film is dead... long live film

fandayo  asked:

Hi! I saw your small film and I was wondering if you could provide background information to it? I really loved the style and animation and the ending left me feeling so shocked bc I did not expect it to end the way it did. (It was p sad)

Hi! I hope you don’t mind if I post this publicly, I’ve had a few questions like this so I’ll give you guys some background on how it was made/my original intention. If you’re interested, I’ve put a lot of my development work in this tag.

From very early on in my development process I wanted to do some kind of fairytale. I wanted it to be kind of spooky, kind of sad, and kinda contemplative. I love the fluid nature of folk tales and myths and lore, in that they represent generations of fear and wonder being passed on and on and changed to represent the natures of the people telling them. I also love how environment-based they are. Some of my favourite stories growing up were stories those where the environment itself was a powerful narrative force. 

While looking for a fairytale to use as a baseline, I was recommended William Allingham’s ‘The Fairies’, which is where my title ended up coming from. I’d already been looking at stuff from Midsummer Night’s Dream and a favourite play of mine, ‘The Weir’, both of which alight on the topic of changelings, and it felt like a good place to start. Irish fairytales came up again and again, and it’s along those lines that I did the bulk of my research. Originally, my film was going to be majorly based on these lines:  

They stole little Bridget/For seven years long;/When she came down again/Her friends were all gone./They took her lightly back,/Between the night and morrow/They thought that she was fast asleep,/But she was dead with sorrow./They have kept her ever since/Deep within the lake,/On a bed of flag-leaves,/Watching till she wake.

The little girl in my film was referred to as Bridget throughout my production process, to my mind she is a changeling child taken long before the setting of the film. Originally the story was going to be about a traveller haunted by a ghostly girl, and who eventually discovers her body, kept preserved in the woods by fairies for years. Fairies are a chaotic, natural force, they’re a living embodiment of the environment they’re conjured out of. To my mind they’re completely amoral, they have no understanding nor interest in the consequences of their actions, which is also a trait I associate with young children. Combining those two forces to make Bridget my antagonist felt like a better way to upset my audience’s idea of right and wrong. Ultimately, Bridget is not ill intended, she’s not trying to trick the mother, she’s not trying to kill the baby. What she wants is a friend, and she just happens to have supernatural forces at her disposal to make that happen. 

I wanted the film to feel like a fairytale, but not disney. My style and mood references were Ivan Bilibin’s illustrations, Ghibli films like Princess Mononoke and Spirited Away, Frederick McCubbin’s paintings, and Over the Garden Wall. I wanted it to address the pervasive nature of storytelling, and how it can alter our choices and perspective (the innkeeper turning the mother away at the beginning is both foreshadowing and a comment on those who turn away the weak out of exaggerated, ignorant fear), and the inalienable power of natural forces over human beings. The mother is distraught and grief-stricken, but Bridget, and the fairies, and the forest, don’t care. She is nothing to these greater forces; her loss is completely senseless and awful and yet there is no greater evil to rail against. I don’t know if I achieved it, but I wanted the only malicious choice made in the whole film to be the innkeeper’s. The mother is a victim of natural forces, but she is first and foremost the victim of human indifference to her suffering. You cannot hold the fairies responsible for the death of her child any more than you could hold a drought responsible for the deaths of environmental refugees. Those to blame are those who saw people in need and did nothing, or worse; turned them away. 

Anyway this has gotten too long. Ultimately: I love horror stories, and I love nature as a narrative force, and I love examining storytelling as a moral tool, and to me, old fairytales encompass all of that. I wanted to make a spooky film with spooky woods and a spooky ghost child and that’s what I DID.

preston, when u join the raiders, probably

Why Pirates of the Caribbean: At World’s End Is Actually a Masterpiece of Modern Blockbuster Cinema

This is a review written by my friend and fellow filmmaker, @kubrickking. It’s a bit long, since she is a huge fan (and good film critic, imo), but it is definitely worth the read.

Originally posted by miones

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Clerith is confirmed

This post will be updated in the future. I made this in a hurry. If you have any facts that aren’t on the list, please add them and I’ll put them in the main post.

