directorial style

Hope for a Reylo kiss* in The Last Jedi?

While we were discussing Rian Johnson’s directorial style in depicting on-screen romance, @alikssepia mentioned having hope for a Reylo kiss in The Last Jedi, which got me thinking.

I’ve assumed the probability of any romantic interaction between Rey and Ben in Episode VIII is pretty low (so much story and character development to get through!), but there is one context in which I could see it happening, and the teaser trailer points the way.

(mild spoilerish content for possible location. read it or don’t).

Remember this guy?

“What’s in there?”

“Only what you take with you.”

If Johnson allows himself to be inspired by elements of the original trilogy, then Rey and Ben are very likely to meet in a force vision, much as Luke encountered Vader while training with Yoda on Dagobah.

In the dreamscape of a force vision, ordinary rules are suspended. In Empire, Luke meets the thing he fears most, and discovers that his enemy bears his own face.

What will Rey see when she enters a cave on Ahch-to? If Johnson is inspired by the template provided by Empire, Rey will meet her enemy, but he may not appear in the guise she expects. 

We’re free to speculate (and truly, that’s part of the fun of being here), but we may already know how this encounter affects her:

…wide-eyed, she stumbles from the mouth of the cave into the bright light of Ahch-to’s sun; crashing to her knees, hands splayed hard against the cool gray stone of the island, her breath comes in great, heaving gasps. 

All this speculation is reminding me of a rumor we heard last year about a possible secret filming location at Liss Ard with Adam, Daisy and Mark, at the Irish Sky Garden, an outdoor earth sculpture by James Turrell. 

Imagine this space under the dome of the night sky. The focal point stone at the center of the crater is reminiscent of a casket, bed, or altar. 


*An actual kiss would be astonishingly big payoff in a force vision meetup between Rey and Ren. Just about anything in a similar vein would ‘count’; a burning gaze, a tentative touch, leaning into each other, etc.

I think one could also make the argument that having Rey and Ben meet and interact positively in a force vision isn’t proof of a future canon relationship between these two characters, because Ben wasn’t really there; in the same way that Vader was not really on Dagobah with Luke. 

Meh. If the two characters meet in a force vision and Rey encounters Ben in a way that defies her expectation, it’s a sign that the real deal is in the offing.

eta: link to @theboywhocan11 post that mentioned liss ard

and the Star Wars Connection podcast about this possible secret location.

Arrow 520 director, Wendey Stanzler, will be back for ep. 611. (x) She’s also previous done stunning work on This Is Us, Grey’s Anatomy, and more.


Antonio Negret will be back for season 6.

David Ramsey will be directing an episode this season as well per @academyofshipping at HVFF Portland 

Bam is directing 601 (Personally not a fan of his shaky action-packed directorial style, but there’s that.) cc: @oliverdant and @noonecanknowmysecret

The new ‘Anne’ - Character Analysis

A deep-dive into the re-imagined portrayal of Anne Shirley, in the CBC/Netflix adaptation of Anne of Green Gables.

It’s safe to say that LM Montgomery’s Anne is a widely beloved character.  An outsider with a potent imagination, a creative spirit and a yearning for a place in the world.  She’s been portrayed in many adaptations over the years, and ‘Anne the Series’ is the latest to bring her to life.  So what can we expect from this latest take?  Click ‘Read More’ for an in-depth analysis!

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Little Women to become a BBC1 series by Call The Midwife creator

Classic novel Little Women is being adapted into a BBC One series by the creator of Call The Midwife.

Louisa May Alcott’s coming-of-age story, about four sisters on their journey from childhood to adulthood, was first published in 1868.

Drama bosses want the new screen version to “speak to contemporary audiences” and “bring a whole new generation” to the story.

Heidi Thomas (Peter Byrne/PA)

Writer and executive producer Heidi Thomas, creator and writer of hit BBC1 series Call The Midwife, said: “Little Women is one of the most-loved novels in the English language, and with good reason.

“Its humanity, humour and tenderness never date and as a study of love, grief and growing up, it has no equal.

“There could be no better time to revisit the story of a family striving for happiness in an uncertain world and I am thrilled to be bringing the March girls to a new generation of viewers.”

