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samaraweaving · a day ago
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Fear is a tool. When that light hits the sky it’s not just a call... it’s a warning.
The Batman (2022) dir. Matt Reeves
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khangs · 17 hours ago
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JOHN WICK (2014) OCEAN’S ELEVEN (2001) THE GENTLEMEN (2019) CASINO (1995) 007 NO TIME TO DIE (2021)
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ewan-mcgregor · 6 months ago
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ROMEO + JULIET (1996) dir. Baz Luhrmann  Harold Perrineau as Mercutio
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brucebanners · 3 months ago
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Director Denis Villeneuve and screenwriter Eric Heisserer created a fully functioning, visual, alien language. Heisserer, Villeneuve and their teams managed to create a "logogram bible," which included over a hundred different completely operative logo-grams, seventy-one of which are actually featured in the movie.
The inky circular alien language was created by Montreal artist Martine Bertrand. It is also the artist's son who created Hannah's drawings.
— Arrival (2016), dir. Denis Villeneuve
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retrotvblr · 8 months ago
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THE FLINTSTONES (1961)      — 2.02 "Droop Along Flintstone"
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chris-evans · a year ago
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“Always believe in yourself. Do this and no matter where you are, you will have nothing to fear.”—Hayao Miyazaki 
SPIRITED AWAY | 千と千尋の神隠し (2001)
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rob-pattinson · 21 hours ago
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LEE PACE 2021 | Mike Ruiz ph. for L’Officiel Fashion Book
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fruitblr · 4 months ago
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Marilyn Monroe wearing a cherry-printed dress designed by Jean Louis in THE MISFITS (1961) dir. John Huston + BTS photos
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mcavoys · 6 days ago
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HENRY CAVILL by Pete Barrett for MuscleTech
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brucebanners · 2 months ago
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Director Brad Bird opted to give the film's animators portions to animate entirely, rather than the standard process of animating one character, in a throwback to the way Disney's first features were created. The exception were those responsible for creating the Giant himself, who was created using computer-generated imagery due to the difficulty of creating a metal object "in a fluid-like manner." They had additional trouble with using the computer model to express emotion. The Giant was designed by filmmaker Joe Johnston, which was refined by production designer Mark Whiting and Steve Markowski, head animator for the Giant. Using software, the team would animate the Giant "on twos" (every other frame, or twelve frames per second) when interacting with other characters, to make it less obvious it was a computer model. Bird brought in students from CalArts to assist in minor animation work due to the film's busy schedule. He made sure to spread out the work on scenes between experienced and younger animators, noting, "You overburden your strongest people and underburden the others [if you let your top talent monopolize the best assignments]." Hiroki Itokazu designed all of the film's CGI props and vehicles, which were created in a variety of software, including Alias Systems Corporation's Maya, Alias' PowerAnimator, a modified version of Pixar's RenderMan, Softimage Creative Environment, Cambridge Animation's Animo (now part of Toon Boom Technologies), Avid Elastic Reality, and Adobe Photoshop.
The art of Norman Rockwell, Edward Hopper and N.C. Wyeth inspired the design. Whiting strove for colors both evocative of the time period in which the film is set and also representative of its emotional tone; for example, Hogarth's room is designed to reflect his "youth and sense of wonder." That was blended with a style reminiscent of 1950s illustration. Animators studied Chuck Jones, Hank Ketcham, Al Hirschfeld and Disney films from that era, such as 101 Dalmatians, for inspiration in the film's animation.
The Iron Giant (1999), dir. Brad Bird
— Cinematography by Steven Wilzbach
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gregory-peck · 5 months ago
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A lot of the stuff you do as an actor - or I do, because I can't speak for everyone - is not always consciously thought out. A lot of the time, for me, it's actually just feeling stuff, and it happens all in the moment and your body reacts. Happy 38th Birthday, Henry Cavill! (May 5th, 1983)
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