow to the first movie and involved a Ouija board, and if I did that (and brought in the scares the kids wanted), I'd have a guaranteed worldwide theatrical release through Universal Pictures.

It's hard to understate how appealing that prospect was at the time. Oculus had been released theatrically but only performed moderately well. Before I Wake had been caught up in Relativity's bankruptcy, so the promised theatrical release never occurred (at this time, the movie was tied up in bankruptcy court without any release on the horizon), and Hush had been scooped up by Netflix, which meant it would never see the inside of a movie theater.

This offered me substantial creative freedom and a guaranteed wide theatrical release with the full weight of Universal Pictures behind it... I finally agreed.

How could I not?

The first film was a contemporary elimination horror film about a group of teenagers who awaken a scary little girl ghost with a stitched-up mouth. She kills them one by one. I wasn't really drawn to that, and I pitched Jason instead on a prequel that focused on a single mother in the late 1960s. To my astonishment, he agreed.

They had their conditions - it had to be PG-13, it had to directly connect to the first film, and I had to deliver the movie on their budget. And I had my conditions - I wanted my crew (including my producer Trevor Macy and my DP Michael Fimognari), I wanted my period setting, and I wanted the movie to look like it was made in the late sixties, down to the zooms, the film grain, and all the other aesthetic bells and whistles. This wouldn't look like a contemporary movie.

Again, to my astonishment, they agreed.

They had one more stipulation, this one from Universal Pictures - no one could smoke cigarettes. And not just that, there couldn't be evidence of smoking in the movie; not even ash trays.

"But this takes place in the sixties," I argued. The NO that came in was emphatic and resounding. There was to be no evidence of cigarettes in our 1960's, and this was non-negotiable. This was a priority for Universal Pictures, and they were far more interested in eliminating cigarettes from the eyes of their young viewers than they were interested in historical accuracy.

Frankly, they were right.

We all agreed on the terms, and to my own admitted surprise, I went off to write and direct Ouija 2.

There was an immediate skepticism in the press when the project was announced, and a fair amount of mocking online. I was determined to ignore it. I really thought this could be fun. I felt like I had been given a gift; I had a huge canvas and precious few rules, and a guaranteed theatrical audience.

I wasn't just going to make Ouija 2; I was going to make Ouija 2 as well as it could possibly be made.

Sitting to write the script was a unique process. The only thing I knew for certain was the very, very end. Our connection to the first movie was that we were telling the origin story of Doris Zander, the ghost from the first film.

She came with some backstory that we were married to: the first movie told us her mother Alice was a professional medium. When Doris had been possessed after using an Ouija board, her mother had sewn her mouth shut and killed her. And we knew her older sister, Lina, had spent the rest of her life in a mental institution (where she grew up to be Lin Shaye), and was absolutely not to be trusted.

So no matter what I did, we had to land there. Everything else was fair game.

I was very interested in the idea of a family who worked as mediums, but most interested in them if they were not authentic psychics. I'd researched a lot about fake mediumship, and the tricks that were used in those performative seances to separate willing marks from their money. What if that was the family's business? What if her mother was something of a con artist, and her kids were part of the act? And what if they ran afoul of a real haunting?

And further, what if it wasn't that they were con artists - what if they were good people, behind it all? What if they had experienced loss themselves, and had rationalized their behavior by saying they were offering people comfort? This was interesting to me. It was cool, it was fun, and I hadn't seen that movie before.

The story was a lot of fun to write. I really enjoyed the characters, I really enjoyed the world, and I kept thinking about the kinds of movies that I loved growing up. Yeah, this was a movie for a younger audience, but maybe they'd sit in that theater and have an experience that would stay with them, the way the movies of my youth had stayed with me.

I thought about those movies: Poltergeist, The Omen, The Changeling, Watcher in the Woods... and I thought about the theatrical experience of them. Their music (I particularly honed in on Jerry Goldsmith's score from Poltergeist), their aesthetics, even the little markers in the upper corner that signal the reel changes - "cigarette burns", as they're called in the business.

