#people will tell me i should watch some very critically acclaimed film that is very profound high art and my eyes glaze over | Explore Tumblr Posts and Blogs

franki-lew-yo · 3 years

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I really hate 2d purists. No, not 2d animation. Not 2d animators.

2d purists.

The sad thing is it’s gotten to the point that I really cringe hearing any pro-2D sentiment at all. I hate the arguments I agree with because how often they're misused and weaponized by idiots.

Let me make my stance here clear - 2d is NOT appreciated and 3d is used for everything! The layman Karen-mom who doesn’t have an artistic bone in her body looks at stupidsmooth 3D Grubhub ads and assumes quality cause it “looks more real” (aka ‘rendered’). I know as much is true because I literally have a member of my family who told my sister and I that she thinks 3d is better (and also that she “tolerated THOSE movies for us kids”. Touching words. My sister was taking an animation course by the way). Combined that with the studios either using 2D for cheap stuff or finding good 2d animation too “costly”, I get it and I’m not even any animator. I'm just a worm an illustrator.

but holy HELL -

There’s a backlash from the artistic community that's it's own kind of insufferable and deserve to be addressed.

“(insert2Danimatedfilm) is better BECAUSE it's 2D!”

followed by: "Animation is a visual medium and the quality of the art affects how much the story means !!!!”

Yes. Totally. Animation is a visual medium and the look and style is important. Sadly, people use this excuse to really obnoxious ends, insisting that design being pretty is '' everything ''. When you treat a movie more as a special effects demo I get why you talk about the artistry at hand; but I’m sorry, visuals are not the only thing important and it’s why I’m also getting sick of the sameElsafacesyndrome rants too! There’s this attitude that's reads as "but it LOOKS better fromaproductionimage/teasertrailerwhichapparentlyisindicativeof all themovieactuallyis so it MUST BE better".

-“3D should only be used to make things look realistic!”

I think I know the logic this criticism is made in response to, and that’s the Sony + Illumination films which look just as good in 2D as they do in three dimensions. I know it feels like people are twisting this medium to try and make it like a classic cartoon when by all means people can and would love a classic cartoon being a classic cartoon. That I get- From the unsung 2D animator’s perspective, that’s more than valid !

But it’s a huuuuuuge slap in the face to 3d in saying it should only be used for "realistic animation" because

1: It’s not like realistic animation could age badly or look uncanny in the next few years. It's almost like technology is constantly improving, which I guess 2d animation never did and it was always the same technique and quality as every film that came after it.

2: The industry does treat 3d as a magic-moneymaker for this reason. Just listen to these people call the 2019 LION KING “live action” as if they’re embarrassed to call it animation. It IS animation! It would be impressive if you acknowledged that what it is, but like the CATS, you basically are treating it as just a neato tool to better your live action and not it's own artform - which it is!

3: By this “three-deeonly gud when real liek in da toystories” non-logic I guess 2d should ONLY be for flowyflowy SPACE JAM cartoons and maybe some Disney*. Just that though. You can’t do anything more with 2d. It’s never supposed to be realistic I guess. Good thing Richard Williams only did 'toons' and just toons that’s why we need 3d in the world I guess.

Wait no - that’s stupid.

"I HAVE to see the “Land Before Time 14″ when it comes out! I mean it’s a 2D animated film!"

Lost in the aether that is Youtube comment chains removed from kid's videos is a stream of this very VERY stupid argument supporting the buying of the 14th LAND BEFORE TIME film because it’s supporting 2D. My sister and I can be found on that chain arguing against this stupidity. All you have is my word, but trust me: it really did happen.

I’m sorry but...no.

Unless you have a friend or a family member who worked on these movies there’s no reason to see this and ESPECIALLY no reason to insist it’s a win for the 2D community if you buy up this crap - and I'm not judging if you do like it, but come on! LAND BEFORE TIME 14 isn't where your money should go if you really like this medium.

What’s so infuriating about this argument is you can tell it’s made by nonanimators. Real animators will tell you to support their movies cause they want some respect for their artform which is why there’s such a push from the PRINCESS AND THE FROGcrowd that you SEE and LOVE every 2d thing out there, regardless of how good it is because any recognition for it is k i n d o f what they're after!

Kiddy sequel schlock isn’t even in the same ballpark as KLAUS or WOLFWALKERS; these films DID have very limited theatrical runs (Klaus so it could be nominated; Wolfwalkers in places where theaters opened up after Covid) and should have been supported because they were labors of love made by people who love animation.

As other people have already pointed out, one of the reasons for the lack of interest in 2000sera2D animation is that the only films released alongside critical+financial 3D hits were cheaper 2D films that either coincided with daytime tv shows or should have been just direct-to-video. It’s not to say art couldn’t come out of these flicks, but dayum if it wasn’t abused as much as the texture software that era's CG used... Point being, should the world ever go back to normal: If you hear about an out-of-town showing an acclaimed 2D animated film, make time to trek out and see THAT!

Don’t give your money to see yet another made-for-tv movie on the big screen because all that tells the studio is: “yeah 2d IS cheap and only good for cheap stuff let’s just keep it cheap. Only 3d is important 8D 8D 8D !!!"

“I don’t understand how it works. So it sucks.”

This text is from an ANIMATOR btw.

“I don’t understand how it works” and “it’s just some computer rendering” is the exact same wave of logic the people who prefer cgi use.

The plebian Karen I mentioned earlier? She understands the basics of 2D animation as much as you did from one of those cruddy flash classes you took in middle-school. She 'understands' the basics cuz she watched how it was made on the DVD features or maybe back on the WONDERFUL WORLD OF DISNEY. To her, the illusion is broken and she’s not impressed by 'just some drawings on paper'. You, an animator, know the process is more complicated and is intrigued by knowing how it’s made - not bored or disinterested -

Neither you nor Aunt Karen have really good cg-animation software at your house and unless you ARE a 3D animator you probably DON’T know all the ins-and-outs of how these movies are modeled, rendered, and animated.

Aunt Karen is bedazzled by them cause she doesn’t know how it works and the technical aspect makes her brain hurt so it might as well be magic and she can feel like a cool kid sharing Minion-memes. Aunt Karen is the nonartistic type who just wants to feel safe. You're not. You want to feel challenged.

I get it: you’re pissed off cause you’re in a field no one, including Aunt Karen, appreciates; told to work in cg which it's an artform you didn’t devote your life to and told to learn it cause THIS style sells! 3D is everywhere and is starting to look like 'garbage' even if you don’t animate 3D models yourself you just KNOW, I guess. Besides, you know all there is to know about 2d!! You know all there is to possibly know about this artform and have to fight this 'war' against "r e a l" animation! And I mean even when 3d software is there to use, it's not like you can actually make anything worth while in it, especially not anything that transcends the medium. Right Worthikids?

TL;DR: This argument is basically just " BWAAAAH I’M NOT GONNA USE IT I HAVE STANDARDS (a chip on my shoulder cuz art should be what I deem it to be) "

“PRINCESS AND THE FROG is-”

There’s a reason I can’t say I truly like PRINCESS AND THE FROG even though it's not even a bad movie! Like, stop reading this and watch PATF if you haven't it's good. It's my 'FROZEN', in that; I see a lot of potential in it I just think it needs some serious rewriting and that bugs me. Always have felt that way, tbh.

I dislike this movie because the response from the animation community seems to be it was perfect and the Academy was just Pixar-crazy with UP ((ftr, the Academy IS Pixar’s bitch and I personally advocate a sequel be made to WAKING SLEEPING BEAUTY about Mike Eisner’s sabotage of the 2D department at Disney which is still in place now!- but that’s a story for another day)). I’m sorry but UP was just a better story. So was CORALINE. So was FANTASTIC MR. FOX. Honest to god it feels like poor PATF is brought up as just a talking point and never for it's own worth as a labor of love - which it was! I'd like to honestly know: had PRINCESS AND THE FROG come out now and been cg if it would have even half the defenders for it because now it doesn't "look" like how a Disney movie "should" look...

If you like PatF more than the currant Disney lineup because of it's culture, it's music, it's feminism, it's black representation? Awesome. Great. Those things should be appreciated and I never want that taken away from you. But if you seriously think PatF is better just for how it was animated and looks - I lowkey may hate you.

“ALL OF DISNEY’S LATEST MOVIES SHOULD HAVE BEEN 2D! THEY ALL LOOK AWFUL IN 3D!! ALL OF THEM!”

TANGLED, FROZEN, and MOANA? Yeah. Sure. But um, e x c u s e y o u- WRECK IT RALPH sooooo doesn’t work in 2d! It could have used different between the various worlds but it’s about hopping through different video games. I’m also of the opinion that ZOOTOPIA and BIG HERO 6 are fine the way they are. Their 3d is awesome.

The latest fairy tale Disney films are really big on their place alongside the 2D canon esp in marketing. They keep trying to mimic 2D to varying results though I don't think it works as well as the movie's I'd previously mentioned. Me personally, I would love a mix of 3D and 2D technology, like if the backgrounds in FROZEN still got to be 3D but the characters were handdrawn and shaded ala KLAUS ((sweet sigh)). But even then are they truly unwatchable just based on how they're animated to you?

MOANA would have been incredible in 2D but for the record - I don't think it feels out of place in it's style. It reminds me more of a Pixar movie with the heart of a Disney classic which is it's own just as good.

“2D is the oldest form of animation and it’s being replaced.”

Actually, if we’re talking animation in film, stop motion is the earliest form of animation. The stop motion animated THE ADVENTURES OF PRINCE ACHMED and TALE OF THE FOX predate Disney’s SNOW WHITE. And yes: stop-motion IS still a form of animation even if it’s a serious of pictures taken of real life things and not drawings, so don’t you dare come at me with the "but that's not animated"/"Technically it’s LIVE ACTION" crap or I’ll envoke the spirit of Sandman to get you at night.

“Every animated film would look better in 2D! Even PIXAR would look better in 2D!”

Again, Stop Motion.

No, I mean it.

Lemme ask: Would ISLE OF DOGS or FANTASTIC MR. FOX carry any of the same effect if they were generic 90s toons? I know NIGHTMARE BEFORE CHRISTMAS wouldn’t. Christ, don’t even get me started on Svankmajer!

Sometimes the problem is that a movie is envisioned with a specific artform in mind. Pixar started out with toys and bugs for a reason and that’s cuz they were always gonna be a 3d studio and they needed to first overcome the placisity of the models. Over the years they’ve gotten really good at effects and blending unrealistic proportions with real textures (and also not so much- ONWARD and THE GOOD DINOSAUR really needed some different character designs and yeah, I do think would have looked better with a 2d artstyle, but not the ones they had in their films. THE GOOD DINOSAUR needed more realistic-speculative looking dinos and ONWARD needed a grittier HEAVY METAL/BLACK CAULDRON appeal to its designs.) My point being that the problems with these movies aren’t even inherently the animation as much as it is a problem of style. As someone who runs a group speculating different styles and designs for movies and tv shows I’m all for envisioning a 2D ZOOTOPIA or Bluth-inspired FNAF. That’s amazing!

But that’s also the talk of fan artists and nerds and not the professional artists working on visualizing their stories!!

Since I ate, slept, and breathed NIGHTMARE in my youth I’ll use it as an example: All the concept art ever done for TNBC was on paper and 2D was used in the final film. However, even when Tim Burton was thinking of making it just a tv special it was always going to be stop-motion. NIGHTMARE’s puppet cast do work very well in two dimensions, believe me, but the film was made as a love letter to Rankin/Bass and the art form of stop-motion. Skipping to another Henry Selick-helmed project (haha), JAMES AND THE GIANT PEACH was also always envisioned as a multimedia film to give it a truly dream-like atmosphere. If you know anything about Henry Selick you’ll know he’s 1) a perfectionist, and 2) loves mixed media and different types of animation and puppetry at once. That’s why he was the perfect pick to direct TNBC at the time, why JAMES AND THE GIANT PEACH and CORALINE are so beautiful and why MOONGIRL, his only fully 3d film, doesn’t have the same appeal.

As for what films I couldn’t imagine NOT being 3D? Probably; 9, Padak, Next Gen, Soul, Finding Nemo, the Toy Story films, Wreck-it-Ralph (as previously mentioned), Wall.E, Waltz with Bashir, Robots, Inside Out, Arthur Christmas, The Painting, Happy Feet, Shrek, Enter the Spiderverse, Megamind… just naming a few here.

“I want a traditionally animated film [and by that I mean a 90s-Disney/Don Bluth looking movie] of ‘x'-popular live action/stage thing!”

Okay I’m cheating a bit but it’s my blog and so I’m gonna stick this one in because it’s related.

When I see musings about wanting live-action or CGI shiz to be in 2d again a lot of the time this argument actually boils down to " I want this to look like a 90s Didney movie ". Or, if it’s about animals - " I want it to look like a Don Bluth film! "

Like...there ARE other styles of animation out there...you know that right?

Frack, Disney themselves tried different styles throughout the 90s it’s just that the peak of the Disney renaissance films (LITTLE MERMAID, BEAUTY AND THE BEAST, ALADDIN, THE LION KING) and the many imitators that followed tended to have the same look to them where only film/animation nerds kept watching into the era that was TARZAN, HERCULES, and ATLANTIS along with the kids. Aunt Karen wasn't singing Part of your World in the carride with you every day.

The Don Bluth argument is especially irritating because...what exact feeling do you WANT from a movie if it looked Bluthish? Each of the four ‘quintessential’ Bluth movies (NIMH, AMERICAN TAIL, LBT, and ALL DOGS) have such a different feel to them that’s complimented by that style; SECRET OF NIMH is a drama about wild animals trying to understand humans; LAND BEFORE TIME is even more squarely about an animal’s perspective as there’s literally no humans around; AMERICAN TAIL uses animals stowing away on the ship to tell a story about refugees; and ALL DOGS GO TO HEAVEN is ALL DOGS GO TO HEAVEN.

What the frack are you even asking for with that because I think there’s a certain flavor to the Bluth-styled oeuvre as well as the 90s Disney catalogue that would clash too much stylistically with some films.

Also come on! Like some Bluthian-style 2d would really fix THE SECRET LIFE OF PETS or SCOOB!, bite me.

I think this fixation solely on these two hand drawn styles and nothing else is based on nostalgia goggles, refusing to step outside the norm and discover different films and feelings than Disney and Bluth, and just preference. Goin back to NIGHTMARE there will always be a special place in my heart for Henry Selick’s stop motion, but I couldn’t imagine CHICKEN RUN or ANOMALISA in it's unique style.

Also I’m tired of every time there’s a "lets make an animatic to ‘x’ musical theater song" it’s reliably just Disneyesque or realistic. WHY envision an animated version of the show at all if it doesn’t have A STYLE to it??!?! I’m sorry but 90s-Disney does NOT fit CABARET!

“3D is so CHEAP now! Why can’t they just do 2D again?”

I think - on the cusp of the 2020s and the Grubhub hatedom, there ARE changing times ahead for 3d and 2d. The general public are starting to get tired of the same looking 3d films and wanting some 2d back, but they don’t have the best resources or opinions on animation to know what it is they want. Meanwhile, the animation community + industry is trying to figure out what to do and you have a lot of turmoil between the monopoly that is the industry, the high standards of the artists, and the mixed wants of the animation fanbase deciding what art needs to be.

It’s a tough business. And in the spirit of that tough business - maybe DON’T act like the means of a film’s production is solely your control, that you know best, and know definitively what the artists should have done....cuz you don't. Sorry my fellow criticalfanomanalysist-folks we DON'T and in an age of standom where fans and critics think it's okay to hackle indie animation studios about not getting their pitched cartoon out fast enough - we need to reserve these discussions to our circles and not treat them as gospel.

3d animation and 2d animation have to share this world. Stop acting like they’re either interchangeable in terms of budget, means of production, or artistry or that one has to be superior to the other.

The industry already says one art form is better (spoiler: it’s always live-action), we don’t need anymore of this purist garbage. Just stick to what you like while trying new things on the side. Be critical while also being compassionate. And remember:

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#animation #animation on tumblr #2d animation #3d animation #traditional animation #hand drawn animation #Franki's Features

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365days365movies · 3 years

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May 6, 2021: The Martian (2015) (Recap: Part One)

We’re leaving lo-fi sci-fi, people. Kind of.

