To combat a post I saw on my dash because bad writing advice is like my new Thing that makes me Really Annoyed:

1. Show, Don’t Tell is not the golden rule of novel writing. If anything, it’s the golden rule of screen writing, which is a visual medium and uses different rules than novel writing. Not all types of writing are created equal and use the same rules so it’s not a one size fits all industry. Conventions even differ from genre to genre with novels, so this is not the good, all around advice it’s lauded to be.

2. Yes your character IS sad, devastated, furious, and heartbroken. You can and SHOULD use these words to describe how they’re feeling, but you incorporate them with descriptions that emphasize the emotions – the way someone’s hands are shaking, how their fists are balled so tightly their nails are cutting into their palm. These will help the readers get into the head of your character without risking them losing the scene because it’s too vague to emotionally connect to. The words sad and devastated, etc, will then just disappear into the background while still guiding your reader towards the reaction you want them to have.

3. Every character has a different perception of their surroundings. If you treat characters like the have universal emotional reactions to everything – ie, obsessively noticing the details on a small car to show that they’re “in love” with it – all your characters are going to end up super samey. Also, not every single person is going to see the loss of their lover as a “thing they just lost in battle”, instead, they’re going to get angry, they’re going to rain fiery justice down on their foes like a god of death.

Instead of having to write one-size fits all reactions, consider what sort of person your character is. Are they more introspective? Are they a man or woman of action or are they a more reserved person? I know for a fact that the two characters I write the most would react completely differently to losing their lovers in the heat of battle or discovering someone did something super touching for them, and they actually both have quite a few things in common. Instead of using generic writing devices to try to give your story more depth, focus instead of really telling the story of your specific character in that moment by fleshing them out and treating them like a person.

4. Again, on the matter of dialogue, not everyone has a universal human reaction to their own emotions. Some people are more likely to be more honest when they’re sad than they are when they’re happy because they feel like they have nothing left to lose. Or maybe your character is in even MORE control of themselves when they’re angry because their anger isn’t the irrational kind of anger, it’s the slow burning deliberate kind of anger that turns them into a scheming mastermind. If you’re not considering the individual motivations of your characters and the people around them, no matter what you do with your dialogue to “show and not tell”, it’s going to come off as stiff. Your character should be able to start a conversation in the same way with two different people and have the conversation turn out differently just because dialog should incorporate the personalities and individual voices of your cast before it ever incorporates pulp psychology.

5. And I saved this counterpoint for last because this is the point that annoys me the most – The entire post I’m referring to treats everyone like they’re exactly the same and will universally have the same responses to things in the lieu of giving good advice. If you write everyone like they have low inhibitions when they’re highly emotional, you’ll end up writing your cast like they’re all teenagers.

If you have a cast of only teenagers, this might be fine, but as people get older, they generally gain more of an ability to control themselves, and even all teenagers aren’t exactly alike. I was a very reserved teenager who was very in control of myself, because even young, stupid, emotionally charged me was still a very sensible person… Just not quite as sensible and in control of myself as I am now.

It’s okay to write characters doing this if you’re writing people who are just this way or who are exhausted and emotionally vulnerable or who are drunk and no longer have inhibitions, but most people will have things that hold them back from losing control. We need to consider what these things are for each of our characters, how they apply, and what they mean. Only once we have a good grasp of characterization and our cast can we really start to form complex worlds and scenes.

And it doesn’t really matter how you come to those characters, either. You can construct them deliberately like someone building a machine and view yourself as their master and them as tools, or you can lovingly grow your characters and treat them like real people, but if you don’t start with having a strong idea about your cast if you’re writing pop fiction (where that is GENERALLY why most people follow your stuff) you might end up with a weaker story.

Generally, writing advice isn’t once size fits all.

There is any myriad of ways to write well, and the style the person describes does have merit, but not to everyone. It especially might not fill the bill for those of us who ARE novelists and need to be able to really get into the nitty gritty of our settings and characters.

Being so zoomed out for our cast, which is what showing and not telling can sometimes do because it compromises personal narrator voice in a lot of ways, can really compromise the integrity of a strong character driven work.

