#commercial directing masterclass

[bradyoil]

Director Steve Fuller Masterfully Fuses Design and Live Action.

Steve Fuller is an Emmy award-winning Director, whose work shaocases an expertise in the integration of design and live-action to the production process, coupled with an ability to lead projects from conception to completion. Comfortable in a variety of mediums and genres, Steve’s creative through-line is visual storytelling. His commercial directing credits including major campaigns for…

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#advertising #Commercial Directing Film School #commercial directing masterclass #commercials #Director #Filmmaker Retreat Joshua Tree #How To Pitch #Steve Fuller

[forathousanddays]

Bring Me The Horizon - That’s The Spirit (Review)

Bring Me The Horizon’s 2015 hit That’s The Spirit is a masterclass in atmosphere and cohesion. The consistently muddied instrumentation cut through with perfect clarity in the vocals provides an unmatched sense of immersion, in an alien quality present for the entire album. Bring Me The Horizon is at their commercial peak on That’s The Spirit, and for good reason. The record was self-produced by keyboardist Jordan Fish, (what an excellent name) considering an external producer unnecessary.

While a lot of unconventional decisions were made in the production process, the critical reception was met with universal acclaim, citing That’s The Spirit as their most conventionally appealing album. Having moved away from their direct metalcore roots, That’s The Spirit leans more into alternative rock, with great success.

Track-by-track below the cut.

TRACK 1 - DOOMED

The record opens with a track that perfectly sets the stage for the rest of the album. The cold and deep sound immediately makes its presence known, providing a sense of isolation that will stay present for the rest of the album. Doomed arguably sounds overproduced, with a heavy filtering present on just about everything. I don’t consider this a negative, though; the album was made with the concept of our darkest moods in mind, but in a context making light of them. The pushy production carries a disorienting atmosphere, and stops you from feeling quite too close to the vocals.

This is an opening track done right, functioning almost as a macrocosm of the record as a whole. All of the elements heard here will be expanded on in later songs. 7/10.

TRACK 2 - HAPPY SONG

This is the closest thing That’s The Spirit has to a title track, with the album title being repeated as a lyric over and over. We leave the murky comfort of Doomed behind, to an instant rolling nu metal riff. This is where the themes of making light out of our darkness are most visible; the lyrics and sound are distinctly moody, but the sampled cheering and the title itself contrast it in a sick sense. Oli Sykes’ vocals are firing on all cylinders here, with a wide dynamic range of nu metal fry and gorgeous clarity. The chorus is ethereal, and the verses are all intimate and up-close, through the haze of the production.

Every moving part in Happy Song just works. The use of children’s voices are perfect for the bleak sarcasm the track champions. 10/10, There’s gonna be a lot of those.

TRACK 3 - THRONE

Throne is the most familiar track on the album to previous fans. The atmosphere and vocal techniques are reminiscent of their previous album, Sempiternal, but with a distinctly That’s The Spirit aspect to their production. The lyrics are powerful and motivating, second only to the way they’re delivered. If this song resonates with you, it resonates hard. The synth lines prop up Sykes’ performance, and the choice of making the bassline only occasionally present really heightens the feeling of rising from the ashes. The verses are somewhat subdued, with only the drums and keyboard being noticeable; but as soon as the pre-chorus steps up, bassist Matt Kean absolutely drowns the track in a wave of sound that feels triumphant and swelling. I believe every lyric of Throne, in no small part due to how powerful the production feels.

I can only say “this is atmosphere done right” so many times. 10/10.

TRACK 4 - TRUE FRIENDS

The choice to open the song with the isolated motif from the chorus is inspired, and serves to amplify every other aspect of the song when it comes in after. The delivery sets up an expectation for angry, crashing vocals, which makes the soft tone on the first verse a pleasant subversion. By this point on the record, though, we should know that won’t last very long. The sound storms in with every intention to make itself known, with a classical influence in the primary instrumental motif. The title line of “true friends stab you in the front” is poignant and even a little amusing, once again carrying the bleak comedy theme of the album. The instrumental cuts out occasionally to emphasize the chorus, and it’s an excellent effect. The breakdown near the end of the second minute is a highlight.

It’s crazy how on any other album all of these songs would be a ten. 8/10.

TRACK 5 - FOLLOW YOU

The more heavy-handed production is at its most noticeable in Follow You, with several elements in the mix that are immediately “not an instrument” sounds. I have nothing but praise for the vocals across the entire album, but this might be one of their best. The layering and tuning feels intimate and personal, but not enough that the alt-rock shouting feels startling or out of place. Much like in Doomed, we get another look at his higher vocal register and how perfectly it fits the alternative rock nu metal fusion of That’s The Spirit. I wouldn’t leave this song to anybody else. The instrumentals all across the record are stellar, but the vocals are in a league of their own. 

The lyrics are really cute, too. 9/10.

TRACK 6 - WHAT YOU NEED

I’ve been waiting for this one ever since I started my review. It’s not the star of the album, but man is it fun. The bassline is infectious, the vocals are catchy, and the lead guitar follows them both perfectly. The punchy delivery on the verses has a gnarly contrast with the strong projection in the chorus, and the one-man choir within. In any other song, the verses would be an incredibly strong highlight, but unfortunately one part of this track overshadows every other (masterfully done) aspect. The bridge in What You Need is my second favourite section on the entire album, dwarfed only by a passage two songs from now. The “Hell Yeah” refrain is perfect, and the solo following it is overwhelmingly cool.

Pure adrenaline in here, I wouldn’t want it any other way. 10/10.

TRACK 7 - AVALANCHE

Avalanche is the closest That’s The Spirit comes to an honest confrontation of its themes. There’s no attempt at black comedy, no shred of resigned sarcasm. The screaming vocals feel less powerful, and more desperate. This is the bleakest track on the record, and I’m glad it’s here to balance out the themes. The lyrics are on the repetitive side, which takes away a little from the ranking, but this song needed to be on the album somewhere. The instrumental is still as strong as ever, and despite its serious tone the song doesn’t feel like a downer.

There’s not too much to say on here. The fade-out at the end is a highlight for sure. 7/10

TRACK 8 - RUN

Remember when I said the What You Need bridge is second only to one passage two songs from it? The intro to Run is atmosphere perfected, with “ten thousand voices fill my broken lungs” being one of my favourite lyrics ever put to song. Run is all-encompassing, enveloping, just short of drowning. The sound is full and complete, almost an amalgamation of every individual note as one seething mass. The production is stellar, the composition is stellar, the vocal delivery is stellar. The song is an ode to the desire for teenagers to run away and make their own place in life, with undertones that might point to a darker interpretation.

Highlight of the album. 10/10.

TRACK 9 - DROWN

Again, a masterfully presented intro. The overproduced sound of what seems to be a chanting crowd feels almost eerie and unnatural, but not in an uncomfortable way. Drown exemplifies the sense of isolation and intimacy That’s The Spirit has been balancing all along, and it does so seamlessly. Like Avalanche, Drown feels like an honest confession and a cry for help, free of any sarcasm or humour. The lyrics detail a desire to keep going, but not the energy to make that plausible. “Who will make me fight? [...] You know that I can’t do this on my own." The bridge ends with the same massive crowd the intro opens with, but the final vocals from Oli Sykes are isolated and vulnerable.

Gorgeous production. 10/10

TRACK 10 - BLASPHEMY

This is the most explicit rock on the album. There’s not much in the way of hazy production or vulnerable, quiet vocals. Blasphemy shrugs off the precedent of the record in favour of a massive arena rock sound, easily the most commercial song on the record, with catchy hooks and a simple throughline riff. I don’t think this is a bad thing, though. The short but soaring solo at the end of the second minute is a highlight, and the sound only keeps ramping up with a stomping hook as soon as it moves out of the way. The delivery on this track is spitting and spiteful, and a breath of fresh air if you don’t like the murky sound on the rest of the album

There’s a time and a place for subversion, and I think near the end was a great place to put this. 9/10.

TRACK 11 - OH NO

This is such a perfect closing track. Completely stepping away from the sounds we’ve been acquainted with so far, Oh No has a thrumming synthetic beat in the back of the sound that makes it feel like a party jam. Once again, choral chanting is used in the mix, and it makes Oh No feel epic in scale. The infectious pop hooks and commercially appealing lyrics make the track feel like a true send-off to That’s The Spirit, not a goodbye so much as a celebration that it happened. The song is fundamentally upbeat pop, but the lyrics are still somber and sentimental. This feels very 2015.

...sorry, was that just a saxophone solo? This was going to be a 9, but I guess i can spare another 10/10.