All of those things were ornaments of my earliest theatrical experiences, and I wanted to recreate that for the young viewers who might seek out Ouija 2.

One thing that set Ouija 2 apart right away was that we were going to shoot in Los Angeles. I'd lived in LA since 2003, but I had never actually filmed a movie here (and haven't ever again, sadly). This was a really exciting factor - I could spend the day in prep at Blumhouse, and then go home and sleep in my bed.

This was also great for my home life. Kate and I were engaged by then, and Blum was very happy with Hush, so she ended up playing a small role at the top of the movie. Having just spent the Spring living in a hotel in Fairhope Alabama and only working nights, it felt very novel that I'd get up in the morning and go to the office, and be home for dinner. We absolutely loved it.

Casting was also fun. Terry Taylor at Blumhouse did the casting, and for the first time in a long time I could be in the room when actors came in to audition. This was all in-person, because we were in LA. For Before I Wake, we'd had to run the whole thing through the lens of foreign sales value and over choppy, pixelated FaceTime meetings that did not give us much understanding of who we were casting. Compared to that, this process was a real delight.

For Lina, I really wanted to bring back Annalise Basso, the young actress from Oculus. She'd done a terrific job on that movie, and this was a great chance to work together again.

Henry Thomas signed on as Father Tom, and we hit it off immediately. I had been a fan of his since... well, forever I suppose, but I was really excited that he'd be in our movie.

The big revelation, though, was Lulu Wilson. We auditioned a lot of girls for Doris, and we used a particularly upsetting monologue as the audition piece - a 60 second speech about what happens when someone is strangled to death. Lulu's audition knocked me over, and we cast her immediately.

(Fun note: in the film itself, Lulu performs the monologue almost exactly as she did in her audition. And she did it so well, we never cut away. Don't know many 10 year-olds who can hold an entire monologue like that... in fact, I know a lot of 40 year-olds who can't. Lulu Wilson kicks ass.)

Production began in September 2015.

From the jump, this movie was FUN to make.

We were using an antique zoom lens package to achieve the look, and after spending much of prep obsessively watching The Changeling and The Exorcist for inspiration, we were really excited to do something fun. Every day was like a trip to an amusement park.

Michael Fimognari and I enjoy one of the vintage cars

One set, it was a family reunion. I had a lot of my crew from Oculus, Before I Wake and Hush, and a few familiar faces in the cast as well. It even reunited me with Dougie Jones, who had worked for one day in my debut feature Absentia, and agreed to let us bury him in gross demon makeup.

I really can't overstate how fun this was. The movie had more genre set pieces than most of my other work combined, which meant every day we were dealign with ghosts, ghouls, and some wild stunt work. Annalise and Lulu were just delightful, and spent their days pulling escalating pranks on the crew. I would find myself tagged with dozens of C47's (clothespins) whenever Basso was on set, and Lulu was doing all of her own stunts and making us laugh like hyenas.

I was also really enjoying Henry. Toward the end of the shoot, I told him I wanted to put him in everything I did. He laughed and said "whatever, sure man, sign me up." He's been in everything I've made since.

We didn't have a lot of money, but had a lot more money than I'd ever had before, and because Universal was committed to a theatrical release, they wanted the movie to work. I felt supported at every turn. Trevor handled the production the way we'd always done, and this was now our fourth collaboration - I knew I had a producer for life.

Blum was also a delightful collaborator, popping up frequently to check in but always just to see if there was something we needed. I felt an enormous amount of trust from Blumhouse, Hasbro, Platinum Dunes and Universal. That's a lot of cooks for one kitchen, and believe when I tell you it can easily go south... but it didn't. In this case, it just clicked.

We got to do a lot of fun things that had nothing to do with horror, too. There's a lovely little scene in the movie where Lina has her first kiss. We modeled the entire shot sequence after the best kiss in the history of movies: Jimmy Stewart and Grace Kelly's smooch in Rear Window.

