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#thoughts on film
shitslikethis · 1 year
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good movie is:
1. turn lights on
2. oh the dark is part of the metaphor or the character development or the -*gunshot*
3. lights. on.
4. whatever your plan for the cgi was, cut 10% off the top AT LEAST (a la coco chanel’s “take one accessory off before you leave the house” rule)
5. hand to hand combat and/or real filmed combat is NOTICEABLY better and we don’t talk about it enough. lasers do not impact the same way a fist does. yeah a lightsaber is fucking cool as hell but what if this character just got their shit rocked instead? this isn’t a hard and fast rule, but i’d love to see more people use it. (ex. that scene in bridget jones’ diary where hugh grant gets his ASS KICKED by mr. fucking darcy- incredible)
6. “it’s more expensive to–” just do it. if the money you are about to save is cutting corners by cutting out other artists in a collaborative creative process, just spend the money.
7. any and all rules go out the window for the muppets. goddamn i love those little fuckers and their silly lil ditties.
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sylvies-kablooie · 3 months
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i do unironically think the best artists of our generation are posting to get 20 notes and 3 reblogs btw. that fanfic with like 45 kudos is some of the best stuff ever written. those OCs you carry around have some of the richest backstories and worldbuilding someone has ever seen. please do not think that reaching only a few people when you post means your art isn't worth celebrating.
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daincrediblegg · 5 months
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OK THIS IS NOT A FUCKING DRILL EVERYONE FUCKING REPEAT AFTER ME. THIS IS WHAT YOU WILL DO WHEN YOU WATCH MUPPET CHRISTMAS CAROL THIS YEAR:
You will navigate to the page on disney plus (and it has to be here. Unless someone has actually uploaded the REAL movie anywhere else you cannot get it elsewhere)
BUT YOU WILL NOT HIT PLAY. You won’t do it. Because it’s NOT THE REAL VERSION OF THE FILM AND DISNEY IS FUCKING LYING TO YOU AS IT ALWAYS DOES
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You will scroll down HERE. To EXTRAS instead. You MUST GO HERE. This is non -negotiable
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THEN YOU WILL SCROLL DOWN TO THE BOTTOM OF THE EXTRAS AND YOU WILL THEN HIT PLAY ON THIS BAD BOY: THE FULL LENGTH VERSION
And you will watch it. And you will thank me for having been so blind and led astray by that stupid fucking mouse. You’re welcome.
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badolmen · 10 months
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People against piracy fail to realize that no, I can’t just ‘buy it.’ They stopped making DVDs and Blu-Rays. They’re barely offering digital copies for download. I am not spending money I could use for food or bills to pay for a subscription service just so I can always have access to a beloved piece of media. Especially not when the service will remove media on a whim without concern for how the loss of access to that piece will make its artistic conservation nigh impossible.
For example, I recently learned that Disney+ had an original film called Crater. It’s scifi, family friendly, and seems cool - I would love to buy it as a holiday gift for my little brother! But: it’s exclusive to D+ and THEY REMOVED IT LITERALLY MONTHS AFTER ITS RELEASE.
The ONLY way I can directly access this film is through piracy. The ONLY available ‘copies’ of this film are hosted on piracy websites. Disney will NEVER release it in theaters, or as something to buy, and it may NEVER return to the streaming service. It will be LOST because we aren’t allowed to purchase it for personal viewing. If I can’t pay to own it, I won’t pay for the privilege of losing it when corporate decides to put it in a vault.
So yes, I’m going to pirate and support piracy.
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mcpirita · 5 months
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Semi-motivational quotes from Hayao Miyazaki
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mothprincess · 1 year
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i can always relate to a girl who wants to leave
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peridot-tears · 9 months
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Truths that Co-Exist
Barbie (2023) is a giant product placement that profits off nostalgia.
The writing is profound and life-changing and understands why we seek nostalgia in a way most nostalgia-driven entertainment doesn’t.
The film is self-aware about how even now, Barbie dolls set incredibly unrealistic beauty standards. Their “body diversity” does not even scratch the surface of what that phrase really means. I don’t expect this to change.
The film still made a beautiful statement with the scene on the bench about how societal beauty standards are narrow and restrictive! And that beauty comes from experiencing life and the marks it leaves on you!
Its feminist statements are validating. Many of us see our reality onscreen, and the great thing is that it includes how cishet men fall down a pipeline of toxic hypermasculinity. It also shows the solution, and allows men to express themselves despite what society expects them to be.