RETROSPECTIVE

Ranking That’s The Spirit was always going to be intrinsically difficult for me, because of how many songs on it I consider to be near-perfect. If you dropped the lowest ranking in here into the middle of most other albums, it would probably get a nine at the lowest. The vocals are a standout performance all the way through, but they never feel like they’re overshadowing the intricate composition behind them. Every song feels deliberately placed to create the most cohesive experience you can get.

Overall, this is one of my 10/10s.

#bring me the horizon #thats the spirit #music #album review #oli sykes #10/10 #top three #alt rock #nu metal

[the-fighters-of-foo]

ON THIS DAY, April 26th, 1994, LIVE released Throwing Copper, their third album (second under the name Live), on Radioactive Records, a subsidiary of MCA Records. Had you cast your net into the sea of alt-rock circa 1991 to 1994, you would have been hard-pressed to find many bands cut from the same cloth. The explosion of alternative rock was a melting pot of styles. Rock music fans were open to diversity, with bands of different persuasions and influences sitting happily in most record collections.

Live were an unlikely success story. They were formed in York, Pennsylvania in 1984 by guitarist Chad Taylor, bassist Patrick Dahlheimer, drummer Chad Gracey and vocalist Ed Kowalczyk. The band went through various names, including Action Front, Paisley Blues, and Club Fungus, before settling on Public Affection in January 1987. After the members graduated from high school, they recorded their first self-released album, The Death of a Dictionary, on cassette in 1989.

In 1990, they released an EP of demos produced by Jay Healy titled “Divided Mind, Divided Planet.” Venturing outside the confines of Pennsylvania, the band began playing regular concerts at CBGB in New York City, which helped earn them a contract with Radioactive Records in 1991. In June of that year, they changed their name to Live and released the album Mental Jewellery. While that album expanded the band’s fanbase, they were far from the dizzying highs they would achieve with the follow-up Throwing Copper.

In July of 1993, the band and producer, Jerry Harrison of Talking Heads fame, made their way to rural Minnesota to begin recording. Pachyderm Studio had become a go-to recording hideout for the alt-rock crowd of the mid-’90s. Nirvana cut In Utero there in 1993, Soul Asylum laid down Grave Dancers Union in 1992, and PJ Harvey’s Rid Of Me was birthed there, also in 1993. Buried deep within a secluded old-growth forest in rural Minnesota, the environment helped quell outside distractions.

If Live’s modus operandi for Throwing Copper was to strive for a more ambitious sound than Mental Jewellery, they succeeded. Opening with the atmospheric, tension-filled “The Dam at Otter Creek”, it’s immediately apparent the band is in no rush to hit the listener with a “hook” and reel them in quickly. The song is a masterclass in tension building, exploding in frenzied chaos at about two-thirds of the way through, providing a euphoric release. A song of this intensity may have alienated the casual listener who first tossed it in a CD deck, but its masterful tension and release perfectly set up the next song.

In tone, “Selling The Drama” is the opposite of “The Dam At Otter Creek”. It’s optimistic and packed with enough jangle to rival REM. The song became a massive hit for the band. It’s clear and direct, filled with hooks pouring from Taylor’s electric guitar, Gracey’s always-powerful drum beats, and Kowalczyk’s melodic and insistent vocals. However, Dahlheimer’s incredibly inventive bass lines give the song an edge. “Selling the Drama” was the first of three singles from this album to reach #1 on Billboard’s Modern Rock Tracks chart.

Throwing Copper coughed up five stellar singles, with three going to number 1. One song that didn’t hit the top spot commercially as a single but certainly hit a high water mark as far as quality goes is “I Alone.” Its arrangement, on paper, is a tried and true trope of 90’s alternative rock writing. By 1994, the Quiet Verse/Loud Chorus shtick was becoming old hat. Yet somehow, with “I Alone”, Live manages to wrangle searing emotional weight out of this dynamic and deliver a thrilling classic.

Opening the song “Iris,” Ed Kowalczyk is backed by a single electric guitar chord, he implores, “I liked the way my hand looked on your head. In the presence of my knuckles. But the beauty of this vision alone, just like yesterday’s sunset. Has been perverted by the sentimental and mistaken for love.” Patrick Dahlheimer’s creeping bass embellishes the song’s eerie atmosphere before Chad Gracey cracks a whip-like snare, introducing the band’s tight, punctuated roar. In the blink of an eye, they return to the spacious atmospherics. This perfectly weighted yin-yang gives way to a cinematic, big-sky chorus that soars.

“Lightning Crashes” became an instant classic. Taylor’s flange-drenched guitar chords complement Kowalczyk’s expressive vocals. It’s a story of life and death in a hospital setting. Musically, the band shows impeccable restraint and is careful not to intrude on Kowalczyk’s vocal delivery and storytelling. The band wrote the song in memory of Barbara Lewis, a classmate who was killed by a drunk driver in 1993.

“Top” opens with a succession of single-strummed guitar chords and heavy, exclamation point downbeats over which Kowalczyk does his best, Michael Stipe wails. Soon, the song’s verse locks into a gripping dark funk followed by a gorgeously vast chorus. “All Over You” is a sparkling barnburner packed with rollercoaster dynamics. A live favourite, the band tear through the songs fluctuating crescendos.

Songwriters have long written about dead-end towns and their interpersonal dynamics. “Shite Towne” is a worthy addition to that canon. Kowalczyk poetically lays out, in beautifully descriptive passages, the mundane psychodrama of ordinary life. “The Weavers live up the street from me. The crackheads, they live down the street from me. The tall grass makes it hard to see beyond my property. Hey man, this is criminal; it’s hardline symmetry of people and pets.”

“T.B.D.”, which stands for Tibetan Book of the Dead, is based on Aldous Huxley’s slow descent into death, aided by heroin. Kowalczyk was never one to shy away from the deeper side of things. On the band’s previous album, Mental Jewerley, the writings of Indian philosopher Jiddu Krishnamurti became a powerful inspiration, so too; on Throwing Copper, he delves deep into philosophy, spirituality and the harrowing beauty of everyday life.

Another standout is the Kurt Cobain/Courtney Love-inspired “Stage.” It’s a caustic ripper. Kowalczyk wails, “We are, by and large, the same. But words are too feeble; they cannot contain. He was a rock and roll messiah; she was known for her childcare.” “Waitress,” like many songs on Throwing Copper, offers far more depth than a cursory glance might provide. In this case, the humble art of tipping a waitress opens a dialogue around the hopes and dreams of everyone despite their social standing. “The girl’s got family. She needs cash to buy aspirin for her pain; everybody’s good enough for some change, some fucking change.” One suspects the “change” Kowalczyk is referring to isn’t monetary.

The mournful bass of Patrick Dahlheimer opens “Pillar Of Davidson.” The song was written about the plight of poorly compensated factory workers who were treated like machines. Their life purpose slowly eroded to make money for others. Growing up in York, Pennsylvania, a working-class town home to the Harley Davidson motorcycle factory and other industrial plants inspired the song. Kowalczyk credits the band with helping him escape a similar fate.

“Most of the kids in our situation don’t get fair shots because of the sheltered quality of life in a small town like York,” he said in 1995. “Thank God for this band; it was our ticket to see the world.”

The apocalyptic “White, Discussion” is a scathing and cynical look at political correctness. The line, “All of this discussion, though politically correct. Is dead beyond destruction, though it leaves me quite erect.” Kowalczyk’s weariness over “disenchanting discourse” found a new layer of meaning in the age of social media – a fact that wasn’t lost on the singer as he performed the song ahead of the album’s 25th anniversary.

“I was thinking that the other night onstage. We were playing it, and lyrically, it could have come out yesterday and made a lot of sense to people,” he said in 2019. “Twenty-five years ago, I was singing about these things, and twenty-five years later, they still have these themes. They’re perennial. They don’t change that much.”

Throwing Copper is a beautifully constructed, written and performed masterpiece. In 1994, nobody knew it yet, but this album marked a tipping point for alternative rock. Many attribute Live with the beginnings of the dreaded “post-grunge” era. But Throwing Copper doesn’t bear any of the hallmarks of that movement. This is an album of genuine passion, depth, and gilt-edged songwriting.

Live were alt-rock titans for a very short time in the mid-90s. The album sold over eight million copies. Fans from all corners of the alternative rock spectrum loved it. Unfortunately, they couldn’t match the honest immediacy of Throwing Copper on subsequent releases (although the follow-up certainly had its moments).