We were even able to perfectly mimic a slower frame rate just as their lips meet, exactly as Hitchcock had done in that movie. If you look in the background, the Rear Window poster is hanging on her wall. We were always careful to cite our sources (and there were a lot of them).

My favorite scene of the whole movie was a dinner date between Elizabeth Reaser and Henry that we filmed at the Cicada Club in downtown LA. This was a restaurant that I loved, as once a month it transformed into a full-blown time machine, putting a brass band on the stage and functioning like a 20's-era speakeasy.

The scene where Alice and Father Tom spend an evening out together was among my favorites in the script. It was two adults who were clearly attracted to each other, and who acknowledge it, but recognize the reality of their situation. As we were filming, I remarked to Fimognari that - for a movie about a haunted Ouija board - we were really getting away with murder. This was lovely, sweet, subtle character development, and no one was stopping me. After what we'd gone through on Before I Wake, I had to pinch myself.

My favorite scene of the film

It was set in a restaurant in the late 1960s - almost everyone in that room would realistically be smoking. Universal had been clear that there was to be absolutely no suggestion that cigarettes even existed in this world. But for the restaurant, I had to haze up the air. It was the only time I was questioned creatively, as there was immediate pushback.

"It's a restaurant," I said. "What if there's a fire in the kitchen, an entree got burned and that's why it's smokey?"

No one bought that for even a second. But they let me go ahead anyway. Man, I love that scene. And later, when it was all said and done, Jason Blum shocked me by telling me it was his favorite as well.

We wrapped the movie just before Halloween, and off we went into post. The holidays came and went, and Kate and I got married in February 2016. There was gentle pressure in the cutting room to make the film as tight as possible, and keep things short, but as with everything else, the pressure was decidedly gentle.

The movie's test screenings were very positive. People were very engaged by the story of the family, and the only issue people took seemed to be with the ending. It was a real downer to get so attached to everyone, only to have to kill Doris so brutally. The ending was, to put it mildly, very depressing - Father Tom was dead, Alice was dead, Doris was dead (and her mouth stitched up to stop the demonic voices), and Lina was condemned to the asylum. It was exactly what was required of us, and what was dictated by the first movie. But it hurt people's feelings.

My original ending had Lina in the asylum, crafting a handmade Ouija board out of her own blood, and trying to contact her dead sister. She tries and tries, but there is no answer. It is just silence. And we leave her saying "are you there? Are you there?" over and over again, as tears fall down her face. Doris wouldn't answer - in fact, Doris wouldn't answer for decades, when the first movie finally caught up to us. It was a haunting and sad ending, and I kind of loved it.

But test audiences are a fickle thing, and so we came back to tweak the ending, as the studio wanted one last scare to send us out on - not an unreasonable position, though it was a cliched one. We shot the film's current ending, with Doris' ghost on the ceiling of the asylum. It's as rote and impersonal a horror movie ending as I can imagine, but... well, it was Ouija 2, for crying out loud.

The movie we'd made up until that point had no business being as much fun as it was.

I remember the phone call I got from Blum after the movie was done. Universal had decided that they wouldn't call the movie Ouija 2 after all, they were worried about the number 2 making it feel less interesting.

Instead, they'd taken a big swing: the movie would be called Ouija: Origin of Evil.

I laughed out loud. I thought he was kidding. When it became obvious that he wasn't, I filed a protest. "It's not very good," I said. "It's cheesy. And not to put too fine a point on it, but the movie depicts neither the origin of the Ouija board, or of - um - Evil."

"Buddy, the title tested well. That's the way the cookie crumbles. Trust us, if the studio says it's Origin of Evil, it's Origin of Evil."

With a big theatrical release comes a lot of pomp and circumstance. There was a huge premiere for Ouija: Origin of Evil that October, and whatever nerves I had about the critical reception to the movie proved to be short-lived. People really enjoyed it. The overwhelming sentiment was that a sequel to a movie like Ouija frankly had no business being this interesting.