The mini-series will be directed by Vanessa Caswill, whose credits include teenage drama My Mad Fat Diary.

BBC behind new Little Women adaptation (Jonathan Brady/PA)

Little Women was an instant success when it was originally penned in two parts and was later adapted for screen and stage several times, including for the BBC.

Executive producer Colin Callender said: “This is a character study of young women, rich in texture and detail, and it’s an honour to be able to bring it to life in this extended form with the great Heidi Thomas, one of the finest writers working in television today.

“In the hands of the exciting directorial style of filmmaker Vanessa Caswill, we hope to deliver a new screen version that will speak to contemporary audiences, meet the expectations of the book’s ardent fans and bring a whole new generation to this great classic.”

The cast for the three-part series has not yet been announced.

spooper-senshi  asked:

I wanted to ask: Did Keita Amemiya do any designs for Dairanger or Kakuranger?

As far as I can tell, he did not.  By the time Gosei Sentai Dairanger and Ninja Sentai Kakuranger were in production, Amemiya was working on his Toei Hero Fair movies; Kamen Rider ZO

Kamen Rider J

and Mechanical Violator Hakaider.

He did do work on Kyoryu Sentai Zyuranger and on Choujin Sentai Jetman but his designs and directorial styles had gotten him noticed and brought over to the theatrical side of things.

PBS and MASTERPIECE have announced they will team with Colin Callender’s Playground and the BBC for a television adaptation of Louisa May Alcott’s coming-of-age classic, Little Women. The three-part drama will be scripted by Heidi Thomas, well-known to PBS audiences for her acclaimed adaptations of Call the Midwife and Cranford. Vanessa Caswill (Thirteen, My Mad Fat Diary) will direct all three hours. Playground’s Golden Globe-winning adaptation of Wolf Hall aired on MASTERPIECE in 2015.

“There are only a handful of American books that have resonated with readers for as long as Little Women,” said Rebecca Eaton, MASTERPIECE executive producer. “To put this deeply moving story in the hands of a writer with the heart and depth of Heidi Thomas seems just right. And Colin Callender will oversee this production with the magic he brings to everything he touches, whether its Wolf Hall or the play Harry Potter and the Cursed Child, currently selling out in London.” MASTERPIECE is presented on PBS by WGBH Boston.

Loved by generations of women worldwide, Little Women is a truly universal coming of age story, as relevant and engaging today as it was on its original publication in 1868. Set against the backdrop of the Civil War, the story follows sisters Jo, Meg, Beth and Amy March on their journey from childhood to adulthood. With the help of their mother, Marmee, and while their father is away at war, the girls navigate what it means to be a young woman: from sibling rivalry and first love, to loss and marriage.

Set in Concord, Massachusetts, Alcott’s semi-autobiographical story became an instant bestseller when it was published and remains one of the most widely read novels of all time. A recent Harris poll listing it as one of America’s ten favorite books confirms its enduring place in the cultural landscape.

Writer and executive producer Thomas says: “Little Women is one of the most loved novels in the English language, and with good reason. Its humanity, humour and tenderness never date, and as a study of love, grief and growing up it has no equal. There could be no better time to revisit the story of a family striving for happiness in an uncertain world, and I am thrilled to be bringing the March girls to a new generation of viewers.”

“The mini-series is a storytelling form unique to television, and the opportunity to adapt Louisa May Alcott’s novel over three hours is a gift from the BBC and MASTERPIECE on PBS,” said executive producer Callender. “This is a character study of young women rich in texture and detail, and it’s an honour to be able to bring it to life in this extended form with the great Heidi Thomas, one of the finest writers working in television today. In the hands of the exciting directorial style of filmmaker Vanessa Caswill we hope to deliver a new screen version that will speak to contemporary audiences, meet the expectations of the book’s ardent fans and bring a whole new generation to this great classic.”

“Bringing alive this beloved American novel for a new generation of PBS viewers is a dream come true,” said Beth Hoppe, Chief Programming Executive and General Manager, General Audience Programming, PBS. “In the hands of Rebecca Eaton and Colin Callender’s Playground, and with the superb talents of writer Heidi Thomas, we are confident this story of strong women will resonate with both new and longtime fans of MASTERPIECE.”