The film is a capitalist venture.
The cast (aside from the leads) and crew were probably overworked and severely underpaid during filmmaking.
We can still appreciate that something fun was made, and we all made another wonderful memory where we and our loved ones went to the movies color-matching in pink.
We should not feel guilty about seeing ourselves in this film.
Meanwhile, support the WGA and SAG-Aftra strike.
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elysiuminfra · 9 months
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its so mortifying and frustrating that the crew of spiderverse were so overworked. by people who didnt understand the sheer work and effort that goes into all parts of the pipeline. but a new generation of artists are seeing the concept art, and going, “i want to do this too!” getting to see the release of so much behind the scenes work makes me want to do things like this. i aspire to this. but i dont want to have to deal with the death of creativity in the form of constant reworking. i couldn’t watch coworkers leave because of how stressful it becomes.
i hope the crew knows just how many artists walked into that theater, and then walked out going, “i want to make art as thoughtful as this. i want to make art as genuine as this. i want to make art with this much love in it. i want to do this too.”
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ritahayworrth · 7 months
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there's currently a free japanese indie film festival being held online! all the films have subtitles in english, spanish (latin america), thai, indonesian, simplified chinese, and traditional chinese and the films are available to watch worldwide (except japan and some others depending on the movie):
bachiranun (2021)
tenzo (2019), not available in france, belgium, switzerland, korea
an artisan's legacy, tsunekazu-nishioka (2012)
lonely glory (2022)
hanagatami (2017), not available in china, us, canada, uk, and ireland
bon-uta, a song from home (2019)
and your bird can sing (2018), not available in korea, china, taiwan, us, and canada
hey! our dear don-chan (2022)
techno brothers (2023)
a muse never drowns (2022), not available in the netherlands, and canada
a girl in my room (2022), not available in korea, china, and taiwan
follow the light (2021)
the festival will be held until october 31, 2023 :))
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bibluebutterfly · 5 months
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I’m sorry but it’s absolutely hilarious and yet adorable how the series handles Broppy’s relationship. First we get them traveling together as rivals (which was a bit more one- sided on Branch’s part) before slowing learning how to work together and to change for the other. Also it’s heavily implied Branch has an underline crush on Poppy. Then we get True Colors, and everyone thinks “okay they’re in love now”.
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Some people/audience members are on board, others not so much. BUT THEN it turns out that the “I love you” they say to each other was a PLATONIC love confession. Like “you’re my friend, and I value you.” Which is still sweet, but was unexpected. (Though it does explain why the writers decided to put another platonic love confession scene between Bridget and Poppy. Yeah, I get it now)
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So they just go through the journey as bffs who have feelings for each other but won’t say anything. And again, they learn how to work and grow together as a team and make the necessary changes to benefit the other. And then FINALLY we get the romantic love confession.
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But it doesn’t stop there, oh no. Now we get adventure #3, this time with them as a full on couple. And they are actually really cute. Actually the film doesn’t focus that much on their relationship but we see hints of how they are as a couple.
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Poppy is still all over the place but she’s much less in her own head and far more open to listening and being a good girlfriend.
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Branch on the other hand is still occasionally getting exasperated by her energy but this time also has an appreciation for it. Also he learns to open up to her a little more and she’s there to listen and accept him with open arms. (Bonus points to their flirty dynamic because wow. They were adorable here.)
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And it’s ONLY THEN (7 years after the first film) when they get their first on screen kiss.
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Anyway. In conclusion: Trolls is the slowest slow burn I have ever seen in a Dreamworks trilogy.
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balee-art · 9 months
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Based on that meme a.k.a. My only contribution to the Nimona fandom :P
Bonus:
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jarrows · 6 months
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recently i reread a bunch of my favorite sherlock holmes stories (norw my beloved) and felt compelled to create my own diagram for 221B
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forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.
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witchofthemidlands · 1 year
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how to make scooby doo adult whilst respecting the source material:
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bixels · 2 months
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Posting a sneak-peak of this now because I'm about to be In The Shit school workload-wise, so this'll take me a while to finish.
Doing some character design exploration/expression sheets for Celestia and Luna. Figuring out Celestia's weird ass anatomy while I'm at it.
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horang-07 · 6 months
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FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!
i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.
i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.
in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.
this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable
it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.
then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.
he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.
finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.
it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.
in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.
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