Even in character driven works, there will be places where you DO want to show instead, of course, but we should never throw out telling as a part of our repertoire. Sometimes it just fits a scene or character better, and sometimes? Sometimes what you really need is to do BOTH and ass what the “experts” say.

Much like art, writing is like finding a style, and you can have a good style even if you don’t follow the template of the classics.

Never be afraid to break or bend the rules. There are ways you can improve, but so much about writing is just as subjective as visual art, so never be afraid to stand by your guns and go out and find your audience.

After all, just because someone doesn’t like a manga style artist’s work doesn’t mean it’s not technically skilled and that NO ONE will like it. It’s the same for different styles of writing, and you don’t have to subscribe to “show, don’t tell” like it is the single most golden rule a writer can have if you don’t want to.

Ultimately, it’s just a tool to tell your story.

Just like anything else.


Today’s adventures and recipes

Orange Teriyaki Sauce

Orange Teriyaki Veggie Rice Bowl

First the sauce:

- 1.5 cup Orange Juice with pulp

- 5 tablespoons Splenda brown sugar

- ¼ cup low sodium soy sauce

- 3 tbsp raw honey

- 2 cloves​ of garlic, minced

- 1 tsp fresh ginger root, minced

- 2 tbsp cornstarch

- ¼ cup warm water


- Mix cornstarch and water. Set aside.

- In a small pot, Mix up Orange Juice, brown sugar, soy sauce, honey, garlic and ginger. Heat and stir.

- When it starts to boil, add the cornstarch mix. Stir for a minute until all blended. Remove from heat immediately.

- cool and let it congeal.

- Can it!

Macros for 1 tbsp: 24 cal, 5.3 C, 0.0 F, 0.2 P, 70.3mg Na, 21.9 K

Now, the rice bowl…

Make 1.5 cups brown rice.

Boil 500g sweet potatoes

300g Vidalia onions
20 Brussels sprouts
1 large sweet yellow pepper cut 15 into strips
1 large sweet red pepper cut 15 into strips
1 large sweet green pepper cut 15 into strips

When all this is done, take:
- 2 tbsp of orange teriyaki sauce
- 4 Brussels sprouts
- 100g sweet potatoes
- 3 strips of each color pepper
- 60g onion

And fry up for a few minutes until veggies are glazed.

Put on top of ½ cup of brown rice.

Cover and freeze. Ready for morning wake up call for work.

Macros for 1 meal: 320 cal, 70.2 C, 1.5 F, 8.1 P, 256.5mg Na, 978.6 K

destinyapocalypse  asked:

for TMI Tuesday; all of your OC's and their favorite comfort foods

(art by the ever-talented @destinyapostasy​) 

AVIRA: Amaranthine Sweet Vegetable Tarts
Considering the lack of space within Alienage walls, city elves had to make the most of all they had, making rooftop gardens a common sight. Food was often scarce, so they prioritized produce that didn’t take up much space and could keep for long periods of time, which made root vegetables such as potatoes, carrots, onions and garlic a staple of city elven cuisine. Since sugar was often too expensive to buy, most elven food was sweetened with honey, instead. Given the ingredients were readily available, sweet vegetable tarts were a common treat. Eating them still takes Avira back to life in the city.

KATSURO: Silent Plains Lentil Stew with Hard Rolls & Sweet Crumble
The cuisine of the Silent Plains reflects both the availability of ingredients in its arid, unforgiving terrain and its war-like history. Scarcity of water and fresh green vegetables have all had their effect on the food. Meals that can last for several days and can be eaten without heating are preferred. Lentil stew was well-balanced, filling, and with the deep fried bread combined with the sugary topping of the crumble, somewhat indulgent. As a child, Katsuro had been known to eat the crumble straight out of the bowl.

MALEUS: Rialto Oyster Chowder
With its expansive coastline and the abundant fish in the Rialto Bay, seafood is both a fact of life and a dietary staple in Rivain. But given that Llomerryn is a bustling trading hub, culinary influences from across Thedas can be seen in the food there. Maleus’ personal favorite is a Fereldan x Rivaini hybrid: bringing together some of the heartier elements of a Southern chowder with the spice palette and the fresh-yet-briny seafood of the North. He eats it with Llomerryn Red, but then, he eats almost everything with Llomerryn Red.