I mentioned before that films like Her are what I define as “lo-fi sci-fi”, which is a category that I’ve kind of made up. Basically, it’s the science fiction version of low fantasy, meaning it contains science fiction themes contained within an otherwise contemporary setting. In the case of Her, Joaquin Phoenix’s character, along with many others, live in a world and setting basically like ours, but with technology advanced enough to generate AIs (like Siri) that are intelligent enough to actually ascend our reality. Because we live in a society.

You give me Joaquin Phoenix, I’m gonna make a Joker reference; it’s in the contract of my existence. Anyway, that is admittedly kind of broad, right? I mean, that has the capability of crossing over with a BUNCH of sci-fi genres and themes. And, considering that we’ve already seen magic, speculative technology, time travel, monsters, and artificial intelligence, we’ve already touched on quite a bit.

And with science fiction, the sky’s the limit. Literally. So, I think it behooves us to re-examine lo-fi sci-fi a little bit. Specifically, we should note that it can also be defined as an extension of currently existing technologies and possibilities. Writers would call this “speculative sci-fi”, assuming in this case that it’s set within the present or a near and attainable future. Her definitely fits in this category, as does Westworld. But, let’s crossover to another genre by speculating upon another possibility. And it begins with this man. Probably.

Hey, Elon, what’s up? Now, Mr. Musk here is a...controversial figure, for COMPLETELY understandable reasons. Instead of touch upon the man himself, I feel like touching upon one of his recent focuses: space travel. With SpaceX and the various upcoming space trips and journeys that they’re planning, Musk has made it clear that he plans to shoot to the Moon. Again, literally.

In fact, this full plan is to go even further than that, and to fuel potential commercial space flights in the future, which is admittedly very cool. And of course, if you’re going to shoot for the Moon...

Guys...guys, that’s Mars. THAT’S FUCKING MARS

Is that not amazing? We have sound and pictures from FUCKING MARS! THAT’S A DIFFERENT PLANET, GODDAMN IT! It’s cooler than I have the ability to properly express, but it IS goddamn cool. And this means that, easily within my lifetime, we could (and likely will) land on Mars. Which is amazing. God, I really want to see that happen.

And so, landing on Mars is BARELY science fiction, but since we haven’t yet done so...yeah, it’s fictional at the moment. And so, any film about landing on Mars falls within this category. Well...to an extent.

2000′s Mission to Mars, for example, was a Disney-funded film (to my IMMENSE surprise; and it’s based off of an old Disney World ride, WHAT), and a movie that I saw a LOT when I was a kid. I also barely remember it, to be honest. But that film is straight-up science fiction because of, well...aliens. The idea of Martians is, as far as we know it, fictional. And most fiction involving Mars includes these aliens somehow. Whether it’s DC Comics’ entire civilization of Martians, as seen in Justice League, Supergirl, or Young Justice...

...Sir Arthur Conan Doyle’s heavily mythologized civilization, as seen in the Barsoom series of novels (and another Disney film)...

...Or one of the best Looney Tunes characters.

Mmm. Yes. Isn’t that lovely?

But, yeah, Mars and aliens go hand-in-hand in our media. So, to properly look at lo-fi science and speculative science fiction in relation to the Red Planet, we’ll need a movie that goes to the planet, and doesn’t touch upon the concept of aliens AT ALL.

Enter...Ridley Scott?

Yeah, the director of Legend, Alien, Thelma and Louise, Blade Runner, Gladiator. Also the director of Kingdom of Heaven, Prometheus, Exodus: Gods and Kings, and...ugh, 1492: Conquest of Paradise. I’ve talked about his mixed record before, in my Recap of Legend right here.

In 2014, he was brought on to adapt a book by Andy Weir called The Martian, which is a great book! I’ve listened to the audio book, and I whole-heartedly recommend doing that. And because of that, I am VERY MUCH looking forward to watching this film, especially seeing as it’s often called one of the best science fiction films made during that year, and was critically acclaimed then and now. It got seven Oscar nominations (although it won none of them), amongst other awards. So, enough navel-gazing, huh? The Martian!

SPOILERS AHEAD!!!

Recap (1/2)

On Acidalia Plantitia, at the landing site of the Ares III mission, a group of scientists are gathering samples. These scientists are commander and geologist Melissa Lewis (Jessica Chastain), pilot Rick Martinez (Michael Pena), systems operator Beth Johanssen (Kate Mara), surgeon Chris Beck (Sebastian Stan), German chemist Alex Vogel (Aksel Hennie), and overly talkative botanist Mark Watney (Matt Damon).

The group seems to have a good dynamic, but that dynamic is interrupted by a massive dust storm, which is large enough to cause the entire crew to evacuate. However, in the chaos of the dust storm, Mark is hit by debris and lost in the shuffle. Although Lewis goes back to find him, she can’t get to him before they need to leave, and Mark is believed dead. This is reported (pretty callously) by NASA Director Teddy Sanders (Jeff Daniels) to the press soon afterwards.

But of course, that wouldn’t be much of a movie, now would it? Mark’s alive! And Mark’s alone. With his suit damaged, and low on oxygen, he trudges back to headquarters, which is intact and still contains breathable oxygen. He gets inside, and realizes that he’s been stabbed in the abdomen by some debris. He removes it, and stitches up his own wound. Which is...god, it’s fucking BRUTAL just to think about, nevertheless watch.

Once he’s finished, he records a log for the future, if he doesn’t make it. It’s day 19 of the 31-day mission at this point, and Mark’s basically screwed. He needs lasting oxygen, water, and food, and he might need that for 4 years, when the next manned mission can come to the red planet. Additionally, he has absolutely no way to contact NASA, leaving him completely stranded. Another dust storm rolls in that night, and Mark looks over the belongings of his colleagues, packing them up for their eventual return. It’s somber, to say the least. However, Mark affirms that he’s determined not to die on the planet.

After doing the math, Mark should have enough food to last him for about 300 days, especially if he rations it. Until then, he’ll need to figure out how to grow his own food, on a planet where nothing grows. Which is, of course, going to be a difficult feat to accomplish. But Mark Watney’s a botanist with botany powers, and he’s gonna do it.

It’s day 31, and Mark’s brought in dirt from the outside, and uses the bio-waste from the crew’s stay there for a form of compost. After 5 days, mostly full of him watching Happy Days on TV and trying to farm, he realizes that he needs water, both for himself and for the soil. To do that, he goes chemical and decides to use hydrogen-laden rocket fuel, wood from Martinez’s belongings, and good old-fashioned fire to make water! And since hydrogen + oxygen = water, it should work. With a minor side-effect.

So, yeah, he blew himself up. As as he records a video log, the sound mixing makes itself impressively known by subtly and realistically generating a tinnitus sound. It’s VERY well-done, holy shit. Anyway, he makes a stable fire, and the place is soon covered in condensation, moistening the room and the soil successfully.

We get to day 54, and Mark’s planted leftover potatoes from the crew in order to grow them. And while he’s being mourned at a funeral on Earth, and in NASA, he’s seeing the fruits (or shoots) of his efforts.

Back on Earth, Mars Mission Director Vincent Kapoor (Chiwetel Ejiofor) is trying to convince Director Teddy to let him lobby for another Ares mission, despite the risk of bad press for the callousness of the proximity to Watney’s death. Meanwhile, satellite technician Mindy Park (Mackenzie Davis) looks down at the Ares III site, and realizes that the site has changed visually, meaning that Mark may actually be alive.

Shocked by this, she tells Kapoor, Teddy, and media director Annie Montrose (Kristen Wiig) about this, and they realize the absolute clusterfuck that this whole thing is. They can’t tell the other members of the Ares III crew about it, because it’d devastate them for the 10 months they have to get back to Earth, at the VERY least. They can’t tell the WORLD about this, because they just had a funeral for the guy, and they’d reveal that they left him stranded on Mars accidentally, destroying faith in the Mars Missions Program. And they can’t save Mark, who they’re sure will starve eventually. It’s a mess. And Kapoor also wonders what’s happening to Mark psychologically through all of this.

And yet, they reveal this to the world regardless, causing the clusterfuck reaction that they think it’s going to cause. But Mark’s busy on Mars, figuring out how to get to the site of the next Ares IV mission in 4 years, at the Schiaparelli crater about 50 days travel away. This is a struggle, as his Rover has only so much power and fuel, and he can only get more power by cutting out the heater is risking death by freezing. So, problems. However, he figures out a potential solution: radioactive isotopes! In a move that is, let’s face it, COMPLETELY INSANE, he digs up a radioactive generator from the ship in order to heat the ship.

On Earth, they try to figure out Mark’s moves, as well as how to resupply Ares IV sooner for Mark’s benefit. This is with the director of JPL, Bruce Ng (Benedict Wong), and the flight director of the ship Hermes, Mitch Henderson (Sean Bean), who insists that they tell the Ares II crew. They continue to monitor Mark, and note that he’s been travelling for 17 days in his Rover towards something. Kapoor figures it out, and flies to California.

See, Mark needs a way to contact NASA, and he believes that the way to do so is through Pathfinder, the first probe ever sent to Mars in 1997, lasting for 9 months since landing until they lost contact. Mark digs it up, and the people at JPL in California start their own efforts for contact. And despite communication being extremely rudimentary, initially limited to yes/no questions that use a still-frame camera, it fucking WORKS! WHOO!

To boost this communication hurdle, the two camps figure out a hexadecimal system for communication, allowing them to communicate using a circular table of numbers that represent an alphabet. That allows them to teach Mark to hack into the Rover, allowing it to piggyback off of its broadcast signal and send them messages via keyboard. Nice! Now that communication is reasonably possible, Mark’s able to ask how the crew is handling his death. But upon learning that they haven’t told him. He’s understandably a little goddamn enraged. And so, they FINALLY tell the Ares III crew about this.

The news breaks the crew, even though Mark continues to stress that he’s all right, and that it wasn’t their fault. Meanwhile, Mark’s able to survive for 912 days with his potato plants, and things improve with the help of technicians on Earth. They plan to launch a supply rocket to him in the next year, and things are looking fine! Unless, of course...something goes horribly HORRIBLY wrong.

Well...fuck. Good place to pause for Part Two, then?

#the martian #ridley scott #matt damon #jessica chastain #kristen wiig #jeff daniels #sean bean #michael pena #chiwetel ejiofor #benedict wong #science fiction may #sci-fi may #user365 #365 movie challenge #365 movies 365 days #365 Days 365 Movies #365 movies a year #bookstofilm #whatelsecanwedonow

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ashintheairlikesnow · 4 years

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“ It’s Dylan who finally figures out it wasn’t a cult” can we get this as a Drabble? If not it’s fine but 🥺❤️❤️❤️❤️

CW: Referenced ableist language, referenced past head banging (brief), shitty language about the pet industry in a box boy setting

“Your stance on the human pet industry is pretty clear, obviously-”

“Obviously.” Nicole Berras’s voice is deep and slightly husky as she pats the thigh of the smiling, slightly blank-faced man who sits next to her on the plush red couch.

Dylan has had a lot of nights he’s thought about the way it would feel to have the movie star’s voice against his ear like that. I mean, he feels pretty fucking ridiculous afterward, but once he’d seen her in that Marvel movie that was fucking it for him, slam-dunk, celebrity crush slot taken by one Nicole Berras, she of the wide, slightly almond eyes and soft lips worn over a black leather catsuit.

Even if the one time he’d tried to show Chris the movie (one more thing Chris hadn’t known about, and how do you not know about the biggest fucking franchise in movie fucking history, that cult must have been boring as shit), Chris had done nothing but bitch about how there’s no way Nicole Berras could do actual backflips like her character does in heels like that.

Of course not, weirdo, she has a stunt double for that. He’d thrown popcorn at Chris, who had caught it and grinned before popping it in his mouth.

Yeah, well. They, they, they-they-they still should have put her in-... in some, like, regular shoes or, or, or or or something. Chris had wiggled his toes under the blanket they were sharing. Or barefoot even would have, um, would-would... would be more realistic.

Nobody’s going to be barefoot in a leather catsuit, Chris.

Then why make, make her wear the the the-the catsuit?

... Chris, I swear to God-

That catsuit factors pretty fucking heavily into Dylan’s thoughts, too. In the interview, though, she’s just wearing like a regular white shirt and pants and even that looks amazing on her. Everything looks fucking amazing on Nikki Berras.

Dylan checks his phone - an hour before Chris comes back so they can head to the dining hall together, which means an hour to daydream and watch Nikki’s mouth move.

“There’s a lot of Oscar buzz already surrounding your upcoming film, with celebrities as well-known as Vincent Shield speaking out and saying it ‘romanticizes a dangerous, damaging industry’. Do you have any comment or response to him on that?”

Nikki gives a brief, sweet smile. Dylan’s eyes, though, keep glancing over to the man sitting next to her, her pet. His name’s Yen or something, celebrities always give their pets ridiculous stupid names. Dylan wasn’t paying attention - the whole pet thing is kind of uneasy to think too much about, so he mostly doesn’t. Yen-or-Whatever is just... smiling away.

He looks fucking brainless.

“Vince and I have been in this industry a long time together,” Nikki says with a laugh. “And he’s always been kind of down on the industry, as long as I’ve known him. He’s of course welcome to speak his feelings, but I felt like there’s a lot of negative press out there about the system, and that really erases people like Yen-”

Oh, his name really is Yen. Yikes.

“-who are happy with the choice they made, well cared for, and just... you know, Yen and I talk about this a lot.”

“We do,” Yen says, and gives her a slight sidelong glance with a smile.

“And we just... wanted to provide a little more of a balanced perspective. You mostly hear about the liberation movement now-”

“Yes, Shield produced a documentary two years ago that was very pro-liberation that received a lot of critical acclaim, as I recall. Is there a reason you chose a fictional feature film as opposed to an answering documentary?”

“Well, I am an actress.” Nikki flashes her impish little grin, but Dylan misses it. He’s stuck watching Yen, who is watching Nikki with perfect focus, sitting incredibly still. Like a statue next to her, with his head slightly tilted, chin down, looking up at her through his eyelashes even though he’s taller than she is.

Who has he seen look like that before?

Weird fucking deja vu has the hairs on Dylan’s arms standing up on end.

“Feature films are really my wheelhouse, and I felt more comfortable working with a story that gave me a little more room to work multiple narratives into a single film. And Yen was so helpful, he really enjoyed getting to work with me on setting up the plot beats.”

“Right. So in the story, your character goes through the process of training after some serious life hardships, and things really kick off during that process. Can you tell us anything else about the story?”

“I can’t give too much away, Anderson,” Nikki says, laughing, leaning slightly forward. Dylan is still staring at Yen, whose eyes follow Nikki, whose empty little smile never so much as twitches, never fades. “But I can say... Yen helped me a lot with information on the training process! He was originally a demo pet with WRU so he had tons of inside information. The love interest-”

“Ah, right, played by... let’s see, played by Camden Oaks-”

“Right, Camden plays my love interest in the story - and Cam’s a big old sweetie, isn’t he, Yen?”

“Yes, he is,” Yen says automatically, almost before she’s even finished the sentence.

“My love interest is actually a handler at WRU, so they meet early on but it’s not until much later that you see how that initial meeting really impacts my character’s story. Honestly, I’m really honored that WRU agreed to give me so much access to their methods! It was really great of them, and Yen came with me on every visit.”

Yen’s smile freezes, just slightly, but Dylan’s still looking right at him and catches the first flicker of a very different emotion on the man’s face. Even that seems familiar, the way that Yen’s hands twitch, just a little, and then he is very, very still.

“Yen coached me quite a bit.” Nikki’s smile is all perfect straight white teeth. “Especially on dialogue, and how to get the expression just right. And all the work they do! Apparently Yen came with a pretty bad stutter, and one thing that they do is really give the pets individualized therapy that hits on their unique concerns to help them before they end up with an owner. So, like, Yen came with a bad stutter! So they really worked on that with him.”

Yen nods, slowly. “Silence is better than stammering.” His voice is perfect and even, doesn’t tremble in the slightest, has a hint of rote memorization that flattens the syllables and bleeds out all emotion.