For all the pomp and circumstance, I missed it all. I didn't get to go to a premiere or walk the red carpet, as I was already in Alabama shooting Gerald's Game. On opening weekend, I took the cast and crew to a local theater in Daphne Alabama to see Ouija: Origin of Evil on the big screen.

The projection in this little backwoods theater was NOT good. The lamp was too dim (a common cost-saving strategy in some theater chains), and it was out of focus. I ran up to complain to the manager.

"The movie's soft focus on purpose," he said. "That's what the filmmakers wanted."

"No, it really isn't," I said.

The movie ultimately was not the runaway hit that the first Ouija was. Not even close, in fact.

To everyone's surprise, the teenagers just... didn't really show up. The first movie had grossed 103 MILLION dollars worldwide, but our little prequel only managed to do about 80. It was considered a modest success, not a hit by any means, but no failure. In the end, Universal decided maybe there wasn't a franchise to be had here after all.

So in the end, I had single-handedly revitalized and destroyed the Ouija franchise.

But man, believe when I tell you I've got no regrets whatsoever. I had the time of my life making that movie. Sure, some people groan about the ending, but that was kind of our only job - those were the cards we knew we had to turn over. Did you see everything that led up to that, though??? Did you see what we got away with?!

Since this movie, I've worked with a lot of people again. True to my word, I've put Henry Thomas in every single thing I've made since. Elizabeth Reaser came back to play Shirley in The Haunting of Hill House, and little Lulu Wilson - who was so wonderful as Reaser's daughter Doris - played the younger version of Shirley on that show. Lulu is also in The Fall of the House of Usher (and if you look closely, her original Ouija board and planchette are in frame with her.)

Kate sported a fun blonde hairdo for her small role in Ouija: Origin of Evil, and it was a really fun stepping stone between Hush and Hill House for her as an actor. There's a fun deleted scene where she goes home and murders her father, played by the great Sam Anderson. I really dug that scene, and I wish it was in there. You can see it on the blu-ray and DVD though, because even in a world where Netflix is trying to erase such things, Universal Pictures actually takes care of their movies with proper physical media releases.

I haven't yet found the next project to do with my friends at Blumhouse, but it's not for lack of trying, and my dance card has been booked solid since we wrapped this movie. It was an important step for my career, and their support was amazing. I know that we'll work together again, as soon as the timing is right.

Also, get this...

Ouija: Origin of Evil is my most successful movie.

Ever. Of all of them.

It did 82 million worldwide. That's better than Doctor Sleep, which did 72 million. It's better than Oculus, which did 44 million. The rest were all dumped to Netflix.

So yeah, Ouija: Origin of Evil is my most successful movie. Ain't that a trip?

We weren't trying to change the world, or reinvent the genre. I was making the second entry in a PG-13 franchise about an evil board game, and dammit if I didn't get to do everything I set out to do. There's an exuberance to the camera movement, the staging, the set design, and the lighting. There's an unbridled joy in this movie, and I smile whenever I think about it.

Up until this point in my career, every movie I had was hard-fought. Oculus was a trial by fire whose distribution deal was detonated days before it premiered. Before I Wake was a brutal experience both creatively and logistically. Hush was a labor of love and determination against all odds. But this one... man, this one reminded me why I wanted to make movies in the first place.

Because it can be really, really fucking fun.

