film theme


Sea of Ash by Michael MacGarry is a poetic meditation on African refugees in Italy

Michael MacGarry’s new short film re-imagines Thomas Mann’s novella Death in Venice as a fable that meditates on the contemporary issue of African refugees and immigrants in Italy. The film expands upon inherent themes in the book, with Mann’s character Tadzio cast as an immigrant to Italy from West Africa who has survived the treacherous and often fatal journey by sea.


the chronicles of narnia meme ⇾ [4/5 relationships] the traitor & the white witch: edmund & jadis.
↳ ‘think about whose side you’re on, edmund. mine… or theirs.’


On this day in music history: August 26, 1978 - “Grease” by Frankie Valli hits #1 on the Billboard Hot 100 for 2 weeks, also peaking at #40 on the R&B singles chart on the same date. Written by Barry Gibb, it is the second solo chart topper for legendary lead vocalist of The Four Seasons born Francesco Castelluccio. Following the Bee Gees work on the soundtrack for “Saturday Night Fever” and as the group are wrapping up filming on the Robert Stigwood helmed “Sgt. Pepper’s Lonely Hearts Club Band”, Barry Gibb will be asked by Stigwood to write the theme song for the film adaptation of the long running hit musical “Grease”. Gibb will quickly write the song on his own, cutting the track at Criteria Studios in Miami, FL in April of 1978. Guitarist Peter Frampton, Gibb’s co-star in “Sgt. Pepper” will play guitar on the track. Barry Gibb will also be instrumental in bringing in Frankie Valli to sing the title song to the film. Released as the second single from the “Grease” soundtrack on May 6, 1978, it will quickly become a smash. Entering the Hot 100 at #69 on May 27, 1978, it will climb to the top of the chart thirteen weeks later. “Grease” will be Valli’s second solo number one (seventh overall) giving him a span of nearly sixteen years since his first number with The Four Seasons in 1962. The success of the song will drive sales of the “Grease” soundtrack to over 8x Platinum in the US, and worldwide sales of over twenty eight million copies. At the time of its domination of the charts, it will be the second largest selling soundtrack album of all time after “Saturday Night Fever”. “Grease” is certified Platinum in the US by the RIAA.


Born on this day: April 16, 1924 - Legendary composer, conductor and arranger Henry Mancini (born Enrico Nicola Mancini in Cleveland, OH). Happy Birthday to this music icon on what would have been his 91st Birthday.


So excited–here are a few stills from TriFilm Pictures’ Einar, the Viking-themed film in which one of my wolf headdresses is featured! If you want to keep up on news about the film’s production and release, here’s its official FB page. Thanks again to the awesome folks at TriFilm for including my work in their creativity, and best of luck to them as they continue bringing this–their seventh film–to fruition!

If you’re interested in renting headdresses or other costuming/props/bones/etc. for a film, photography, event or other project, more information on my rentals may be found here.


O Brother Where Art Thou” Grammy Performance:

  • Emmylou Harris, Gillian Welch, Alison Krauss-“Didn’t Leave Nobody but the Baby
  • Ralph Stanley- “O Death”
  • Soggy Bottom Boys- “Man Of Constant Sorrow”

just finished mad max. here are the thoughts:

(spoilers. of course)

