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ninja-muse · 11 months

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So it's somehow the end of May? Not sure how that happened, even though I have been busy so of course the time has flown by! Things done this last month include hosting family multiple times, visiting my first cat café, visiting family, wedding reception, and baking my first rhubarb pie. Somehow I managed to fit 9 books and 2 DNFs in there, and was very good about not taking too many ARCs home. I didn't even buy anything!

Also, this is the first time I think I've ever underpacked physical books for a holiday. I thought for sure that the SF book I popped in my bag would last me at least three days but no, A History of What Comes Next was a fast read and lasted one. Thank goodness for Libby and my cache of T. Kingfisher e-novellas, is all I'm saying. Reading those back to back got my reading goal back on track for the year.

Novel is still progressing apace. Digger is still not shipped. It is reading outdoors weather but I've yet to do so. Nothing else to report.

And now without further ado, in order of enjoyment…

Magisteria - Nicholas Spencer

A history of the interactions between science and (Western) (mostly Christian) religion.

7.5/10

warning: discussions of racism, race science, eugenics, historical Islamophobia

After Villon - Roger Farr

Poetry written in conversation with a late medieval French criminal-poet.

🏳️‍🌈, 🇨🇦

The Sinister Booksellers of Bath - Garth Nix

Susan and Bath’s magical booksellers must rescue Merlin after he’s trapped in a map—which might mean taking on an unknown Sovereign.

6.5/10

🏳️‍🌈 secondary character (genderqueer), Afro-British secondary characters, Muslim secondary character

A History of What Comes Next - Sylvain Neuvel

A lineage of scientifically-minded women work behind the scenes with one goal: Get Them To The Stars Before Evil Kills Us All.

7/10

main characters consistently read as POC, 🏳️‍🌈 main character (sapphic), 🏳️‍🌈 secondary character (sapphic), Black-Russian secondary character, Chinese-American secondary character, 🇨🇦 Warning: attempted rape, early methods of conversion therapy

Vera Wong’s Unsolicited Advice for Murderers - Jesse Q. Sutanto

When Vera finds a body in her tea shop, she knows exactly what to do—call the police and then solve the murder herself.

7/10

Chinese-American protagonist, largely Asian-American cast, Chinese-Indonesian author

warning: domestic abuse (not physical)

A Master of Djinn - P. Djèlí Clark

Agent Fatma investigates a mass murder with possible ties to djinn magic.

7/10

largely Egyptian cast, Nubian secondary characters, 🏳️‍🌈 main character (lesbian), 🏳️‍🌈 secondary character (sapphic), largely Muslim cast, African-American author

warning: contains racists, colonial mindsets, and cultural appropriators

Kiss Her Once For Me - Alison Cochrun

Ellie agrees to a fake engagement and marriage over the Christmas holidays—only to find out her fiancé’s sister is the one-night stand she couldn’t get over.

7/10

🏳️‍🌈 main character (bi), main character with anxiety disorder, 🏳️‍🌈 secondary characters (lesbian, trans, nonbinary, multisexual), Korean-American secondary characters, Latinx secondary character, Filipina secondary character, secondary character with ADHD

warning: depiction of anxiety and panic attacks, toxic parent-child relationship

Minor Mage - T. Kingfisher

Twelve-year-old Oliver is sent away from his village on a quest to bring back rain. He knows three spells, and one is to repel armadillo dander.

6.5/10

Mortal Follies - Alexis Hall

Maelys Micklemore has been cursed, a terrible thing for a young Regency woman. Her best hope of breaking the spell is the mannish Lady Georgiana, who might be a witch. Out in June.

6.5/10

🏳️‍🌈 protagonist (sapphic), 🏳️‍🌈 secondary characters (sapphic, gay, trans woman), Black British secondary character, Afro-British secondary character

Picture Books

The Octopus Escapes - Maile Meloy with Felicia Salter (illustrator)

An octopus is brought to an aquarium. Being captive is great—at first.

DNF

The Last Heir to Blackwood Library - Hester Fox

Ivy inherits an estate in Yorkshire, with a magnificent library, recalcitrant servants, a ghost, and a curse.

The Absolute Book - Elizabeth Knox

A woman who lost her sister to violence finds herself drawn into another world with bearings on her family history.

Currently reading:

Shadowlands - Matthew Green

Short histories of lost settlements from across the UK.

The Gifts - Liz Hyder

In 1840s England, a woman grows wings.

Stats Monthly total: 9+1 Yearly total: 53/140 Queer books: 5 Authors of colour: 2 Books by women: 3 Authors outside the binary: 0 Canadian authors: 2 Off the TBR shelves: 2 Books hauled: 0 ARCs acquired: 3 ARCs unhauled: 2 DNFs: 2

January February March April

#books #booklr #bookblr #adult booklr #book covers #book photography #my photos #reading wrap-ups #book recommendations #rec lists #read in 2023 #who queue?

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felteverywhere · 8 months

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i'm home today and about to jump into some starters i owe so why not add to the bunch? this is another one liner starter call. you're welcome to like again if i already owe you too, idm doing a few <3. i'll come to you for muse, but i'll make a little list of who to pick from under the cut.

clark french, 25, bisexual, he/him, drew starkey fc.

edward ‘dawson’ dawson ii, 22, bisexual, he/him, spencer house fc.

emery shen, 26, bisexual, he/him, ben levin fc.

jacob welch, 21, straight, he/him, milo manheim fc.

lucky henderson, 26, lesbian, she/her, vanessa morgan fc.

oliver barton, 22, straight, he/him, jacob elordi fc.

spencer malone, 21, bisexual, he/him, belmont cameli fc.

warner oakes, 22, straight, he/him, christopher briney fc.

adriano ranallo, 30, straight. he/him, jeremy allen white f.

buffy hunter, 24, bisexual, she/her, hayley law fc.

clementine tenneman, 20, bisexual, she/her, madison davenport fc.

felix byun, 36, straight, he/him, steven yeun fc.

johanna mcnamara, 42, lesbian, she/her, lauren ambrose fc.