#ouija board #ouija #ouija origin of evil #blumhouse #behind the scenes

[opera-ghost]

#i think alw and cammack should fistfight behind a 7/11 for the fate of phantom #no one hates alw more than fans of alw musicals but i'm afraid he made some points here #poto #phantom of the opera #poto shitpost #anytime someone mentions the 27-piece orchestra (even if it's the fucking COMPOSER) you have me on board

[willowser]

Will…to comfort you during your airport struggles I am here to offer up meeting Gojo at the airport thoughts™️

You both are stuck on the same delayed flight and he pretty much kinda imprints on you when you tell him where to find the monitors after you see him looking a bit confused

You both bond over meals at the airport food court and laugh at bad tourist merch and he even watches a movie with you on his iPad and just the two of you click and just enjoy this strange magical bubble forming around him and you

OMG ERIKA PLS !! 🥺

you can see him wandering past the gate several times, and he's not easy to miss because he's the TALLEST MAN AROUND !! and he keeps holding up his boarding pass and staring at the monitor and so you just tell him, "this is the flight heading to..." and his eyebrows raise and he looks so relieved 🥺 and then he plops down beside you to charge his phone in the port you're not using 🥺

and you just make some little small talk until you're boarding the plane, and he sits a row or two ahead of you, across the aisle, and it's so easy to see when he peeks over his shoulder to grin at you !! and you're a bit bummed that you're not sitting by him for the flight, because he's stupid cute and his laugh is funny 🥺 but then when they announce that there's a thunderstorm and the plane can't leave the terminal for another two hours, they offer passengers to get off for a bit, if they'd like, and gojo doesn't get up but you do, to stretch your legs and to maybe go buy a bite to eat, and the minute you pass him in the aisle, he's sticking a leg out and cutting right in front of the person behind you, leaning down to whisper "where we going?" in your ear akrbdjsjakalql

#and then when you get back on the plane he does his best to persuade the guy sitting next to you to switch seats akdjdiaia #you both wander the airport for a little while 🥺 #he buys you both something to eat 🥺 #just tagging along 🥺 #says he should probably get your number in case the plane starts boarding again and the two of you get separated #that way he can call you you know ? just to make sure you don’t get left behind 😌 #THIS IS SO CUTE ERIKA PLS SKDKEJEJAJAJAK #but then he sits next to you in the seat and he's SO GODDAMN TALL #HE DOESN’T FIT #✿ ask willow #✿ thoughts: gojo

[cross-border-communications]

The Magic of Street-Side Trees. Beauty, Coolness, and Urban Prosperity.

The beauty, coolness, and urban prosperity brought by street-side trees.

Trees lining urban streets are integral elements of the urban landscape, serving multiple ecological roles and socio-economic functions. In general, incorporating trees along the roads in urban areas can elevate the aesthetic appeal, regulate temperatures, and foster prosperity growth. And if our goal is to enhance the role of cities in driving economic growth and fully utilizing human resources, then we must prioritize making tangible improvements to urban environments.

Trees are crucial components for creating appealing and hospitable urban environments that enhance citizens' psychological and social well-being. They play a vital role in reducing air temperature and humidity, which helps alleviate the effects of heat waves and global warming. Trees bear witness to the history, culture, and identity of cities, which they preserve and pass on to future generations. In addition to their undeniable beauty, trees are valuable allies in the fight against climate change.

They provide a range of local benefits that are often ignored beyond the global role of absorbing carbon dioxide. This article aims to increase awareness among readers about the importance of trees for cities and the planet. It seeks to motivate all of us to value, preserve, and protect the urban tree heritage through a participatory and accountable manner that involves citizens and institutions.

Street-side trees are more than just beautiful to look at. They are an essential resource for cities, providing numerous benefits to residents' health, well-being, and quality of life. In their article on Monocolo, Paolo Massi and Giulia Papaleo highlight the main advantages of trees in urban areas. La magia degli alberi lungo le strade. Bellezza, frescura e prosperità urbana

Among the benefits that trees bring to the urban environment, we can mention:

Trees perform ecological, social, and economic functions that contribute to the well-being and development of cities. They help to reduce air pollution by capturing particles, filtering harmful gases, and producing oxygen. Trees also absorb carbon from the atmosphere and store it in their wood, making them beneficial for climate change mitigation. Additionally, trees create shade, cool the air, and reduce energy consumption for cooling buildings. They prevent flooding, improve water quality, and increase biodiversity by providing shelter and food for many species. Trees enhance the urban landscape, mitigate noise, and even increase the value of properties.