#1. Cloud Strife officially loves Aerith:

Quote 1: “The enemy who was admired in childhood, took away someone/something loved for the reunion of mother—Sephiroth.” (Dreamstar’s translation)

Quote 2:  "The one admired in boyhood, the enemy who took away a loved one, and Mother’s reunion body—Sephiroth. “ (Anonymous translation)

Quote 3:  "Sephiroth—an idol in his early youth, the one who took away his dearly beloved, and then the prototype of "reunion.” (Chibica’s translation)

#2. Cloud and Aerith have been stated to be LOVERS in three languages:

Cloud was her friend, her lover—he was a symbol for everything that was important to her and it was imperative to protect him.” (Excerpt from the Case of Lifestream novel)

JAPANESE: クラウドは女の友人であり、恋人であり

FRENCH: “Cloud avait ete son ami, et son amant”

GERMAN: “Cloud war ihr Freund, ihr Geliebter”

#3. Cloud has an ‘affinity’ for Aerith:

The affinity between Cloud and Aerith:

“You are perfect for each other! Aerith’s star and Cloud’s star! They show a great future!“ (10th Anniversary Ultimania)

#4. Cloud and Aerith were predicted to be married; her death becomes more sad because it can’t come true:

“Cait Sith’s lines which seem to expect Cloud and Aerith’s wedding now makes it more painful.” (FF7 Ultimania Omega, Page 151)

#5. Cloud and Aerith are called a “love story” in multiple commercials

#6. Cloud’s love for Aerith is ‘undying’:

Nomura: I believe, for those who formerly traveled with her as comrades and for the viewers, each carries their own feelings and love for Aerith. In this story, Cloud also carries his own undying feeling for Aerith even to this very day. (Nomura interview; Dengeki Playstation 2007)  

#7. Cloud’s grief/guilt over Aerith’s death has been stated to be the ‘same as Vincent’s’ grief/guilt for Lucrecia:

“Is there a way to forgive the sin?…..Cloud searched for help from Vincent by such question, and Vincent, who carried the heavy past in the same way [as Cloud], said that he had never tried. (FF7 Anniversary Ultimania)

#8. Aerith is engraved in Cloud’s heart for eternity:

Aerith Gainsborough - A girl with the blood of the Ancients flowing through her veins,who is engraved in Cloud’s heart for the rest of his life.

#9. Aerith’s soul lives on inside of Cloud’s soul:

** The words “memetic legacy” are used a lot in the film…but in Advent Children, rather than focusing on memories we wanted to show that consciousness is what lives on. We took the ending of the game and expanded on that idea. Even if they’re dead, their consciousness is still with us. As for Cloud…he sees Aerith several times throughout the film. It’s not that he sees her because he feels her presence. He sees her because her consciousness…lives on inside him. (Nomura; Distance Interview)

** Nojima: As long as Cloud blames himself for Aerith’s death, he won’t be able to move on with his life. One of the first ideas we had for Advent Children was to have Cloud overcome and resolve that immense feeling of guilt. For Cloud, no one other than Aerith can solve that problem for him. I tried to create an atmosphere in which she still seems to be by his side - in spirit at least. ~Reunion Files, pg. 58
** Maaya Sakamoto (Aerith’s Japanese voice actress): She’s presented in this movie as Cloud remembers her, and her spirit is still with him - talking to him throughout the film. ~Reunion Files, pg. 58

#10. Cloud wants to be with Aerith in the Promised Land:

Cloud: “……I think I’m beginning to understand.
An answer from the Planet…
The Promised Land…
I think I can meet her…” there. (Cloud, Final Fantasy VII )

#11. Cloud’s pain over losing Aerith was the strongest thing Aerith felt in the entire world when she died:

She watched Cloud’s face which looked as if his heart was going to fall apart from the sadness of losing her, the anger and hate he had for her being taken from him.


But a cry came through to her.

It wasn’t the sound of her cry. If it was then she would have felt the blood gushing up through her throat and the fury that forced its way out from the depths of her soul - It was the sound of Cloud’s heart cracking. It was the cry of his heart that could never be healed of the grief he had towards Aerith’s death, the blame towards himself and the hatred he had for Sephiroth.

She was surprised at the great sorrow he had for her. She was a little happy that he thought so much of her but she also felt the pain that was many times greater. There was nothing she could do about Cloud’s suffering and the pain ached in her heart. The pain continued even though she was in the Lifestream. (Maiden of the Planet)

#12. Cloud feels/hears Aerith in his soul:

Cloud “Aerith is here.
…and so is Sephiroth.”
Cid “Wa, wa, wait a minute. You serious!?”
Tifa “But how can you tell?”
Cloud “…It’s not an excuse. I feel it in my soul.