With a production team from the UK and US, principal photography is set to begin in July and casting will be announced shortly.

Little Women is a Playground production for the BBC and MASTERPIECE on PBS. The producer is Susie Liggat. Executive producers are Colin Callender and Sophie Gardiner for Playground, Heidi Thomas, Rebecca Eaton for MASTERPIECE and Lucy Richer for the BBC.


david east’s work / directorial style…….does this scream louis or does this scream louis :) :) :) :) 

The Need for Web Design Standards

The entire concept of “Web design” is a misnomer. Individual project teams are not designing the Web any more than individual ants are designing an anthill. Site designers build components of a whole, especially now that users are viewing the entirety of the Web as a single, integrated resource.

Unfortunately, much of the Web is like an anthill built by ants on LSD: many sites don’t fit into the big picture, and are too difficult to use because they deviate from expected norms.

Several design elements are common enough that users expect them to work in a certain way. Here’s my definition of three different standardization levels:

  • Standard: 80% or more of websites use the same design approach. Users strongly expect standard elements to work a certain way when they visit a new site because that’s how things always work.
  • Convention: 50-79% of websites use the same design approach. With a convention, users expect elements to work a certain way when they visit a new site because that’s how things usually work.
  • Confusion: with these elements, no single design approach dominates, and even the most popular approach is used by at most 49% of websites. For such design elements, users don’t know what to expect when they visit a new site.

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I really fucking love the narrative and directorial style of Durrara. The use of dramatic and situational irony is really freaking on point. It takes a bit to get used to, but once you do it’s so satisfying. I always look forward to all the ways it will surprise me and catch me off guard. Season 1 ending was 👌👌👌👌

17 Standout Scenes from 2014

“American Sniper”

Clint Eastwood’s dispassionate directorial style makes a fascinatingly fluid document of Navy SEAL Chris Kyle’s Iraq War experience: viewers may see it either as celebratory or condemnatory. The scene that best exemplifies this ambiguity, however, occurs back home, as a young veteran (Jonathan Groff) approaches Kyle in public to salute him for his service. Kyle’s response, delicately measured by star Bradley Cooper, is one of chilly uncertainty, in line with the film’s own tacit questioning of heroism. 

-Guy Lodge


Since Alejandro G. Inarritu’s backstage comedy is designed to look like a single take, it’s tempting to praise the entire film as a standout scene. Movie magic aside, let’s focus on the moment when washed up actor Riggan Thomson (Michael Keaton) steps outside the theater for a smoke, gets his robe caught in a locked door and finds himself darting through New York’s jam-packed Times Square in nothing but a pair of socks and tighty-whities to make a dramatic entrance for the play’s next scene. Nothing else distills Riggan’s peculiar mix of desperation, dedication and borderline madness quite so perfectly. 

-Geoff Berkshire


There’s a moment in “Boyhood” where it seems as if all this beautifully messy acne-marred splendor is going to explode in one big bloody pulp: Mason, our adolescent hero (played to natural perfection by Ellar Coltrane) is messing around with saw blades and neighborhood chums. We fear the end is nigh — surely one of these kids will accidentally wind up with a fatal slice. But they emerge unscathed, which is a testament to Richard Linklater’s creative approach. The film’s brilliance comes from its subtlety: It’s not only the crushing, catastrophic moments that shape our lives, but also the smaller, more innocent ones. 

-Malina Saval


Sometimes a scene can sum up an entire lifetime in just a few minutes. John du Pont (Steve Carell) is talking to his mother (Vanessa Redgrave). Up until that point, du Pont has been brooding, awkward and vaguely creepy, but it’s hard to get a handle on him. However, as Mrs. du Pont airily diminishes his interests (decreeing wrestling a “low” sport), audiences suddenly see years of rejection and loneliness (and perhaps genetic weirdness). It is a perfect blend of writing, direction and acting. 