Moreover, they promote physical and mental health by stimulating physical activity, reducing stress, and improving mood and concentration.

Therefore, roadside trees are a valuable resource for cities and their inhabitants. It is critical to protect, care for, and increase them through various means, such as public policies, private actions, and guaranteed maintenance over time, recognizing their fundamental role in the quality of urban life so that maintenance, which develops jobs, in particular, is 'guaranteed' over time,

Urban forestation and eco-neighborhoods.

Urban forestation refers to designing and creating green spaces in urban and peri-urban areas to incorporate nature into the landscape. It is important to both develop new green spaces and enhance existing ones.

Eco-neighborhoods serve as an example of sustainable and livable urban environments. They are designed considering the environment and the health of their residents. Sustainability principles are followed to improve the landscape and economic assets of the urban context. The design of an environmentally sustainable neighborhood aims to reduce its environmental impact during construction, throughout its life cycle, and even during decommissioning while prioritizing the comfort of its residents. These neighborhoods are built to improve people's quality of life by emphasizing energy conservation, renewable energy, environmentally friendly materials, reducing water and waste consumption, and promoting sustainable mobility. They are tangible parts of the city that contribute to the well-being of its inhabitants.

In addition, urban forestation is another example of how urban environments can be made more livable and sustainable. We can seamlessly blend nature into the urban landscape by integrating street trees, gardens, and parks. They represent elements of nature that help purify the air we breathe, capturing pollutants, storing carbon, and mitigating the climate of cities.

In summary, street-side trees are not just a decorative element but a proper green infrastructure that improves the quality of urban life. Therefore, It is vital to encourage planting, caring for, and preserving trees in urban areas, with the participation of government institutions, businesses, and residents, in order to achieve a shared vision to promote sustainable progress.

🟠 Italiano

Intro

Gli alberi sono elementi essenziali per creare paesaggi urbani attraenti e accoglienti, che favoriscono il benessere psicologico e sociale dei cittadini. contribuiscono a ridurre la temperatura e l'umidità dell'aria, mitigando gli effetti delle ondate di calore e del riscaldamento globale. Essi sono testimoni della storia, della cultura e dell'identità delle città, che conservano e trasmettono alle generazioni future. Alleati nella lotta ai cambiamenti climatici, oltre alla loro innegabile bellezza offrono una serie di benefici locali che spesso tendiamo a trascurare (al di là dei benefici globali di assorbimento dell’anidride carbonica). Questo articolo quindi ha lo scopo di sensibilizzare i lettori sull'importanza degli alberi per le città e per il pianeta, invitandoli a conoscere, apprezzare e tutelare il patrimonio arboreo urbano coinvolgendo i cittadini e le istituzioni in un processo partecipativo e responsabile.

La magia degli alberi lungo le strade. Bellezza, frescura e prosperità urbana.

Gli alberi sono una risorsa preziosa per le città, non solo per il loro contributo alla mitigazione dei cambiamenti climatici, ma anche per i molteplici benefici che apportano alla salute, al benessere e alla qualità della vita dei cittadini. In questo articolo del Monocolo gli autori Paolo Massi e Giulia Papaleo, vogliono illustrare alcuni dei principali vantaggi che gli alberi offrono alle aree urbane e alle persone che le abitano. La magia degli alberi lungo le strade. Bellezza, frescura e prosperità urbana

La magia degli alberi lungo le strade dunque non si limita alla loro estetica. Gli alberi sono elementi essenziali per il benessere e lo sviluppo delle città, in quanto svolgono funzioni ecologiche, sociali ed economiche. Tra i vantaggi che gli alberi apportano all'ambiente urbano, possiamo citare:

Riduzione dell'inquinamento atmosferico: gli alberi catturano le particelle sospese nell'aria, filtrano i gas nocivi e producono ossigeno.