Recipes under the cut!

Keep reading

Top 10 British protest and political songs

1. Jarvis Cocker – Running the World (2006)
Originally written about Blair and Bush, I think this is more appropriate now than it ever has been.


2. Billy Bragg – Never Cross a Picket Line (1990)
You can’t have a list of the best political and protest songs without the king of political music.


3. Lily Allen – Hard Out Here (2014)
Lily Allen manages to reference body image, double standards, Robin Thicke’s Blurred Lines and the glass ceiling all in one song.


4. The Jam – Eton Riffles (1979)
We still have old Etonians running the country, including the Prime Minister and Mayor of London. Apparently David Cameron is a fan of this song, to Paul Weller’s dismay.

5. Pulp – Cocaine Socialism (1998)
Jarvis Cocker wrote Cocaine Socialism after being contacted by one of Blair’s minions during the 1997 general election campaign begging for his support, to try and make Blair look cool. An angry Jarvis Cocker wrote this in response.

6. Manic Street Preachers – If You Tolerate This Then Your Children Will Be Next (1998)
In 2009, it was discovered that the song was used on the website of the British National Party as the soundtrack of an article describing “the violence, hatred, fragmentation and despair” wrought on London by the “great multicultural experiment”. Obviously the Irony was lost on them.


7. Lily Allen – Fuck You (2009)
Her opinions on the British National Party are made pretty clear, she did also once dedicate it to the FIFA President.


8. Frank Turner – Thatcher Fucked The Kids (2006)
Turner actually regrets writing this saying “I regret writing the song simply because I started getting a lot of people coming to my shows who didn’t give two shits about my music. I’d just said something they agreed with. There’s a fair amount of analysis in that song that I would 100% stand by, but writing that was almost dipping a toe into the world of being a protest singer. I tried it, I really didn’t like it, and so I did something else with my life.”

9. Pulp – Common People (1995)
Although being one of the most famous songs of the 1990s, Common People never actually made it to number 1 unfortunately. Should have done though.

10. Plan B – Ill Manors (2012)
Ill Manors was written as a response to 2011’s riots and “society’s failure to nurture its disadvantaged youth.” The Guardian described Ill Manors as “the first great mainstream protest song in years.”

50 Yönetmenin Önerdiği En İyi Filmler Listesi

1. Stanley Kubrick

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1. I Vitelloni (1953) 2. Wild Strawberries (1957) 3. Citizen Kane (1941) 4. The Treasure of the Sierra Madre (1948) 5. City Lights (1931) 6. Henry V (1944) 7. La notte (1961) 8. The Bank Dick (1940) 9. Roxie Hart (1942) 10. Hell’s Angels (1930) ___

2. Danny Boyle

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1. Apocalypse Now (1979) 2. The Bicycle Thief (1948) 3. The Wrong Trousers (1993) 4. Au Revoir Les Enfants (1987) 5. Eureka (1983) ____

3. Martin Scorsese

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1. 2001: A Space Odyssey (1968) 2. 8½ (1963) 3. Ashes and Diamonds (1958) 4. Citizen Kane (1941) 5. The Leopard (1963) 6. Paisan (1946) 7. The Red Shoes (1948) 8. The River (1951) 9. Salvatore Giuliano (1962) 10. The Searchers (1956) 11. Ugetsu Monogatari (1953) 12. Vertigo (1958) ____

4. J. J. Abrams

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1. Jaws (1975) 2. Philadelphia Story (1940) 3. Star Wars (1977) 4. Tootsie (1982) 5. Rear Window (1954) ___

5. Andrey Tarkovski

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1. Le Journal d’un curé de campagne (1951) 2. Winter Light (1962) 3. Nazarín (1959) 4. Wild Strawberries (1957) 5. City Lights (1931) 6. Ugetsu monogatari (1953) 7. Seven Samurai (1954) 8. Persona (1966) 9. Mouchette (1967) 10. Woman of the Dunes (1964) _____

6. John Carpenter

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1. Only Angels Have Wings (1939) 2. Rio Bravo (1959) 3. Citizen Kane (1941) 4. Vertigo (1958) 5. Blow-Up (1966) ____