-Tim Gray

“Gone Girl”

Delivering the monologue that ignited a billion think pieces, beautiful sociopath Amy Dunne (Rosamund Pike) explains what drove her to frame her adulterous hubby, Nick (Ben Affleck), for murder. As she speeds away from an oppressive suburban existence, she ponders the pressure to be a “cool girl”: “Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes and burping … Cool Girls never get angry; they only smile … and let their men do whatever they want.” Director David Fincher intercuts scribe Gillian Flynn’s piercing words with images of Dunne scrutinizing passing female drivers for signs of the “cool” burden. 

-Marianne Zumberge

“The Grand Budapest Hotel”

The poignant comedy immediately establishes that M. Gustave (the sublime Ralph Fiennes) is stylish, calm and devoted to serving the needs of others. When he gets into hot water, a quick montage shows his fellow concierges around the world phoning each other, in a sort of bucket brigade of support. Each concierge is in the middle of an emergency situation (which becomes increasingly urgent with every new person), but each calmly tells an assistant “Take over, please” so he can attend to the top priority: M. Gustave’s rescue. It’s a brief, funny-sweet merger of writing, direction, editing, design and deadpan comedy acting. 

-Tim Gray

“The Imitation Game”

It was never easy for eccentric genius Alan Turing (Benedict Cumberbatch) to make friends, let alone romantic partners. But in flashbacks to his younger days at a British boarding school (when Turing is played by Alex Lawther), we see the evolution of his bond with classmate Christopher (Jack Bannon). Just when Alan has worked up the courage to declare his forbidden love to Christopher, he discovers some devastating news from the headmaster. As Alan is forced to hide both his grief and his broken heart, young Lawther delivers a scene for the ages. 

-Geoff Berkshire


Like so much in Christopher Nolan’s space epic, the most transcendent moment defies layperson description: Suffice to say that Cooper (Matthew McConaughey) faces the challenge of docking his vehicle on the damaged, spinning-out-of-control Endurance spacecraft. The action sequence that follows all but abandons narrative logic in pursuit of a glorious state of visual and sonic abstraction: The whirling, dizzying images seem to envelop us, while Hans Zimmer’s score pushes itself to astonishing new heights of Straussian bombast. Rarely has incomprehension been so unbearably tense, or so unbearably moving. 

-Justin Chang

“Into the Woods”

Stephen Sondheim and James Lapine’s musical contains no shortage of emotionally rich observations about life, dreams and growing up, but Rob Marshall’s film adaptation also serves up one of the year’s best comedic sequences. The uproarious duet “Agony” between a pair of preening princes (played to the hilt by Chris Pine and Billy Magnussen) trying to one-up each other in their devotion to idealized dream girls nails the exquisite torture of romantic pursuit and that universal feeling “when the one thing you want is the only thing out of your reach.” 

-Geoff Berkshire

“A Most Violent Year”

For much of writer-director J.C. Chandor’s slick and measured thriller, the tension remains on a slow-burn as self-made businessman Abel Morales (Oscar Isaac) tries to keep his cool. But in a sudden, and stunning, centerpiece halfway through the film, Abel’s world comes crashing down. Two of his employees are assaulted in two different locations simultaneously. One of them pulls out a gun to defend himself and starts shooting on a bridge on-ramp, only to flee when the police arrive. It’s a nail-biting sequence that expertly showcases the film’s top-notch cinematography, editing and original score. 

-Geoff Berkshire

“Mr. Turner”

As the cognoscenti sour on JMW Turner’s increasing abstract and muddy canvases, the painter visits a photography studio to have his portrait taken (and satisfy his curiosity about an emerging visual form). “The image you create is not one of color, for why?” asks Turner (Timothy Spall) with a scowl. “I am afraid that is a question we have yet to answer,” responds the American photographer. “Long may it remain so,” Turner mumbles to himself as he remains perfectly still for the required 10 seconds. “It is finished, sir,” says his portraitist. “And I fear that I, too, am finished,” concludes Turner gravely. 

-Steve Chagollan


Lou Bloom (Jake Gyllenhaal) has big ambitions, and most of the twisted fun of screenwriter Dan Gilroy’s directorial debut comes from watching — with mouths agape — just how far Bloom will go to achieve success. The high point of his despicably low behavior arrives during a dinner date with scrappy local news producer Nina (Rene Russo). She thinks she can brush off his unwanted romantic advances. He calmly explains why she has no other option than to give in, or risk losing her career. It’s a chilling look at good old-fashioned American self-determination run amok. 