kellan mills, 26, straight, he/him, dylan sprouse fc.

quinn zhang, 19, bisexual, she/her, lola tung fc.

rowan butler, 24, straight, he/him, thomas weatherall fc

warren kishlansky, 36, straight, he/him, luke mitchell fc

#indie rp #indie smut rp #indie bi rp #indie lesbian rp #big list bc i'm feeling so many sooo feel free to request a couple #i'm gonna try and spread out choices so i can use as many as possible

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ostensiblynone · 1 year

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Biltmore Hotel, Los Angeles 1930s menu

The Hollywood film industry was still in its infancy when the Biltmore Hotel opened in downtown Los Angeles in 1923. Built by hotels magnateJohn McEntee Bowman, he said the opulent and lavishly decorated property was “a statement to the rest of the world that Los Angeles had arrived as an American metropolis.” It was the most expensive hotel of its era – it cost ten million dollars to build – and its architecture was inspired by the Spanish and French Renaissances. The interior frescoes were the work of Giovanni Battista Smeraldi, who also worked on the Vatican and The White House. There were 1,000 rooms, each with their own bathroom – an unheard-of luxury at the time. Scores of celebrities patronised the Biltmore and in 1927 the Academy of Motion Pictures Arts and Sciences decided after a meeting in the hotel’s Crystal Ballroom to launch an awards ceremony called The Oscars. Legend has it that Metro Goldwyn Meyer’s famous set designer Cedric Gibbons sketched the design of the Oscar statuette on one of the hotel’s napkins. The Oscars ceremony was held here on several occasions and Clark Gable, Spencer Tracy, Jimmy Stewart, Garry Cooper, Bette Davis, Joan Fontaine, Ginger Rogers and Claudette Colbert were all presented with Oscars at the Biltmore. It has been used as a backdrop in films such as Ocean’s 11 (1960), The Sting (1973), Chinatown (1974) and Bugsy (1991) as well as television Mad Men series. Rumor has it that some of the hotel rooms are haunted – guests claim to have seen the ghost of a nurse on the second floor and the ghost of a little girl on the ninth floor. This delightful and elegant cocktail menu was used in the hotel’s original seven bars, lounges and restaurants. The Beaux Arts- inspired hotel still welcomes guests today and is called the Millennium Biltmore Hotel.

#alcohol #biltmore hotel #los angeles #1930s #fic research #menus

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concerthopperblog · 7 days

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MOVEMENTS: RUCKUS! Tour featuring Tigers Jaw, Webbed Wing, & Paerish PT 2.

In December 2023, Movements announced that the band would embark on Part 2 of the Ruckus! Tour. The tour will be supported by Tigers Jaw, Webbed Wing, and Paerish. Movements released Ruckus! in August 2023. If you enjoy a mix of pop-punk and grunge and love your heart getting mixed into an ocean of emotions, then this album is for you. When I saw this announcement, I was incredibly excited. I have grown to enjoy this band, and when I saw that they would be playing at the Water Street Music Hall, I knew this was a show I had to attend. I spent many nights at this venue enjoying great music in my younger years. As I stepped out of my husband's car, I could feel the excitement in the air and see the anticipation on the faces of fans eagerly waiting to rush into the venue to find the perfect spot. Slowly but surely, the venue began to fill up as the show was about to start. At first, it didn't look like it was going to be a sold-out show. However, as I started taking photos of Paerish, I realized that the venue was filling up much quicker than I had anticipated. I knew that the night was going to be amazing.

Paerish is a French alternative rock band based in Paris, formed in 2013. The band has 3 studio albums Semi Finalists (2016), Fixed It All (2021) and You're In Both Dreams (And You're Scared) (2023). In 2021, the band featured Patrick Miranda from Movements on the song “You & I”. The band is gaining popularity in this scene. The band went to Instagram and shared that they had reached 1 Million streams on Spotify for their new song “House of American Style” released in early 2023. During the show, Paerish caught my attention with their amazing performance. I was surprised to learn that this band had never played in America before. It was a great experience to witness a new band from France playing in America for the first time. They performed a mix of songs including “House Of American Style” and “Still There.” After their set, the band members spent some time at their merch booth. The singer even invited people to come and talk to them, despite their "shitty French accents".

Webbed Wing is a trio from “The City of Brotherly Love” aka Philadelphia, PA. Taylor Madison, Jake Clarke & Mike Paulshock make up Webbed Wing, they only have 2 studio albums Bike Ride Across The Moon & What’s So Fucking Funny? In February of 2023, they surprised their fans with a new EP release called Right After I Smoke This. I thought the performance of these guys was great. I particularly enjoyed watching the drummer get into the groove of the music. However, I feel like their set was a bit short and they could have given more to the fans. On the bright side, the singer, Taylor, was very interactive with the crowd.

Tigers Jaw is a rock band from Scranton, PA that formed back in 2005. The band got their influences from artists such as Fall Out Boy & My Chemical Romance. The band released 3 albums before announcing on Tumblr in 2013 that they were going on a hiatus, it lasted less than a year. The band made a comeback in 2014 releasing a new album called Charmer. Tigers Jaw was signed to Hopeless Records in 2020, they released a song called “Warn Me”, and they also released a song called “Cat’s Cradle” before releasing their latest studio album I Won't Care How You Remember Me (2021). I really enjoyed the performance by Tigers Jaw. The lead singer and guitarist Benjamin Walsh gave it his all, and you could see the passion in his performance. This band has now made it to my list of "Must Listen To" artists. They played around 10-12 songs, including "Never Wanted To," "Hum," and "Plane vs Tank vs Submarine".