Mitigazione del cambiamento climatico: gli alberi assorbono il carbonio dall'atmosfera e lo immagazzinano nel loro legno, contribuendo a ridurre l'effetto serra.

Regolazione termica: gli alberi creano ombra e rinfrescano l'aria attraverso la traspirazione, diminuendo la temperatura e il consumo energetico per il raffreddamento degli edifici.

Conservazione del suolo e dell'acqua: gli alberi riducono l'erosione del suolo, aumentano la sua capacità di infiltrazione e ritardano il deflusso delle acque piovane, prevenendo le inondazioni e migliorando la qualità dell'acqua.

Incremento della biodiversità: gli alberi offrono rifugio e cibo a molte specie animali e vegetali, arricchendo la diversità biologica delle città.

Valorizzazione del paesaggio urbano: gli alberi creano scenari naturali, armonizzano l'architettura, attenuano il rumore e aumentano il valore immobiliare delle proprietà.

Promozione della salute e del benessere umano: gli alberi favoriscono la salute fisica e mentale delle persone, stimolando l'attività fisica, riducendo lo stress, migliorando l'umore e la concentrazione.

Gli alberi e le aiuole a verde lungo le strade sono quindi una risorsa preziosa per le città e i loro abitanti. Per questo motivo, è importante proteggerli, curarli e incrementarli, attraverso politiche pubbliche e azioni private che ne riconoscano il ruolo fondamentale per la qualità della vita urbana affinché la manutenzione, che sviluppa posti di lavoro, in particolare venga 'garantita' nel tempo.

La forestazione urbana e gli ecoquartieri

Con il termine forestazione urbana si intende la progettazione e lo sviluppo di aree verdi urbane e periurbane, facendo della natura un'importante protagonista di questo paesaggio. Chiaramente è importante non solo progettare e sviluppare nuove aree verdi, ma anche rivalorizzare e riappropriarsi di quelle esistenti.

Certo! Gli ecoquartieri sono un esempio di ambienti urbani sostenibili e vivibili. Sono quartieri costruiti nel rispetto dell’equilibrio ambientale e della salute delle persone che vi abitano. Sono conformi ai principi della sostenibilità e puntano alla valorizzazione del patrimonio paesaggistico ed economico del contesto urbano in cui sono inseriti. La progettazione di un quartiere ecosostenibile punta a ridurne l’impatto ambientale: dalla fase di costruzione, al ciclo di vita, fino alla sua dismissione, senza mai dimenticare il comfort di chi lo vive. Si tratta di vere e proprie porzioni di città edificate con l’obiettivo di innalzare il livello di qualità della vita e sono realizzate ponendo l’accento su: risparmio energetico; uso delle energie rinnovabili e di materiale ecologico; riduzione del consumo di acqua e di rifiuti; promozione della mobilità sostenibile.

Inoltre, la forestazione urbana è un altro esempio di come gli ambienti urbani possono essere resi più vivibili e sostenibili. Le alberature stradali, i giardini e i parchi urbani rappresentano degli elementi di natura che contribuiscono a purificare l’aria che respiriamo, catturando sostanze inquinanti, immagazzinando carbonio e mitigando il clima delle città.

Come si può notare, gli alberi lungo le strade non sono solo un elemento decorativo, ma una vera e propria infrastruttura verde che migliora la qualità della vita urbana. Per questo motivo, è importante promuovere la piantumazione, la manutenzione e la protezione degli alberi nelle città, coinvolgendo le amministrazioni pubbliche, le imprese e i cittadini in una visione condivisa di sviluppo sostenibile.

images created by The Board Behind © 2023

More related topics on this matter you might like:

Landscape Architecture: self-reflection on improving and enhancing our cities' run-down suburbs. English /Italian

Give color to the city to celebrate the joy of living.

I appreciate your kind presence and attention on this matter. Thank you for joining us today.