Dylan jerks forward and rewinds a few seconds, then plays it again.

Yen, head cocked slightly to the side, giving a nervous, eager-to-please little smile. “Silence is better than stammering.”

Dylan’s breath catches somewhere in his throat, eyes widening.

Again.

“Silence is better than stammering.”

Again.

“Silence is better than-”

The barcode is visible on Yen’s left wrist, when Nikki pats his arm and he shifts a little, but if someone took that barcode off it’d leave a scar in the exact size and shape of the scarring Chris has.

The empty look in his eyes, like Chris gets sometimes if you yell at him or get into his personal space too fast. The hint of a slight smile, one that screams that he needs someone to tell him if he’s doing it right.

Silence is better than stammering. Chris had said that, when he was in the stairwell, rocking, hitting his head on the wall with tears running down his face, hiding behind his hands. Those exact. fucking. words.

Silence is better than stammering, stillness is better than what I do, silence is better than stammering-

“Holy fuck,” Dylan whispers out loud. “It wasn’t a cult. Oh shit. Oh fuck, shit, oh holy fuck he wasn’t in a cult.”

He’s going to be sick. He’s going to be so sick all over his fucking blankets.

“Chris was a fucking pet.”

His phone buzzes and he glances at it, feeling a wash of ice-cold fear straight down his spine when he sees the message. Chris’s class let out early and he’s on his way back, does Dylan want dinner early?

Chris isn’t even a fucking person. But he is, he’s definitely a person, he’s one hundred percent a person. But he’s not. But he is, but he’s a runaway, his name probably isn’t Chris, oh... oh fuck.

He really, really wishes it had been a cult.

Dylan swallows, hard.

What the fuck does he do now?

#whump #dylan means well okay #discovered whumpee #I want a tag for 'discovering the whumpee's secret' but i don't think there is one?#box boy #box boy multiverse #box boy universe #referenced ableist language #internalized ableism tw #escaped whumpee #recovering whumpee #caretaker #chris the strawberry blond romantic

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lin-dorie · 4 years

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Cuties/Mignonnes, from the project to the meaning and international public interactions

OK Let’s talk about it.

Let me tell you what Cuties is really about, the meaning behind it and what you need, as an international public, to understand it properly.

/!\ Spoilers needed.

So Mignonnes/Cuties is French-Senegalese movie produced by Bien ou Bien Production in collaboration with Netflix for international distribution. Maimouna Doucouré is an award winning director, she’s french-senegalese, 35 years old, grew up with a dad and two mothers surround by a big religious family. Nothing wrong, just a little girl having thoughts and dreams like any others.

Mignonnes, her very first long metrage, is based on a study she conducted for the project. She interviewed hundreds of young people with her team (pedopsychologist included) to collect a lot of infos and ressources to built a movie dealing with young people anxiety, sexual discovering, bullying, social media and young black people representation in movies.

I. Story telling from someone who watched it.

Amy is 11 year old, she came in France with her mom and little brother. While hidden, she discovered that her dad is in Senegal and will soon come back with a second wife as it is authorized by Islam and accepted in Senegal. Her mom and aunt don’t tell her anything but she saw her mom crying about the topic, not knowing what’s happening, she ressents her dad and her condition as a refugee, the typical “it was better where we were before”.

Her family is muslim, she wore a hijab to her religious ceremonies and practice like she was told to, without the opportunity to do otherwise. In her building there’s a girl, Angelica, she has a rebellious side in opposition to her workaholics parents and she dances hip-hop style which Amy has never saw. She befriend her and her circle of friends and decided to dance with them at a local championship. In order to learn the dance and prove to them she was “cool”, she stole her cousin’s phone, got herself instagram and started relooking herself as a young woman instead of the pre-teen girl style she got before. But, she gets her periods. She’s afraid, she’s anxious, but most of all she doesn’t understand because nobody told her. Her aunt take care of her telling her “you’re an adult now” and how she wish she’ll live a beautiful life like they are. This is a problem as Amy doesn’t know what it is to be “an adult” nor does she know what it is to grow up, and the only roles model she has at home are her sad mom and her ultraconservative aunt. So she starts acting out, comparing herself to more developped girls, tries to be like them and starts mimicing them for their dances. While fighting for the phone she stoled with her cousin, she locks herself in the bathroom and posts an intimate photo of her on instagram as a last proof she’s a woman. Obviously, she’s getting bullied in school for that, her mom come, slap her across the cheek, call her names and ground her. Amy became depressed and in her anxiety, tries to reach out for her friends who turned their back on her so they won’t be associated with her. Nonetheless, she succeed into entering a championship with her former-friends and are disqualifies due to highly innapropriate behaviour on scene. She go back quickly to her house during a panic attack, her mother comfort her telling her she doesn’t have to attend her father’s wedding if she doesn’t want to. Reassured, she skip the wedding and go play with kids her age. -END-

II. Producing and interpretation.

DISCLAIMER : Self-made interpretations as someone who’s into thoughtfull movies. It may changes from one person to another.

As sais before, it was produced by Bien ou Bien Production which a french production corporation based in Bordeaux. They are producing movies dealing with diversity, social issues, minority representation and religious debunking. They also produced Doucouré’s award winning short film “Mom(s)” that was dealing with the topic of polygamy in Senegal, and was based on her own life.

Being produced by them again for her long metrage was a financial security and a very good deal. She got a France TV (public channels organisation) financial deal and scored that spot into Netflix international catalog making her one of the only black french-senegalese woman director into the international catalog.

Obviously, as it is not a movie for children/teenagers, there’s few meanings behind the already well written script :

Growing up without ressources : Amy is a stereotypical 11yo girl who doesn’t know anything about relationships, sexuality and woman body. It is well know that parents tends to have “the big talk” with their children when they are around 15-17yo, but puberty starts around 13yo and with that : sexual desire discovery, gender identity crises and body changes. Innocents idioms like “you’re a big girl now” or “you’re not a child anymore” shortenned childhood, leaving young girls without ressources to develop themselves and, often, shame to ask for answers.

Female representations and social media : We can’t criticize this movie without putting a context around it. Our society has been developped around certains standards, weither they are socials, professional, personnal... Social media and main stream TV promote a way of life that is unattainable for 90% of us but they give us the opportunity to act “as if”. In this movie, Amy is just like one of us except that she is way too young to understand the behaviour she is immitated. You can see it when she doesn’t understand why her friends are lying about their ages, when she’s pushing a girl into the water (possibly drowning the girl), when she cries on stage in front of those parents judging her... What Doucouré is trying to show us is that little girls are little girls, they aren’t tough enough to be shown anything just because it’s socially accepted.

Children education : To me, this is the main purpose of the film, showing that it is important to educate children. Predatory behaviour, public image, false advertisment, relationships... There is no “right time” to talk about it, and most of the parents are too late, the fact is protecting your children is also making them understand why this behaviour is dangerous, why this outfit is innapropriate and never blame your children for mistakes they can make. Amy is the exemple of what could happen if you don’t educate your children, and she is brave enough to rise when her my mom take a step toward her to comfort her.

Religious family and sexual education : As an atheist, I won’t talk about metaphors behind the prayers or anything, someone who believe in their God the same way her family does will be more adequate to talk about it. But it is one of the main critic and thus, I have to share facts : The movie isn’t centered around it, the only reason it is here is because they needed a traditional figure such as the aunt, they needed a strict environment such as a religious family and they needed a twist that would put the little girl into a negative feeling, they needed her to ressent her situation as a refugee in order to criticize how it is to grow up without help. So why Islam ? Well, in France, we have two main religions : Roman Catholics and Islam. Using Islam as the main religion of the film helped them showing the good sides of this religion such as love, family devotion and loyalty. Added 22/08/20 : Islam has a lot of branches like any other religion. In Senegal most muslim practice Soufism, find differences between the way you practice and theirs mights come from that. Especially regarding the hijab, it’s common for young people to wear their hijabs only during ceremonies.

III. Streaming plateform and international public :

If you’ve read all this, you know now that it isn’t about girls twerking or pedo porn normalization, in fact, until Amy came into the group, the girls are doing basic hip-hop dance (well, at least they try...). So how a movie mostly acclaimed by those who saw it can be the center of such a scandal ?

Well, first let’s talk about culture appropriation. As a 25yo white european woman I’ve had my share of culture appropriation story, did I mean anything bad when I did it ? No. Was I ignorant ? Yes. As everybody with a little bit of dignity I reflected on myself and stopped whatever the f*ck I was doing that was innapropriate as a white woman. That said, we can’t denied that the world has absorded some part of the black africans culture when it got popularized.

Twerking is actually a mixed between dances from African diasporas (especially Mapouka and Soukous from Ivory Coast and Congo), it is known nowadays a sensual hiphop dance and there is nothing wrong with doing it when you’re a grown up in your right mind doing whatever you want to do. So why using this dance in the movie ? First, it’s part of the heritage of Amy, a 11yo girl who hasn’t lived in a occidental culture before. Second, it is a way of telling you, public, that what you do has consequences. Suggestive dances on TV, sexualized hiphop dances in the streets, rated r music video available on YT... Adult contents are available anywhere, anywhen by anywho. Children included. It is what the director, who study the subject of the impact of oversexualized content on young girls, is trying to tell you through the film.

Now, Netflix and the art of communication. Netflix has first released a trailer, a poster and a pitch that aren’t the one used to promote the film in the first place (France included). After the start of the backlash they released another set that are stil not the one used to begin with. Why ? Because Netflix is an industry, they aren’t cinema professionnals, they aren’t critics, they are a company like any others. They didn’t watch the film, didn’t understand it and didn’t advertize it as it should : A movie for adults who want to know what they could do to help the younger generations.

Because a movie isn’t just for entertainment, there is no film just made to amuse you, everyone is trying to tell something thanks to their art. Yes, those same young girls who acted in the movie won’t be able to watch it because they are too young, not because it is inapropriate but because the subject is too thick for them to understand it fully at such a young age. The way Netflix handle the promotion of this movie was also bad because international public can’t resonnate with it the way we do. And I include myself because I was the age of Amy not long ago, in the same country she came to. Cinemas from every country is proper to this country, we have the chance to be able to watch films from other places made by people whom don’t speak our language, have their own religion or not at all and try to reach us with their own issues and traditions.

I’m not saying this movie will be the best of this year, and I’m not saying that everything inside of it is perfect, what I’m trying to say is that it’s easier to agree with the majority than to forge your own opinion but if you take the time to watch you’ll be able to understand others and empathize with them.

I hope it will help some of you understand the purpose of the film, that some will be kind enough to watch it before throwing their critics and that most of you will still enjoy movies for watch the director is trying to say instead of what the politics want you to see.

#cuties #mignonnes #pavé César ceux qui t'ont lu te saluent

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letterboxd · 3 years

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How I Letterboxd #10: Chad Hartigan.

Filmmaker Chad Hartigan talks to Jack Moulton about his prescient new sci-fi romance, Little Fish, why radio silence is worse than a bad review, and his secret system of Letterboxd lists.

Chad Hartigan has won prizes at the Sundance Film Festival and the Film Independent Spirit Awards for his acclaimed films This is Martin Donner and Morris From America. He’s also been a Letterboxd member since way back, joining what he proclaims as “my favorite website” in 2013. Hartigan has always been an obsessive logger: he has transcribed all of his viewing data since 1998 and continues to work on filling in the gaps in his downtime.

Like many ardent Letterboxd members, Hartigan is a diligent list-maker, keeping tabs on his best first viewings of each year and assembling an all-time top 1,000 films over the summer (with an accompanying 26-minute supercut). Perhaps unusually for a member of the film industry on Letterboxd, he’s unafraid to hold back his opinions and regularly voices his critiques on even the most acclaimed films.

Hartigan’s newest film, Little Fish, is a sci-fi love story starring Olivia Cooke (Sound of Metal) and Jack O’Connell (Unbroken). Written by Mattson Tomlin, it’s set during an imagined pandemic—shot long before our own actual pandemic—wherein a disease causes people to lose their memories. It was set to premiere at the 2020 Tribeca Film Festival, and then postponed due to Covid-19. It’s now out in limited theaters and on demand, and we were delighted with the excuse to put Hartigan in the How I Letterboxd spotlight.

Olivia Cooke as Emma and Jack O’Connell as Jude in ‘Little Fish’.

You made a pandemic movie before the pandemic. How do you feel about accidentally hitting that unfortunate zeitgeist and now consequently being asked questions like this one? Yeah, strange. The questions are fine. If it wasn’t this one, it would be another that you would have to answer over and over again. One of the things that drew me to the project was that it felt like a fantasy that wasn’t necessarily rooted in reality in a way that my other [films] were. I liked that it’s old-fashioned in its attempts to purely take you somewhere and wasn’t intended to hold up a mirror to our times—but then in the end that’s exactly what it’s doing. I’m curious myself, and I’m checking Letterboxd to see the reactions from people because I really couldn’t guess what it would have been like [now].

Are there any prescient details you’re proud of getting right? I’m so grateful and happy that Jack [O’Connell] is wearing his mask correctly. That’s the number one thing that I’m glad we got right. I think it was very smart of Mattson to focus the movie on [the relationship] rather than the details of this global pandemic. I feel the reason it’s not in bad taste is because it dealt with those things as a backdrop and instead focused on people just trying to remember what’s important and clinging onto those that they love.

Onto our own favorite memory aid, Letterboxd. How did you discover us and how did you manage without us? I’ve been on since 2013, so I’m probably one of the earliest people to jump on it. I love the interface and the diary, just aesthetically it was really fun. I’ve been keeping track of what I see with analog [methods] for as long as I can remember. I have diaries and planners so I logged all that old information. If I was running for president, my platform would be that everybody is required to use Letterboxd comprehensively, because I just love to know what everybody is watching all the time.

Do you talk about Letterboxd in the real world with the other filmmaking people? Yes, and I’m often trying to convince them to join. Other filmmakers are more concerned about having their opinions on peers be public knowledge than I am, I guess. I’ve made four films now and each one’s been bigger and more widely seen than the last. The very first one was a total no-budget affair that couldn’t get into any festivals and I was very excited when I finally got it into the Hamptons Film Festival. It was about half-full and one or two people came up to me afterwards and said they liked it. This was pre-Twitter so I spent the whole next day Googling to see if anybody had written anything. I was so curious to see what people thought and there was nothing—not a review, not a blog—just total emptiness.

When the next film got into Sundance, there were people tweeting their reactions and actual reviews and I read everything. People were asking if the bad reviews hurt me. Absolutely not—nothing can be worse than the radio silence of nobody caring about the first film. The fact that people care enough to sit and write about this movie—good or bad—is a win, and I’ve carried that onward. I like to see what people think, it can be helpful in how you view the film as a success or failure. You learn and move on.

Jack O’Connell at least remembers how to wear a mask in ‘Little Fish’.

Some filmmakers have told us they’re kinder to films after making their own, but you’re not shy at all about being critical. How did making your own films change your perspective as a critic? I don’t consider myself a critic so that’s why I’d be less concerned with someone reading what I thought. Why should they put any stock into what I think? If they get hung up on it then that’s their own stuff because I’m not a critic. Like everyone else on Letterboxd, I just love watching movies. Obviously I can appreciate and understand some of the technical aspects maybe moreso than people who don’t make films, but at the end of the day, rarely that’s the thing that makes you love a movie or not. There’s a great bit in Francis Ford Coppola’s commentary track for Finian’s Rainbow where Fred Astaire’s doing a dance number and [Coppola admits] he totally messed it up because Astaire’s feet aren’t fully in frame. He’s very honest about his mistakes because it’s one of his earliest movies. Then he goes on to say that he thinks there’s the same number of mistakes in Finian’s Rainbow as there are in The Godfather, it’s just that he made mistakes on the things that don’t matter for The Godfather. No film is perfect, but if it can latch onto this one magical aspect that connects you to it, that’s what makes you love it or not.