Anyone keeping abreast of the current state of the band’s interpersonal dramas and dysfunction (which would make even Fleetwood Mac blush) knows an album of this quality is probably not on the cards any time soon. Throwing Copper was a perfect companion piece for that time—a palate cleanser after the brooding, dark brilliance of the early part of the decade.

Essential…!

#live

[ear-worthy]

Sound Judgment Podcasts Releases Six-Part Series on Storytelling

I have a friend, Bruce, who is a commercial wallpaper salesman. I know. Snoozefest. We've all met these people before at parties or functions. They can't wait to tell anyone who will or will not listen about what they make or sell, which is usually some armature that connects to another wheel that powers some widget. zzzzzzzzzz.

Bruce, however, regales us with fanciful tales of his commercial wallpaper sales calls and customers and can entrance us with his exquisitely curated details, wry humor, twists and turns, and then unexpected endings.

Bruce is a born -- and well-practiced -- storyteller. That skill, storytelling, is essential for podcast hosts and public speakers. As listeners, we take storytelling prowess for granted because so many of the hosts we listen to possess that skill. 

For those aspirational and fledgling podcasters who want to learn how to be a compelling storyteller, the Sound Judgment podcast recently released a six-part series on storytelling skills that is a masterclass in the skills needed to be a proficient podcast host.

First, let me tell you about Sound Judgment, for those not familiar with the podcast.

Sound Judgment podcast goes behind the scenes with today's great hosts to learn how they make their audio storytelling magic. The podcast explores their creative choices by pulling apart one episode at a time, together.

The podcast producers tell us that "The term 'sound judgment' connotes wise decisions, common sense, and clear thinking. All of which we intend — in the context of making wise creative choices about sound. I’m obsessively curious about the ingredients and methods — the creative choices — that make audio storytelling magic."

The host is Elaine Appleton Grant, who embodies the gift that she dubs "hostiness," which is the skills needed to be a good podcast host.

Sound Judgment is deep into its third season. On March 9, Grant began her six-part series on storytelling strategies "to hook your audience and keep your audience."

In the first episode, Grant says, "Over the last 18 months, storytelling patterns have emerged from the on-the-ground experiences shared with us by today's best audio storytellers. Welcome to part one of our new series on six strategies for making your content unforgettable, no matter whether it's for the ear, the page, the stage, or the screen. In this series you'll learn how to use sound vision, structure, scenes, surprise, suspense, and specifics to make content that audiences love and share. Each of these bonus episodes is bite-sized." 

The six episodes ran (sometimes two in a day) from March 9 until March 12. Then on March 13, Grant released a 39-minute episode that incorporates all six storytelling strategies. 

The six episodes average about 7 minutes, with the longest being 12 minutes and the shortest being almost six minutes. 

The six episodes that are linked to the six storytelling strategies are:

1. Sound Vision

2. Structure

3. Scenes

4. Surprise

5. The Missing Ingredient

6. Specifics

While these episodes are short, they are long on instructive content, tips, skills to harness, and directions to go.  

In that last episode, Grant tells the audience: "The six storytelling strategies you've learned are drawn from the patterns I've seen across

more than 150 behind-the-scenes lessons — lessons learned from some of the best hosts, producers, writers and editors I've had on Sound Judgment. You can put these techniques to use right away in your studio or at your writing desk. This episode pulls together examples from compelling shows and award winners. In almost every case, the creators who use these strategies are multi-talented. They produce podcasts, they're writers and journalists, they speak on stages, they act, perform, and do live storytelling shows at places like The Moth. These days, we're all creating on multiple platforms — so take a journey with me to learn how sound vision, structure, scenes, surprise, suspense and specifics and take your storytelling to the next level."

I've listened to the six individual episodes and the summary episode several times and always found skill-based knowledge I can use.

Even if you're not a podcaster, these episodes of Sound Judgment can help you. After all, most of us don't have interesting jobs. We're not secret agents, movie stars, nature photographers, or even alligator wranglers. 

While these skills are designed for podcasters, public speakers, video hosts, and more, these storytelling skills can help anyone. Imagine you work in an AT&T phone store. Someone at a party says, "What's going on with your job?"

Then, because you've listened to these six episodes and practiced, you spin the most engrossing tale about data caps, throttling, and 5G repeaters. Your audience can't get enough.

#podcast #podcasting #public speaking #storytelling

[retrogamingreplay]

Super Castlevania IV: A Timeless Classic That Defined a Generation Super Castlevania IV, released in 1991 for the Super Nintendo Entertainment System (SNES), is a masterpiece of the action-platformer genre and a shining example of what Konami's development team could achieve on Nintendo's 16-bit console. Directed by Masahiro Ueno and produced by Hideki Okugawa, this fourth installment in the Castlevania series takes players on a thrilling journey through Dracula's castle, filled with stunning visuals, unforgettable music, and innovative gameplay mechanics. Story The game's story follows the legendary vampire hunter Simon Belmont as he embarks on a perilous mission to defeat Dracula and save the world from darkness. While the plot may seem simple, Super Castlevania IV's atmospheric storytelling and haunting imagery create an immersive experience that draws players into the game's gothic world. As Simon traverses through eleven stages, each with its own unique theme and challenges, the narrative unfolds through brief cutscenes and environmental storytelling, adding depth to the overall experience. Graphics and Sound [gallery ids="168587,168602,168601"] One of Super Castlevania IV's most striking features is its gorgeous visuals. The game's graphics showcase the SNES's capabilities, with detailed character sprites, fluid animations, and intricate background designs. From the eerie depths of the castle's dungeons to the haunting beauty of its outdoor areas, each stage is a visual feast that immerses players in the game's dark and foreboding atmosphere. The game's soundtrack, composed by Masanori Adachi and Taro Kudo, is equally impressive. The hauntingly beautiful melodies and pulse-pounding rhythms perfectly complement the game's visuals and enhance the overall experience. Tracks like "Vampire Killer" and "Beginning" have become iconic pieces of video game music, cementing Super Castlevania IV's status as a classic. The game's soundtrack has been praised by fans and critics alike, with many considering it one of the best video game soundtracks of all time. [gallery ids="168598,168595,168597"] Gameplay Super Castlevania IV's gameplay is a refinement of the classic Castlevania formula, introducing new mechanics and improvements that make it a joy to play. Simon's whip can now be swung in eight directions, allowing for more precise combat and platforming. The game also introduces a new grappling mechanic, enabling Simon to swing from certain fixtures and adding a new layer of exploration to the game's levels. The game's level design is a perfect balance of challenge and fairness, with each stage presenting unique obstacles and enemies that test players' skills and reflexes. From the clockwork mechanisms of the castle's towers to the slippery slopes of its caverns, Super Castlevania IV's stages are a masterclass in platformer design. [gallery ids="168587,168588,168589"] Reception and Legacy Upon its release in 1991, Super Castlevania IV was met with critical acclaim and commercial success. Critics praised the game's visuals, sound, and gameplay, with many hailing it as a masterpiece of the action-platformer genre. Super Castlevania IV's impact on the gaming industry cannot be overstated. It set a new standard for what could be achieved on the SNES and inspired countless games that followed in its footsteps. The game's influence can still be felt today, with many modern action-platformers drawing inspiration from its design and mechanics. "Super Castlevania IV is a timeless classic that every gamer should experience. Its stunning visuals, haunting soundtrack, and perfect gameplay make it a true masterpiece of the 16-bit era." - Jonathan Carlson, Retro Replay community member. Replayability and Fun Facts Super Castlevania IV offers a high degree of replayability, with multiple difficulty levels and secrets to uncover. Players can challenge themselves to beat their best times, discover hidden items, and master the game's intricate levels.