7. Peter Jackson

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1. King Kong (1933) 2. Dawn of the Dead (1978) 3. The General (1927) 4. Goodfellas (1990) 5. Jaws (1975) ____

8. Michael Haneke

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10. L’eclisse (1962) 9. Germany, Year Zero (1948) 8. A Woman Under the Influence (1974) 7. Psycho (1960) 6. The Gold Rush (1925) 5. The Exterminating Angel (1962) 4. Salò, or the 120 Days of Sodom (1975) 3. The Mirror (1975) 2. Lancelot of the Lake (1974) 1. Au hasard Balthazar (1966) ____

9. Woody Allen

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The 400 Blows (1959) 8½ (1963) Amarcord (1972) The Bicycle Thieves (1948) Citizen Kane (1941) The Discreet Charm of the Bourgeoisie (1972) Grand Illusion (1937) Paths of Glory (1957) Rashomon (1950) The Seventh Seal (1957) ____

10. Sofia Coppola

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1. Rumble Fish (1983) 2. Breathless (1960) 3. Sixteen Candles (1984) 4. Lolita (1962) 5. The Last Picture Show (1971) ___

11. Federico Fellini

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1. The Circus (1928) 2. Herhangi bir Marx Kardeşler veya Laurel ve Hardy 3. Stagecoach (1939) 4. Rashomon (1950) 5. The Discreet Charm of the Bourgeoisie (1972) 6. 2001: A Space Odyssey (1968) 7. Paisan (1946) 8. The Birds (1963) 9. Wild Strawberries (1957) 10. 8½ (1963) ____

12. Wes Anderson

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1. Madame de… (1953) 2. Au hasard Balthazar (1966) 3. Buta to gunkan (1961) 4. La prise de pouvoir par Louis XIV (1966) 5. The Spy Who Came in from the Cold (1965) 6. The Friends of Eddie Coyle (1973) 7. Classe tous risques (1960) 8. L’enfance nue (1968) 9. Mishima: A Life in Four Chapters (1985) 10. El ángel exterminador (1962)___

13. James Cameron

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1. The Wizard of Oz (1939) 2. Dr. Strangelove (1964) 3. 2001: A Space Odyssey (1968) 4. The Godfather (1972) 5. Taxi Driver (1976) ___

14. Michael Mann

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1. Apocalypse Now (1979) 2. Battleship Potemkin (1925) 3. Citizen Kane (1941) 4. Avatar (2009) 5. Dr. Strangelove (1964) 6. Biutiful (2010) 7. My Darling Clementine (1946) 8. The Passion of Joan Of Arc (1928) 9. Raging Bull (1980) 10. The Wild Bunch (1969) ____

15. Francis Ford Coppola

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1. Ashes and Diamonds (1958) 2. The Best Years of Our Lives (1946) 3. I Vitelloni (1953) 4. The Bad Sleep Well (1960) 5. Yojimbo (1961) 6. Singin’ in the Rain (1952) 7. The King of Comedy (1982) 8. Raging Bull (1980) 9. The Apartment (1960) 10. Sunrise (1927) ___

16. Guillermo Del Toro

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1. Frankenstein (1931) 2. Freaks (1932) 3. Shadow of a Doubt (1943) 4. Greed (1925) 5. Modern Times (1936) 6. La Belle et la Bête (1946) 7. Goodfellas (1990) 8. Los Olvidados (1950) 9. Nosferatu (1922) 10. 8½ (1963) ___

17. David O. Russell

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1. It’s a Wonderful Life (1946) 2. Chinatown (1974) 3. Goodfellas (1990) 4. Vertigo (1958) 5. Pulp Fiction (1994) 6. Raging Bull (1980) 7. Young Frankenstein (1974) 8. The Discreet Charm of the Bourgeoisie (1972) 9. The Godfather (1972) 10. Blue Velvet (1986) 11. Groundhog Day (1993) ____

18. Nuri Bilge Ceylan

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1. Mirror (1975) 2. Andrei Rublev (1966) 3. Tokyo Story (1953) 4. Late Spring (1949) 5. A Man Escaped (1956) 6. Au Hasard Balthazar (1966) 7. Shame (1968) 8. Scenes from a Marriage (1973) 9. L’avventura (1960) 10. L’eclisse (1962) ___