#13. Cloud and Aerith went on two canon dates during the original game.

#14. Cloud adores and is attracted to Aerith’s physical features:

** Cloud: “Here I met a Flower Girl. She’s a girl with impressive eyes. She’s around my age, or elder by one or two years. But the innocent radiance in her eyes simply makes her suddenly look younger. Aerith: “Excuse me, what happened?”  She asked me the question, and then I bought a flower from her, which is rare in Midgar. Maybe she’s pleased that the flower was sold, because the worried look on her face had vanished. If this smile costs only one gil, it is a good purchase.” (DISMANTLED/KAITAI SHINSHO)

**  Cloud: “Aerith used to smile like a flower, all the time… But Aerith won’t smile anymore. I won’t ever hear her innocent laugh ever again.” (DISMANTLED/KAITAI SHINSHO)

#15. Official PlayStation magazine said Cloud and Aerith were a ‘tragic love’:

“[Aerith is] The heroine of tragic love who was met in Midgar”

#16. Square Enix depicted Cloud and Aerith as husband and wife:

#17. Cloud and Aerith have FIVE official Amano artworks depicting them in romantic situations.

#18. Nomura said that the ending for KH1 ‘answers’ questions about Cloud and Aerith’s ‘relationship’

#19. Cloud tells Aerith that he wants to be there fore her:

Aerith: “I learned a lot. The elders taught me many things.
About the Cetra… And the Promised Land… I’m…… alone… I’m all alone now…”

Cloud: “But I’m…… we’re here for you, right?”

Aerith: “I know. I know, but… I am the only…… Cetra.”

#20. Cloud and Aerith share a ‘two person world’:

FVII: Seeing Cloud and Aerith developing their world together before her eyes, Tifa inadvertently lets her peevish feelings slip. [Tifa’s profile, 10th Anniversary Ultimania] 

#21. Aerith and Cloud are ‘perfect’ for eachother:

The last fortune telling from the first Cait Sith: “Looks good. You are perfect for each other! Aerith’s star and Cloud’s star! They show a great future!”

#22. Cloud tells Sephiroth that he doesn’t care if he destroys the planet now that Aerith is dead:

Cloud: “The cycle of nature and your stupid plan don’t mean a thing. Aerith is gone. Aerith will no longer talk, no longer laugh, cry…… or get angry…… What about us…… what are WE supposed to do?”

#23. Cloud tells Marlene that he hopes Aerith likes him

Marlene is a sharp girl —Even though she’s only 4 years old, Marlene is perceptive and well attuned to the woman mind. The scene where she ascertains that Aerith has favor for Cloud and tells him so, then says, “I won’t tell Tifa!” demonstrates this grownup behavior. 

(Marlene will only say “I won’t tell Tifa” if you make Cloud say “Let’s hope so”)

#24. Cloud and Aerith have a ‘special bond’ that Tifa is jealous of:

A close friend as well as rival?
The complicated emotions she feels towards Aerith.

Both of them share feelings for Cloud — Tifa was close to Aerith, who can also be called a love rival. With that point in mind, they were also good friends. Nevertheless, it is not hard to imagine that she carries complex feelings as a woman toward Aerith, who had built up a special bond with Cloud that was different from Tifa’s.

#25. Ultimania says there’s “something between them” during the scene where Cloud laughs for the first (and only) time:

When talking about the “rare smile” which Aerith brings out in Cloud during the game, the FFVII Ultimania Omega says that “there seems to be something between them”. (Aerith’s info page, FFVII Ultimania Omega)

This post will be updated in the future. I made this in a hurry. If you have any facts that aren’t on the list, please add them and I’ll put them in the main post.


“So many things become beautiful when you really look.”

-Lauren Oliver, Before I Fall

Today I found myself falling in love with life all over again. From the explosion of morning sunshine through my dusty room, to the eternal endearment of trees in no particular order. I needed today because today didn’t need me. It would have been beautiful either way. I’m so glad I got to see it though. Today taught me what this fitting quote above speaks. So man things become beautiful when you really looks. I’d like to add that they become beautiful when you see things from a new angle and you look long enough. When you stare deep into the eyes of what you think you’ve seen before. I shot these using a new technique to me called free lensing. Its my first try and I’m already so heels over head. 

