and this is the last photoset of this film

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Behind the Scenes of Planet of the Dead - Part Six

Excerpts from Benjamin Cook’s set report in DWM 408:

[on trying to film during a sandstorm]
“Not only was what we were shooting looking horrible,” James tells DWM, “because we had no light… and this massive desert landscape, you couldn’t see it… I mean, we could have been in a car park at Upper Boat… but also sand was being blown in our faces constantly. The actors couldn’t open their eyes.”

“Problem is,” says make-up designer Barbara Southcott, “it’s on high-def, so you’ll see every bit of sand on their skin.”

“You’ll have to paint it out,” make-up artist Steve Smith teases The Mill’s Dave Houghton.

“Frame by frame,” nods Dave, “grain by grain.”

“I know it’s not easy, guys,” calls out John [Bennett, First Assistant Director]. “Let’s just do what we can.” But David’s hair has turned blonde. (Daniel [Kaluuya, who plays Barclay] dubs him “Barry Manilow”.)

The sand is sticking to everything. Worst hit is Tracie Simpson, whose lips are actually yellow. This is her first episode as Doctor Who’s producer. It’s a baptism of fire - no, of wind! Of wind and sand and lipstick.

Forgetting that Dubai is four hours ahead of the UK, DWM decides to text a message of support to Russell T Davies in Cardiff - you know, something encouraging and inspiring. But somehow we manage to send one that says: “SANDSTORM! CODE RED! ABORT! ABORT!” Surprisingly, Russell messages back: “I’ve got you texting with ‘SANDSTORM!’ and Julie [Gardner, executive producer] phoning with ‘SANDSTORM!’ I’m hooting. Save yourself, Ben.” Perhaps we should hide in a Portaloo until it’s all over? (We don’t last long. It stinks in here. Besides, a queue was forming.)

Back outside, the majestic crane shots intended for this morning are abandoned. The crane is dismantled and taken away. “I thought, let’s shoot everything that we can against the bus,” James explains later. “…but the actors all looked like they’d been tarred in sand and dragged through a hedge.”

Other parts of this set:  [ one ] [ two ] [ three ] [ four ] [ five ] [ seven ] [ eight ] [ nine ] [ten]
[ Masterlist of all Doctor Who Behind-the-Scenes Photosets ]

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This is the last cinematography-related photoset for now. And the films are: ‘The VVitch’, ‘The Mummy’ (drawn for a contest), ‘Atomic Blonde’ (was a contest entry too) and ‘Under the Skin’. You can find all these artworks in the Movies collection on my Redbubble page.

Every week, the cast and crew of HBO’s Insecure — the new series based on Issa Rae’s successful web series — is taking EW behind the scenes of each episode. This week, Rae herself walks us through the season one finale, “Broken As F—.”

On the ups and downs of Molly and Issa’s friendship

Molly and Issa have been calling each other out on their sh-t since the pilot. In fact, in the first episode, they have a blow up about Molly feeling like Issa exposed her “broken pussy” insecurities and Issa feeling like she’s been living for everybody but herself. This was something that continued to silently stew for both of them as they watched each other’s actions play out over the season, and so it felt natural to have it all boil over during a moment where they were both at lows. I think only your real friends can tell you the truth in a way that cuts deep, but that you need to hear and, in this case, they were both triggered with the truth and lashed out with low blows. We always knew that it would hurt to have them fight, but their friendship is so strong that it could withstand a little hard truth. They’re not frenemies; they actually need each other and they love each other — so we knew they’d make up.

On the significance of the couch in Insecure

One of our writers pitched the couch being on the curb throughout the season as a long running joke, and then we recognized how representative it was of Issa and Lawrence’s relationship and their past, and intentionally used it to convey that. Even though Issa and Lawrence resolved to make it work, the fact that the couch remained there was a lingering reminder that their relationship hadn’t truly made it out of the weeds yet. Replacing the couch was a temporary band-aid, but they needed more than a new couch to repair years of unsaid things in their relationship. To us, the couch represented a fresh start that was never really fresh. We were so excited to come up with the idea of Issa and Molly sitting on the couch together at the end of the season because their relationship is truly the core of the show, and to have Molly sitting on the couch with Issa at end shows how they were the only ones who were ever truly “in this” together.

On the final fight scene between Lawrence (played by Jay Ellis) and Issa

Man, that fight scene was brutal. Jay is such a great guy and was always in good spirits and just genuinely friendly. Throughout the day, we knew we had to film this scene and then right before we had to shoot, we just weren’t talking to each other. He was in his zone and I was in mine, but once in a while I would just longingly glance over at him and feel for him. It felt like I truly crushed his soul in every take and he was just soooo great at conveying that hurt and betrayal, that the tears came easily for me… that is until take 10, where I did the last wall slide and told Kevin (our director) that I had run out of tears. Unfortunately, since we shot that scene so late at night, Jay and I just hugged it out and went home. But on the bright side, it was one of the first scenes we shot for that episode, so we got all of that emotion out of the way and were able to shoot the rest of the episode in jolly peace.