19. Quentin Tarantino

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1. Apocalypse Now (1979) 2. The Bad News Bears (1976) 3. Carrie (1976) 4. Dazed and Confused (1993) 5. The Good, the Bad and the Ugly (1966) 6. The Great Escape (1963) 7. His Girl Friday (1939) 8. Jaws (1975) 9. Pretty Maids All in a Row (1971) 10. Rolling Thunder (1997) 11. Sorcerer (1977) 12. Taxi Driver (1976) ___

20. George Lucas

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1. Metropolis (1927) 2. Stagecoach (1939) 3. The Searchers (1956) 4. Rashômon (1950) 5. Ikiru (1952) 6. Seven Samurai (1954) 7. The Bridge on the River Kwai (1957) 8. The Hidden Fortress (1958) 9. The Blob (1958) 10. Yojimbo (1961) 11. Dr. Strangelove (1964) 12. The Good, the Bad and the Ugly (1966) 13. 2001: A Space Odyssey (1968) 14. Planet of the Apes (1968) 15. A Clockwork Orange (1971) ___

21. Tim Burton

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1. Dracula A.D. 1972 (1972) 2. The Wicker Man (1974) 3. The Golden Voyage of Sinbad (1973) 4. The War of the Gargantuas (1970) 5. The Omega Man (1971) ___

22. Christopher Nolan

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1. The Hit (1984) 2. 12 Angry Men (1957) 3. The Thin Red Line (1998) 4.  Das Testament des Dr. Mabuse (1933) 5. Bad Timing (1980) 6. Marry Christmas Mr. Lawrence (1983) 7. For All Mankind (1989) 8.  Koyaanisqatsi (1983) 9. The Complete Mr. Arkadin (1955) 10. Greed (1924) ___

23. Ingmar Bergman

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1. The Outlaw and His Wife (Victor Sjostrom, 1918) 2. The Phantom Carriage (Victor Sjostrom, 1921) 3. Der Letzte Mann (F. W. Murnau, 1924) 4. The Saga Of Gosta Bergling (Mauritz Stiller, 1924) 5. Faust (F. W. Murnau, 1926) 6. Sunrise (F. W. Murnau, 1927) 7. The Possion of Joan of Arc (Carl Theodor Dreyer, 1928) 8. The Circus (Charlie Chaplin, 1928) 9. Cezayir Batakhaneleri (Julien Duvivier, 1937) 10. Hotel Du Nord (Marcel Carne, 1938) 11. Port Of Shadows (Marcel Carne, 1938) 12. Le Jour Se Leve (Marcel Carne, 1939) 13. Rashomon (Akira Kurosawa, 1950) 14. Sunset Boulevard (Billy Wilder, 1950) 15. Diary of Country Priest (Robert Bresson, 1951) 16. M. Hulot’s Holiday (Jacques Tati, 1953) ___

24. Gaspar Noe

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1) 2001: A Space Odyssey (1968; Stanley Kubrick) 2) Amour (2012; Michael Haneke) 3) Angst (1983; Gerald Kargl) 4) Un Chien Andalou (1928; Luis Buñuel) 5) Eraserhead (1976; David Lynch) 6) I Am Cuba (1964; Mikhail Kalatozov) 7) King Kong (1933; Merian C. Cooper/Ernest B. Schoedsack) 8) Salo, or The 120 Days of Sodom (1975; Pier Paolo Pasolini) 9) Scorpio Rising (1964; Kenneth Anger) 10) Taxi Driver (1976; Martin Scorsese) ____

25. David Lynch

8½ (Federico Fellini, 1963) Mr. Hulot’s Holiday (Jacques Tati, 1953) Sunset Boulevard (Billy Wilder, 1950) Rear Window (Alfred Hitchcock, 1954) It’s a Gift (Norman Z. McLeod, 1934) The Apartment (Billy Wilder, 1960) La Strada (Federico Fellini, 1954) Lolita (Stanley Kubrick, 1962) The Wizard Of Oz (victor Fleming, 1939) Stroszek (Werner Herzog, 1977) ___  