The game also features a unique "Mode 7" boss fight, showcasing the SNES's ability to create pseudo-3D effects. Here are some interesting facts about Super Castlevania IV: The game was originally released in Japan as Akumajō Dracula, which translates to "Demon Castle Dracula." Super Castlevania IV was one of the first games to utilize the SNES's Mode 7 graphics capabilities, as seen in the game's rotating room and the final boss battle. The game's soundtrack was composed using a unique sound chip called the Sony SPC700, which allowed for more complex and realistic sound effects. Super Castlevania IV was the first game in the series to feature a fully orchestrated soundtrack, setting a new standard for video game music. In conclusion, Super Castlevania IV is a timeless classic that serves as a testament to the skill and creativity of Konami's development team. Its stunning visuals, unforgettable soundtrack, and perfect gameplay make it a must-play for any fan of action-platformers or classic gaming in general. With its high replayability and enduring legacy, Super Castlevania IV is a game that will continue to be celebrated and enjoyed for generations to come. [gallery ids='168584,168585,168586,168594,168593,168602,168601,168600,168592,168591,168599,168598,168590,168589,168597,168596,168587,168595,168588' main_size='full' tile_size='full' style='mosaic']

[careeralley]

Explore Top Entertainment Industry Careers

Diving into the world of the entertainment industry opens a realm of possibilities for creative and ambitious individuals. This sector, known for its dynamic nature and endless opportunities, offers a variety of career paths that cater to a wide range of skills and interests. Whether you're drawn to the spotlight or prefer the magic behind the scenes, the entertainment industry has a place for everyone. From the allure of filmmaking and music production to the creative processes of writing and directing, this article explores the top careers that allow you to turn your passion for entertainment into a rewarding profession. Despite economic downturns, the entertainment sector remains robust, serving as an escape from the realities and challenges of life. Celebrities within the industry not only provide a source of inspiration but also embody the notion that dreams can indeed become reality. There are numerous career opportunities in the entertainment industry. This article includes potential career paths for those looking to make their mark in this dynamic field. Actor or Actress This role entails embodying and presenting a character to an audience. Actors and actresses utilize their voices and physical expressions to accurately depict the character they are portraying. Individuals in this profession may find work across various platforms, including movies, theater, commercials, and television. Aspiring actors must attend auditions, where they demonstrate their ability to bring a character to life through performance. Step into the spotlight with a career in entertainment! Whether it's crafting stories behind the scenes or shining center stage, discover how to make your unique mark. #CareerInEntertainmentClick To Tweet Performing Artist These talented artists excel in dancing, acting, singing, and playing musical instruments. Your earnings in this field generally hinge on two key factors: your level of fame and the nature of your work. Achieving recognition and respect as a performing artist requires a blend of skill, experience, and extensive networking. It is essential to pursue training in acting, dancing, and singing, dedicating significant time to perfect and polish your abilities. Beyond formal lessons, immerse yourself in workshops and masterclasses to deepen your understanding of the arts. Engage in continuous practice and seek feedback from seasoned professionals to refine your performance. Establishing a strong presence in the performing arts community through collaborations and performances can also bolster your reputation and open doors to more lucrative opportunities. Booking Agent A booking agent, or booking representative, manages the engagements for the artists, bands, and groups under their representation. This role involves not only arranging performances but also handling the artists' performance contracts and securing a portion of the income generated post-contract signing. While there are no formal educational requirements to become a booking representative, acquiring a degree in music business or attending seminars on booking entertainment can provide a significant advantage. This additional knowledge can equip you with the insights and skills needed to navigate the industry more effectively and to represent your clients successfully. Stunt Performer This role demands individuals to substitute for an actor or actress in scenes that call for specialized or risky actions. Aspiring stunt performers must possess courage and maintain exceptional physical fitness to execute stunts with ease and authenticity. Delving into disciplines such as gymnastics, boxing, or martial arts can significantly enhance your prospects of securing a position in this challenging yet exhilarating field. Make-up Artist Makeup artists are visual transformers, using their skills with foundation, makeup, and accessories to prepare clients for photoshoots, filming, and live performances. Their work environment is diverse, taking them to fashion shows, television studios, and theater or film sets. Aspiring makeup artists typically benefit from prior experience and formal cosmetology training. Film Hairstylist Film hairstylists play a crucial role in bringing characters to life on screen. Their artistry goes beyond simply styling hair – they collaborate with production teams to ensure hairstyles meet the specific needs of each character and scene. This might involve using wigs, hair extensions, and even chemical treatments for coloring and texturizing. They often work hand-in-hand with makeup artists and costume designers to ensure a cohesive visual narrative for each character. Entertainment Lawyer Celebrities, while living a life in the public eye, are not immune to legal challenges. In times of need, they turn to the expertise of entertainment attorneys. These specialized lawyers cater to the legal needs of individuals within the entertainment industry, including actors, musicians, and filmmakers. Their diverse responsibilities encompass a range of tasks such as: Navigating copyright issues, Drafting and reviewing agreements, Courtroom representation, Negotiation expertise, and Client protection. If you aspire to become an entertainment attorney, a strong foundation in law is essential. Earning a Juris Doctor (JD) degree from an accredited law school followed by successfully passing the bar exam is the first step. Additionally, developing a deep understanding of the legal landscape within the entertainment industry is crucial for success in this specialized field. Publicist This role immerses you in the dynamic world of entertainment and public relations. You'll be the maestro behind the scenes, crafting compelling press releases, pitching captivating stories to media outlets, and collaborating closely with event photographers to secure impactful coverage for artists. Your day-to-day interactions will connect you with a diverse range of industry professionals, including bloggers, music journalists, TV producers, radio DJs, and record label representatives. Building strong relationships with these individuals is key to amplifying the voices of the artists you represent. To embark on this exciting journey, a degree in journalism, communications, or public relations is typically required. Additionally, a thorough understanding of the music and entertainment industry is essential for success. Recording Engineer The world of recording engineering awaits a realm where you'll orchestrate the sonic landscape, capturing, mixing, and refining the sound. Working alongside runners, assistant engineers, session musicians, and recording artists, you'll be the conductor behind the console. This path demands proven experience and technical mastery in sound engineering. Proficiency in operating a variety of recording equipment and software is essential. These are just a few of the exciting opportunities that await you within the captivating world of entertainment. However, beyond acquiring expertise and experience, building a strong network within the industry can prove invaluable in securing your desired role. Other Resources The Recording Engineer's Handbook 5th Edition $49.95 $44.86 The Recording Engineer's Handbook by Bobby Owsinski has become a music industry standard found in studios all over the world, and this fully updated fifth edition once again offers the most comprehensive and up-to-date overview of the art of audio recording. Buy on Amazon.com Buy on Walmart.com We earn a commission if you click this link and make a purchase at no additional cost to you. 03/06/2024 07:42 pm GMT Curls, Camera, Action: The Hollywood Handbook: A Hairstylist Guide To The Motion Picture Industry $19.99 This handbook is your groundwork and roadmap to a thrilling career. Learn how to break into the motion picture industry, build a stellar portfolio, and network your way to success. Learn More We earn a commission if you click this link and make a purchase at no additional cost to you. 03/06/2024 07:42 pm GMT How to Become a Professional Makeup Artist $17.91 This guide will assist you in building a lucrative and fulfilling career as a professional makeup artist within any sector including the television and film industry, bridal, editorial, and more. Buy on Amazon.com Buy on Walmart.com We earn a commission if you click this link and make a purchase at no additional cost to you. 03/06/2024 07:43 pm GMT How To Be Your Own Booking Agent $36.97 How to book more gigs, get paid higher performance fees and develop a loyal fan base who attend your shows, buy your merchandise and support your projects are three top priorities you face every day. This book simplifies your path to Get Great Gigs and build a successful touring career. Buy on Amazon.com Buy on Walmart.com We earn a commission if you click this link and make a purchase at no additional cost to you. 03/06/2024 07:43 pm GMT All You Need to Know About the Music Business $35.00 $5.69 Donald Passman leads novices and experts alike through what has been the most profound change in the music business since the days of wax cylinders and piano rolls. Buy on Amazon.com We earn a commission if you click this link and make a purchase at no additional cost to you. 03/06/2024 07:43 pm GMT Read the full article

[learnthingsfr]

#LearnThings

[arvkpx]

Brands that do their thang!

Apple's Social Media Strategy: A Study in Sophistication and Innovation

Apple! No not the kind you eat. Apple! Like the phone!

In the realm of digital branding, few companies have mastered the art of social media as effectively as Apple. Known globally for its innovative technology and sleek designs, Apple's approach to social media platforms is a masterclass in brand consistency, customer engagement, and strategic content creation.

Innovative Content Across Platforms

Apple utilizes various social media platforms, each serving a unique purpose in their digital strategy. On Twitter, Apple Support provides real-time customer service, quickly responding to customer inquiries and showcasing the brand's commitment to user satisfaction. This direct engagement not only solves customer issues but also humanizes the brand, building a loyal customer base.

YouTube is Apple's stage for grand reveals and product showcases. Here, Apple uploads high-quality videos of its product launches, keynotes, and detailed tutorials. The visually stunning presentations align with Apple's reputation for aesthetic excellence and innovation. These videos often gain millions of views, reflecting the high level of interest and engagement from their audience.