⏩ The Board Behind

#the board behind #sviluppo sostenibile #urban environments #urban tree heritage #ecological restoration #social growth #economic growth #city development #well being #urban living #urban life #heat wave #heat islands #sustainable progress #social innovation

[moomeecore]

i found a book abt the anti lawn movement at the library & decided to sit out in my yard & read it. but ironically there was a neverending barage of power tool noises making it difficult to focus. so i walked to a nature park near me in order to escape the dreaded sounds. almost stopped at the mowed picnic table area bc i hate walking but fortunately pushed forward and made myself walk up an annoying hill to an area that is a preservation of a native oak savanna & sat down against a tree near the edge of the path & did my reading there. and honest to god that was a 100/10 experience. there was something so powerful abt being in a preserve for a locally native habitat while reading abt the impacts homeowners can have on native plant preservation! it powered up my energy towards my life mission (evangelize abt enviormentally sustainable gardening to every single person who comes within a 10 ft radius of me) by like. 15 points. also a deer walked up to me and that was super cool

#i was there for like 3 hours and i wanted to stay longer #but the sun was setting and i was hungry and had to pee super bad #gonna try to do this tommorow as well. bc ik winter is gonna hit soon #and then its not gonna be plausibe #i still heard Industrial Noises up there but i used my noise cancelling headphones #& that blocked most of it out #ive finallt started progressing on writing persuasive essay on this subject #previously id focoused my efforts mostly on reaserching the practical side of like. how to covert ur yard #+ what plants to use. etc #but now im looping background writing abt the actual reasoning behind it #which like. i feel like i needed zero actual persuasion to get on board w this. which is why i didnt #dedicate to much time to reaserching the 'why' #but i do a whole lot of promoting this subject to people i meet so i might as well read up & #try & create a more comprehensive & detailed resource to send to ppl #after i give them my Rip Up Your Lawn talk #i mean i give them the gardening advice resources. but i think some ppl need extra convincing & thats what this is for #LAWN LAWN RIP UP UR LAWN. KILL UR LAWN PLANT REAL PLANTS <3

[theygotlost]

NORMAN ALSO

#why did bishie take me 2 hours and norman took me 30 minutes #mine #oc #bishop #norman #i actually did put thought into the symbolism of their backgrounds.... #the bg behind bishop is split between light and darkto represent her double life w the criminal underground and descent into violence #the crisscrossing lines are like a conspiracy board as she tries to solve normans murder but her own sanity also starts to get tangled #norman has halo-like rays of light around his head bc we was martyred + a gun target and blood spilling out the back of his head

[oldtestleper]

personally i love the trinity of sol, galicaea, and helio. the father the son and the holy spirit but make it the sun, the lifeless rock that's only visible when it reflects the sun's light, and the cringefail monoculture that grows because of it

#fhjy spoilers in tags #.txt #d20 #wheels around my conspiracy board. everybody fucking listen to me. sol is setting up a pantheon that funnels power back to him. #he is setting up religions and pretending they are different. but crops can't grow without the sun. the moon can't shine without the sun. #these are different gods but in order to elevate themselves they have to elevate sol. #Helio's Mother Was A Fucking Mortal. Galicaea Reigns In Sylvare And Falinel Now. and all of their followers also worship sol. implicitly. #and that's why galicaea was a willing accomplice to ankarna;s and cassandra's 'murders' and sol was the architect behind it— #galicaea is not gonna be a fucking good guy this season i am so sure of it. like we know that right shes not a good guy #dimension 20

[raytorosaurus]

so so grateful for gerard's sick and twisted little vox pedalboard which he uses with such pussy-infused mad scientist relish...this is quite literally what rock music has been missing all this time. a really fucked up little guy with some cunt to serve and some buttons to press.

#btw every time ray goes over to adjust gerard's board while he's speaking between songs an angel is born. #behind every unhinged diabolical girlboss is a capable and supportive girlmalewife #*