26. Akira Kurosawa

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1. Broken Blossoms or The Yellow Man and the Girl (Griffith, 1919) USA 2. Das Cabinet des Dr. Caligari [The Cabinet of Dr. Caligari] (Wiene, 1920) Germany 3. Dr. Mabuse, der Spieler – Ein Bild der Zeit [Dr. Mabuse, the Gambler] (Lang, 1922) Germany 4. The Gold Rush (Chaplin, 1925) USA 5. La Chute de la Maison Usher [The Fall of the House of Usher] (Jean Epstein, 1928) France 6. Un Chien Andalou [An Andalusian Dog] (Bunuel, 1928) France 7. Morocco (von Sternberg, 1930) USA 8. Der Kongress Tanzt (Charell, 1931) Germany 9. Die 3groschenoper [The Threepenny Opera] (Pabst, 1931) Germany 10. Leise Flehen Meine Lieder [Lover Divine] (Forst, 1933) Austria/Germany ___

27. David Fincher

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Butch Cassidy and the Sundance KidChinatownDr. StrangeloveThe Godfather 2Taxi DriverBeing ThereAll That JazzAlienRear WindowZeligCabaretPaper MoonJawsLawrence of ArabiaAll the President’s Men8 ½Citizen KaneDays of HeavenAnimal HouseRoad Warrior (Mad Max 2) Year of Living DangerouslyAmerican GraffitiTerminatorMonty Python & The Holy GrailThe ExorcistThe Graduate

28. Miranda July

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Blind (1987, Frederick Wiseman) Smooth Talk (1985, Joyce Chopra) Vertigo (1958, Alfred Hitchcock) After Life (1998, Hirokazu Koreeda) Somewhere In Time (1980, Jeannot Szwarc) Cheese (2007, Mika Rottenberg) Punch Drunk Love (2002, Paul Thomas Anderson) The Red Balloon (1956, Albert Lamorisse) A Room With A View (1985, James Ivory) Fish Tank (2009, Andrea Arnold) ____

29. Michel Hazanavicius

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City Girl (1930, F.W. Murnau) City Lights (1931, Charlie Chaplin) To Be Or Not To Be (1942, Ernst Lubitsch) Citizen Kane (1941, Orson Welles) The Apartment (1960, Billy Wilder) The Shining (1980, Stanley Kubrick) North By Northwest (1959, Alfred Hitchcock) The Third Man (1949, Carol Reed) Raging Bull (1980, Martin Scorsese) Snow White And The Seven Dwarfs (1937, Walt Disney) ___

30. Steven Soderbergh

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“All the President’s Men” (Alan J. Pakula, 1976) “Annie Hall” (Woody Allen, 1977) “Citizen Kane” (Orson Welles, 1941) “The Conversation” (Francis Ford Coppola, 1974) “The 5,000 Fingers of Dr. T” (Roy Rowland, 1953) “The Godfather” (Francis Ford Coppola, 1972) “The Godfather: Part II” (Francis Ford Coppola, 1974) “Jaws” (Steven Spielberg, 1975) “The Last Picture Show” (Peter Bogdanovich, 1971) “Sunset Boulevard” (Billy Wilder, 1950) “The Third Man” (Carol Reed, 1949) ___

31. Spike Lee

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32. Edgar Wright

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2001: A Space Odyssey (Kubrick, 1968) An American Werewolf in London (Landis, 1981) Carrie (de Palma, 1976) Dames (Enright/Berkeley, 1934) Don’t Look Now (Roeg, 1973) Duck Soup (McCarey, 1933) Psycho (Hitchcock, 1960) Raising Arizona (Coen, 1987) Taxi Driver (Scorsese, 1976) The Wild Bunch (Peckinpah, 1969) __

33. Allison Anders

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A Woman is A Woman Charade 3 Women Carnival of Souls Young Mr. Lincoln My Man Godfrey Gimme Shelter Monterey Pop Dazed and Confused The Red Shoes (Sinefesto) ____

34. Robert Bresson

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The Gold Rush City Lights Potemkin Brief Encounter The Bicycle Thief Man of Aran Louisiana Story ____