Engagement and Brand Loyalty

Apple's social media strategy shines brightest during product launches. The buzz created across platforms like Twitter and YouTube during the unveiling of the latest iPhone models is palpable. Live tweets, teaser videos, and strategic posts build anticipation, turning these launches into major events that draw in millions of viewers worldwide.

Success Stories!

A prime example of Apple's social media success was the launch of the iPhone 12. The campaign featured a series of teaser videos on YouTube, generating over 55 million views. The launch event was live-streamed, and live tweets provided updates, engaging the audience in real-time. The hype created around this launch was a testament to Apple’s prowess in leveraging social media for maximum impact.

Another notable instance was an interaction on Twitter where Apple Support swiftly resolved a user's issue regarding iCloud storage. This single interaction, while small, mirrored thousands of similar exchanges, highlighting Apple's dedication to customer service.

Budweiser: Connecting Through Stories

"It's 5 o'clock somewhere, right?"

Whenever you hear this, there's a good chance Budweiser comes to mind. Known for its heartwarming and patriotic ads, Budweiser isn't just selling beer; it's telling a story.

Overview

Budweiser, an iconic beer brand, has long been intertwined with American culture. Their advertising goes beyond just promoting a product – it evokes emotions and celebrates heritage.

Platforms Used

Budweiser makes a significant impact on social media, primarily through Facebook, Instagram, and Twitter. Each platform serves as a canvas for their story-driven content.

Key Strategies and Content

Emotional Storytelling: Budweiser's campaigns often reflect American heritage and values, resonating deeply with its audience.

Engaging Content: From exciting contests to heartwarming fan stories and innovative product promotions, Budweiser keeps its followers engaged and entertained.

Interactive Campaigns: Capitalizing on cultural events like sports and national holidays, Budweiser's campaigns are always at the center of conversation.

Effectiveness

Emotional Connection: Budweiser’s campaigns create a bond with the audience, making the brand feel like a part of the family.

Encouraging Interaction: Their approach encourages not just viewership but active participation and sharing.

Cultural Relevance: Budweiser has mastered the art of tapping into cultural moments, evident in their iconic Super Bowl ads and Fourth of July campaigns.

Examples

Remember the "Whassup?" campaign? It was a cultural phenomenon, as were their touching Super Bowl commercials and patriotic campaigns during national holidays.

Comparison and Contrast with Apple

While Apple champions innovation and product design, Budweiser focuses on emotional storytelling and connecting with cultural moments. Both giants, however, understand the power of engaging content and effectively use social media to amplify their brand identity.

Conclusion

Apple and Budweiser, though different in their products and strategies, both demonstrate the impact of well-crafted social media marketing. Apple leans on innovation and customer service, while Budweiser's strength lies in its storytelling and emotional appeal.

[playermagic23]

After Hrithik Roshan, Vijay Deverakonda pens heartfelt review for 12th Fail; says, “To every Manoj out there…”

Telugu star Vijay Deverakonda has added his voice to the growing chorus of appreciation for the recently released biographical film 12th Fail. Directed by veteran filmmaker Vidhu Vinod Chopra, the movie chronicles the inspiring journey of Manoj Kumar Sharma, who defied numerous obstacles to achieve his dream of becoming an IPS officer.

Deverakonda took to social media to express his admiration for the film, dedicating a heartfelt message to "every Manoj out there." He lauded the dedication of parents, mentors, and friends who support aspiring individuals, and offered his prayers for their success. His post resonated with fans and garnered a thumbs-up reaction from his rumoured girlfriend and actress, Rashmika Mandanna. Deverakonda is not the only prominent figure impressed by the movie. Renowned Bollywood actors like Hrithik Roshan and Anurag Kashyap have also showered praise on 12th Fail. Roshan called it a "masterclass in filmmaking", particularly commending the use of sound and sound effects to amplify emotional moments. Kashyap, known for his discerning taste, labelled it "probably the best mainstream film" he had seen in 2023 and lauded Chopra's ability to craft a masterpiece from a seemingly simple story.

12th Fail has emerged as a critical and commercial success since its release. The film has garnered praise for its engaging storyline, stellar performances, and nuanced portrayal of the struggles faced by UPSC aspirants. It is currently streaming on Disney+ Hotstar, making it accessible to a wider audience. 

#12th Fail #Features #Social Media #Twitter #Vidhu Vinod Chopra #Vijay Deverakonda #Vikrant Massey #X #bollywood hungama #Instagram

[iasrm]

Masterclass In Regenerative Medicine In Infertility

Masterclass In Regenerative Medicine In Infertility

Extensive practical & hands-on training on prp, bmac, svf, fat grafting, exosomes, amniotic membranes, amniotic fluid, placental extract, mesenchymal stem cells, bhrt and many advances in gynaecological diseases like thin endometrium, pre mature ovarian failure , early menopause, endometriosis, vaginal atrophy, azoospermia etc.

Objective

Our Aim is to educate fertility specialists in treating couples facing challenges to con-ceive due to:

Course Curriculum

Module 1: Basics Of Regenerative Medicine

Introduction, Definition, Classifications, Applications, Future Directions

Module 2: Platelet Rich Plasma Therapy

Definition, Classification, Prepararion, Manual & commercial kit based preparations, Applications, Inclusion Criteria, Exclusion Criteria, Informed consent, Pre & Post procedure requirements, Clinical studies and Future direction

Module 3: BMAC & Bone Marrow Derived Stemcells

Haematopoetic Stem Cells, Bone Marrow Aspiration, Site selection, Inclusion & exclusion criteria, BMAC Preparartion, Applications.

Module 4: Fat Grafting, Adipose Stemcells and Mesenchymal Stemcell Therapy Liposuction,site selection,preparation of Micro Fragmented Adipose tissues,Classification of macro, micro, nano fat, SVF, mesenchymal stemcells , procedure requirements, etc.

Module 5: Thin Endometrium & Asherman Syndrome

Detailed analysis, Clinical Trials, Protocols, Research Paper Reviews, Clinical Requirements, Protocols, IUI- Canula Injcetion Technique, Hysteroscopic Injection Technique and analysis, Result interpretation, TVS, Color Dopler , Hormone analysis , Further Directions for Natural cycle or IVF.

Module 6: Premature Ovarian Failure or Ovarian Insufficiency

Laparoscopic Injection Techniques and detailed analysis. Hormone Profile and MRI Analysis.

Module 7: Male Infertilty

Module-8: Erectile Dysfunction and Penile Enlargement

Cell therapy and holistic approach of management, hormones & nutraceuticals therapy, shockwave therapy.

Module-9: Bio-identical Hormone Replacement Therapy, Nutraceutical IV Therapy, HBOT(Hyperbaric ozygen therapy) and other holistic and detox treatments for fertility.

Module-10: How to Start Regenerative Medicine in your Clinic / IVF centre. Laboratory Guidance, Regulatory & Ethical Requirements. Manpower and Technical Requirements.

Module-11: How Regenerative Medicine is in Industry

Marketing, Commercialisation, Investment and funding. How to market your clinics & create awareness.

Course Details

Duration: 04 Days

Hours of Teaching: 32

Mode:Live Demonstration, Hybrid & Handson.

All Live Demonstration will be in OR Of Hospital/ Clincal Set Up.

Venue: New Delhi India

Certificate: Certificate will be provided by International Association of Stemcell & Regenerative Medicine . In collaboration with Clinical Partner Sunrise Hospital & NewLife Surgery.

Academic Partner: Sharda University.

International Partner: Romanian Society of Aesthetic Gynaecology.

Fee

Practical and Hands-On Training

Online lecture and Demonstration(Video)

Course Offered By IASRM ( International Association of Stem Cell & Regenerative Medicine )

MASTERCLASS

1: Masterclass in Cosmetic Gynaecology

2: Masterclass In Regenerative Medicine In Infertility

3: Masterclass In Regenerative Orthopaedics & Pain Management

4: Masterclass In Regenerative Aesthetic Andrology , Urogynaecology & Sexual Medicine

5: Master Course In Stem Cell & Regenerative Medicine

6: Masterclass In Platelet Rich Plasma (PRP)

FELLOWSHIPS

1: Fellowship In Regenerative Medicine In Infertility

2: Fellowship In Stemcell And Regenerative Medicine

3: Fellowship In Cosmetic Gynaecology

4: Fellwoship In Regenerative Aesthetic Functional Gynaecology & Cosmetic Andrology

#stem cell research #stemcell #prabhumishra #Masterclass In Regenerative Medicine In Infertility

[lazylyn429]

I love MasterClass. Even the occasional 'silly' class can be fun to watch.