You had a project where you chart the best films made by directors at certain ages as you reached that age. Tell us more about it. That was a great project. I got the idea when I was 26. This was back when I had a Netflix DVD subscription and it was just hard for me to randomly choose DVDs to throw in the queue. I needed a system. I decided to watch movies from directors when they were my age and see if there’s some common denominator, something I can learn. At that point, there weren’t many, there were films like Boogie Nights and Fassbinder films. Not many people had made stuff when they were 26 or 27, so it was very feasible. Every year there were more movies and more directors to add to the list and it became time-consuming. I did it all the way up until I was 34 and the reason I stopped was because I had a son and there was no way I could continue this level of viewing output.

My favorite part of your account is the fact that you log every viewing of your own films. You know for a fact that you’ve watched Morris From America 26 times and Little Fish fifteen times. Why do you log them? What counts as a viewing? I’ve clearly watched those movies many more times in little chunks but I’ll only log it if we’re sitting down and watching it from beginning to end. I have a ticket to see Little Fish in the drive-in on Saturday, so it’s going to be logged again. Why do I do it? Like I said, I wish everyone was required to use Letterboxd comprehensively. That’s what it’s there for for me, an accurate log of what I watch. This is psychotic behavior but I’m tempted to have a Letterboxd account for my son. I’ll do his views for him once he starts watching movies until he’s old enough to take over. It’ll just be, like, Frozen a thousand times but he’s not old enough to watch anything yet, so we’ll see.

Have you discovered any films thanks to Letterboxd discourse that influenced your approach to filmmaking? For sure, I can’t maybe say specifically, but once I dropped the directors my own age system I didn’t replace it with nothing. I’m a Virgo and I have a little bit of OCD, so I have to have some system. I’ve replaced it with a new complicated system where I pull from different lists and that’s now my main source of how I choose a movie to watch. I have like ten or twelve different lists, each about a thousand movies with a lot of overlap. One of them is my own list of every movie I’ve seen in a theater and I’ll go and look through that and if it’s something I want to revisit. Recently I rewatched Twister, which I hadn’t seen in a long time and is an old favorite from when I was in high school.

I have a bunch of private lists I cycle through; every movie nominated for a Spirit Award, every movie that’s won an Oscar, every movie that’s played in competition at Cannes, the top 1,000 films at the box office. There’s another great website that I use as a biblical resource which is They Shoot Pictures, Don’t They? and their lists of acclaimed films for all-time and the 21st century. I hit those up often. Something that I watched purely because of the very high Letterboxd rating and really loved is Funeral Parade of Roses. I try to see as many movies as I can that have a 4.0 rating or higher.

You respect the Letterboxd consensus. I do, but I don’t always agree with it.

‘Little Fish’ director Chad Hartigan.

Which is your most underrated or overlooked movie according to Letterboxd? I can say I was the very first person to log a movie called Witness in the City, which is an Italian noir movie I watched when I was doing my ‘directors my own age’ series. Literally nobody had logged it, so my review was like “whoa, I can’t believe I’m the first person to log this!”. It was very exciting for me because it’s great, but I’m the OG logger of that movie.

From your list of every film you’ve seen in a theater since you were twelve, which was your most memorable experience? The cheap answer is that it’s hard to top my own movies. The Sundance premiere of Morris From America at the Eccles Theater is maybe the best, but if I’m disqualifying my own films, seeing Scream 3 in a very packed theater in Virginia Beach was really fun, really rowdy. There was a trailer for a Jean-Claude Van Damme movie and I remember the climax was Van Damme going “you lied to me!!!” and everyone laughed. Someone did a George Costanza move later during Scream 3 and yelled out “you lied to me!!!” and everybody laughed again—so that’s a high. That’s the thing I miss the most about movie theaters, and the worry I have if theaters go away, is that so much of how we feel about a movie can be tied to the experience; who we saw it with, what we did before or after, what the crowd was like, or if anything strange happened. There are a lot of movies I have strong memories and affection for because of the experience of seeing them and I probably wouldn’t feel the same way about if I just watched it at home on my laptop.

I typically like to cap interviews off with what filmmakers thought was the best film of the past year, but we have your data to hand. For you, it’s Garrett Bradley’s documentary Time. Can you talk a bit about what makes the film stand out for you? One thing I learned about myself from the pandemic is that the motivation and desire to see new things is very closely tied to the theater-going experience for me. Once that was taken away and you could watch a new movie at home, it joins the pile of all the other movies. The fact that it’s new doesn’t really do anything for me. Why would I press play on Da 5 Bloods when I still haven’t seen Malcolm X? I gotta see Malcolm X! There wasn’t an urgency, so I saw far fewer films than in an ordinary year. But Time I found incredibly moving and important. Similar to what I liked about the Little Fish script, it’s so hyper-focused on one relationship and within that one story it has so much to say about larger issues and the world at large. It was an emotional and rich viewing experience.

‘Little Fish’ is on demand and playing in select theaters now. Images courtesy of IFC Films.

#little fish #chad hartigan #life in film #film director #letterboxd #how i letterboxd #letterboxd member #letterboxd tips #olivia cook #jack o'connell #romance #romantic film #sci fi romance #pandemic movie #covid movie

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joealwyndaily · 4 years

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Joe Alwyn — Red Magazine (Jan 2020) interview

You’d think that a back-to-back Hollywood movie career and a megastar girlfriend might have changed Joe Alwyn, but he’s quick to assure Nathalie Whittle that his feet remain firmly on the ground.

“So you didn’t see the part where the aliens attack?” asks Joe Alwyn, a playful smirk on his face. He’s referring to his latest film, Harriet, which I had a sneak preview of the previous day, although the fire evacuation (false alarm) meant I missed the ending. The biographical drama tells the story of Harriet Tubman (played by Cynthia Erivo), the historic abolitionist who escaped slavery and led hundreds of others to freedom. Alwyn plays her insufferably cruel and capricious slave master Gideon Brodess. He is, of course, joking about the aliens. At least, I hope he is. Today, we’re tucked away in the corner of a dimly lit bar at London’s Covent Garden Hotel. It’s the sort of drizzly afternoon that might dampen the moods of most, but not Alwyn. He appears cheery and at ease, sporting country casuals: a grey mohair jumper, blue jeans, and brown boots along with an unkempt beard; perhaps an attempt to disguise the boyish good looks he’s become known for. He stops to interrupt me only once with a look of alarm: he’s forgotten to offer me something to eat or drink. I can have anything I want, he assures me.

At 28, Alwyn has had the sort of career trajectory that most aspiring actors wistfully dream about for years, even decades. His education included a degree in English literature and drama at the University of Bristol, followed by a BA in acting at London’s Royal Central School of Speech and Drama. But within two weeks of his graduate showcase, Alwyn received a life-changing phone call. He refers to it as the thing “I owe everything to.”

“I’d just signed with an agent and I was kind of pinching myself, you know, how surreal is that?” he says. “She sent me a portion of the script for a film, Billy Lynn’s Long Halftime Walk, that Ang Lee was directing. I’d grown up watching his films — Brokeback Mountain and Life of Pi — so I couldn’t believe I was even going to do a tape for someone like that. I got my dad to film me in a scene in my bedroom and some mates to film me during a lunch break. The next thing I know, Ang wants to meet me in New York.” Cue a series of auditions and screen tests that led to Alwyn bagging the title role in his first big-budget Hollywood film. He was just 24. “It was so much so fast that I didn’t really compute what was going on,” he concedes. “Before that I was just a poor student who barely understood how people got auditions, let alone landed jobs.” Did he have any jobs before that? I ask. “I did have this one job in London,” he says wryly. “Do you know that frozen yogurt place, Snog?” I’m struggling to picture Alwyn serving up frozen delights. He’s laughing now. Was it a good gig? “Exceptional!” More laughter follows. “I mean, I was paid some money! Then I worked in a menswear shop. I did what I could to make some extra cash.”

A far cry from a frozen-yogurt counter, doors started opening to bigger and better opportunities as soon as Billy Lynn hit cinemas. The next script Alwyn read was Yorgos Lanthimos’s The Favourite (released in 2019), in which he secured a small but riotous role as young baron Samuel Masham alongside acting greats Olivia Colman and Emma Stone. “Putting on giant wigs and running around in make-up and chasing Emma Stone through the forest — what more could you want?” he laughs. The film earned widespread critical acclaim, receiving seven BAFTAs and a record 10 British Independent Film awards.

Having further honed his craft in subsequent films Mary Queen of Scots and gay-conversion therapy drama Boy Erased, Alwyn is about to enter into unknown territory. This Christmas, he’ll play Bob Cratchit in his first-ever TV drama, BBC One’s A Christmas Carol; a “darker, twisted, less glossy” version of the Charles Dickens classic. He’s “feeling good about it,” but I’m curious as to how he’s approached this change of scenery. Was he not nervous? “Oh, very. I tried to watch other people. It’s the second time I’ve worked with Guy Pearce [who plays Scrooge] and I asked him a lot of stuff, which probably annoyed him. I watched the way he works and the questions he asked on set when he was approaching a scene.”

Two people who will definitely be watching Alwyn’s TV debut are his mother, a psychotherapist, and his father, a documentary-maker. “They’d better be watching!” he laughs. Born in London’s Tufnell Park, Alwyn recalls being given stacks of videos every birthday and “watching them to death, until the tapes burned up.” One of his favourites was The Mask of Zorro. In fact, he was so obsessed with it that he and his best friend took up fencing lessons at a local community centre in Crouch End, where, by chance, he was spotted by a local casting agent for the hit British romcom Love Actually. She asked him to audition for the role of Sam; he breaks into a wide smile when I ask what he remembers of it. “I didn’t know much about what the film was; I was most excited about the fact I got the day off school! But I remember being in a room with Richard Curtis and Hugh Grant reading scenes, many of which didn’t make it into the film. And I left the audition thinking, ‘I really recognize that guy from somewhere’.”

Alwyn didn’t get the part. Instead, he forgot about acting for a while, with the exception of summer holidays, where his parents would send him and his older brother off to “some drama camp as a way of preoccupying us.” He explains that when he later realized he wanted to act on a serious level, he kept it a secret. Was it because he was worried how his parents would react to a somewhat precarious career choice? “Well, it meant putting myself out there in a performative way, and that wasn’t necessarily something I did or was used to doing. It felt like it should be quite a ‘look at me’ job, and that wasn’t really how I felt growing up. I wasn’t a painfully introverted kid, but I wasn’t a particularly extroverted one, either. So maybe I was self-conscious about the idea of saying to people, ‘Look, I can do this’.”

He credits drama school with giving him “permission” to go for it. “Plus my parents were great about it. They’re both freelance themselves, so while they recognize the perils, they also couldn’t say to me, ‘We can follow what we want, but you can’t’. There wasn’t a boundary, which helped a lot.”

I wonder if it’s been difficult acclimatizing to the level of fame that’s come as result of his roles. “There have definitely been changes that have taken some getting used to, whether it’s sitting down and doing an interview or someone recognizing you,” he says. “There are things that have changed in my life, but I still very much feel like the same person. It probably helps that I’ve been hanging out with the same friends literally every day since I was 12 years old. Maybe it’s when those things change that people change, I don’t know.”

It’s fair to say that the level of interest in Alwyn has, in part, been heightened by the fact that, in his spare time he plays the role of Mr. Taylor Swift. The pair reportedly met in late 2016 and became in item shortly afterwards. I’ve been warned ahead of our meeting that Alwyn “doesn’t talk about that”, and he’s keen to justify his stance in person. “I feel like my private life is private and everyone is entitled to that.” he says. “I’ve read stories recently about people like Ben Stokes and Gareth Thomas, which are a gross invasion of their privacy and of their lives. It’s disgusting. That’s not journalism, that’s just invasive.”

It must be tough, I suggest, being in a relationship that is surrounded by so much scrutiny. “I just don’t read the headlines,” he says. “I really don’t, because I can guarantee 99% of them are made up. So I ignore it.” Recent rumours suggest the pair are engaged, and are owed in part to one of Swift’s latest songs, Lover (’My hearts been borrowed and yours has been blue. All’s well that ends well to end up with you’), as well as a piece of string tied around Swift’s finger in a Vogue cover shoot. According to die-hard fans, this means something. But to Alwyn, it’s clear it means nothing at all. Is he never tempted to respond to the mistruths, to shut them down? “No, because it’s just pointless,” he sighs. “It won’t change anything. I just don’t pay any attention. I have my life and it’s kind of separate to all that stuff.”

I’m curious as to how much time he gets to simply enjoy the success he’s experiencing. “There’s lots of time not working, I wish there was less in a way!” he laughs. “I go to the pub, play football, go to gigs, watch TV (he’s just finished season three of True Detective), pretty normal things. There’s no ‘secret life’. But ultimately, I worry about finding the next job; that’s the truth. In the midst of everything, there’s always that feeling of ‘I’m never going to work again’. It’s a cliche, but you can’t just sit there waiting for the phone to ring. You have to try and take control. You’re at the mercy of the things you seek out — the directors and the connections — so I try to be on top of that as I can and read what I’m sent and be discerning. I try to pick wisely and follow up on people and leads that I’m interested in.”

Is there an end point he wants to get to, where he’ll feel like he’s made it? “Things have certainly shifted in my twenties,” he says. “Success to me now is doing things that make me happy and that make me feel fulfilled, doing what I want to do and being on the right track. Not in terms of being on a results-based track, but just doing something I love.” He pauses and smiles. “That sounds a bit sentimental, doesn’t it?”

#joe alwyn #interview #red magazine #there's one paragraph i could do without but otherwise this is great

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Lady Liberty and The Captain / Part One

Pairing: Steve Rogers x Reader, Bucky Barnes x Reader (1940′s Brooklyn AU)

Summary: You are a rising young star and the newest breakout actress in Hollywood’s Golden Age! When war finally descends on the west, your reputation as America’s Sweetheart finds you cast in a promotional picture alongside Captain America himself.

Yet, he looks eerily familiar, like your Stevie from childhood…

Word count: 4.7k+

Warnings: fluff!!

A/N: hello, everyone!!!! I hope you’re staying home, warm, and safe during these crazy times. I’ve been snuggling with my doggie and continuing with my university’s online classes in my final semester..absolutely crazy how things are rn. I hope this new story can help brighten up your day just a little bit.

First of all, I just want to say thank you💖💛for all the love that old and new readers alike have shown this blog recently. I’ve been writing on this platform for a little less than a year and I never thought l’incendie would blow up as much as it has. You guys are amazing. I’m really excited and eager to share new pieces and hope you enjoy the content I have coming! Please don’t hesitate to pop in and say hi, or shoot me a message. I’ve really enjoyed connecting with readers and would love to know your thoughts on my fics, or just to talk about fandom stuff! Timmy included! PAHAHA

So, this chapter is gonna be a part of a mini-series for a 1940′s writing challenge and I’m using the prompt of wartime romance! This will probably be split into two or three parts and I will tag the host as soon as the last chapter goes up, I’ll most likely make a masterlist in the end as well. Reader has a name in this fic, but hopefully the choice of name will make sense later on :D

As always, feel free to drop a ask/message if you’d like a tag in the next update.

ENJOY!

THE NEW YORK TIMES

Film: ‘Apple of Discord’, Lola Swanson’s Dazzling Debut!

By NICHOLAS WATTS September 1, 1943

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The film drama from the original screenplay written and directed by Andrew Campbell opened to a roar of applause and acclaim at the Radio City Music Hall yesterday evening. Apple of Discord is a reimagining of the myth and Plato’s allegory, focusing on the tumultuous, profoundly elegant life of a young noblewoman during the Trojan wars.

The film’s frontrunner and leading lady is Hollywood newcomer, young and fresh-faced Lola Swanson. Swanson’s performance is so thoughtful, so unfaltering, so intelligent and controlled that it is hard to believe this is little Lola’s long awaited motion picture debut. And what a debut this is!

Starring opposite Hollywood veterans Sean Schultz, Kash Dennis, and Gracie Smith, this star-studded cast packs punches and sizzling chemistry and yet, Swanson does not fizzle out but confidently holds her own, demanding your attention in every scene, and rightfully so. Watching Swanson in this picture is watching a major actress in the making.

Born and raised in the heart of Hell’s Kitchen before moving to Brooklyn to pursue acting, some may recognize Lola from her daytime television roles in Insanity and Passion, It’s a Date! and as Jessica in Jessica Davis Returns.