35. Luis Buñuel

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Underworld (Sternberg) The Gold Rush (Chaplin) The Bicycle Thief (De Sica) Potemkin (Eisenstein) Portrait of Jennie (Dieterle) Cavalcade (Lloyd) White Shadows in the South Seas (Van Dyke) Dead of Night (Cavalcantin, etc.) L’Age d’Or (Buñuel) I Am a Fugitive from a Chain Gang (Le Roy) ___

36. Alex Cox

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Citizen Kane (Welles) The Devils (K. Russell) The Exterminating Angel (Bu??) King Kong (Cooper, Schoedsack) The Mattei Affair (Rosi) O Lucky Man! (Anderson) 2001: A Space Odyssey (Kubrick) Throne of Blood (Kurosawa) The Wages of Fear (Clouzot) The War Game (Watkins) Sinefesto ____

37. Vittorio De Sica

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Man of Aran (Flaherty) The Kid (Chaplin) La Chienne (Renoir) Le Million (Clair) L’Atalante (Vigo) Kameradschadt (Pabst) Storm Over Asia (Pudovkin) Potemkin (Eisenstein) Hallelujah! (Vidor) La Kermesse Heroique (Feyder) (sinefesto.com) ____

38. Carl Dreyer

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Birth of a Nation (Griffith) Arne’s Treasure (Stiller) Potemkin (Eisenstein) The Gold Rush (Chaplin) Sous les Toits de Paris (Clair) Quai des Brumes (Carne) Brief Encounter (Lean) Henry V (Olivier) The Petrified Forest (Mayo) Open City (Rossellini) ___

39. Terry Gilliam

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Citizen Kane Seven Samurai Seventh Seal 8 ½ 2001: A Space Odyssey Sherlock Jr Pinocchio Les Enfants du Paradis One-Eyed Jacks The Apartment Birth of a Nation The Exterminating Angel Lawrence of Arabia Napoleon – D: Gance ___ 40. Jim Jarmusch
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L’Atalante (Vigo) Tokyo Story (Ozu) They Live by Night (N. Ray) Bob le flambeur (Melville) Sunrise (Murnau) The Cameraman (Sedgwick) Mouchette (Bresson) Seven Samurai (Kurosawa) Broken Blossoms (Griffith) Rome, Open City (Rossellini) ___

41. Asif Kapadia

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Psycho (Hitchcock) Raging Bull (Scorsese) The Godfather and The Godfather Part II (Coppola) Ugetsu Monogatari (Mizoguchi) Do the Right Thing (Lee) Once upon a Time in the West (Leone) Don’t Look Now (Roeg) The Hidden Fortress (Kurosawa) The Story of Qiu Ju (Zhang) Straw Dogs (Peckinpah) ___

42. Elia Kazan

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Potemkin (Eisenstein) Aerograd (Dovzhenko) The Gold Rush (Chaplin) Flesh and the Devil (Brown) Open City (Rossellini) The Bicycle Thief (De Sica) Shoulder Arms (Chaplin) Target for Tonight (Watt) La Femme du Boulanger (Pagnol) Marius, Fanny, Cesar (Pagnol) (sinefesto.com) ___

43. Sidney Lumet

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The Best Years of Our Lives (Wyler) Fanny and Alexander (Bergman) The Godfather (Coppola) The Grapes of Wrath (Ford) Intolerance (Griffith) The Passion of Joan of Arc (Dreyer) Ran (Kurosawa) Roma (Fellini) Singin’ in the Rain (Kelly, Donen) 2001: A Space Odyssey (Kubrick) ___

44. Mira Nair

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An Angel at My Table (Campion) The Battle of Algiers (Pontecorvo) Dekalog (Kieslowski) The Double Life of V?nique (Kieslowski) 8 ½ (Fellini) The Godfather (Coppola) In the Mood for Love (Wong) La Jet?(Marker) The Music Room (S. Ray) Pyaasa (Dutt) Raging Bull (Scorsese) Time of the Gypsies (Kusturica)

45. Alex Proyas

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Citizen Kane (Welles) Dr. Strangelove (Kubrick) The Exorcist (Friedkin) The Godfather (Coppola) It’s a Wonderful Life (Capra) Lawrence of Arabia (Lean) North by Northwest (Hitchcock) One Flew over the Cuckoo’s Nest (Forman) The Third Man (Reed) The Wizard of Oz (Fleming) ___