Here’s a good example: How to make the ultimate grilled cheese by a James Beard winner.

The four different cheeses used to make the sandwich are hideously expensive and definitely not sold in slices. They are only sold in chunks in specialty cheese shops like in France.

Mind you, the chef only sliced off two or three thin slices of each cheese to make the sandwich leaving you with $40 worth of cheese that still needs to get used up.

2 slices hearth-baked (crusty) sourdough bread cut from a 2-lb loaf, about ¾-inch thick per piece. What you should do with the rest of 2-lb loaf is never addressed

⅓ cup melted ghee or melted unsalted clarified butter. Regular butter is apparently only used by slack jawed troglodytes with stunted taste buds

1 small onion and 1 large leek and 1 tablespoon whole grain mustard which can be found in most grocery stores at least.

1 tablespoon pickled mustard seeds which can’t be found commercially but never fear, the chef includes a recipe to make it. It only needs 7 ingredients and takes about an hour.

All told, by my calculations, the Ultimate Grilled Cheese costs north of 60 bucks and takes roughly 2 hours.

For extra giggles here’s the utensil list. I copied it from the recipe site.

• Heatproof medium bowl

• Small saucepan

• Plastic wrap

• Jar or another airtight container

• Cast-iron pan or griddle

• Pastry brush or butter knife

• Cutting board

• 2 large metal mixing bowls (one of which should be large enough to cover both halves of the sandwich while cooking)

• Large serving spoon or mixing spoon

• Squeeze bottle filled with water, a water glass, or another tool that will allow you to direct water in a controlled way

• Kitchen tongs, a cloth, or an oven mitt

• Metal spatula

• Grill weights (optional)

#a day in the life

[bradyoil]

Are You Filmmaker Retreat Curious? Plus My Passion Project Jumpstart Process.

Curious if our Filmmaker Retreat Joshua Tree is right for you? Set up a free quick call with me, and perhaps I’ll talk you out of it. Plus, I share how to get your passion project off the ground. It’s pretty eazy actually. Just me babbling for 19 minutes. C’mon folks, time to level up, duct tape the monkey brain and keep making stuff. Enjoy my latet spot for Tru Earth Eco-Strips with Taye…

View On WordPress

#commercial directing #Commercial Directing Film School #commercial directing masterclass #commercials #Filmmaker Retreat Joshua Tree #filmmaking #Jordan Brady #True Gent

[dreamsofthescreen]

How Godard Broke Our Hearts in Le Mepris - Analysis & Review

The 1963 classic French-Italian drama serves as a masterclass in impactful filmmaking

Brigitte Bardot & Michel Piccoli in ‘Le Mepris’

Expert director Jean Luc Godard’s films are considered pieces of art for convincing reasons, and 1963 classic ‘Le Mepris’ (Contempt) is a masterful example of this. It’s stylistic choices reflect the sombre, but beautiful & hard hitting story of a marriage turned bitter. It is the cinematography, writing & somewhat clean-cut, French directing style that livens the plot. With reference to cinema & the connection with life that it shares, the emotional bluntness of the New Wave story makes it all the more impacting. 1960s stars’ Brigitte Bardot, Michael Piccoli & Jack Palace all add to the heart of the Eurocentric film, their sourness becoming a point of interest in the plot. Colour, light and contrast all are significant points in this perfectly painted film.

Rising to prominence in the New Wave period, French-Swiss director Jean-Luc Godard is known for his colourful, sharp & artistic European projects, expertly executing any romance or drama in a beautiful way. ‘Le Mepris’ is an adaptation of Alberto Moravia’s 1954 novel, II disprezzo (A Ghost at Noon). The story goes as American producer Prokosch (Jack Palance) casts Paul (Michael Piccoli) to write a screenplay for Homer’s ‘The Odyssey’. This intake of work on film & challenging of his artistic values from Prokosch turns his marriage with Camille (Brigitte Bardot) on it’s head. Sticking to well-known themes in a drama such as tragedy, romance, infidelity and change, ‘Le Mepris’ breaks our hearts by touching on the beauty of a classic.

Godard’s distinctive style is prevalent in the significance of the story, as the way in which the film is both written & directed is in touch with each emotion & colour throughout. The rocky marriage between Camille & Paul on the backdrop of a film set actually reflects Godard’s personal demons - his struggling marriage and dissonant relationship with Hollywood at the time. Bold blues, reds, whites and yellows colour the film, which is something rather ironic, as emotion can be seen as something badly represented with such uplifting tones remaining in a heartbreaking scenario. Yet, this is all apart of Godard’s wonderful filmmaking. As a directer and writer, he brings realism to the table, where most romance pictures don’t. As the anguish of love decaying is on the forefront, Godard’s style still remains throughout, showing that although emotions change, the world around us really doesn’t. However, Godard also utilises these colours as a means of drama, the sultry opening scene with a naked Bardot & Piccoli soaked in an erotic red. Colour and costume is a hugely recognisable feature of the New Wave Era, as the 1960s began to explore aesthetics more freely. With Tanine Autré as the leading costume designer, the clean-cut & artistic costumes all sit well with each beautifully painted scene. Stripes and colour-blocking in the summer style are all reflective of the New Wave Movement. Even the 1960s interiors that Godard chooses reflect his storytelling style. Modern buildings, references to art and the human figure is relevant, as for a film about love, the male gaze is utterly, yet tastefully focused on French bombshell Brigitte Bardot. The visual spectacles are phenomenal, but still have meaning. As Godard focuses on realism, classism and a very Eurocentric story in ‘Le Mepris’, this can be seen as him even mocking Hollywood’s growing commercial and idealised storytelling at the time.  

By connecting cinema with life, striking reference is made to many emotions & creates space for a beautifully relevant drama. For a movie about movies, when art and love mix, disaster strikes. Scorsese quoted Contempt, saying ‘it’s one of the greatest films ever made about the actual process of filmmaking’ & named it as “brilliant, romantic and genuinely tragic”. Godard filmed a variety of scenes with tracking shots, in a natural light & near-real time. He too focuses on the beauty of Capri & the settings of the characters, rather than the characters themselves. The cinematography celebrates film itself, relevant to a storyline focusing on movie-making. With a painfully moving, stringed soundtrack and sweepingly romantic landscape wide shots, audiences can feel as though they are watching the film being made by Prokosch & Paul. Even the dialogue is reminiscent of the film, cleverly making connections between the project being made and the drama in Paul’s marriage. As Paul & Camille discuss ‘The Odyssey’, Paul states, “I agree with Prokosch’s theory. That Ulysses loves his wife, but she doesn’t love him”. Camille has no reaction to this comment, but we as audiences know that Godard is linking ‘The Odyssey’ with Paul & Camille’s fading love. Furthermore, Paul states that he is to “walk back with Mr. Lang (the director) to discuss the Odyssey.” This is followed by a comment by a crew member on set who comments, “I should have done a scene at the beginning, in which the Gods discuss the man’s fate, in general & the fate of Ulysses in particular”. It isn’t hard to see the comparison made between Paul and Ulysses’ romantic situations, one a Greek king & the other a script writer, yet still both are relevant & though contrast vastly, are mighty men. Both wonder about their fate. This is the great connection between the two storylines - the beauty and pain of cinema & how it all too often relates back to our own demons, so gracefully presented in ‘Le Mepris’.

Brigitte Bardot in ‘Le Mepris’

Godard’s clean-cut directing & blunt writing style, along with the impressive acting are all successful in presenting a widely emotional drama. Set in the outstandingly beautiful Capri, melancholy and mourning is mixed with the sunlight and dreamy landscape of the island. As Godard worked with cinematographer Raoul Coutard, he contrasts light and dark, showing the unexpected nature of life - where love can grow in a beautiful area, it can also be killed. We associate colour and light with positivity, yet the fact is that however life changes, the world around us does still remain the same. This is reflected in the writing of the film, as Godard’s straightforward dialogue hits hard. Rather than creating a falsely dramatic ‘movie magic’ script, there is no drama in the very real & blunt adult conversation that characters’ Camille & Paul have in establishing their feelings for one another. As Paul questions as to why Camille has been acting so distant, she simply replies with, ‘it’s true. I don’t love you anymore’. Paul asks, ‘you still loved me yesterday?’ & Camille replies with ‘yes, very much. Now it’s over’. With statements along the way from Camille like ‘that’s life’, there is melancholy reality, which is beautifully French in comparison to the excessive, long-winded scenes we see in todays writings. Yet the film seeps in elegance through it’s script, as when any words are spoken, each is valuable. As Camille reflects on the breakdown of her marriage, she metaphorically states, ‘We used to live in a cloud of unawareness, in delicious complicity. Things happened with sudden wild, enchanted recklessness’. Character Prokosch brings statements like ‘I don't believe in modesty. I believe in pride! I believe in the pride of making good films’. Furthermore to this, it, again, is the realism that breaks our hearts through the masterful filmmaking. The acting in ‘Le Mepris’ is very real, as Godard had the actors improvise lines in the moment. When asked about this, he stated, ‘I need them, just as I need the pulse and colours of real settings for atmosphere and creation’. Godard’s focus on realism is great as it is something so sincere and authentic. He also rather fitted the character of Camille to Bardot herself, rather than having Bardot act as Camille. This too made for an authentic script, as Bardot’s supposed acting ability shone through, bluntly delivering bold lines & somewhat rising above the typical sensual blonde that she was used to playing, as she had a voice. Godard’s writing brings in slices of poetry to inspire us & add to the artistic nature of the cinematic experience.