  • it’s simply fantastic 
  • never have i seen action so grotesque so chaotic yet so 120% gorgeous 
  • basically a two-hour long impeccably edited car chase scene laced with what i would assume to be the result of me seeing things after consuming some extremely potent hallucinogen
  • it is a) a complete wrecking ball of a shitstorm; b) bring-it-on-all-of-it unapologetic madness; c) absolutely thrilling to watch, brutal, gory but not flinch-inducing
  • the fucking electric guitar guy in the red jumpsuit. insane.
  • insane
  • seriously what’s with that 
  • furiosa’s mechanical arm reminds me of district 9 i don’t know why 
  • the arm is also fantastic in that it’s a huge, indelicate and brutal looking instrument, with no attempt whatsoever to mask the ugliness. when she raises both of her arms above her head the contrast is striking
  • furiosaaaaa
  • tom hardy being strapped to the. thing. swinging to and forth. bouncing around. like jesus christ on the cross in the most impossible alternate universe 
  • the monstrous cars 
  • i love them 
  • just how impossible all of the characters are 
  • the ghostly war boys. eager to die and live again
  • another use of black eyeshadow in villain-sort-of making (re: you know who)
  • nux and the faces he drew on larry and barry. i died right there 
  • but why was a can of silver spray paint always conveniently close to hand 
  • the mind boggles 
  • immortan joe having the name ‘joe’
  • and his entire artificial respiratory system 
  • & when said system was ripped out along with some of his insides 
  • it felt so great 
  • basically i loved all the disgusting grotesque-ness, distortion of the flesh and horrors that mark nearly every character on screen 
  • but i also liked that the wives somewhat embodied this greenhouse-bred-purity-that-inevitably-grew-out-of-control   -ness? i lost that sentence somewhere
  • the stark contrast between their decorative clothing and the mangled pieced-together half-armor the rest of them wear 
  • that they were untouched by the world outside and that the main leverage they had over the pursuers was their value as immortan joe’s personal property. property that’s not to be damaged.
  • so they used their exposed, vulnerable but untouchable bodies as shields 
  • /shakes fist/
  • the frickin’ gang of women motorcyclist & the lady with the seeds 
  • how they apparently had no time for sentiments but simply hollered something along the lines of ‘DIE YOU SCUM’ and threw themselves onto their opponents 
  • nobody had much time for sentiments or romance and it was good 
  • tom hardy’s grunts once again constitute effective dialogue 

“Arguments about this film exhaust me. They leave me with the empty-tank feeling of too much coffee and not enough nourishment. At this point, I’m quite satisfied with my opinions on Fight Club. I don’t like the movie, and I’m not likely to. But every so often, someone feels it is their duty to educate me on why I’m wrong about it; why it’s an exceptional counter-culture commentary; why it speaks to the new lost generation; why it’s beyond reproach. Well, it is reproachable. I reproach it! I’ll reproach the goddamn Mona Lisa if I feel like it! Don’t tell me what to do! If I’m being honest, the pushy nature of Fight Club fans is the biggest reason I don’t like the movie (the other [not trifling] reasons being that I dislike the story,the characters, Edward Norton, and the look of the film). As a central theme of the film is to approach casual apathy with roaring disdain, I guess it makes sense. But come on. Let’s not fight.”

–Andrew Root, “Why I Hate Fight Club: An (Unpopular) Opinion Piece”


On this day in music history: May 8, 1982 - “Chariots Of Fire - Titles” by Vangelis hits #1 on the Billboard Hot 100 for 1 week, also topping the Adult Contemporary chart for 5 weeks on April 3, 1982. Written and produced by Evangelos Papathanassiou (aka Vangelis), it is the biggest hit for the Greek musician and composer. The theme song to the Academy Award winning film about two British athletes training for the 1924 Olympics in Paris, the composer will be chosen by the film’s director Hugh Hudson to score the film. Vangelis will take a unique approach when performing the score, with all of the music will be performed by him alone on an acoustic piano, combined with synthesizers, only augmented by a choir on one track. Released as a single in late 1981, Entering the Hot 100 at #94 on December 12, 1981, it will begin a long and slow climb up the US pop singles chart, finally reaching the top of the chart twenty weeks later. Vangelis will win an Academy Award for Best Original Music Score for the music he composed for the film. The critical and commercial success of the film will turn the Greek composer’s majestic and unconventional film score into a surprise pop hit, with the soundtrack album spending four weeks at number one on the Top 200 beginning on April 17, 1982, and being certified Platinum in the US by the RIAA.


Ennio Morricone - La Califfa (The Lady Caliph) 

Theme to a little known Italian film of the same name. IMHO Morricone’s most beautiful composition. Haunting and unforgettable.