10/5/17 – day five of thirty-one days of horror!

We sadly lost zombiemaster George A. Romero this year, but instead of honoring one of his living dead films, I choose to honor his lesser celebrated vampire film Martin. Taking a deconstructionist tact on the vampire myth long before it was fashionable, Romero’s story concerns the vampiric exploits of Martin, a confused young man who has come to Pittsburg to live with his highly religious uncle. While stalking local women he finds attractive, Martin struggles with issues of sexual intimacy while keeping clear of his uncle’s Van Helsingish proclivities and expressing his frustrations about what the movies get wrong about vampires to a talk radio DJ. As crazy as this all sounds, in Romero’s steady, grounded hands it is utterly compelling, his matter-of-fact presentation heightening the comic absurdity of the blood sucking scenarios while keeping things suitably horrific. Be warned: there’s an icky rape factor to the way Martin drugs and drains his female victim, but actor John Amplas brings a sad innocence to the portrayal that takes some of the edge off his predatory night moves. This year impress all your friends by passing on Night of the Living Dead and busting out Martin for your Romero Halloween party tribute. Also watch for splatter guru Tom Savini in a small role, and Romero himself as a gregarious chain-smoking priest.

A young cellist loses his orchestra job in Tokyo, sells his instrument and returns with his wife to his rural hometown. There, a misprinted want ad leads him unintentionally to apply as an “encoffiner” (nōkanshi)–one who performs a ceremony to prepare corpses for display and cremation. So begins Departures (2008), the masterful comedy-drama that won Japan’s first Best Foreign Film nod at the Oscars.

Departures is a quiet film, set to a lovely Joe Hisaishi score and conveyed by subtly expressive cinematography. The aforementioned cellist is Daigo Kobayashi, and his disappointing life slowly is reshaped by his employment to Mr. Sasaki, a veteran nōkanshi. Daigo finds peace and dignity through his work. The acting and dialogue are fantastic; but, in many long and largely wordless passages, the nōkan ceremony–performed with weight, beauty and delicacy–takes center stage.

The dead and those who handle them bear a very old stigma in Japan. Departures makes a different case: that the nōkan ceremony, which has become uncommon in modern Japan, is not filthy but beautiful. In the process the film does not trivialize death’s horror; it argues only that, in our lives and our treatment of the dead, we should not submit to decay. Life is always the answer to death–and Mr. Sasaki’s living quarters are filled with greenery. An unofficial translation of the film is embedded after the break. Seek out the film’s official translation for best results.

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The Misfits by Arthur Miller

More than for its elegiac beauty or because its stars, Clark Gable and Marilyn Monroe, each delivered one of their finest performances, The Misfits earned its place in film mythology for the stories surrounding its tumultuous making.

Arthur Miller wrote the screenplay as a Valentine to his then wife, Monroe. Starring alongside her childhood idol, Gable, whom as a child Monroe had pretended was her father, the film was intended to be a physically and mentally restorative experience that would finally get her noticed as a serious actress.

Whilst Miller may have set out with the best of intentions, by the time filming was underway he was effectively separated from Monroe. Away from her psychiatrist at a time of great emotional strain, Monroe increasingly turned for comfort to drugs and alcohol. Unsurprisingly, her behaviour on set was erratic: as she would turn up late for work, and on many occasions not all. At one point production had to be halted for ten days so she could convalesce in a psychiatric institution.

Monroe, however, was not the only one battling personal demons on set. Montgomery Clift, who had been left disfigured by an earlier car accident, was also heavily dependent on drugs and alcohol, leading Monroe to describe him as “the only person I know who’s in worse shape than I am.” To make matters worse, instead of having a director who could instill some discipline, John Huston was, for the most part, completely intoxicated, and at one point the crew had to step in to pay off his gambling debts. Gable, whilst maybe mentally more stable than those around him, was by then 59, and insisted on doing all his own stunts. He is believed to have put his body through even more strain by going on a crash diet in preparation for his role. The physical and mental tolls taken on those involved in the production could only have been exacerbated by the searing heat of the Nevada desert where temperatures reached 108 degree (42°C).