The Guardian’s description of it as ‘poetically sour’ encompasses the beauty of 1963 classic ‘Le Mepris’, as iconic director Jean-Luc Godard creates a heartbreakingly real tale of love lost. Through the recognisable New Wave style of the early 1960s that Godard helped define, the significance of ‘Le Mepris’ is made through it’s visuals and aesthetics, that we as an audience can recognise and appreciate. The beautifully artistic and European summer drama shines through with it’s ability to challenge everyday filmmaking. Godard hits the nail on the head with every emotion throughout, presented through not only dialogue, but the ravishing soundtrack, cinematography, set design and overall disposition. ‘Le Mepris’ remains a wonder that inspires and transports us to a world that, through it’s passion, seems all to familiar for some.

Stars Out of Five: 5/5

[vithyahairandmakeup]

My Decade

My 2010 started with me finishing my one year diploma at London College of Fashion. I was so excited to start my new career with this prestigious qualification at one of the World’s top fashion institutions, but the makeup artist I used to look up to so much then, told me that I would not last long in this field. She broke my heart. And not because I thought I was doomed, but because of how discouraging and mean she was. 

Up until that moment I thought I had to prove something to my family, but then quickly realised that I am leaving one pack of wolves - my family of course - to walk into another - this industry!I swore to myself then, that I would encourage and support any other makeup artist along my journey and not be like her. I would like to believe that I stayed true to that to some extent. Whatever she had told me did place some doubt in my heart. Just as a precaution I thought I better apply somewhere and work part time at least. So I applied at MAC cosmetics, who had actually rejected me. They then gave me a call a few months later and asked if I could cover during their busy christmas period. Once I started at MAC, they kept me on and I worked for them for another 3 years. They even offered me the managerial position, the irony.

During the three years at MAC, I was so unsure and so confused in what direction I wanted to go in. It was a part time position, so it didn’t pay well, and I was desperately trying to freelance on the weekends. I would get a client once every few months, who wouldn’t pay me much. Without a car, without a proper makeup trolley, it was agony carrying my suitcase up and down underground staircases and holding onto it with my dear life during packed train journeys. I can assure you, it was not a pleasant experience at all.I tried being part of short movies, worked with the National Portrait Gallery, the Arcadia group (who own Topshop, Dorothy Perkins etc.), fashion shows for Nintendo, and even a shoot for British Airways. But all were unpaid and definitely got me nowhere except for a few phone pictures to add to my Facebook Page.

I would come home after a long day of standing and lugging my suitcase around, and my parents would look at me with judgemental eyes wondering why a science graduate who landed a very well paid job in a huge marketing company, would give it all up to do makeup on people for minimum wages and be treated like a servant?I honestly never ever regretted my decision. Yes it was tough not making money, and spending all my earnings on building a better makeup kit or on my travel, but it gave me life; it brought me happiness, it made me want to get out of bed, and it definitely distracted me from my anti depressants and suicidal thoughts. Being a makeup artist brought me back to life.

In 2013, I quit MAC and took the brave decision to go self employed. I registered my company officially. My freelance work had picked up, and I wanted to free my weekends from working in retail. I wanted to explore more and try out new things.I still remember I had hit 10K followers on Instagram after joining in 2012 and more and more people started to get to know me around the world. Instagram opened up a lot of doors for me.Having lived in Germany most of my childhood, my parents were ok with me travelling to Europe for bridal jobs because I was able to stay with family. I think I was the first Tamil makeup artist back then who travelled to neighbouring countries for work. That was probably one of the best decisions I had made. Travelling around Europe and doing makeup got me exposed a lot more and people who were not on social media knew of my existence. 

And as per usual I would still collaborate and work for free with anyone who contacted me. I wanted to get out there and try everything new. During exactly one of these collabs, I was asked to come early morning one day, to do makeup on a male model for a music video shoot. When I arrived that Monday morning I nearly fainted at the sight of Simbu, a very famous Tamil Actor. I was getting my station ready when the makeup artist who was hired for the entire movie did end up coming for this music video shoot. I was gutted. I thought I won’t get a chance to work with him and was prepared to pack up and leave. But the organiser was adamant that I stay and help out. I asked the makeup artist if I could do touch up makeup at least for a few scenes, and she kindly let me. The pictures I took of that moment went viral in South India, and that was the first time people in India started following my work on social media or even knew of my existence.It was also the first time a lot of makeup artists noticed me and can I just say they were not happy with this newbie getting to work with celebrities. 

It got worse in 2014 when I was asked to do makeup for another famous Actress, Sneha, for a Wedding Exhibition. To be honest I was very overwhelmed. I did not think I was cut out for the job and kept asking the organisers why not pick some of the more experienced makeup artists. I really was not ready for such a big job. I wasn’t confident.However, the organiser told me that out of all the profiles she had sent Sneha, Sneha herself picked me. That was all I needed. I spoke to Sneha on the phone a week before her arrival, and met her a few days before the show, to discuss the looks and make sure she was happy with everything.Working with her will forever be one of my most cherished moments in my career. She believed in me and trusted me. However a lot of people were absolutely angry at the thought of me doing makeup on someone as famous as her. They could not comprehend that someone as inexperienced, nor established as myself would bag in a job like this. I did understand their disappointment, but was sad that no one seemed to want to support me. 

Later that same year, I was asked if I was interested in being a production assistant for two songs from the movie Nanbenda; it was a Red Giant Production acting Udhayanidi and Nayanthara, line produced by Kavino from MYA Media. Of course I know nothing about production, but did not want to turn down this opportunity, so took 9 days off and decided to help out. The shoot took place all over Great Britain with a huge budget and an experience of a life time. I got to personally work with Nayanthara and saw what happened behind the scenes. I made great friends during that shoot, even had the responsibility of finding a castle and two horses for one scene, but went home having to deal with a divorce. Even though career-wise 2014 was a great year for me, but on a personal level I had to deal with a lot of heart ache. And no, it had nothing to do with my career, it was simply bad timing. 

The following few years just had me on a rollercoaster to be honest. I tried numerous new things; being a TV host, a judge for dance competitions and beauty peagants, modelling, acting in commercials which never made it on TV, makeup for adverts, short films, magazine shoots, editorials, none were paid of course, until I found a new love for teaching.

I started teaching one-to-one tutorials in 2014 and remember I couldn’t even get two students that December. The following year it grew to 10 students, and in 2016 I had back to back students who were willing to pay whatever I quoted. That I when I made the decision of doing a Masterclass after seeing Mario (Kim Kardashian’s Makeup Artist) do these around the US. I had no guidelines nor knew how to start. Masterclasses were unheard of in our community. I was the first.I hired a small gallery space, and rented 20 chairs. I had my cousins and friends help me set up and we bought a Kettle and paper cups to serve tea and coffee for everyone. I thought the day went so well, and absolutely enjoyed the teaching, to get a call at the end of that day from my mum crying down the phone telling me that our house got robbed. Well we quickly found out that nothing was actually stolen, but the house just go trashed. A lot of us that night stayed up thinking someone did not want me to do these classes. My high ended with such a low, and got worse when I woke up to a lot of emails from our students complaining about numerous things in regards to my Masterclass. Today, I have taught 16 classes all over the world now with as many as 80 students, and for renowned makeup brands such as Bobbi Brown and Nars Cosmetics. So don’t ever let anyone or anything stop you from what you love and what you are meant to do.