-Geoff Berkshire


Ava DuVernay could easily have kept off-screen the 1963 Birmingham church bombing that incites the critical wave of Civil Rights protests depicted in her exacting historical drama — it’s a symbolic event already embedded in America’s consciousness. But DuVernay’s sensitive observation of four young girls obliviously gossiping in the moments before their death in the church bombing, exquisitely caught in d.p. Bradford Young’s honeyed lens, sets the tone for the film to follow: one about momentous events occurring via intimate human exchanges.

-Guy Lodge

“The Theory of Everything”

Jane (Felicity Jones) and Stephen Hawking (Eddie Redmayne) are celebrating the birth of their third child, Timothy, when she’s confronted in private by her mother-in-law (Abigail Cruttenden), who drops a bombshell at point blank range: Is the baby actually Stephen’s, or is the true father Jane’s choir master friend, Jonathan (Charlie Cox)? A visibly shaken Jane asks, “Is that what you really think of me?” Overhearing the exchange, Jonathan vows to step back from his friendship to avoid innuendos. Meanwhile, Stephen plays outside with his other kids, blissfully ignorant of the drama unfolding just a few feet away. 

-Shalini Dore


Louis Zamperini (Jack O’Connell) has been floating in a lifeboat on the Pacific Ocean for weeks with two fellow U.S. Army Air Corp soldiers and less than minimal provisions. They’re finally able to catch an albatross with their bare hands, but eating the fowl quickly causes them to vomit. Instead, they decide to use the meat to lure in fish. That leads to an even bigger catch: sharks, which they capture and rip apart to feast. Every gruesome detail is made all the more remarkable because they’re exactly as Zamperini described to biographer Laura Hillenbrand. 

-Kirstin Wilder


In a film filled with great scenes, it’s hard to single out one for special praise. But there’s no arguing with the final moments, in which drummer Andrew (Miles Teller) plays the solo of his life: an opera of pain, rage and jubilation that ultimately wins over his abusive former instructor Fletcher (J.K. Simmons). When Fletcher tries to get him to stop, Andrew strikes a cymbal in his face in a moment of hilarious defiance. And as the playing continues, the shifting emotions on Fletcher’s face — from fury to grudging respect to triumph — makes for a cathartic victory. 

-Jenelle Riley


It’s nearly impossible to imagine hiking the Pacific Crest Trail solo and not encountering some highly precarious scenarios — especially if you’re a woman. For Cheryl Strayed (Reese Witherspoon) the freakiest moment happens when she comes face to face with a creepy, would-be perpetrator who eyes her lustily. The scene is flush full of tension; we fear for her life. In the end, the guy backs off, but the encounter leaves us marveling at Cheryl’s bravery to press on and pursue her goal, especially in a day and age where going it alone as a woman can often spell disaster. 

-Malina Saval

Source: Variety

Here are all the Harry Styles RP Icon posts that I could find. Please like and/or reblog if you’re an RPH or you found this post useful.


Dear anon. Re: ‘Tony Stark is nothing without Pepper’.

In the words of the incomparable Jules Winnfield “allow me to retort ”.

Why do I ’hate Iron Man 3’?

There are too many reasons to mention. In a nutshell: The script/character improbability/continuity/destruction of the suits/the ridiculous 'twist’/directorial style/the removal of the arc reactor.

“Pepper fixes him like she does everything in his life”

I received so many messages and comments on how Tony ‘dominates’ Pepper’s life. How she does ‘everything’ for him. How he doesn’t 'appreciate’ her. That she has 'no life of her own because of him’. Honestly, the woman is a grown-up. She’s apparently smart enough to helm a company that leads the world so I’m fairly sure that if she feels Tony is ruining her life she could make a clean break and leave the man. Instead, she decides. “Hey, this man that I’ve known for some many years now, this man that I am with daily, that I know full and well what kind of man he is going into this relationship? I’m honestly sick of his ‘distractions’ and his 'machines’ and his not being there for me. I’m going to bitch and complain at him until he makes me his first priority. Even though he was explicitly clear that the suit and the mission are paramount in his life.” Fair enough, her emotions, her call. However, to take on this man, this man who is so very obviously complex and unique, a man who she knows has deep seated issues with trust and giving his love, and for very good reasons, and then to try and change him and make him feel there is something fundamentally wrong with him at a time when he is emotionally falling apart is wrong. Just wrong.