Movements is a post-hardcore quartet from Rancho Santa Margarita California. The band consists of Patrick Miranda, Austin Cressey, Spencer York & Ira George, who debuted in 2015. Movements has 1 EP and 3 Studio albums to date, they released their latest album Ruckus! in the summer of 2023. I remember seeing them for the first time back in 2017 when they were on tour with Knuckle Puck, I was unsure if I enjoyed their music upon discovering them. Fast forward to 2018, I saw they were featured in an advertisement for Vans Warped Tour 2018 (check out our coverage from that show here). After hearing their song “Daylily” off their Feel Something album I knew these guys were a band I had to keep in my music rotation. Movement’s lyrics derive from anxiety, depression, heartbreak & tense relationships. In an interview with Jamie Orque; Patrick Miranda (Vocalist) states that their song “Deadly Dull” also off the Feel Something album is written about Alzheimer’s disease. This song hits home for me, when I was younger my great-grandmother had a stroke, couldn’t speak much and after a few years, we believe she was also dealing with dementia. As Movements took the stage, I was ready to take photos and enjoy the rest of the show. The band started strong by playing one of their new songs, "Lead Pipe". Throughout the night, the band had multiple crowd surfers, and the whole room was almost shaking from the excitement of the fans. Movements also played an older song called "Submerge". They played a variety of songs from all of their albums, making the setlist perfect. The band members were grateful and thanked the crowd for coming out to see them and for coming to see the other bands on the bill. Pat, the lead singer, said that he grew up going to Tigers Jaw shows and loved that they got to share the same stage. The night ended with Movements playing their most iconic song, "Daylily".

This show is one for the books, I hope you guys didn’t miss out on this one. I decided to stay until the end of the show and saw the joy on fans' faces as they left. There are only 10 dates left coming to a city near you! If you are a fan of Post-Hardcore music and getting thrown into a whirlwind of emotions check out Movements. If you want more Movements content click here to read our review of Ruckus! Make sure to follow ConcertHopper on our Instagram and Facebook pages! Keep on hopping!

Movements: RUCKUS! Tour 2024

Apr. 19, 2024

Detroit, MI

Saint Andrew's Memorial Episcopal Church

Apr. 20, 2024

Milwaukee, WI

The Rave / Eagles Club

Apr. 22, 2024

Omaha, NE

Slowdown

Apr. 24, 2024

Boulder, CO

Boulder Theater

Apr. 26, 2024

Las Vegas, NV

House Of Blues Las Vegas

Apr. 27, 2024

San Diego, CA

SOMA

Apr. 28, 2024

Riverside, CA

Riverside Municipal Auditorium

May. 12, 2024

Daytona Beach, FL

Welcome To Rockville 2024

May. 17, 2024

Columbus, OH

Sonic Temple Festival 2024

#2024 #concert photography #Concerthopper #metal tours #Review #Concert

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popentertainment-interviews · 1 month

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Ed Lachman

Legendary Cinematographer Gets An Oscar Nomination for El Conde, the Strangest Vampire Movie of All Time

by Brad Balfour

When American cinematographer and director Ed Lachman joined the Oscar nom list, it was as a real outlier. All the other films nominated were expected – Poor Things, Maestro, Killers of The Flower Moon, and Oppenheimer. But El Conde was way out of left field, a satire about the life of late Chilean dictator, Augusto Pinochet. He's portrayed as a vampire who puts fresh hearts into a blender and drinks them like a smoothie.

Nonetheless, the film deserved recognition for its master director of photography. Born to a Jewish family in Morristown, New Jersey, Lachman attended Harvard and studied in a French University before pursuing a BFA in painting at Ohio U. Once he transitioned from painting to cinematography, however, the 75-year-old has primarily worked with independent filmmakers, winning accolades along the way. Serving as the cinematographer for Todd Haynes, including 2002's Far from Heaven and Carol in 2015, Lachman earned Oscar nominations. He has served as DoP for other directors such as Wim Wenders, Steven Soderbergh, Paul Schrader, Werner Herzog, Sofia Coppola, and Todd Solondz. He also did Robert Altman's final film in 2006, A Prairie Home Companion.

Besides working with others, Lachman co-directed a segment of the anthology film Imagining America in 1989. Then, in 2002, he co-directed the controversial Ken Park with Larry Clark. In 2013, Lachman did a group of videos French electronic dance duo Daft Punk for their best-selling album Random Access Memories.

Most recently he did El Conde with the Chilean-born Pablo Larrain, who has built a career making quirky yet significant films such as Spencer (2021), Jackie (2016), El Club (2015), and NO (2012), among others. El Conde imagines the story of Claude Pinochet, a royalist French soldier, who's discovered to be a vampire and survives an attempt to kill him. Witnessing the French Revolution and the execution of Marie Antoinette, Pinochet fakes his death and flees, participating in the suppression of revolutionary upheavals over the next centuries. Eventually, he ended up in Chile in 1935 and joined the Chilean Army under the name Augusto Pinochet. Rising to become a general, he overthrew the socialist government of Salvador Allende in 1973 and became the country's dictator. Quite a story laden with bizarre imagery and narrative, all shot black & white.

This Q&A was conducted before a preview audience at the Paris Theater.

It's an amazing movie and your collaboration [has produced] a timeless classic. How did your collaboration get started on this movie? You've been friends but haven't collaborated on something before.

I like looking at films as much as working on them, maybe more. I first saw Pablo's work, Tony Manero, at the New York Film Festival and from there we developed a friendship. He said, "One day, I'll bring you to Chile," but I never thought that was actually going to happen. We were always friendly. He came to New York and worked with Darius Khondji who is a friend. So I thought, "Wow, he comes all the way to New York and works with a French cameraman. Why does he need to bring me to Chile?" We did a commercial in Los Angeles and he called me about a month later and said, "Would you come to Chile?" Sure. But obviously, I don't speak much Spanish and I've worked with his whole crew. Right from the beginning, Pablo said he wanted to work in black and white. Usually, today, you have to shoot in color, either in film or digitally and then transfer into a monochromatic image. But he convinced Netflix that it would be produced out of Mexico, and he was going to shoot in black & white. That opened up a whole door for me and I reached out to Arriflex, the camera manufacturer in Germany. I knew they had produced a large format camera for monochromatic but not a lighter weight camera. Another conceit that Pablo wanted to do was to be on a crane for the whole time – a short 15-foot Technoscope telescopic crane. His idea was that we could move quicker and find angles. That set was built for the size of the crane so we could move in and not have to take out walls. We did once or twice. There were all those factors that came into it. Arri was just coming out with their own camera, and I thought they'd never get there even if they were interested.