Now we know these roles were preparing Swanson for the debut of the decade.

“APPLE OF DISCORD” is now showing at the Radio City Music Hall and Cinema 2. Tickets at 25 cents. Running time: 139 minutes.

★★★★☆

——

APPLE OF DISCORD, written and directed by Andrew Campbell; director of photography, Laszlo Kovacs; edited by John Wright; music by John Barry; released by Universal Pictures.

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The newspaper trembles hard between your fingers, threatening to tear its edges. Pulse pounding, ears ringing. You can’t stop smiling. You feel like crying.

You reread the words again and again, the words written by legendary film critic Nicholas Watts, the man you’ve only dreamed of making an impression on, that he’d someday see you in a picture. And here he’s written a glowing review of your major motion picture debut.

You erupt in a fit of giggles and screams, twirling around the small space of your apartment in a swirl of nightgown, pinned curls. A neighbor, Mr. Krisinski, you think, pounds on your wall to shut you up.

It’s still early morning and you had gone downstairs at first light to buy a paper from a newsboy. Outside your window, the streets of New York already yawn and bustle with morning commute. The movement of people, gleaming automobiles against the red brick buildings and muted gray of Manhattan. Warm sun washes over it all, your heart brimming and full, mirroring the glow of golden dawn.

You feel on top of the world. Maybe you’ll finally make it here.

Your phone rings. You rush over to the mint blue rotary telephone on your bedside table, snatch up the receiver before Mr. Krisinski can break down your door with all the racket you’re making.

“Hello?” You say into the mouthpiece, cradling it between your hands. You feel breathless, high strung and buzzing, like you’d just downed a whole case of Coca-Cola, whirring with the taste of sugar and success, bubbling with starpower. Maybe it’s Kash or Gracie calling to congratulate you. Hell, maybe even President Roosevelt.

“Lola! It’s me. Have you read the paper?” The cool voice of Peggy asks you through the receiver. You quietly laugh at your own fantastical expectations. Of course it’s Peggy. Punctual, collected Peggy.

Peggy Carter is your talent agent and manager at MGM. Peggy had snatched you up while you had been working as a background actress on Michael Curtiz’s Casablanca, so hopeful and beholden just to be in the presence of such respected artists, willing to stay the extra hours even after the other girls had gone home when realizing they wouldn’t be seen in the shot. It hadn’t been your first time on a hot set, you were used to the itchy costumes, long hours of endless waiting, and the empty stomachs, but no way you were going to miss a chance to see Ingrid Bergman and Madeleine LeBeau up close.

Back then, only a few years ago yet a lifetime away it seems, Peggy had been a casting assistant, seeing your dedication and marching right up to you between takes to hand you her card. On the back, written in smooth blue ink, a time the next morning for an audition at MGM Studios in downtown New York. Eight o'clock sharp.

You didn’t sleep at all that night after you wrapped.

She’s worked at getting you into audition rooms and meetings for years, pushing you onto writers, production assistants, riggers, directors. She had secured you an audition with Andrew Campbell after “accidentally” leaving your headshot in his mailroom and later calling his assistant with threats of stolen property. MGM’s new fresh face had been penciled in for a side read the following week.

Fierce, ingenious, and your own bright star, you’ve risen through the ranks and fought your way up with Peggy at your side.

“Yeah, Peg. I have it here in front of me. This is...absolutely nuts.”

“Not really, you were brilliant in the picture, darling. But it’s a comfort to know Watts has finally replaced that cotton in his brain with some sense.”

Another laugh from you, twirling the telephone cord around your finger.

“Let me have this one, Peg.”

“If you insist.”

You hear the rustling of newspaper from the other end. You can practically see Peggy sitting at her desk, perusing the paper over a morning cup of coffee, her hair curled, makeup and nails all scarlet red and perfect. The golden placard glittering on the frosted glass of the door.

Margaret Carter, Casting Director.

“I’m calling to tell you about an offer we received this morning from Paramount. I think you should take it.”

That rush of giddiness burns bright again in your veins, pulse skyrocketing.

“Paramount? Geez, what did they say?”

“They want you for a promotional picture that’s being produced by Senator Brandt. Brandt is hoping to boost the homefront’s war bond sales with a little starpower from you and from Captain America. You’ve seen his posters, haven’t you? That costumed bloke?”

You have. Plastered everywhere and looking like an absolute buffoon. Nice physique, though.

The disappointment that settles in your stomach is ugly and cold, like a fruitless pit, hard, rough, a sour taste in your mouth. It’s stupidly childish, yet your own expectations for your first movie, first box office hit, for that very first taste of the promised fame and fortune of success, begin to blink out. Expectations you’ve held on to since you were a little girl, since you realized this is the type of work you want to do for the rest of your life.

You’ve managed to impress Nicholas Watts, the most cynical film critic in all of Hollywood, and this is your big break? A Paramount picture featuring you and a tights-wearing mascot?

Peggy is practically asking you to star alongside Mickey Mouse.

“Is that all they offered?” You respond. You wince at the demanding, ungrateful tone. Afterall, showbiz has hardened you to go after what you want, to take and take because this lifestyle does not guarantee anything. You’re told no more than you are yes, the constant rejection having molded you into a diamond tough girl, glitzy and solid, unbreakable, beautiful.

But how many girls would kill to be in your place?

“The only sensible deal. They also offered you the role of Violet for It’s a Wonderful Life, and Ruthie in The Grapes of Wrath.”

“What?! Peggy, contract me for those instead!”

“Well, I’m not going to. And you listen well as to why.”

You twist your lips together. Peggy’s voice filters clipped and disapproving through the phone line, the way she always gets before she offers you damned good advice.

“Not just Watts is impressed with your work, Lola. You’re finally turning heads and for all good reasons. Anyone can get in front of a camera if they have the right look. But you’ve shown them that you have the look and the raw talent. Critics are saying you’re rivaling Judy Garland, darling. And you’re telling me you want the part of a lousy love interest? A secondary daughter? All because the pictures have big names behind them and people may go see it?

“No,” you mumble.

“No is right. You know better than anyone that people expect young stars to burn out fast so they can take their place. It’s all business. If I put you in for those roles, we’d be playing right into their hand. We’d use up all your potential in one summer. The public would get sick of seeing your face in every big picture. We have to earn their affection, darling. It’s slow and tame and not always glamorous, but this deal is smart.”

You listen, silently.

“Morale is low. War is when people turn to familiar pastimes and simple pleasures. To treat themselves, to take their minds off all the grizzly headlines. Captain America embodies all of that and more. If we take this, I promise you, Lola, that people will remember you as the girl who got them through the darkest times. This will do wonders for your career years down the line. And then, if you still want to play Violet, I’ll phone Frank Capra myself.”

You close your eyes and draw in a breath, a smile tugging at the corners of your mouth.

“Well, it looks like I don’t have much of a choice, do I?”

“Wonderful. I’ll phone Paramount now. We’ll be in touch.”

Growing up with poor Irish immigrants for parents, the rare moments you could afford to splurge on luxuries, you spent them at local cinemas and theaters with your brother. Any day was a good one when you and Samuel bought tickets for a noon screening, the cheapest showing of the day, scraping together pocket change to split a popcorn if you were feeling extra special.

And reclining in a nearly empty theater with refreshments and goodies between the two of you, you’d watch the silver screen with hope in your mouth and stars in your eyes. In here, it no longer mattered how little money you had, or the discrimination your family faced, or the war in Europe, or the meager apartment you’d go home to, lucky if the electricity and heating had been paid for. In here, nothing else mattered but the visual stories.

And you realized that you wanted to help tell them. You wanted to be in front of the cameras, to embody characters and personas and let audiences worldwide empathize and identify with your performances.

You’ve loved playing make-believe since you were a little girl, having never really grown out of it. You could do it, you think. Dangerous dreams, perhaps, but what child doesn’t hold this wish within them? To see their name in lights and to be admired and commended, but most of all, to provide for their family?

How hard could it be?

At sixteen, you land your first speaking role. It’s pathetic. You’re working on set as background, per usual, only this time, the director picks you out from the crowd and gives you the line of, “Good morning, sir.” You’re to look off camera as the actor playing Kent entered the scene and you would then say your line.

You’re stupidly excited. Three simple words. You’ll be uncredited, of course, but your face would finally be seen! With butterflies fluttering in your stomach, the scene resets, Kent takes his mark, the cameras roll, and you deliver.

The scene is cut from the final reel.

You pound the pavement. You scour newspapers and flyers for casting calls, you phone agencies and playhouses, you save up to get your picture taken on glossy photo paper. You keep looking. You keep working in background until you can land a steady role.

Then, you finally get one. A miniscule part of a friendly neighborhood girl on a TV drama for CBS. You only have mere minutes of screen time, but the checks that arrive in the mail from Columbia Broadcasting System after your first few episodes air say otherwise.

You open a savings account. You plant your paychecks and watch them grow into a comfortable sum of money. You land another guest starring role for a daytime soap, the secretary of the title character. Combined with your parents’ salaries from your mother’s sewing and your father’s work on the railroads, you become the main breadwinner.

You move your family out of Hell’s Kitchen, out of your cramped, dark apartment. You sign a new lease under your new stage name and move to Brooklyn together.

Brooklyn is slightly cleaner, but the familiar hustle and bustle, the noise of shopkeepers and dialects and children and cars is comforting, grounds you in your roots. When your CBS drama wraps months later with your last check in the mail and you’re looking for your next gig, your brother works odd jobs to help shoulder the burden. Brick laying, chimney sweeping, milk and mail delivering, Samuel becomes no stranger to any and all work, so long as it pays. You become a typist on the side as you wait for auditions and callbacks.

Samuel tells you his aspirations to be a poet, a writer. He hasn’t said a word to your parents, but he shows you the small bound notebook he carries with him, leafing through pages of prose and verse. You encourage him to submit his work to newspapers, publishers. He gives you a shy smile, says he’ll consider it as soon as you get your motion picture debut. You shake on it. Together, your already close bond of brother and sister grows stronger as you each work to support your art.

You’re waiting for Samuel to finish his shift so you can catch a late showing of His Girl Friday, a warm September day when you first meet Bucky Barnes down at the wharfs. He’s tall, lean, and glistening with sweat when he rounds out of the warehouse with an armful of crates and nearly knocks you off the pier.

“Hey, watch it!” he snaps. His eyes flash like the water around you, blue and cold and dangerous. Brown locks curl with perspiration against his forehead, the sleeves of his workshirt rolled up over his shoulders, the exposed skin of his throat and arms flushed and tan.

Embarrassed, you try to steady him, to which he growls in annoyance and spins out of your reach. He makes a great show of bearing the weight himself, grumbling as he sets down his load. You don’t miss the way the muscles in his back flex and dip. It isn’t until he slowly stands back up, wiping his palms on his khakis, that you get a good look at each other.

The hostility in his eyes softens ever so slightly, simmering into a look that cinches your chest tight when his gaze travels shamelessly up from your kitten heels to the curves of your lips and cheek. His breathing is still labored as he surveys you and you can feel heat and color blooming against your skin. When his eyes finally settle on your face, you can’t decide whether you want to slap or kiss him.

“You lost or something, honey?” He asks with a whisper of a smile. He strolls in a lazy half-circle in front of you and moves to go back up the ramp to the warehouse. Then, he pauses and turns back to you.

“Have we met before? I swear I recognize you from somewhere.”

This delights you deliciously, that a handsome young man you’ve met by chance has seen your work. Not glamorous, acclaimed roles by any means, but recognition nonetheless. You bite the inside of your lip to suppress your smile and give him a coy, bashful flutter of your eyelashes.

“If that were the case, I’m sure I’d remember you.”

He grins wolfishly, pleased, and takes a step closer. “Yeah? Think you’ll let me take you out for dinner tonight?”

“She’s got plans with me, Buck.” Samuel’s voice carries across the water. Your brother emerges with wooden boxes and sets them between you and Bucky in a huff, as if he’s implementing a physical barrier, both childish and endearing. Bucky glances at you and Samuel.

“Are you two..?”

“Steady? No. She’s my sister.”

Bucky snorts and his eyes find you again, glittering in the evening light. “You never told me you had a sister, Sammy. And such a looker too..”

“Makes you wonder why I never brought her up,” retorts Samuel and gives him a playful shove, traps him briefly in a headlock. “At least Steve wouldn’t ogle.”

“Stevie would get a nose bleed and pass out.” You hear Bucky grunt back. Samuel moves as if to dump him into the drink and Bucky pinwheels, scrambling. “I’m sorry! I didn’t mean it!”

Satisfied, Samuel releases him and socks him in the shoulder for good measure. Bucky stumbles, looking boyish and smooth despite his shirt and hair all disheveled.

You’ve seen his type in casting offices all across New York; bold, alluring, and charismatic. It’s a look and type you’ve longed to act opposite of someday, as all young starlets dream of, but a look that simultaneously sparks the feminine temptation that shivers between your breasts. You wonder if Bucky would look the same in a dark bedroom, with him on top of you and your fingers running over his back…

Bucky grins toothily when he catches you staring and shoots you a wink. None of those movie star hopefuls hold a candle now to his rugged, spirited charm.

Samuel guides you back up the pier so he can punch out his time card and the two of you can be on your way. And as you’re about to set foot on solid ground, you hear Bucky call out to you.

“What’s your name, honey?”

Samuel sighs and shakes his head. “Cripes.” He mutters to himself. Before Samuel can stop you, you laugh and turn back to the water with a fresh and girlish aire, warmth and excitement whispering through your veins, young and naive and sixteen.

“Dolores!” You give him your full name, your real name. For once, you don’t want to be Lola Sparks. You want to be your natural, honest self, the girl who deserves young love and joy and an untroubled adolescence. The sound of your voice rings clear and strong, the diva that you are, and Bucky’s mouth curves upwards.

“See you ‘round, Dot.”

Much to Samuel’s displeasure, you tail your big brother around the docks like a lost pup whenever you have time. And being a C-list actress and a part-time typist, you have plenty of it. You loiter with the excuse of bringing sack lunches, waiting on Samuel and Bucky at the edge of the warehouses. It’s lonesome and bores you to no end being all by yourself, until one afternoon when someone is already waiting at your spot by the pier.

Small, skinny as his own shadow with a fringe of blonde hair, he leans hunkered and folded within himself, timid and seemingly conscious of how he occupies space. His jacket droops over his shoulders, eyes downcast even as you approach. He has a sketchbook in his hands, concentrated as the pencil moves across the page in fast, gentle strokes. You see an impressive likeness of the piers and Bucky’s distant figure in charcoaled lines.

“That’s really something.” You say.

He jolts so hard the paper tears and he crumples it into his fist in a single motion. “Huh?” he answers. When he looks to you, you realize his eyes are a pretty shade of teal. He flushes, petrified, the tips of his ears coloring pink. You feel horrible when he goes to pocket the ball of paper.

“I’m so sorry for scaring you,” you breathe. Gently, you offer your palm to him. “If you’re not keeping it, do you mind if I have it?” You ask softly. A few seconds pass and he shakes his head before placing it in your hand. You unfurl the paper, carefully smooth it out as he watches you from the corner of his eye.

Shyness is a barrier of art you’ve known all too well, from your own experiences in audition rooms to your brother’s reluctance to find a publisher, you understand that sting of insecurity better than anyone. So, you let him watch you as you admire his work, let him know of his talent and let your actions speak for you. You smile and slip the drawing into your purse.

Then, his stomach grumbles audibly, almost comically loud. He folds his arms around his stomach, so tight you’re afraid he’ll snap in half. You quickly reach into one of your paper bags and hand him a sandwich wrapped in cellophane and a can of lemonade.

“Here, let’s trade.”

“That’s awfully kind of you, but I can’t accept..” he starts. The timbre of his voice is surprisingly gallant and sure, pleasant, sweet. You have a gut feeling that the world has been taking advantage of that kindness his whole life, scaring him away from genuine compassion, that everything must have a catch. It makes you press harder.

“I insist. Please. It’s the least I can do for sneaking up on you.” He eyes you warily and again that feeling of regret washes over you. “Consider it payment.” You smile.