People hold these two up as a guiding light of relationships but all I see is toxicity. In the original Iron Man, they were cute and there was the start of a chemistry. Pepper resembled Pepper from the comics. In Iron Man 2 there isn’t even a shadow of the strong and capable woman Pepper is. She is shrill and manipulative. Her lines become throw away and barbed “Not everyone runs on batteries, Tony”? When Tony, the man whom she knows has a difficult time expressing himself intimately, is so obviously reaching out to her? It’s cold and difficult to watch. By IM3, Pepper is a caricature. I took a ration of shit over the post I made commenting that her walking out on him during his panic attack was wrong. A ton of shit. But I stand by it. I get that some people felt she felt unsafe and needed to remove herself from him. However, her man is in pain, he asks her, all but begs her not to leave, and I do understand that she was shaken, that she may have needed to put a room between them but to throw ”tinker with that” at him as she left? Cold beyond words.

Tony is a mess you say? He has issues? Let’s just examine those ‘issues’ shall we.

Anthony Stark is a genius. Seriously, the man is brilliant. And with that brilliance comes all it’s attendant issues. We’re not just talking ‘good grades’ smart here. He is the second smartest man in the world. Like off the chart brilliant. He doesn’t see the world as others do. He views, processes and follows through differently. Not because he’s a ’dick’ or ‘immature’, but because his brain is programmed that way. This man was taken from his home, from his admittedly small family, but family none the less and held prisoner for 3 months. During which he was given open heart surgery with no anesthetic. They physically tied him down and cut into him, broke apart his rib cage and rearrange his chest. All while he was awake. Then they tortured him. Yeah, he came out of that cave with issues all right. Yet this ‘immature man’ took that incident and built his way out. No tools. No computers. Just his hands and his mind. Then he gets home and the man he sees as his father, the man whose shoulder he cried on at his parent’s funeral, the man he who looked up to and loved, reaches into his chest and tries to kill him. Then he almost dies from heavy metal poisoning and THEN to top it all off, he flies a nuke into space. Let’s hear it again for Tony’s “self destructive issues’ shall we.

“His company would be nothing without her.”

Nothing could be further from the truth. Nothing. Tony Stark was left a company by his father that was worth millions. He took that company (at the age of twenty-one, a scant few years after the death of both his parents left him an orphan, barely out of his teens) and made it profitable to the tune of billions. That sprawling Malibu mansion? Tony designed, built and paid for it. All those cars? Tony paid for. The office complexes you see in the movie? Tony. Not Pepper. All of this was done years before she even entered the picture as his PA. He loses everything in 616 and rebuilds. Tony does, not Pepper. Tony is the intelligence, the resource and the driving force behind both Stark Industries and Stark Resilient. Pepper may 'run’ his company, but every design, every decision, every plan goes over Tony’s desk. Every. Single. One. Of. Them. Pepper may schedule meetings for him but it is Tony that goes in there and owns the room. Tony was born for this, groomed for this. Tony is the one who learned to navigate the corporate world and all it’s sharks at a very young age. Learned it, breathed it and lived it until the language of business is his native tongue. It is in his blood.

Tony loves Pepper but he can and will survive without her. Don’t underestimate him. It takes more than a suit of armor to be Iron Man. It takes courage, intelligence, commitment and brute strength. No matter what you take from him, Tony will always come back. Toss him to the curb and he will get back up and beat the curb down. Help is always appreciated but he will do it alone if he has to. His company. His tech. His life. Pepper is his CEO not the savior of his world. He has been trodden down over and over, from the abuse he suffered at his father’s hand, through Stane’s own abuse and betrayal. Through kidnappings and beatings, Through stolen tech and the destruction of his family, his life and his company and it is Tony alone who has pulled it all back together.