Lo and behold, ten days before we were to shoot, they said we have a camera for you. I went back to Pablo and said, "We have a camera. Can the production afford it?" Well, he's the production company, so he said yes. Another aspect of the filming was that I worked with lenses that were actually made in the '30s for black & white. They were the primary lenses that shot black & white film. I just happened to remount those lenses for somebody who had told me about this glass that it was available in LA. Now I have the black & white lenses, the black & white sensors. All these things contributed. Then there's an exposure system that I used for the first time.

That's the system that you invented.

Basically, I don't make it complicated. If you knew Ansel Adams, he developed a way of evaluating exposure. You could read shadow detail and highlights and place your negative where you would get the most detail, which is a way of analyzing where your exposure was. I worked on an idea about doing that for digital technology. I was, again, very lucky – all the forces came together when a monitor company, SmallHD, came out with this inner monitor and they licensed it to me. I was able to use it for the first time in this film. That's why you have this incredible shadow detail that you would lose if you didn't know where you were placing your eye light. Sometimes, if you overexpose something, you have to print it down and then you don't get the shadow detail. I was thinking about looking at it today – what's the difference? Matthew Libatique shot Maestro in color then converted to black & white. You don't get the subtlety of midrange that you can get when you shoot monochromatic. The other thing is you can use filters that they used 50 years ago, black and white filters that you can't use on color film. You can try to do it in post, but it's not the same thing.

It sounds like the perfect marriage of technique and intention to create this look that's both timeless and with a purposeful artificiality to it. You have worked in black & white before for some of Todd Haynes' films like Wonderstruck. Give us a taste of what's more appealing to you in shooting in black and white, something maybe you get when you're not working in color.

When you shoot in color, you have a problem with the color temperature of the day. It changes. I realized that again with black & white, because I hadn't shot black and white since Wonderstruck. However, that was with film, and this is digital. What's wonderful about black & white is that you can shoot from the beginning of the day to the end of the day and it's just contrast. It's light and dark. In color, the color temperature changes from cool to warm to cool to warm, and you have to modify what you're doing with color. They always say black & white is harder because you don't see in black & white, so you have to imagine how it will look. But once your eye gets more trained and, especially, when you're looking at it on a monitor, you can affect how the black & white [works]. We tested different colors for blood and ended up with blue. All the blood is blue because we found it had more luminosity. When I was in the hospital with my broken hip, at the end of the show, I found out that in our body, that's why our veins look blue. Our blood is blue and it's only red when it hits the air.

Let's go back to the beginning when you first were presented with the concept of Augusto Pinochet as a 250-year-old vampire. What was your reaction and what pulled you into the story?

Pablo was my education and the way he expressed it was that Chileans have never been able to heal because they never had the justice to heal. The individuals and their families paid the price. Even the church.... There was a part of the church that did fight what Pinochet was doing to the people. There was another part of the church that went along with him. When he explained it that way, I understood why he is forever. He died a multimillionaire and died free. Which is why the Chilean people will never be able to have any resolution to the crimes that were committed. Not like in Argentina where the [dictator] goes to jail.

He's embarrassed about being called a thief, but he's not embarrassed about the murders. He thinks of them as a necessity. what kind of [perhaps] hemophiliac conversations did you and Pablo have watching this movie? Obviously, that recalls Nosferatu, Vampyr. What other movies have you visited?

I watched those films – Vampyr, Nosferatu by F.W. Murnau, and I did like Josef von Sternberg. In some ways, I liked working on films where I don't speak the language because then I can just look at it, in my own world. Things came together in abstract ways, there wasn't much of an intellectualization.

What did you bring to the table to make plausible the scenes of Pinochet flying over Santiago?

All the night footage is against the blue screen or green screen. All of the day scenes, they brought in – and I didn't even know about this – an acrobatic group from Colombia that worked on wires. One of our actresses, Paula [Luchsinger], had studied dance. So they put her on wires. We did have a stunt double and it was a 160-foot crane and in the middle of the crane was a seat on cable. The operator allowed us to show that double or Paula flying or moving around the landscape – it was a sheep farm in Patagonia. That's real air-to-air photography without the benefit of drones. We did use a drone for the point of view of when they're flying. The drone was the second unit, and they went out to film in areas all over Chile. I was there on a vacation watching what was happening.

What's your process with the other departments like production and costume design, especially when you're shooting in black & white? What is the harmony among the other technical departments?

The production designer there didn't speak any English and they work a little differently. Generally, I have an on-set prop person moving things around through the frame. But there he came out of the theater. He had no compulsion but to be on the set all the time and move things around. But wait a minute, that's my set now. But we got along even though sometimes we had discussions through Pablo like, "Don't move this, or move that."

When I'm working on a set, it's what's in the frame that's important to me: how you compose the frame, and how you move the image in the set. Your great production designer actually thinks about the frame when they design the set. He had a little different approach to it, more like theater. There's the stage and the set and you just work with it. We did all this testing with lighting which made the backgrounds always dark. I wanted that separation between the characters and the background so that there was a starkness to it.

I did something different that I don't normally do. Even though there was an overhead bridge system for lighting, I mostly lit from the window and because we moved the camera around a lot, I couldn't have lights on in the set to help their eyes out. But I realized something that these people are hiding from themselves and hiding from each other. I let the eyes go darker than I ever normally would do and it worked. First, I thought it was a mistake, but here the eyes go in the shadow from cross light. That was important psychologically for the characters.

What was something specifically difficult during the filming? What sequence was most challenging to get right?

There were these big lights that I like to use, and nobody wanted to say no to me. So if I say I want eight 10Ks around the set. On pre-light day, I would be there, and the lights would not be there. They always promise they'll be available mañana, but they never are. I finally had to adapt to work with the equipment that I had. That was an improvement. If I'd had everything I wanted to begin with, I wouldn't have had the benefit of the adaptation.