Anyway, the following years have definitely been the best; from campaign shoots for Pothys, being flown out around the world for Bridal jobs, being a panelist and being a Keynote speaker for American Express, working with South Indian Movie celebrities Amy Jackson, Bharathirajah, the beautiful Sneha again, and Meena, being in charge of Makeup for Anirudh’s Concert in London and Paris, interviewed on mental health and published in Huffington Post, and my YouTube journey with my Saree draping video amassing nearly 6 million views. I know this is not work related but me marrying the most amazing human being in New York almost 3 years ago definitely was a huge benefactor in my career too. Happiness does wonders, I tell you.

Either way, none of it came easy. Yes it was hard work, but no one ever publicly or openly talks about the politics and the drama that happen in the industry behind closed doors. How not only do you have to deal with your nerves when working on a big project but you probably have to pray all day that no one tries to sabotage this opportunity for you; that no one talks to the organiser and pays them off to drop you last minute (has happened to me countless times), and hope that no one talks behind your back and invents rumours about you. The best rumour was that my ex husband left me because I was having a relationship with Simbu apparently. When my Bride told me that, my answer was “I wish”. We had such a laugh that day.

My last 10 years taught me so much. I grew on a professional and personal level. I think maturity and experience has helped me deal with a lot of it, and face a lot of it.I have some amazing friends also who are in the same field as me, and I have never stopped encouraging, teaching, or inspiring others who are entering this industry. I want to be that someone I never had 10 years ago. Jealousy, competitiveness, and hate does nothing but destroy. It ruins, and it causes nothing but pain. Fame can be another culprit too. It’s great to want to grow on social media, but do not lose your morals, values, and principles along the way. Once you lose respect, it is very hard to earn it back.

How does one deal with all of this? I used to wonder why some people were so horrible, but then gave up trying to figure out what their reasons were. I still get hate or have situations were other makeup artists try and make it very difficult for me, but the first step was to block a lot of words and people on social media. Of course we want to be liked, and we want to be a good person and set a good example, but do we really need to prove something to someone who does not know you nor like you? No matter what line of business you are, there is going to be competition. There is going to be people around you who are going to watch you like a hawk and copy every single thing that you do. But let that be a positive thing. Let that challenge you to do better, and be better, and get outside of your comfort zone. Focus on your own path and cut out anything or anyone who stresses you out or causes negativity. It really is as simple as that.Comparing yourself to others is the worst thing you could do to yourself. Insecurities do not get you anywhere. Have the right people around you who feed your soul with positivity and happiness. And definitely stay away from those who like to gossip about others in the industry. Never healthy I tell you. Trust me, I have been there, done that.

My testimony is to help you see the non-glamorous side of my job, but also see how it has never been easy and still isn’t for any of us. In 2007 I tried to take my life. If anyone had told me then, that in 2020 I will be writing a blog about how to deal with negativity, I would have laughed in their face. But here I am today, doing what I love, loving life, and not being the slightest bit deterred by the few who will always try and bring you down. I have an amazing support system of family and friends, and there are hundreds of thousands of you who support me, so surely that has to count for something too. I am so ready to take on the next decade. Are you?

[mylifeincinema]

My Week(s) in Reviews: November 9, 2019

I skipped last week because I didn’t feel like posting. No other reason. Anyway, here’s what I’ve been watching...

Harriet (Kasi Lemmons, 2019)

Cynthia Erivo is mostly pretty damn good, at least when she’s able to break free from the Lifetime level writing. Pretty much everything else is a masterclass in mediocrity. The writing is a mess; every line seems like it was written for the trailer - just an endless stream of hokey, over-dramatic dialogue. The direction is bland, overusing montages and utilizing 'visions' that look like they've come straight out of an NCIS commercial segue. It only ever works thanks to some capable editing throughout. Joe Alwyn continues his streak of playing extremely unlikable characters with zero depth and soap opera level line delivery. Leslie Odom Jr. and Janelle Monáe are all but wasted, but are unsurprisingly effective in the few moments they’re given to shine. And poor Jennifer Nettles really, really needs to stick to singing… she goes full ham, here, and it does nothing but distract. And don't even get me started on that manipulative, corny-as-hell score dragging it all further down. Can’t say I’m surprised about this one, but I am disappointed. Harriet was a badass and Cynthia is wonderful… they both deserved a much better film. - 3/10

The Farewell (Lulu Wang, 2019)

Didn't hit me as hard as I expected, but it's still a warm reminder to love your family loudly while you can. Awkwafina delivers a fine performance. A lot of the cultural differences made it fail in packing more of a punch, though, and chunks felt repetitive. - 6.5/10

The King (David Michôd, 2019)

It’s often slow and the final act is a bore. But the major battle sequence is very well done and both Chalamet and Edgerton are fantastic in their respective roles. Also, Pattinson is an unexpected blast. - 6.5/10

Good Boys (Gene Stupnitsky, 2019)

I laughed quite a bit and its heart was in the right place. I wasn't expecting much going in, though, so its bar wasn't set very high. - 6/10

The Peanut Butter Falcon (Tyler Nilson & Mike Schwartz, 2019)

Loved every second. It’s warm and fun and funny with just a little dash of heartbreaking. Also, Shia’s a powerhouse, here. - 8.5/10

Luce (Julius Onah, 2019)

An ambiguous tale of truth and perception. Powered by an incredible ensemble, we’re forced to constantly question the former while reflecting on the latter. - 7.5/10

Official Secrets (Gavin Hood, 2019)

Hood does fine work with help from a great cast led up by a stellar Keira Knightley in delivering a familiar formula in a way that breathes energy into it. - 6.5/10

Enjoy!

-Timothy Patrick Boyer.

#film #movies #harriet #the farewell #timothee chalamet #the king #netflix #good boys #the peanut butter falcon #luce #official secrets #movie review #film reviews #my week in reviews

[erlendbv]

So, this blog amazingly turned 5 years a few days back. I’ve previously posted on the 1-year anniversary, the 2-year anniversary, and the 3-year anniversary. It’s been a busy period, so last year slipped, it seems.

These posts have been a combination of my accomplishments and a selection of content I’m particularly happy with. Let’s repeat it.

Accomplishments

I have received diplomas for completing “Writing for film and TV” and “Writing Satire for the Web” via Second City Training Center, and for attending Scott Dikkers’ Comedy Business School.

I’m in the process of completing my book on Norwegian satire. Excited for that project to reach the conclusion.

Things I’ve written

Advice for writing a feature screenplay

Throwback Thursday: Notater fra Are Kalvøs foredrag under radiofaglig dag i 2010

Storyclock vs. Story formula

Tanker om humor fra høyresida

I wrote a whole bunch about late night field pieces, monologue transitions, packet submissions, and an extensive list of show break-downs with recurring segments. Everything is available under the tag “Late Night”.

Chuffa – a comedic term with conflicting connotations

Satire analysis: John Oliver’s three-part Daily Show-series on gun control

How to Make Memes

Clapter - a review of the term

This study of Nicholls scripts per genre, Nicholls judging criteria, and tips for loglines. I’ve also been looking into thematic structure, grounded in character, and 3 essential questions when developing a story, as well as Structuring the 60-minute TV drama.

This article on director signature styles, colors in movies, and Mini-Masterclass in Directing

Things I’m inspired by

Satire profile: The Mash Report

Word of the day: Morosoph

Random find: Rules for sons

Philosophical notes on the satirist

4 Ways to Write Meaningful Comedy

The Dark Psychology of Being a Good Comedian

Master Class: How to Develop Bits Like a Late Night Talk Show Writer

Dark humor = high IQ

Here’s what makes satire so funny, according to science

Commercial satire and the definition of proper satire

Satire isn’t destroying politics

These thoughts on “post-comedy”

Quotes to remember

Kevin Hart on the difference between comedy writers and comedians

“Comedy can never be injected. It can only be extracted.“

“Humor distracts, satire reacts.“ – me

George Carlin on political correctness

“I hate writing, I love having written.“

Dave Chappelle on ‘good and bad’ vs. ‘worse and better’.

“Du skal ikke bli kunstner fordi du har lyst, men fordi du ikke kan la være.“ – Lalla Carlsen

Bill Maher on PC-shaming the past

Zach Rice, writer on Patriot Act with Hasan Minaj talking about writing jokes on serious topics

“We put a lot of time into making sure that everything is accurate in the story except for the thing that we’re satirizing or switching out. (…) We don’t want anything that’s not the joke to be made up.“ – Cole Bolton, Editor in Chief at The Onion

Jon Stewart on insult vs. injury

So... this post was a rather messy summary of what I’ve been focusing on for the last two years. Interesting stuff.

#tumblr birthday #tumblr milestone #selvskryt