Finally, he takes Samuel’s lunch from you and unwraps the sandwich. He eats quickly and quietly, draining the lemonade only minutes later. Perhaps it’s his bony statue, but you feel happy to see this stranger eat.

When he’s finished, he wipes his mouth and turns to you. His lips, pretty, pink, part as if about to speak, yet no words leave him. Instead, he stands frozen with that transfixing blue-green gaze keeping you still, lingering.

That is until a stream of brilliant scarlet red dribbles down his chin and splatters onto his dress shirt. He pinches his nose, doubling forward and his flustered complexion matching the blood spilling from his nostrils.

“You must be Steve,” You laugh lightly and quickly hand him your handkerchief of cream yellow lace and embroidered flowers. You help steady him as he keeps his head tilted down. “Bucky’s told me all about you.”

Steve groans and presses the handkerchief to his face, blushing all the way down to his neck.

Steve returns your handkerchief days later with an embarrassed hush, carefully cleaned and laundered. It smells of lavender and clean linen and the image of him working the fabric between his thin fingers with soap and suds warms your heart.

You tell him it’s his. He blooms and keeps it neatly folded in his breast pocket.

You and Steve quickly grow close in the hours you spend together waiting on Bucky and Samuel. You pack extra lunches for him and sit by the piers chatting, skipping stones as Steve sketches the Brooklyn skyline day in and day out.

“Draw me!” you tease. “Isn’t that the request that all artists want to hear?”

But surprisingly, he does. He always draws you and Bucky and Samuel with striking, intimate familiarity. His sketchbook gradually fills with portraits and pictures of you, sketches that could put your very headshot to shame.

After their usual shifts, the four of you head to the drugstore for your ritual of sodas and sundaes. Two pairs, brother and sister and brothers by blood enjoying a rare wartime treat. With the rations on sugar, it’s a special and memorable circumstance just to be together and sharing something sweet.

It’s there, at your corner booth in Wolfe’s Pharmacy over ice cream, that Bucky opens up a paper for that night’s television network schedule and sees your name.

His eyebrows shoot up. “Dot,” he says. “What do others call you?”

Defeated, you twist your lips, hesitant to break the short spell of normalcy you’ve had with your new friends. Samuel sips at his Coke with a silent grin.

Time for the truth to come out.

“Well, ‘doll’, by Stevie,” you giggle and toe Steve’s foot under the table. Steve shyly shrinks back into his seat. “But CBS calls me Lola.”

Bucky’s jaw drops.

“Get out of here. You’re pulling my leg..”

“I absolutely am not.”

“Sammy, tell me she’s pulling my leg.”

“She’s not.”

Two pairs of brilliant blue eyes dart between you and your brother. Bucky’s face breaks into an open smile, laughing. Steve lurches forward.

“Have you ever met anyone famous?” Steve prods with a hint of that honest, innocent charm.

You wrinkle your nose sheepishly. “Mason Cook?”

“Who?” Bucky asks around a mouthful of sundae.

“Exactly.” Samuel snorts.

“Well, I’m sure he’s very talented.” Says Steve.

You swipe his maraschino cherry and let the stem dangle between your lips. “At least Stevie believes in me.”

“Dot, honey. I saw your pilot episode. If anyone’s a fan, it’s me.” Bucky feigns hurt, hand to his chest.

You stick out your bottom lip before sucking in the stem, working it into a tight knot in your mouth. “Are you still gonna be when your girl is signing autographs with John Wayne?”

You place the knotted stem on your napkin. Bucky nearly chokes.

“I better be.”

Samuel coughs. Steve giggles.

You thank your stars that your secret doesn’t change anything between Steve and Bucky. They treat you just the same; as Samuel’s baby sister who tags along with the boys. The teasing, the fleeting looks all unchanging.

Girls, you’ve unfortunately realized, are catty and mean. You’re competing for roles, after all. But with Bucky and Steve, your first taste of homecoming since moving to Brooklyn, you don’t have to worry about silly competition, or fame, or being the best in the room. They keep you level-headed, reminding you of your girlhood and life’s simple pleasures.

Bucky drives you and Steve around town in the company truck on weekends. Hopscotch and jacks on brick roads and warm nights, watching sunsets until the sky blushes peach and mango yellow at Coney Island.

A Saturday afternoon on Rockaway Beach, a vacation for you all after a draining week of work and auditions when Bucky promises to win you a stuffed bear when he sees you eyeing the one on careful display.

“Buck..Bucky, give it a rest, we can try the next one.” Steve chides.

Another plastic ring pings off the neck of a glass bottle. Bucky curses, rings his hands together and slaps another dollar onto the counter.

You and Steve trade looks. Bucky’s been at it for ten minutes. At this rate, you know you’ll be walking on the train tracks home tonight.

So, you and Steve huddle close and cheer him on. Do it for our doll! says Steve. Finish it so you’ll stop wasting money, you dolt! you cry. Hell, even the vendor finds it humorous and joins in.

And when Bucky wins that grand prize and you’re handed a teddy bear as big as Stevie, you hoist it on your back, careful to not let it touch gravel or dust as the three of you walk in line with the train tracks later that evening.

Paradise, a sheltered haven from the broken landscapes and realities that the European newsreels broadcast home in grim black and white.

True to Bucky’s word, they become your biggest supporters, helping you run lines and monologues and accompanying you to auditions. Bucky’s not bad for a scene partner, and Steve’s awareness of emotion and character motivation is impressive.

The attention you receive from casting directors and auditionees doesn’t hurt your chances either, lanky Steve and smoldering Bucky wishing you luck before stepping into the green room.

You book a drama. Then, a short film. Then another. You call them your lucky charms.

And when your humble little short film “premiers” at the corner cinema, squeezed in between an empty noon showing of a cartoon rerun, Steve and Bucky whoop and holler when your character is shown on screen. They throw popcorn and gumdrops, jostle you by the shoulders. Bucky even runs down the aisle and mimes kissing the projector screen.

“That’s our girl! That’s our Dot!”

The usher threatens to throw you out. Steve tells him you’ve paid good money for your tickets and you’ll stay and watch as long as you please.

The following week, you’re scouted by Peggy Carter.

Your world, your career will never be the same.

#steve rogers x reader #bucky barnes x reader #steve rogers x female reader #steve rogers x you #bucky barnes x female reader #bucky barnes x you #captain america x reader #captain america x female reader #captain america x you #winter soldier x reader #winter soldier x female reader #winter soldier x you #steve rogers fanfiction #bucky barnes fanfiction #steve rogers imagine #bucky barnes imagine

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dipulb3 · 3 years

Text

Analysis: White guilt, apologies and why Hollywood is a cauldron of race issues at the moment

New Post has been published on https://appradab.com/analysis-white-guilt-apologies-and-why-hollywood-is-a-cauldron-of-race-issues-at-the-moment/

Analysis: White guilt, apologies and why Hollywood is a cauldron of race issues at the moment

Despite complaints about “cancel culture” and racist insistence that people who talk about these important issues are “playing the race card,” Hollywood can’t seem to get away from conversations about race and diversity.

And while hopefully those discussions can lead to progress, lately they have led to controversy for some.

Osbourne said she didn’t necessarily agree with Morgan’s comments, but defended his right to make them. She herself was accused of being less than respectful when she berated Underwood for appearing to get emotional and insisted that if anyone should be crying over the conversation, it should be Osbourne herself.

Her perceived “victimhood” not only didn’t go over well, but the incident led to both an apology from Osbourne and an investigation by CBS into happenings on the set of “The Talk.”

Chris Harrison: “The Bachelor” franchise and its issues with race have long been discussed.

From its lack of diversity to last year’s outrage over “Bachelorette” star Hannah Brown using a racial epithet while jamming to a song, it’s safe to say the reality show has generated some headlines on matters of race.

But things came to a head this season after the casting of the first Black “Bachelor,” Matt James.

Longtime franchise host Chris Harrison has had to step aside from his duties after controversial comments he made during an interview with Rachel Lindsay, the first Black “Bachelorette,” who has been working for the TV show “Extra.”

During the chat, Harrison appeared to defend contestant Rachael Kirkconnell for being photographed at an antebellum plantation-themed fraternity formal event in 2018.

Harrison apologized, and James ended up giving Kirkconnell the final rose but then broke up with her over the controversy.

Billie Eilish: This instance was not so much an apology aired but rather yet another time a White artist has felt compelled to acknowledge a Black artist when an institution — in this case, the Grammys — did not.

Last Sunday, Eilish took home the final award of the evening, the prestigious record of the year, and used her acceptance speech to explain why rapper Megan Thee Stallion, one of her fellow nominees, really deserved it.

“You are so beautiful, you are so talented,” Eilish said. “I root for you always. You deserve it, honestly.”

If the moment felt familiar, it was because we had seen it happen before.

Adele tearfully gushed about Beyoncé’s “Lemonade” album deserving to win album of the year in 2017, instead of her album “25.”

Three years before, White rapper Macklemore apologized to rapper Kendrick Lamar for winning rap album of the year instead of the Black artist.

Race and identity politics can be complicated, but what’s not hard to understand is that these incidents happen because disparities and a far-from-level playing field absolutely exist in this world and in Hollywood.

Until that changes, someone is going to end up feeling sorry for it, or at the very least need to acknowledge it publicly.

For your weekend

Three things to watch:

‘Zack Snyder’s Justice League’

Calling all superhero geeks.

The time is now to finally see how the Justice League film fared in the hands of Zack Snyder, thanks to the release of this extended director’s cut. Joss Whedon had stepped in to complete the 2017 film after Snyder left the project due to personal tragedy.

“The result of this fresh take, strictly from a creative and filmmaking standpoint, is fascinating: How did two different directors — Whedon, who birthed the ‘Avengers’ franchise on screen; and Snyder, who tackled adapting the famously unadaptable ‘Watchmen’ — approach the same material?” is how my Appradab colleague Brian Lowry described the project.

The movie premieres Thursday on HBO Max (which is owned by Appradab’s parent company).

‘Operation Varsity Blues: The College Admissions Scandal’

Ripped from the headlines, as they say, this film uses re-enactments to tell the story of the college admissions scandal that landed several wealthy parents — including celebs Lori Loughlin and Felicity Huffman — in legal trouble.

The story dominated the news for months, and now you can relive it all by heading over to Netflix, where it’s currently streaming.

‘Minari’

Now that the Oscar nominations are out, you may want to check out some of the nominees.

“Minari” is up for six categories, including best picture. The drama draws on director Lee Issac Chung’s childhood to tell the tale of a Korean American family trying to survive in rural Arkansas in the 1980s.

The film is currently available to stream on several services including Apple TV and Amazon Prime.

Two things to listen to:

Justin Bieber recently told Billboard there is a message behind his new music.

“I just want to be somebody who can say, ‘Look, I did some things that I’m not too proud of, but I took a look in the mirror and decided to make some changes, and you can too,” he told the publication. “There was a time where I really did have my identity wrapped up in my career, but I really do have an overflow of feeling like my purpose is to use my music to inspire.”

His sixth studio album, “Justice,” drops Friday and is Bieber’s second album release in 13 months. (“Changes” came out on Valentine’s Day 2020.)

With marriage to model Hailey Bieber and more private time — thanks to quarantining and no cellphone to limit who can get a hold of him — the now 27-year-old former teen idol appears to be at a new stage in his life and career.

Last year, Lana Del Rey announced she would be delaying her new album, “Chemtrails Over the Country Club,” for a few months.

Now, we get to see if it was worth the wait.

The studio album from the singer is the much-anticipated follow-up to her critically acclaimed 2019 collection, “Norman F**king Rockwell,” and expectations are high that she will continue to deliver her special brand of artistry when it drops Friday.

One thing to talk about:

It’s not breaking news that award shows and their voters appear to be out of step with the general public.

But this year’s best supporting actor category for the Oscars is even more confounding.

That’s because the two stars of “Judas and the Black Messiah,” Lakeith Stanfield and Daniel Kaluuya, are both nominated in the category.

Which begs the question: “Which one is the actual star of the film if neither scored a best actor nod?”

I reached out to the Academy about this and a rep declined to comment. So we’ll just have to be content with the fact that the two won’t have to compete with the late Chadwick Boseman, a best actor nominee who is favored by many for what is believed to be his final on-screen performance in “Ma Rainey’s Black Bottom.”

Something to sip on

Looking for something to watch? We asked some of our friends around Appradab what they binge-watch to decompress.

Fredricka Whitfield, Appradab Newsroom anchor

Not at all uplifting, nor did they help me decompress, yet I indulged in “Killing Eve,” “The Undoing” and some “Lovecraft Country.”

Michael Smerconish, Smerconish anchor

“Call My Agent!” Who’d have thought I’d get hooked on a French TV show with subtitles — but I love it.

Kate Bolduan, At This Hour anchor

How can I limit it to just one?! Now, a year into Covid, here are some of the favorites that have gotten me through — “The Queen’s Gambit,” “Succession,” “Billions,” “The Spy,” “Kids Baking Championship (seasons 1-9),” “The Men Who Built America” and “The Mandalorian.”

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bigamcthyst · 4 years

Video

TASK 001:

FLAUNT Magazine sits down w/ Amethyst Pryce!

Amethyst is struggling to hear over a blow dryer. We’re in a small photography studio in at PRYCE Production Studios and the 26-year-old beauty is honing her look before the shoot. Everyone was a little late (traffic), but now the space is humming with garment hangers sliding across clothes racks and paper grocery bags shuffling snacks to their designated areas. Amethyst is seated in a sweatshirt, juggling two stylists preparing her for a shoot, interview questions, and FaceTime calls from a teenage sneaker broker and influencer. Last night she was battling with her event planner trying to iron out details for her upcoming event for the famed PRYCE Productions, and she’s preparing for a huge roll out to reintroduce the company to this generation. But despite this dizzying to-do list, the Bay Area native is relaxed, almost unbothered. It’s just another day in Amethyst’s world. Her brother Akeem Pryce is nearby, keeping her sane by forcing her into rap cyphers with him. This puts a lot into perspective but the question still remains: who is Amethyst Pryce?

Interviewer: For those who don’t know, tell us a little about who you are.

A: I’m the daughter of Allen Pryce, one of the most critically acclaimed producer/directors in the movie and TV industry. My brother, Akeem and I are the heirs to PRYCE Production.

Interviewer: That’s a crazy world to be apart of, dating must be crazy? Do you find it harder to date?

A: Well I think I make it hard, I don’t allow myself to make one person a priority.

Interviewer: Now you said ‘person’, does that mean you aren’t totally hetero?

A: Amethyst smirks, before giving a simple head nod. Women are nice to look at, can you blame me? Don’t get me wrong I love men, but it’s something about loving a woman that just... I can’t explain it.

Interviewer: So in your own words, what do you identify as?

A: I’m bisexual, gender wise I am female and I use she/her.

Interviewer: So earlier you mentioned that you were an heir, let’s expand on that and your role at PRYCE Productions.

A: Sure, I have taken on the role as Producer/Screenwriter. I’ve pretty much been a writer my whole life. I’ve always loved having writing as an outlet especailly with everything I’ve been through. The producer role was introduced to me by my father, who got me the opportunity to intern for Quentin Tarantino.

Interviewer: Wait, THE Quentin Taratino?

A: Yes, Mr. Pulp Fiction himself.

Interviewer: I have to admit, that’s pretty impressive. How did he introduce you guys and did you even know how big of deal that was at the time?

A: The day of my 17th birthday, and it was the summer, July 7th. Cancer gang baby! So I was old enough to know like who he was and what that opportunity would mean for me. I just remember my Dad calling me into his office and there he was. Quentin Tarantino in a tie dye shirt. And the rest was history.

Interviewer: So I’m sure you gained a lot knowledge and experience from both him and your father. Are you afraid of letting them down? That’s a lot of pressure for someone who isn’t even in their 30s yet. Do you have any fears at all?

A: I can’t lie and say I don’t feel any pressure but pressure makes diamonds and I’m already a gem. I think I’m just afraid to not accomplish everything I want to professionally and personally before I die.