Over your career, you've collaborated with so many and shot across genres. Do you have a filmmaker that you'd still love to work with? Who would that be?

I went to art school and then ended up being a cinematographer, a cameraman for other people's films. I've always made some of my own films. There are always new people. I'm always inspired when I see other people's work, even other cinematographers. There's a reason why people create images the way they do because of the time period. That's something that Todd Haynes is very much into. He understands that the tools you use affect the look of the final image.

On Wonderstruck he wanted to use the same apparatus of the periods ('70s and the '20s) like the dollies used to get those long tracking shots in the street and not see the track. We used something called the Western dolly that has rubber wheels. That was not the best way to do it but was the only way during that time period. I always find it interesting to go deeper into how it's done and why it's done. I studied painting, studio art and didn't like the idea that I'd be alone in a room. If someone brings me a story, I like the challenge of finding the visual language to tell that story.

Speaking of different techniques and tools that are available, there's obviously so many changes in the way films are shot. Some people still swear by film and others love the flexibility and freedom that digital brings to the table. Where do you stand?

I used to always think it had to be a film. But the way I feel about it now, certain stories can be told in the film, some can be done digitally. The problem is, it has become more and more difficult for student films. The craft of filmmaking is being lost because during the process you need a film loader, someone who loads the film in the magazine. Younger and younger people aren't coming up in the industry learning how to load film anymore.

Film labs don't have some of the equipment anymore that helps judge the treatment for the film negative. Footage gets mistreated during digital transfer. The old classic cameras don't get repaired properly because of the lack of expertise and replacement parts. To continue shooting on film, we're going against what the industry is pushing because that's the way they make more money. They come out with faster lenses and higher-resolution cameras. But actual image makers don't necessarily want everything to look photorealistic. Sometimes it's essential for us to feel that we are actually watching a film and not being inside the storyline.

youtube

#Ed Lachman #2024 #interview #El Conde #Oscar Nominees #Brad Balfour #Youtube

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brookstonalmanac · 10 months

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Birthdays 6.30

Beer Birthdays

Louis J. Hauck (1866)

Larry Berlin (1961)

Nick Funnell

Hildegard Van Ostaden (1975)

Five Favorite Birthdays

Bo Carter; blues musician (1892)

Stanley Clarke; jazz bassist (1951)

Susan Hayward; actor (1917)

Lena Horne; singer, actor (1917)

Brendan Perry; rock musician (1959)

Famous Birthdays

Florence Ballard; pop/soul singer (1943)

Robert Ballard; oceanographer (1942)

Fantasia Barrino; singer-songwriter and actress (1984)

Thomas Lovell Beddoes; English poet (1803)

Madge Bellamy; actress (1899)

Paul Berg; biologist (1926)

Harry Blackstone Jr.; magician (1934)

Brian Bloom; actor (1970)

Lizzy Caplan; actress (1982)

Murray Cook; singer, "Wiggles" (1960)

Man Mountain Dean; wrestler (1891)

Vincent D'Onofrio; actor (1959)

Georges Duhamel; French author (1884)

Nancy Dussault; actress and singer (1936)

John Gay; English writer (1685)

Alicia Fox; wrestler, model, and actress (1986)

Archibald Frazer-Nash; English car designer (1889)

David Garrison; actor (1952)

James Goldman; screenwriter and playwright (1927)

Winston Graham; English author (1908)

Rupert Graves; actor (1963)

David Alan Grier; actor (1955)

Larry Henley; singer-songwriter (1937)

Barry Hines; English author (1939)

Joseph Dalton Hooker; English botanist and explorer (1817)

Allan Houser; sculptor and painter (1914)

Mario Lanfranchi; Italian film director (1927)

Hal Lindes; American-English guitarist (1953)

Czesław Miłosz; Lithuanian writer (1911)

Kelsi Monroe; adult actress (1992)

Raymond Moody; parapsychologist (1944)

Tony Musante; actor (1936)

Clive Nolan; English musician (1961)

José Emilio Pacheco; Mexican poet (1939)

Brendan Perry; English singer-songwriter and guitarist (1959)

Michael Phelps; swimmer (1985)

Monica Potter; actor (1971)

Julianne Regan; English singer-songwriter and guitarist (1962)

Andy Scott; rock guitarist, singer (1949)

Harry Shields; jazz clarinetist (1899)

Glenn Shorrock; English-Australian singer-songwriter (1944)

Thomas Sowell; economist (1930)

Stanley Spencer; English artist (1891)

Mark Spoelstra; singer-songwriter and guitarist (1940)

Ron Swoboda; New York Mets OF (1944)

Eleanor Ross Taylor; poet (1920)

Mike Tyson; boxer (1966)

Dave Van Ronk; singer-songwriter and guitarist (1936)

Horace Vernet; French painter (1789)

Friedrich Theodor Vischer; German author, poet (1807)

Brian Vollmer; Canadian singer (1955)

Rich Vos; comedian (1957)

Heinz Warneke; German-American sculptor (1895)

Mark Waters; film director (1964)

Philip Adrian Wright; rock keyboardist (1956)

Ed Yost; hot-air balloon inventor (1919)

#Birthdays

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byneddiedingo · 1 year

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Jean Gabin and Julien Carette in La Bête Humaine (Jean Renoir, 1938)

Cast: Jean Gabin Séverine Roubaud: Simone Simon, Fernand Ledoux, Blanchette Brunoy, Jacques Berlioz, Julien Carette, Colette Régis, Jean Renoir. Screenplay: Jean Renoir, Denise Leblond, based on a novel by Émile Zola. Cinematography: Curt Courant. Production design: Eugène Lourié. Film editing: Suzanne de Troeye, Marguerite Renoir.