On coming to the decision in the writers’ room that Lawrence would leave Issa

This was also something we discussed in the room. The idea of a woman cheating is so bewildering for a lot of men; like it’s a huge mark of betrayal for them in a way that’s kind of a double standard. I remember writing a film when I was younger and part of it had a woman cheating for reasons of lust and weakness. The executive who read it told me that a lead woman could not cheat because it makes them immediately unlikeable. He strongly believed that women could not come back from cheating and I remember thinking how unfair that was, because I watched shows and movies where women forgive men for cheating all…the…time. It was also important to me to have Issa cheat precisely at a moment where Lawrence wasn’t necessarily at fault; where it wasn’t about him, it was about her. I think we always think that a man has to do something for a woman to cheat, and this was very much about Issa and her decision to be “aggressively active” for once. She just failed to think about what she would lose in the process.

But even discussing it in the room, a lot of men felt like Lawrence would not be ready to take her back so easily — he never imagined that Issa, the woman he had grown to love and trust, would do this to him and would not be ready to take her back so easily. For that final scene where he goes back to his complex, seeing Thug Yoda and the old couch, then stepping into his old apartment felt like a regression to him. In a way, he would rather leave than face the hurt and Issa’s transgressions. I think for him, being in that environment, knowing that he had vowed to commit to this girl just a month or two before, was just too much to forgive at that point.

On what’s next for Lawrence and Issa

I think we saw Issa at the beginning of this season decide to take life into her own hands and be active at all costs. We saw her make some pretty selfish and harmful decisions as result and, as the season progressed, we saw her appreciate some of what she already had in her life and to see her own fault in the things that weren’t going her way. I think this next season will see her start to ask more introspective questions. I think the break up will hit both Lawrence and Issa pretty hard and I think break-ups are rarely ever clean, especially for couples who lived together. So we know that Lawrence won’t be completely out of her life forever. We’re also really excited to develop what Issa and Molly possibly being single together looks like.

And lastly, on filming in that incredible house

That. House. Was. Amazing. It had so many rooms and the beach was right there. I remember being so hype to shoot the jacuzzi scene because it got cold at night. I also had my own little room during the day with one of those fancy toilets with all of the buttons that can warm and spray your ass, on command. My biggest regret was being too basic to figure out how to work it, though. Being in Malibu was amazing, the on-set writers and I actually rented a house overnight to drink wine and to celebrate filming our last episode. It was really special and fun to work with everyone on this show, from the writers to the cast to the crew. And it’s so damn cool how invested our audience got! I’m so appreciative that we get to do it again for season 2!

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Behind the scenes of The Sound of Drums/The Last of the Time Lords (Part Two)

Excerpts from Benjamin Cook’s coverage of the filming for DWM issue #385

It’s Thursday 8 March.  DWM is standing in a slate quarry, near Merthyr Tydfil, in the Welsh valleys.  It takes a special kind of stupid not to be wearing a coat.  In DWM’s defense, we didn’t realize quite how high up and exposed Vaynor Quarry would be. […]

In the quarry, John and David are fighting over a watch (with which the Master can self-destruct his entire fleet of ships, and destroy the world, and what’s the betting it can display multiple time zones and is waterproof up to 200 metres?), above a steep drop.  It’s a long way down, and there’s sod all at the bottom bar slate.  “I know everyone will start shouting if I go too near the edge,” says David, “but I’m just compelled.”

“I’ll do it!” threatens the Master.

“Weapon after weapon after weapon,” chides the Doctor, “and all you do is talk and talk and –”

He is interrupted by the faint, dainty melodies of an ice cream van chiming away in the distance.  “I don’t believe it,” laughs John, as the take is abandoned.  “We’re in the middle of nowhere, and the Benny Hill theme is running in the background!”

“I’m surprised,” adds David, “they have ice cream at this time of year.”

“Well, it is Wales.”

[…]
Back in Vaynor Quarry, John Simm has filmed his final scene for today.  “When’s the funeral?” he asks.

“Tonight,” David answers.  “We’re waiting for you to leave, then we’re burning your effigy.”

“The death of Vader!” chuckles John.  “Doesn’t the Doctor push me out to sea?”

“No, that was in the old script.”

“Can we have Light My Fire playing then?” asks John.  “Try now we can only lose / And our love become a funeral pyre…”

That night, things hot up.  Oh yes!  A pyre is set alight by the special effects boys, and David is handed a burning torch.  “I’m worried about the sparks,” he says, before the take.  “If someone sees my coat go up, just shout.”

The parts are available here: [ 1 ] [ 3 ] [ 4 ]
Other behind-the-scenes photosets are available here

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Snapshots of Jewish life in the shtetl before the Holocaust (full video here)

In 1921, 550 Jews lived in the town of Wielopole Skrzyńskie, constituting about half of the local population. At that time, some 20 small Jewish factories were in operation there. David Teitelbaum (1891-1972), an amateur filmmaker who was born in Wielopole, emigrated to the United States in the early 1900s and became a successful businessman. He would return to his hometown almost every year to visit his family, and in 1938, he filmed his trip. In June or July 1939 he traveled to Wielopole again, but only stayed for a short time, fearing that war was imminent. It is possible that some sections of the film were filmed on that last visit. The film features members of the Teitelbaum, Rappaport and Sartoria families, their neighbors and acquaintances.