Interviewer: So, what are your aspirations:

A: I want to make my first million dollars from a film or TV show that I wrote and produced by myself, no Daddy involved. I got all this old money, I wanna be able to say I got some of it on my own. I want to find love someday and have a big ass family. I really want to have a house in the Philippines as well. A big ass crib.

Interviewer: Most of your goals seem pretty family-oriented, which is surprising because you’re very driven and flashy. Some could mistake you for boujie, especially with your upbringing. What do you have to say about that?

A: I get that assumption a lot. Crazy thing is, I’m only so ‘flashy’ because of my mother. I remember watching her get decked out in the flyest shit to go to galas and movie premieres with my father. She was an amazing host and always had us looking fly whenever she hosted parties. I get my sense of style from her. She was everything. I’m not boujie though, maybe a lil girly but hey.

Interviewer: Some people may be familiar with the tragic loss of your mother, but to some this is all new information so if it’s alright, can you talk a bit about that?

A: My mother was diagnosed with stage 3 brain cancer, the proper term is Glioma. My brother and I didn’t know because she begged my father not to tell us. So we basically went on about life like nothing was wrong. Eventually her condition worsened and she ended up in intensive care in the hospital, soon after that she was gone.

Interviewer: That must have been tough, I couldn’t imagine dealing with something like that. I’m so sorry for your loss.

A: Thank you but I didn’t lose her, I gained an angel. I talk to my mom every chance I get. On days I feel like I can’t get through, I just feel her presence and her love. It’s funny because even in the afterlife, she remains the glue of our family.

Interviewer: That’s a beautiful way to look at it, you have this strength about you that just glows. How are you not married yet?

A: Shit, you tell me honey? If you let my best friend Ashtyn tell it, I’m a grandma and a prude.

Interviewer: Are you really?

A: Hello no, but she thinks I work too much and don’t make enough time to play. And she’s not wrong, but I just feel like if you like me then you should be fightin’ for my attention. Chase me and I’ll love you forvever. A girl likes to feel appreciated.

Interviewer: Well, you heard it here first ladies and gentlemen, if you want a chance with Amethyst you’re gonna have to come correct.

A: Period! Nah but I just want some romance, like 4 page letter, getting caught in the rain kinda romance.

Interviewer: Well since we’re on the topic, what are your likes and dislikes?

A: I like wings and I love sushi. I dislike waiting and I hate repeating myself.

Interviewer: So impatient and greedy? Got it.

A: Oh, wow. I can’t say you’re wrong.

Interviewer: If you had to describe your social media presence, what would you say?

A: My twitter is a bunch of inside jokes and me rambling at 3 A.M. Snapchat was originally just for my close friends but I’ve opened it up for my fans so I can take them through my work days at PRYCE Production studios and just my work days and trips in general. My instagram is my favorite app to use because I get to showcase my style. I love to put looks together. I’m the type of girl to beat my face and get dressed just to go get a snack from the kitchen.

Interviewer: Now take us through your phone, what’s going on there?

A: I have three phones. One is a business phone, for all holllywood friends, contacts and connections. One phone is kinda like a business phone but I use it to stay in contact with staff at PRYCE Production studios. And the last one, of course, is a personal phone for friends, family and a boo thang when I get one.

Interviewer: Okay, I love to end interviews with this question becasuse the answer says a lot more about you than anything else will. What is your music taste like?

A: Oh that’s a hard one. I really love all genres. I can go from Biggie to Mary J. Blige, to Old Dominion, to Elton John, to Queen to Frank Ocean, to Juvenile, to Too Short... It all depends on the mood I’m in or the mindset I need to be in at that moment.

Interviewer: I think that is officially one of my favorite answers. Amethyst, thank you for sitting down with me today. I can’t what to see what you do with PRYCE Productions

A: Thank you, it was a pleasure being here with you, truly. This was fun.

#🄿🅁🅈🄲🄴 — tasks.

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sarkywoman · 4 years

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I was tagged by @unrememberedskies! Answer 10, ask 10, tag 10 people. Except I’m just gonna answer 10.

1. What was your first fandom? Are you still a part of it?

Depends. Buffy the Vampire Slayer was the first time I engaged with other fans consuming fan content and making my own. That was back when I was about 14. The school librarian thought I was so studious lol, on those computers all the time... alas, I was looking at webrings about Spike and Xander. One could make a case for Red Dwarf, which I loved my whole life, owned merchandise and VHS tapes of the blooper reels and watched every ep, memorised the scripts etc, but I think of fandom as something creative/interpretive, which I never did with RD. I wouldn’t say I’m still part of either fandom, though I never stopped being a fan.

2. Current self care method(s)?

Uhh, I do to-do lists. Start of the year I set some goals like I was in an MMO: dailies, weeklies, monthlys, an annual goal and the lifetime love: writing. I try and strike off four things a day, changing up what those things are every once in a while to tackle new issues. I suffer hard with depression and doing something makes me feel I’m not totally failing at life.

3. What are three (3) shows you keep meaning to binge watch but haven’t yet?

I have an A4 page with three columns of show titles to watch... ;_; I have zero attention span for new shows lol, I literally have to put ‘watch TV’ on my to-do list or I won’t do it.

4. Do you stay active in fandoms after a new one catches your eye, or are you more a one at a time person?

Oh, I try. Lord how I try. But no, I move on. Someone actually once posted a fandom secret on LJ about how they hoped my new fixation would crash and burn so I’d go back to writing for my old fandom. I took it as a compliment XD

5. What was the last movie you saw with someone else? What would you rate it?

I think it was Birds of Prey? I enjoyed it, then actually enjoyed it more on the rewatch, once I knew what was going to happen and could look at the themes and appreciate the way they’ve written Harley without being at the edge of my seat growling “WHERE IS HUNTRESS SHE IS WHY I’M HERE?!?!”

6. Favorite guilty pleasure?

Um, I dunno. There are a few people who try to make me feel bad for liking things that they deem ‘childish’ but I figure I’ll just keep making it clear they can fuck right off. I only get one life and it’s not turning out great, if I want to read comics and play computer games in between trying to get tedious adult shit sorted out, then I will.

7. What’s a highly underrated show/movie/book series that you would recommend?

Show: Dirk Gently’s Holistic Detective Agency. Specifically season one, which was just so damn weird and wonderful and had Samuel Barnett acting his socks off as an adorable sunshine man while telling an unusual story about not being perfect but making the effort to be better. Season two was okay, but didn’t thrill me in quite the same way.

Movie: This won awards and has been critically acclaimed so probably doesn’t count, but I see a lot on tumblr about how Joker sucked or was problematic or whatever. As a neurodivergent person in a few ways, that film blew my fucking socks off. I cried. I went to see it four times. He gets seen, but only once he’s beyond saving.

Book: Terry Pratchett’s Discworld is the only fantasy I’ve ever felt worth reading. Again, I struggle to determine what’s ‘underrated’, the question probably wants something obscure, but I’m not hipster enough for that XD So I qualify this as if anyone hasn’t read Discworld novels, they’re being unfairly underrated because everyone should read them. I like the night watch ones best and I’m gutted they’re making a show inspired by them that will look nothing like them and carry nothing of the themes and fun.

8. Any new hobbies you’ve started during quarantine? Any you want to start?

I’m still working :/ Other than that, keeping up with my usual. Writing, studying very basic Law, gaming, tidying/cleaning. This week I’ve cracked out my old roleplay books and started generating UA character templates for fun. Oh, I vaguely started studying Latin too. I read Great Expectations, which was kind of dull. Now I’m reading a book about Nuclear War propaganda in the UK.

9. What meme do you wish would just die already?

Tiger King ones because I haven’t seen it and I’m out of the loop XD

10. Spread the love to your followers and post at least one link to a fic you’re reading/have read/wish to read/you’ve written yourself/etc.

I don’t read nearly enough these days but All That I have to Lose by @unrememberedskies is a delightful piece of Kliego angst, @spikeymarshmallows recently wrote an OD Kliego bit called a steady beep that’s a bit of angst set in her otherwise-mostly-peaceful/sexy museum ‘verse. Now that netflix is showing Community again let me tell you that @freshgratednutmeg wrote me whore!Jeff once, Transactional Methods and Theories. As for my own fic, it’s on my AO3 here. (My highest kudos work is an utterly self-indulgent vampire Game of Thrones AU called ‘Noble Blood’, go figure, but my writing improves as time goes on. If you’re into Borderlands, I’m still very proud of my Rhack fic, ‘Young God’.)

Tagging: Anyone who wants to do it!

#long post

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frankics · 4 years

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hello all you lovely lovely people ! thanks again for applying to this rp, you have NO idea how excited i am to get this going. i’m lily, i’m newly 20, in the est timezone and my pronouns are she/her. i love trash tv, my puppies, and the collected works of the greatest band in history (one direction). this is my trash daughter frankie, she truly belongs in the garbage but i love her so much. below the cut is my long ass intro for her, i forgive you if you don’t read it all because looking at it now i wouldn’t want to either ! anyway, if you’re interested in plotting with me and frankie, hmu on discord and you can check this blog for some connections i would love to see !

( alisha boe, cisfemale, she/her, MUSE E ) — oh my god, i totally just saw FRANCESCA ARCHER walking through greenwich village! you know, she plays SKYLAR ELLIS on that new netflix show, the village? i can’t believe they’re already famous at TWENTY-ONE. i’ve watched all of their interviews, and they totally come off as IMPERTINENT and RECKLESS, but they can also be ROMANTIC and WITTY. based on their social media, i’d describe FRANKIE like ( worn out black high-tops, mischievous smiles, nails painted different colors, peach vodka, swimming in an ocean during a storm ) — totally makes sense that people call them THE SPITFIRE.

important links: bio. statistics. filmography. muse posts. social media.

warning: death tw on the 5th bullet point!!

the frankie archer story begins in 1996, when her mother yasmiin moves from her home of somalia to brooklyn to pursue an art career. she moved into a tiny apartment halfway across the world, knowing nothing and no one, looking for inspiration. she found it in the form of lorenzo archer, her next door neighbor. they dated for two years, but neither family approved of the other as a match: yasmiin’s family wanted her to return to somalia, and lorenzo’s roman catholic family were not pleased about their son selecting a non-catholic woman. but lorenzo and yasmiin didn’t care, and got married at new york city hall with the court appointed witness. two weeks later, yasmiin was pregnant with frankie.

francesca simone archer was born on june 9, 1999. she is a gemini sun, a scorpio moon, and an aries rising. she was named francesca for her grandmother on the paternal side, and simone after nina simone, the singer that was playing on lorenzo’s record player when they first met. her two siblings, nala archer and zahi archer, were born in 2001 and 2003 respectively.

her childhood is generally quite happy. lorenzo and yasmiin were born to be parents and they love frankie, nala, and zahi endlessly, the type of supportive love that makes children thrive. frankie possesses a natural wit and excels academically, nala is the star athlete, and zahi is a wizard with watercolor. frankie loves the movies and decides she wants to be an actress when she grows up, so lorenzo and yasmiin enroll her in acting classes and improv camps. things chug along in the archer family beautifully.

that is, until frankie gets a high school scholarship to packer collegiate institute, located in the affluent neighborhood of brooklyn heights. she takes it, of course, with her parents’ full support. but she is nothing like anyone else who attends packer, and for a 14 year old who wants to blend in, that is the worst possible thing. she is suddenly, painfully aware of her worn-out clothes, her used books, her strange mother with paint stains on her bleached out jeans. frankie lashes out, screaming and storming off and slamming doors. she and her mother are hurricanes and the rest of the family simply battens down the hatches. one day when frankie is 15, she tells her mother that this family is her worst nightmare. it is the last words she will ever speak to her mother.

a few hours after, the archers get a call that yasmiin has been in an accident. it was a hit and run: a drunk driver t-boned her, and they’re rushing her to the hospital. when the family arrives, the doctors break the news that yasmiin is comatose and that things aren’t looking good. lorenzo refuses to take her off life support, insisting she’ll recover. she is in a coma for nearly a year and a half before he is convinced to pull the plug.

and now, the part of the frankie archer story that everyone knows, the serendipitous hollywood beginning. she’s just a charming, talented, grieving, all-american girl from brooklyn, heading off to juilliard in the fall. on her 18th birthday, the first one spent without her mother, she attends an open call for a role in an indie film called thursday mourning. she thinks it’ll be a fun way to spend the day, or at least distracting enough. and then she gets the fucking part.

long story short, the film blows up. it’s shown at venice, winning the golden lion and a prize for frankie as the most promising young actor in the festival. it’s nominated for four oscars, including a best supporting actress nom for frankie. she doesn’t win, but it’s created a path for her to do whatever she wants, acting-wise. she does three more films in the next two years, gaining a reputation as an indie darling before realizing that indie films don’t make all that much money.

and she needs money, because her father is drowning in hospital bills from yasmiin’s death that he can’t pay. that’s when the offer comes through from her agent: a starring role in an ensemble cast netflix show called the village. she’s planning on throwing the script away. she’s not interested in any television show, much less a teen drama. she’s a serious actress and she certainly doesn’t want to be the next veronica lodge, made fun of on the internet by strangers with discerning taste. but with a little coaxing from her agent, she reads the script, and the role is good, the writing strong. so she takes the village, even though she wants to do movies more, even though she might get memed into oblivion. one episode will halve her father’s debt.

frankie was tapped for the village because while she’s definitely not as famous as some of her other castmates, nor does she have the hollywood background, she has consistently received acclaim for her performances. the producers think it will bring them some clout with the critics, and she has a sterling reputation as a hard worker on set.

so that’s the basic bio of frankie! now onto her personality >:-)

first of all, and most importantly, if you call her francesca you are DEAD.

frankie’s described by the media as a spitfire, and she definitely lives up to that description. she’s not particularly patient with interviews or paparazzi, she has a nasty mouth and an acerbic sense of humor, and to the general public she probably comes across as quite guarded and private about her life. she got into this business to be an actress, not a celebrity.

nevertheless, if she wanted to be a celebrity, she could probably be a pretty beloved one. frankie has a very charismatic, charming way about her, that probably lets her get away with more in the public eye than she should. there’s just something about that hollywood story that makes people relate to her and root for her.

the number one defining characteristic of frankie is her passion. she throws herself intensely into everything she does, feels emotions too vividly, fights for what she wants. she cares so much about everything. acting is her main passion, her forever love. it’s why she’s so good at what she does: she’s not the most talented, she doesn’t have the most training, but she feels so intensely. it also makes her very emotional (classic cancer!) if you’re close with her

also because of this passion, she’s probably the most competitive person you’ll ever meet in your entire life. she’s like, slightly insane about it? she wants to win everything, but she hates losing even more than she likes winning. she’s the type to throw a tiny tantrum if she loses a game of uno.

frankie’s always been bold, likes to live life on the edge, but it became something much uglier after her mother’s death. she’s reckless to the nth degree: doing her own stunts, drinking and partying the night away. she’s not suicidal, but in some ways, it’s like she doesn’t have a huge regard for her own life.

in her private life, frankie is pretty different. it’s not so much that her negative qualities disappear -- she still swears like a sailor and is less than patient. but rather, the flaws become less apparent when you get to know her. she’s sort of a goofy little marshmallow wearing a giant suit of spiky armor.

one of the most loyal people you will ever meet, because she throws herself headlong into friendships and relationships. she’s sort of an all or nothing type gal, so if you befriend frankie expect it to be a very close relationship whether you like it or not.

she is kind of the crazy friend? she’s baby? like she’s absolutely the person who’s encouraging everyone else to do dumb shit, and she’s always coming up with ridiculous ideas and pranks. side note give frankie a prank buddy on set!

she’s really quite witty. she absolutely loves twitter, which is basically the only glimpse the general public would get as to who frankie is in private. her twitter filled with her dumb jokes and random thoughts. in another life, she might have been a twitter comic.

she is a hopeless romantic, which she will never admit to anyone in the world unless it’s layered under 100 miles of sarcasm. the only relationship she’s really ever known is her parents’ relationship, and they were madly in love til the bitter end. she desperately wants something like that, but hasn’t quite found it. she’s been in exactly one pr relationship, but nothing particularly real or long-lasting.

she loves fashion. her mother taught her to sew and she sketches and makes some of her own clothes. her absolute dream is to collab with a designer on a fashion line: some of her favorite labels are marc jacobs, jean paul-gaultier, sies marjan, and moschino! she’s also had a lot of positive press for her red carpet looks.

she has a dog, who she loves more than anything! his name is duke, he’s a staffie rescue, and she brings him on set frequently. she’s lobbying to get him cast as someone’s dog.

she’s playing skylar ellis on the village, and because this is literally so long you can find some info about skylar at these links: statistics, muse posts, social media. i haven’t finished writing her entire bio yet but here’s the rundown: skylar appears to everyone like the pretty princess who has everything she could ever want. her parents are rich, she’s beautiful and smart, and she has a perfect relationship with phillip. but on the inside, she’s drowning. her dad wants her to take over the family company but she wants to be a writer, and the worst part is that she’s good at writing and horrible at business! she’s always been content to go with the flow (aka, what her parents want) because things are good in her life, but after her encounter with james over the summer, she’s realizing that she is completely trapped in a life she doesn’t want in the least. now she’s a conflicted mess of emotion trying to figure out what to do.