Jean Gabin has been called "the French Clark Gable," perhaps because he has some of the charged virility we associate with Gable. But it seems to me that he possesses in equal, or even greater, measure the quiet, sometimes gruff integrity as an actor that we associate with Spencer Tracy. It's very much on display in La Bête Humaine, in which he underplays the role of the doomed Jacques Lantier, making us feel the solidity of the man rather than the inherited demons that Émile Zola's novel inflicted on him. (Perhaps he underplays a bit too much for some people, like Pauline Kael, who found him sometimes "a lump.") In any case, the star of the film is not so much Gabin as the train whose engine Lantier has affectionately named Lison and regards as female. Throughout La Bête Humaine, we see trains rushing down the tracks and surging through tunnels or hear their roar and rumble and shrieking whistles. The film is driven by the energy of trains almost more than by the passions of the characters. In a close adherence to Zola's biological determinism, the trains would be emblematic of unstoppable, mechanistic destiny, but Jean Renoir has tempered Zola's naturalism with his own humanism. Renoir's nods to Zola's determinism are perfunctory: The scene in which Lantier reverts to the darkness of his ancestors and starts to strangle Flore (Blanchette Brunoy) is an awkward way of introducing Zola's ideas. But whenever the passions of the characters come most to the forefront, as in the murders of Grandmorin (Jacques Berlioz) and Séverine (Simone Simon), Renoir's tendency is to look away: Grandmorin dies behind the closed curtains of a railway compartment, and Lantier's assault on Séverine is interrupted by cuts to the dance hall they have left behind. What I remember from the film is less the crushing force of destiny that overwhelms the characters than the irrepressible elements of ordinary life, epitomized in the camaraderie of Lantier and Pecqueux (Julien Carette), and reinforced by the film's ending when Pecqueux stops the hurtling train and returns to find his dead friend and gently close his eyes.

#La Bête Humaine #Jean Renoir #Jean Gabin #Julien Carette

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kerlonfollow · 2 years

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Abraham ortelius evidence

Whitcomb, Kyrie Irving, Lawrence Krauss, Lemuria, lenticular clouds, ley lines, logical fallacy, magnetic field, magnetic poles, magnetism, Marquis de Condorcet, Max Tegmark, meteorites, Michael Shermer, Michel Foucault, minerals, moon, moon landing, moon landing hoax, Mount Shasta, National Aeronautics and Space Administration (NASA), Neal Adams, New Age, Noah's flood, North Pole, palaeomagnetism, palaeontology, pareidolia, peer review, Phil Plait, placebo effects, Plato, potassium-argon dating, pseudoscience, Ptolemy, radioactivity, radiocarbon dating, Red Lightning Books, religion, retrograde motion, Robert Steinback, Robert Sungenis, rubidium-strontium dating, S. Clark, Helena Blavatsky, heliocentrism, Henry Morris, Henry Steel Olcott, Hilary Swank, history of science, hollow earth, hydrology, ideomotor effect, Indiana University Press, Inquisition, internet, Isaac Newton, isotopes, James Hutton, James Randi, James Ussher, Jeran Campanella, Jeremiah Reynold, John C. Ellis, George Macready Price, Georges Cuvier, Gerardus Bouw, Giampaolo Giluliani, Grand Canyon, gravimetry, gravity, groundwater, Harold W. Michael Jones, earth sciences, earthquake weather, earthquakes, epicycles, Erich Von Däniken, evolution, expanding earth, flat earth, flood geology, Frederick Spencer Oliver, Galileo Galilei, geocentrism, geochronology, geology, geomagnetic reversal, George F.R. Posted in earth sciences, pseudoscience and tagged 9/11 attacks, Abraham Ortelius, Adalberto Giovannini, age of the Earth, Albert Einstein, alternative medicine, Andrew Maxwell, animal behaviour, answers in Genesis, Antarctica, Antonio Snider-Pellegrini, Apollo space missions, aquifers, Aristotle, Arthur Holmes, Athanasius Kircher, Atlantis, Bertram Boltwood, bible, Biblical scholarship, book review, Bruno Maddox, Carl Sagan, Catholic church, Charles Darwin, Charles Lyell, Chrisopher French, Christianity, Christians against Dinosaurs, Christopher Columbus, climate change, cognitive bias, cognitive dissonance, confirmation bias, conspiracy theories, Coriolis effect, creationism, crystallography, crystals, curvature of the Earth, Daniel Shenton, dinosaurs, Douglas Block, dowsing, E.

#Abraham ortelius evidence

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whatdoesshedotothem · 2 years

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Sunday 12 July 1835

7 35

11 50

no kiss rather rainy morning for an hour then fair and finish ready in ¾ hour F58° at 8 20 and breakfast - A- off on the pony to the school at 8 50 - I staid at home to write letters - 35 minutes reading some of the notes of Dr Adam Clarke on the Epistle to the Hebrews (at Marian’s request made yesterday) - she wished me to consider his opinion against the Eternal sonship of Christ - logically good - vid. his commentary on the 1st chapter but vid. which strikes me much his observation (verse 7) on who maketh his angels spirits

‘they are so far from being superior to Xst, that they are not called God’s sons in any peculiar sense, but his servants, as tempests and lightnings are. In many respects they may have been made inferior even to man as he came out of the hands of his maker, for he was made in the image and likeness of God; but of the angels, even the highest order of them, this never spoken it is very likely that the apostle refers here to the opinions of the Jews relative to the angels’ the angels said by them to be created on the 2nd day - sometimes made to sit down Judz. vi.11. - to stand; Isaiah vi.2 sometimes like women; Zech. v.9 sometimes like men, Gen. xviii. 2 sometimes spirits. Ps. civ.4 sometimes fire; ibid .:. ‘in Yalcut Simeoni [Yalkut Simeoni], par. 2, fol. ii. (eleven) it is said ‘the angel answered menorah, I know not in whose image I am made, for God changeth us every hour: sometimes he maketh us fire, sometimes spirit, sometimes men, and at other times angels’ it is very probable that those who are turned angles are not confined to any specific form or shape, but assume various forms and appearances according to the nature of the work on which they are employed and the will of their sovereign employer. This seems to have been the ancient Jewish doctor on this subject’