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“Wherever you go, go with all your heart.” -Confucius

self portraits taken in my older, adored home right before we had to move out last December, 2016.

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Review: “Film Crew Levi & Eren” Tapestry Scroll & Illustration Card


Original Release Date: March 18th, 2015
Retail Price: N/A (Bonus Rewards)
Dimensions: Tapestry Scroll - B2 (500 x 707 mm or 19.68 x 27.83 in); Illustration Card - A5 (148 x 210 mm or 5.8 x 8.3 in)


Review by @fuku-shuu

DESCRIPTION:
These items feature a rare official image of Levi and Eren as directors of a movie, as both the tapestry scroll and illustration card are bonus rewards for purchasers of the first SnK compilation film, Shingeki no Kyojin Zenpen: Guren no Yumiya, on Blu-Ray/DVD. The tapestry, a much larger size, was exclusive to buyers from online vendor Animate Japan, while the illustration card was exclusive to buyers from HMV. The last image in the photoset provides a size comparison between the two!

Apparently “fired up,” Eren shouts orders from a megaphone with a Survey Corps emblem on its speaker while he grips the script. Meanwhile, Levi seems grumpy while handling a standard clapperboard and a director’s cone, AKA the less sophisticated version of a megaphone. Strangely, the clapperboard actually reads "KODANSHA STUDIO” (Kodansha being the publisher of the SnK manga) rather than “WIT STUDIO” (WIT being the actual production team of the SnK anime/compilation films). It’s also apparently “Take 203″ of an unknown scene, so it’s no wonder Levi and Eren look even more tired/frustrated than usual…

PROS:
From the first moment I saw this item I knew I had to have it. Great artwork aside, it showcases a fun alternate universe that I wish we could get even more parody images of. While Armin and Mikasa are kind of given roles in the second image of the set, I would’ve loved to see other characters in more positions within the film production context (e.g. Annie as martial arts trainer, Erwin as producer, Hanji as special effects team leader, etc.).

Also, Levi’s in a newsboy hat - you probably won’t see that anywhere else!

CONS:
Almost none - this is just a great item to have! The fiery background might seem a little out of place at first, but once you see that it’s “Take 203,” the “flames of fury” make a lot more sense ;) 

If you have additional questions about this item, please inquire here!

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Rise of the Cybermen/The Age of Steel - Behind the Scenes (Part Two)

Excerpts from Jason Arnopp’s behind-the-scenes article from DWM #370

[filming the Cybermen breaking through the glass windows]
   David, Shaun, and I position ourselves behind an antique table, several feet in front of the glass.  As the window is carefully examined, there’s the somewhat postmodern spectacle of the Doctor Who Confidential cameras filming David, who in turn films the action with his camcorder.  CRASSSSSSSSSH!  Perhaps because we’re closer, this one seems the loudest of all.
     "Jesus!“ gasps Shaun, as shards fly across the table.
     "I got a couple of glass bits,” cackles David, standing up.  "Probably shouldn’t have been here.“
     Did the bits strike your camera, for maximum effect?
     "I don’t know,” he ponders.  "Let’s see.“  He winds the footage back, revealing a truly impressive shot.  The campaign to get it on DVD starts here.

[Filming one of the party scenes]
    In this scene, before the Cybermen’s dramatic entrance, the Doctor dodges his way through the crowd to reach Rose.  David’s unhappy with Take One.  "Bad acting,” he apologetically says of his performance.

Other Parts of this Photost: [ one ] [ three ] [ four ] [ five ] [ six ] [ seven ]
The rest of the behind-the-scenes photosets are available here

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“You have drinks, buddies, music—great! But in the last two or three years, I go to a club and I kind of wish I was home. I want to get married, though. I want children. To me that’s the ultimate thing. When you’re old and on your death bed, looking back at your life it’s not going to be the films you’ve made or what you’ve accomplished, it’s the relationships you have. You’re survived by things that matter—the people you love and those who love you back.”

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Valentine’s Day Post: Favorite Horror Movie Couples

Fist: Freddy and Tina (The Return of the Living Dead 1985), Frank and Anna (Maniac 2012), Julie and Ray (I Know What You Did Last Summer 1997), Dan and Megan (Re-Animator 1985)

Second: Seth and Veronica (The Fly 1986), Ash and Linda (The Evil Dead 1981), Sidney Prescott and Billy Loomis (Scream 1996), Julia and Frank (Hellraiser 1987)

Third: Lionel and Paquita (Dead Alive 1992) Chucky and Tiffany (Bride of Chucky 1998), Ed and Lorraine (The Conjuring 2013), Dewey Riley and Gale Weathers (Scream 1996)