At $4 million dollars, The Misfits became at that time the most expensive black and white film ever made. It also turned out to be the last film Gable and  Monroe completed. Just two days after filming had finished Gable had a heart attack and died ten days later. Monroe was found dead a year and a half later. Whilst he lived a few years longer,  Montgomery Clifts’ death is still associated with the film. His personal assistant claims on the night he died it was playing on the television and that Clift had “Absolutely not!” wanted to see it. Miller may have outlived the others for a great deal longer, but he never produced another significant work. Despite entering into a long marriage shortly after, his life with Monroe and the filming of The Misfits was something from which he could never entirely escape. His plays After the Fall (1964)  and Finishing the Picture (2004), his final one, although fictional, were thinly veiled accounts of his relationship with Monroe at that time.

The book in the photographs is a first edition of the screenplay, published by Viking Press in 1961. Miller dedicated the book to Clark Gable “who did not know how to hate.” The Jacket design is by Don Ervin.

For further book scraps, please follow on Twitter.

I think that the Brick is such a cool and eye-opening experience bc the “Les Miz” story is usually presented in such a grandeur and almost flashy way in the musical and movies (which sadly deters many people away from it), but when you read it the story becomes much more intimate. Honestly the novel is so long it’s hard to capture both the intimacy and the entire story in a live or film production anyway, but when reading the long and incredibly complex story it just becomes so much more real. I guess this is the case with many books that are largely adapted into film or plays or musicals or what not. So my point is that reading is such an important form of media that has almost no limits and is certainly not “dead”.


Carly’s ongoing list of favourite films» Stand By Me (1986)

 I was 12 going on 13 the first time I saw a dead human being. It happened in the summer of 1959, a long time ago, but only if you measure in terms of years. I was living in a small town in Oregon called Castle Rock. There were only twelve hundred and eighty-one people. But to me, it was the whole world. I was 12 going on 13 the first time I saw a dead human being. It happened in the summer of 1959, a long time ago, but only if you measure in terms of years. I was living in a small town in Oregon called Castle Rock. There were only twelve hundred and eighty-one people. But to me, it was the whole world.

First look at Gal Gadot in Wonder Woman solo film [x]

Warner Bros. has put out a press release announcing the official cast of their upcoming Wonder Woman solo film, which will star Gal Gadot as the famed DC Amazon Princess and will be directed by Patty Jenkins. As an added bonus, Gadot tweeted the first official still along with the message: “Almost 75 years in the making… Wonder Woman is underway.” You can check the official press release after the cut:

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Official WONDER WOMAN Press Release - Warner Bros.

BURBANK, Calif.— Principal photography is underway on Warner Bros. Pictures’ Wonder Woman feature film, the highly anticipated action adventure from director Patty Jenkins (“Monster,” AMC’s “The Killing”), starring Gal Gadot (the “Fast & Furious” movies) in the role of Diana Prince/Wonder Woman. The character will make her big screen debut this spring in “Batman v Superman: Dawn of Justice,” but the new film will mark her first time headlining a feature.

The film also stars Chris Pine (the “Star Trek” films) as Captain Steve Trevor, Robin Wright (“The Girl with the Dragon Tattoo,” Netflix’s “House of Cards”), Danny Huston (“Clash of the Titans,” “X-Men Origins: Wolverine”), David Thewlis (the “Harry Potter” films, “The Theory of Everything”), Ewen Bremner (“Exodus: Gods and Kings,” “Snowpiercer”), Saïd Taghmaoui (“American Hustle”), Elena Anaya (“The Skin I Live In”) and Lucy Davis (“Shaun of the Dead”).

The film is being produced by Charles Roven, Zack Snyder and Deborah Snyder, with Richard Suckle, Stephen Jones, Wesley Coller, Geoff Johns and Rebecca Roven serving as executive producers.

Joining Jenkins behind the camera are director of photography Matthew Jensen (“Chronicle,” “Fantastic Four,” HBO’s “Game of Thrones”), Oscar-nominated production designer Aline Bonetto (“Amélie,” “A Very Long Engagement,” “Pan”), and Oscar-winning editor Martin Walsh (“Chicago,” “Jack Ryan: Shadow Recruit,” “V for Vendetta”), and Oscar-winning costume designer Lindy Hemming (“The Dark Knight” trilogy, “Topsy-Turvy”).

Principal photography will take place on location in the UK, France and Italy.

Set to open in 2017, the Wonder Woman feature film is based on characters created by William Moulton Marston, appearing in comic books published by DC Entertainment. It will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.