Commentary on verse eleven. ‘shall wax old as doth a garment. It is remarkable that our word world is a contraction of wear old’ - formerly written weorold and wereld. ‘this etymology finely alluded to by one excellent poet Spencer when describing the primitive age of innocence, succeeded by the age of depravity’ (the passage quoted by Clarke and reference also to Hor. Carm. lib. iii. od.6; Virg. Aen. viii. 324

wrote the above of today till 9 50 - then wrote 2 ½ pages (1/2 sheet note paper) in French to Madame de Bourke - then looking over journals and accounts about rent paid and what paid to the porter for my little apartment - A- returned at 11 ½ - wrote copies of letter to my Paris landlord, Monsieur Cusinberche - A- and I read prayers to my aunt at 12 ¼ - off to school at 1 ¾ - waited ¼ hour at the door for Washington to let us in - at church at 2 50 - Mr Akroyde did all the duty - helas! Misericorde! he preached arrant nonsense for 55 minutes text 1 Cor. xv. 20. asleep nearly all the time but yet heard too much - called and staid ¼ hour at Cliff hill - home at 5 50 - wrote my letter 1p. of ½ sheet note paper to ‘Monsieur Cusinberche Rue St. Victor no.27 à Paris’ and enclosed it with letter (note) to ‘Madame Madame la comtesse de Bourke rue du Faubourg St. Honoré no.53 à Paris’ in ½ sheet envelope containing my letter to ‘Messrs. Ferrére Messrs. Lafitte et co. Banquiers à Paris’ to ask them to pay 346fr. 05 cents to M. Cusinberche and to be so good as send the enclosed letters to the petite post - apologized to M. Cusinberche for not paying my rent sooner - 320 francs for rent, 6/05 for taxe personelle supposing it to be as last year and 20/. for the porter -then wrote to ‘Messrs. Hammersleys and co. Bankers, London’ to ask them to pay 346/05 to Messrs. Laffitte and sent the above letters by George at 6 50 at which hour dinner - coffee - A- had letter from Mr Gray York - will be at home tomorrow evening and Tuesday morning - A- had letter, too, from Miss Plowes, Ackworth, near Leeds - I had note from Mr John Dearden junior to pay my subscription towards the West Riding election of Mr John (honourable) Wortley - John took it to Rawson’s banks yesterday morning - civil letter from Mr Bewsher, customs London to say he would see all safe, but the model could not be allowed to pass the custom-house unpaid with a special order from the Lords of the Treasury - read the newspapers - some little time with my father and Marian - ten minutes with my aunt till tea at 9 - then till 10 ½ wrote the last 22 lines of today - fair and finish day till between 2 and 3 pm then a little rain - heavyish as we drove to Cliff hill and while there, and very shower about 6 - rain afterwards and several vivid flashes of lightning about 9 pm - F62° now at 10 ½ pm - note this afternoon by Mathew printed to say a meeting is called at 11 am on Friday by the vicar and church wardens to consider the propriety of taking means to raise by annual subscriptions whatever may be requisite - ‘to meet all just and reasonable expense for the support of the church’ dated 10 July 1835 - Charles Musgrave vicar Henry Emmet and George Whitely church wardens - what times!

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askouacrpads · 3 years

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ASK ONCE UPON A CURSE is a canon divergent, ask based roleplay currently in Season 2. Each week are two new episodes, allowing characters to explore what happened between the scenes and after it ended, before the next one begins. We have plenty of canon faces still available, and original characters are encouraged!

MOST WANTED: Mulan, Aurora, Prince Phillip, Neal Cassidy & Cora Mills

#moe french #albert spencer #king george #tom clark #greg mendell

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awardseason · 2 years

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2022 BAFTA Awards — Winners

Best Film “Belfast” “Don’t Look Up” “Dune” “Licorice Pizza” “The Power of the Dog” — WINNER

Outstanding British Film “After Love” “Ali & Ava” “Belfast” — WINNER “Boiling Point” “Cyrano” “Everybody’s Talking About Jamie” “House of Gucci” “Last Night in Soho” “No Time to Die” “Passing”

Director “After Love” – Aleem Khan “Drive My Car” – Ryûsuke Hamaguchi “Happening” – Audrey Diwan “Licorice Pizza” – Paul Thomas Anderson “The Power of the Dog” – Jane Campion — WINNER “Titane” – Julia Ducournau

Leading Actress Lady Gaga – “House of Gucci” Alana Haim – “Licorice Pizza” Emilia Jones – “CODA” Renate Reinsve – “The Worst Person in the World” Joanna Scanlan – “After Love” — WINNER Tessa Thompson – “Passing”

Leading Actor Adeel Akhtar – “Ali & Ava” Mahershala Ali – “Swan Song” Benedict Cumberbatch – “The Power of the Dog” Leonardo DiCaprio – “Don’t Look Up” Stephen Graham – “Boiling Point” Will Smith – “King Richard” — WINNER

Supporting Actress Caitríona Balfe – “Belfast” Jessie Buckley – “The Lost Daughter” Ariana DeBose – “West Side Story” — WINNER Ann Dowd – “Mass” Aunjanue Ellis – “King Richard” Ruth Negga – “Passing”

Supporting Actor Mike Faist – “West Side Story” Ciarán Hinds – “Belfast” Troy Kotsur – “CODA” — WINNER Woody Norman – “C’mon C’mon” Jesse Plemons – “The Power of the Dog” Kodi Smit-McPhee – “The Power of the Dog”

Outstanding Debut by a British Writer, Director or Producer “After Love” – Aleem Khan (Writer/Director) “Boiling Point” – James Cummings (Writer), Hester Ruoff (Producer) [also written by Philip Barantini and Produced by Bart Ruspoli] “The Harder They Fall” – Jeymes Samuel (Writer/director) [also written by Boaz Yakin] — WINNER “Keyboard Fantasies” – Posy Dixon (Writer/Director), Liv Proctor (Producer) “Passing” – Rebecca Hall (Writer/Director)