#click on her name for a fun lil surprise ;)#this is SO LONG i'm sorry

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letterboxd · 4 years

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How I Letterboxd #3: Dave Vis

If you are one of the thousands of Letterboxd completists attempting to log every film on our official top 250, you have Dave Vis to thank for keeping that list current. He tells us why he adopted ownership of the list, how he felt when Parasite “dethroned” The Godfather, the curious case of A Dog’s Will, and several Dutch filmmakers worthy of discovery.

You wear your tenure proudly on your profile (“Member since 12/11/2011”). How did you come across Letterboxd way back then? I joined in the beta days when I got an invitation in November 2011 from a good friend who knew I was into film. Up to this date, I have no idea how she got a beta invitation for a movie geek website from New Zealand, but I’m happy she did!

Here’s the $49 question: How do you Letterboxd? I joined because I found it useful to keep track of everything I watched. At that point, I was probably still ticking off films from IMDb’s Top 250, and Letterboxd was a cool way to make other lists and see how I was progressing. When I started using the site more often, I also got to follow more users and enjoyed reading their takes on films. I don’t follow a lot of people, just a few that I know in real life and some other early adopters of the site whose opinions of film I got to value.

Talk us through your profile favorites. What spoke to you about these four films? The pragmatic reason for these four is that they were the last films I watched that got full marks from me. So the four favorites on my profile keep changing as I come across more films that I think deserve five stars. About the current ones: Jaws, of course, is an absolute classic, maybe even Spielberg’s greatest. How he creates that much tension with minimal exposition is masterful. Blade Runner 2049 baffled me, especially on an aesthetic level. I love how the story slowly unravels in probably one of the best world-building efforts of the last couple of years. The Lord of the Rings: The Fellowship of the Ring doesn’t need much explanation, I think. Peter Jackson did what was generally thought impossible and in a way that had me walking out of the cinema in awe of the spectacle and production design. Last but not least, Nausicaä of the Valley of the Wind. I’m a huge fan of the Studio Ghibli films and this one, [as well as] being the studio’s unofficial first, is probably my favorite. You can just tell that they worked years to get Hayao Miyazaki’s life’s work to the big screen.

Let’s get down to brass tacks: for the past six and a half years, you’ve been running the Official Letterboxd Top 250, one of our most popular and important lists. What prompted you to start the list? Did you think you’d be keeping it going this long? At least part of the credit goes to someone else on Letterboxd, because even my list is a cloned one! A great deal of thanks goes to a member called The Caker Baker, who sadly isn’t part of the community anymore, for having the idea of doing this list even before me. On the exact day Letterboxd introduced a sorting option by average rating on the Films page, he created the first top 250 list.

I decided to clone that list [Dave has archived it here], because I wanted to filter out the documentaries, shorts and miniseries. As long as I am interested in film and won’t have completed the list, I do see myself keeping it. I feel the overall quality of the list is outstanding and for my taste and film-watching experience it’s probably the best combination of blockbuster hits, timeless Hollywood classics, non-English spoken gems, and some pretty obscure entries.

What’s involved in keeping the top 250 up-to-date? What’s the hardest thing about it? Have you ever found the responsibility a burden—your ankle chained to Letterboxd each week? (We’re grateful!) These days it isn’t much of a bother at all, actually. I’m still so grateful for you guys introducing the ability to sort lists by average rating when editing them a while back. That was a huge relief, I can tell you! And apart from the odd comment when I’m a bit late on my weekly update or when I’m on a well-deserved holiday (yes, even the ankle chain comes off once in a while), I don’t feel like it’s a burden at all.

Let’s unpack it a bit. What are the best films you’ve discovered because of the list? Shoutout to my choices: A Special Day, Harakiri and The Man Who Sleeps. Harakiri is an excellent choice! If it wasn’t for Letterboxd’s top list, I would probably not even know about it today, although it also cracked IMDb’s top 250 last year. What a beautiful film. If I have to name two other, one would be The Cranes Are Flying. I’ve rarely seen a film about war being depicted so beautifully. The other is It’s Such a Beautiful Day, the animation by Don Hertzfeldt about a stick figure you get to care deeply about in a time span of just over an hour. Very different films that, without Letterboxd, the chances are next to zero that I would have checked either of them out. Joining a Kickstarter to finance my own Blu-ray edition of the latter was special too.

Béla Tarr’s 1994 masterpiece ‘Sátántangó’.

So, what’s your percentage-seen of the top 250? Which films rank highest on your list of shame? Are there any that you don’t think you’ll ever watch? At this moment I’m at 175 of 250, so 70 percent. I rarely consider films as being on a ‘list of shame’, but as I scroll through the unseen ones, there are a few that stand out. La Dolce Vita and Sátántangó [Editor’s note: recently re-released in 4K, nudge nudge] are ones that I feel I should have watched by now. Both are magnum opuses from legendary foreign filmmakers. Don’t really know why I haven’t though, but all in good time. Any that I think I’ll never watch? There’s not much I wouldn’t watch, but some are just so daunting in their runtime, that I’m not sure if I will ever feel up to the task (yes, La Flor, I’m looking at you). Probably also the reason I never popped Sátántangó in.

Has the way Letterboxd’s membership has changed and grown affected what’s in the top 250 in any interesting or unexpected ways? That’s not a very easy question to answer, because different people will be surprised about different things. However, you do see a trend—surprising or not—of traditional western cinema classics giving way to more non-English language films doing well on the list. Asian and Brazilian films have skyrocketed to great heights, often at the expense of western classics. Films that are traditionally doing great at IMDb, such as Pulp Fiction or The Good, The Bad and The Ugly, were in Letterboxd’s top ten for a long time, but have both dropped out of the top twenty. Beloved classics among film critics such as Citizen Kane, Sunrise: A Song of Two Humans and Casablanca aren’t even in the top 100 anymore.

We now have a top ten with three Japanese films, one Taiwanese, one Russian, one Brazilian and a South Korean film at the very top. The only English spoken films left there are the two Godfathers and 12 Angry Men. I do tend to suspect that the growing community causes more diversity while also fuelling the more traditional moviegoers to broaden their interests. I personally think that’s a great development.

How did you feel when Parasite overtook The Godfather to become Letterboxd’s highest-rated film of all time? Do you think it’ll ever sink at this point? To say I was surprised is quite the understatement. For something to even come close to The Godfather’s record borders on sacrilege, let alone dethroning it. What you usually see is that new movies with overly positive reviews enter the list’s higher ranks with a bang, but when they are introduced to a bigger crowd, they slowly descend. For example, fellow acclaimed Best Picture nominees 12 Years A Slave, Her, Call Me By Your Name and Roma all peaked in the top twenty and only Call Me By Your Name is still in the list, at number 232 for now.

In these days of ready availability it is extremely hard to create something that has such a large following. That’s why this takeover by Parasite is so extraordinary. Seeing it rise day-by-day—even after the masses took it in—was something I didn’t think possible. I, for one, am very slow to watch new films, so when I got to watch it, it was already in first position. Safe to say my expectation level was through the roof, which probably wasn’t really fair. While I thought it was an excellent film, I personally wouldn’t rank it among my favorites. However, it’s not only the highest-ranked film on Letterboxd, but also the most popular one [a measure of the amount of activity for a film, regardless of rating]! So don’t expect to see it sink lower any time soon.

The top 250 is home to the largest comment section on the platform. Congrats! What’s monitoring that mammoth thread like? Thank you! Although that’s hardly an achievement on my part. I have to be honest, I don’t read everything in the comments section anymore. I try to keep up as much as possible, in order to respond to people who have an actual question. However, when I sign in in the morning and see dozens of new notifications, most probably about A Dog’s Will being in the top ten or about recency bias or about objective quality versus subjective quality, I let it pass me by every so often.

What is your take on A Dog’s Will’s rise to Letterboxd stardom? (At the time of writing, the 2000 Brazilian film from director Guel Arraes holds the number eight spot in the top 250.) Ah, there it is: the elephant in the room… My honest answer is a politically correct one, but also the truth: I haven’t seen it yet, so it’s impossible to pass judgment. However, from the comments section on the top 250, it seems clear that there are two camps: the Brazilians, who adore the film and continually claim the importance it in their cultural heritage. And there’s the other group, mostly non-Brazilians of course, who think it’s a fine film at best, but in their opinion not deserving of a top-ten spot. I’m quite impartial: if the statistics say that it is one of the best-rated films of the Letterboxd community, why would it not deserve to be there? I am curious though if more non-Brazilians will see it and if so, if that will have a significant effect on its rating. We can only wait and see.

Are there any films you’re surprised to have stayed in the list for so long? Conversely, what are some films that we’ll be surprised to hear have never made the list? If I have to name one film that I’m surprised about, it’s one I haven’t seen yet: Paddington 2. Every time I scroll past it, I find myself asking: “wow, this one still in?” It’s probably because I haven’t seen it, but it always strikes me as an odd one. I really have to seek it out some time. Some films that might shock people never having made it… Well, if you look at IMDb’s list for reference, you could say it’s shocking that a film like Forrest Gump never made it onto the list, but that might not be as much of a shock to Letterboxd members. Other popular crowd pleasers that never made it include E.T. the Extra-Terrestrial, Gladiator, all of Disney’s non-Pixar animated classics, and one of the films that also sparked my interest in movies, The Usual Suspects.

Dave has not seen ‘Paddington 2’.

I’ve actually been working hard on completing the list during quarantine and I finished it yesterday. Has anyone else gotten to 100 percent yet or am I the first? I have no idea, to be honest! There will probably be others who have, but I wouldn’t be able to name one. I suspect Jakk might have reached 100 percent at some point.

My completist streak will need a new avenue. What are your next most essential top lists? If you ever feel up for a challenge, I recommend Top10er’s 1001 Greatest Movies of All Time. He combined the average ratings of critics and users from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results with general film data from several services. I have no idea how, but it’s a terrific list. Also, the directors’ favorites lists that are on Letterboxd are awesome. Edgar Wright’s 1,000 favorites and Guillermo del Toro’s recommendations are especially worth your while.

The top 250 list is the tip of the iceberg for the lists on your account. What is it you enjoy about keeping ranked lists? It’s a compulsion. I just really enjoy making lists, ranking films by certain directors, franchises or studios. Not really useful, mostly just fun to do! And I’m not the only one, it seems. Although, of course, lists like the Letterboxd Top 250 will always be an inspiration for finding well-rated films I haven’t seen yet.

Which films got you hooked on cinema? I do have a few titles that were important in terms of my film-watching development. Films like Terminator 2: Judgment Day and Jurassic Park came out when I was an early teenager and those were the ones luring me to the cinema to see and experience things you just couldn’t in the real world, both with groundbreaking special effects—I’m a sucker for those. Not much later, titles like The Shawshank Redemption and Pulp Fiction were popular and that’s probably around the time that IMDb’s list got my attention. That top 250 gets a lot of criticism, but the overall quality is fine and for me it was the perfect step in broadening my film-watching.

So, for a long time I watched a lot of films on that list and went to the cinema for your usual blockbusters, probably until Letterboxd arrived. That’s when I started watching the artsier stuff and foreign cinema of which, of course, all classics eluded me up till then. It was films like Seven Samurai, Persona and Werckmeister Harmonies that sparked that particular period. Now I just watch everything that comes my way that seems interesting or entertaining, from the new Marvel instalment to classic Godard.

Tell us about the one and only movie you’ve given a half-star. Ha, that’s an odd one… Once there was a challenge on the site that you could ask a fellow member to pick the next ten films for them to watch. I participated once and, of course, there would be underseen gems or personal favorites on that list, but also one or two that would be almost unwatchable. In my list that was Santa and the Ice Cream Bunny. If that title alone doesn’t give away how bad it was, watching the first five minutes will.

In your opinion, what’s the most underrated film according to Letterboxd average ratings? One that comes to mind, which was in the top 250 once, but has dropped substantially in the last few years, is Gravity. I also have a list where I collect all the films that were once in Letterboxd’s top 250 and it’s at the very bottom there. For me, seeing that film in a theater is what cinema is all about—finding new ways to immerse your audience into a movie experience they have never had before. Oh, did I mention I’m a sucker for special effects?

Dave is a sucker for special effects, including those in Alfonso Cuarón‘s ‘Gravity’ (2013).

As a Dutchman, please educate us: what are the greatest Dutch films people should see? The Netherlands doesn’t really have a thriving movie industry that brings its films across borders. If I have to give the essential tip, it would be Spoorloos, which was remade starring Kiefer Sutherland and Sandra Bullock and was not half as good. Other than that I would recommend Paul Verhoeven’s early work, such as Soldaat van Oranje and Turks Fruit, and the two Dutch films that won the Oscar for Best Foreign Language Film, 1986’s De Aanslag and 1997’s Karakter. And to top it off, I want to mention two Dutch filmmakers worth your time, Alex van Warmerdam, director of De Noorderlingen, and Martin Koolhoven, director of Oorlogswinter.

What comfort movies are you watching whilst in quarantine? Are you working on any viewing projects? I actually am in a viewing project at the moment. One of mine and my wife’s guilty pleasures is superhero movies! So currently we are, again, on a Marvel Cinematic Universe rewatch streak. They just provide a wonderful form of escapism and are definitely deserving of the term comfort movies. Some are better than others of course, but the perspective of rewatching The Avengers, Thor: Ragnarok or Guardians of the Galaxy after a while still tends to fill me with excitement. In a way, there’s still a bit of the twelve-year-old in me that was so thrilled to see T2 or Jurassic Park.

How do you plan on inducting your kids into the cinephile life? Well, most important is that they just enjoy going to the movies like I did when I was young. Let’s hope we will be able to do so again in the near future. They are still young, but their access to screen time with Netflix, Disney+ and (mind-numbingly stupid clips on) YouTube is so different than the days when we were young. So having them watch some Ghibli classics is already quite a step. And then I think the rest should come naturally. If not, so be it.

Which, for you, are the most useful features on Letterboxd? Did you know they have a list with the 250 best rated narrative feature films? That’s basically all you need to know… All kidding aside, just reading reviews once in a while by fellow members whose opinions I value is still the heart of the service to me. That and the statistics pages. And browsing other lists.

Does anyone in your real life know that your list is kind of a Letterboxd big deal? Not really! Mostly because I don’t exactly feel that way about it. I mean: my wife knows, but other than that it’s pretty much still my pet project. To me, it’s still just a film enthusiast’s list that so happened to become the site’s official top 250. I do have to say that it is humbling to see the numbers of new followers every day—especially when Letterboxd mentions the list on her social accounts—and to realize that apparently almost 23,000 people around the globe have taken a liking to it.

Please name three other members you recommend we follow. Fellow countryman and longtime member DirkH. He is not as active as he was before, but writes beautifully personal reviews, always with his trademark witty humor or sometimes cheeky sarcasm, not always to the liking of everyone. You all got to know Lise in the first How I Letterboxd, but I’d definitely also recommend following her other half Jonathan White. His reviews are great, he knows so much about film and is always willing to share his thoughts or answer questions. And damn, that man can rhyme. Then there’s Mook, if only for his franchise lists. Check out his MCU list, it’s my go-to place when I want to read up on anything Marvel.