46. Joel Schumacher

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Battleship Potemkin (Eisenstein) Lawrence of Arabia (Lean) The Cook, The Thief, His Wife & Her Lover (Greenaway) Bicycle Thieves (De Sica) Breaking the Waves (von Trier) A Clockwork Orange (Kubrick) The Conversation (Coppola) Sunset Blvd. (Wilder) Stalker (Tarkovsky) The Conformist (Bertolucci) ___

47. Steven Spielberg

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Lawrence of Arabia (1962) – D: David Lean Fantasia (1940) – D: Walt Disney Citizen Kane (1941) – D: Orson Welles It’s A Wonderful Life (1946) – D: Frank Capra 2001: A Space Odyssey (1968) – D: Stanley Kubrick A Guy Named Joe (1947) – D: Victor Fleming War of the Worlds (1953) – D: Byron Haskin and George Pal Psycho (1960) – D: Alfred Hitchcock Day For Night (1973) – D: François Truffaut The Godfather (1972) – D: Francis Ford Coppola Cartouche Ikiru Meet Me in St. Louis (1944) The Searchers Seven Samurai The Texas Chainsaw Massacre (1974) ____

48. Gore Verbinski

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Chinatown (Polanski) The Conversation (Coppola) Dr. Strangelove (Kubrick) The Good, the Bad and the Ugly (Leone) McCabe & Mrs. Miller (Altman) The Night of the Hunter (Laughton) Sacrifice (Tarkovsky) The Servant (Losey) The Tenant (Polanski) The Wages of Fear (Clouzot) ___

49. Billy Wilder

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Potemkin (Eisenstein) Greed (von Stroheim) Variety (DuPont) The Gold Rush (Chaplin) The Crowd (Vidor) Grand Illusion (Renoir) The Informer (Ford) Ninotchka (Lubitsch) The Best Years of Our Lives (Wyler) The Bicycle Thief (De Sica)

50. Geoffrey Wright

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Citizen Kane (Welles) Lawrence of Arabia (Lean) The Godfather (Coppola) The Godfather Part II (Coppola) Apocalypse Now (Coppola) Stray Dog (Kurosawa) Taxi Driver (Scorsese) Psycho (Hitchcock) Liste (Sinefesto) The Exorcist (Friedkin) Jaws (Spielberg)
I need blogs to follow

 I kind of just want a mix of things so like/reblog if you post any of this:

  • Breaking Bad 
  • Game of Thrones
  • Sherlock
  • Fall Out Boy, Panic at the Disco, 5SOS
  • Disney
  • Marvel
  • Art, drawing
  • Anime

This is a super broad blog follow specification thing but I’m really not picky right now so hi anyone.

Who’s got the bigger guns? (Pietro x Reader)

Request by: quicksora

Prompt: A jealous Pietro x reader fanfic where Pietro is jealous of your relationship to Thor and Thor’s bigger muscles and strength. 

I hope I got the general idea and do your prompt justice quicksora! Enjoy!

You laughed at another one of Thor’s jokes as he took another glass of Asgardian liquor at one of Tony’s parties. You were quite drunk and Thor was happy being in your company, seeing that you two were close friends he trusted you to keep him grounded when he drank. “And so then I was like, you can’t shoot me with a thousand lasers! I’m Thor!” He roars and waves his hammer around, nearly hitting a priceless vase behind them. 

“Oh Thor! You’re so funny!” You say and press your hand on his toned chest as you laugh hysterically and nearly spill your drink. Little did you know that across the room from you Pietro was watching you two, filling with rage, steam was practically coming out of his ears. Pietro had had a crush on you since you joined the team six months ago and he had been working on building a romantic relationship with you. Then Thor swooped in and ruined everything, with showing off his strength, constantly walking around the tower shirtless, making all the women especially you swoon. 

Keep reading

anonymous asked:


aw!! thank you so much! i like your enthusiasm! but pulp fiction is only a 5 part (was supposed to be 3 part) story, so it’s bound to end eventually!