Film Not in the English Language “Drive My Car” – Ryûsuke Hamaguchi, Teruhisa Yamamoto — WINNER “The Hand of God” – Paolo Sorrentino, Lorenzo Mieli “Parallel Mothers” – Pedro Almodóvar, Agustín Almodóvar “Petite Maman” – Céline Sciamma, Bénédicte Couvreur “The Worst Person in the World” – Joachim Trier, Thomas Robsahm

Documentary “Becoming Cousteau” – Liz Garbus, Dan Cogan “Cow” – Andrea Arnold, Kat Mansoor “Flee” – Jonas Poher Rasmussen. Monica Hellström “The Rescue” – Elizabeth Chai Vasarhelyi, Jimmy Chin, John Battsek, P. J. Van Sandwijk “Summer of Soul (or, When the Revolution Could Not Be Televised)” – Ahmir — WINNER “Questlove” Thompson, David Dinerstein, Robert Fyvolent, Joseph Patel

Animated Film “Encanto” – Jared Bush, Byron Howard, Yvett Merino, Clarke Spencer — WINNER “Flee” – Jonas Poher Rasmussen. Monica Hellström “Luca” – Enrico Casarosa, Andrea Warren “The Mitchells Vs the Machines” – Mike Rianda, Phil Lord, Christopher Miller

Original Screenplay “Being the Ricardos” – Aaron Sorkin “Belfast” – Kenneth Branagh “Don’t Look Up” – Adam Mckay “King Richard” – Zach Baylin “Licorice Pizza” – Paul Thomas Anderson — WINNER

Adapted Screenplay “CODA” – Siân Heder — WINNER “Drive My Car” – Ryûsuke Hamaguchi “Dune” – Denis Villeneuve “The Lost Daughter” – Maggie Gyllenhaal “The Power of the Dog” – Jane Campion

Original Score “Being the Ricardos” – Daniel Pemberton “Don’t Look Up” – Nicholas Britell “Dune” – Hans Zimmer — WINNER “The French Dispatch” – Alexandre Desplat “The Power of the Dog” – Jonny Greenwood

Casting “Boiling Point” – Carolyn Mcleod “Dune” – Francine Maisler “The Hand of God” – Massimo Appolloni, Annamaria Sambucco “King Richard” – Rich Delia, Avy Kaufman “West Side Story” – Cindy Tolan — WINNER

Cinematography “Dune” – Greig Fraser — WINNER “Nightmare Alley” – Dan Laustsen “No Time to Die” – Linus Sandgren “The Power of the Dog” – Ari Wegner “The Tragedy of Macbeth” – Bruno Delbonnel

Editing “Belfast” – Úna Ní Dhonghaíle “Dune” – Joe Walker “Licorice Pizza” – Andy Jurgensen “No Time to Die” – Tom Cross, Elliot Graham — WINNER “Summer of Soul (or, When the Revolution Could Not Be Televised)” – Joshua L. Pearson

Production Design “Cyrano” – Sarah Greenwood, Katie Spencer “Dune” – Patrice Vermette, Zsuzsanna Sipos — WINNER “The French Dispatch” – Adam Stockhausen, Rena Deangelo “Nightmare Alley” – Tamara Deverell, Shane Vieau “West Side Story” – Adam Stockhausen, Rena Deangelo

Costume Design “Cruella” – Jenny Beavan — WINNER “Cyrano” – Massimo Cantini Parrini “Dune” – Robert Morgan, Jacqueline West “The French Dispatch” – Milena Canonero “Nightmare Alley” – Luis Sequeira

Make Up & Hair “Cruella” – Nadia Stacey, Naomi Donne “Cyrano” – Alessandro Bertolazzi, Siân Miller “Dune” – Love Larson, Donald Mowat “The Eyes of Tammy Faye” – Linda Dowds, Stephanie Ingram, Justin Raleigh — WINNER “House of Gucci” – Frederic Aspiras, Jane Carboni, Giuliano Mariana, Sarah Nicole Tanno

Sound “Dune” – Mac Ruth, Mark Mangini, Doug Hemphill, Theo Green, Ron Bartlett — WINNER “Last Night in Soho” – Colin Nicolson, Julian Slater, Tim Cavagin, Dan Morgan “No Time to Die” – James Harrison, Simon Hayes, Paul Massey, Oliver Tarney, Mark Taylor “A Quiet Place Part II” – Erik Aadahl, Michael Barosky, Brandon Proctor, Ethan Van Der Ryn “West Side Story” – Brian Chumney, Tod Maitland, Andy Nelson, Gary Rydstrom

Special Visual Effects “Dune” – Brian Connor, Paul Lambert, Tristan Myles, Gerd Nefzer — WINNER “Free Guy” – Swen Gillberg, Brian Grill, Nikos Kalaitzidis, Daniel Sudick “Ghostbusters: Afterlife” – Aharon Bourland, Sheena Duggal, Pier Lefebvre, Alessandro Ongaro “The Matrix Resurrections” – Tom Debenham, Hew J Evans, Dan Glass, J. D. Schwaim “No Time to Die” – Mark Bokowski, Chris Corbould, Joel Green, Charlie Noble

British Short Animation “Affairs of the Art” – Joanna Quinn, Les Mills “Do Not Feed the Pigeons” – Jordi Morera — WINNER “Night of the Living Dread” – Ida Melum, Danielle Goff, Laura Jayne Tunbridge, Hannah Kelso

British Short Film “The Black Cop” – Cherish Oteka — WINNER “Femme” – Sam H. Freeman, Ng Choon Ping, Sam Ritzenberg, Hayley Williams “The Palace” – Jo Prichard “Stuffed” – Theo Rhys, Joss Holden-rea “Three Meetings of the Extraordinary Committee” – Michael Woodward, Max Barron, Daniel Wheldon

EE Rising Star Award (Voted for by the Public) Ariana Debose Harris Dickinson Lashana Lynch — WINNER Millicent Simmonds Kodi Smit-McPhee

#bafta awards #bafta 2022 #winners #british academy film awards

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