t’s funny thinking that just as there are famous actors, films or singers, there are also famous cars. One category of notorious vehicles is the one represented by those awesome cars starring in action movies and which make up the entire plot as if they were the main characters in the film. Here is a list of car heroes that have transcended the time barrier and have remained iconic throughout the years:


DeLorean DMC-12

Is a famous sports car which became iconic for its appearance as a modified time machine in theBack to the Future film trilogy. The car was built by John DeLorean’s DeLorean Motor Company for the US market between 1981 and 1982 and it remained the only model that the company has ever manufactured. In the movie, the car featured gull-wing doors and was fitted with a nuclear reactor. Once the car reached a speed of 88 miles per hour, the plutonium-powered reactor achieved the 1.21 gigawatts of power which made time travel possible. Pretty awesome if you ask me!

1968 Ford Mustang GT 390 Bullitt

This car was driven by Steve McQueen in Bullitt. The movie’s chasing scenes on the streets of San Francisco, where inspector Frank Bullitt (starring Steve McQueen) chased  a 1968 Dodge Charger (driven by Bill Hickman, as evil henchman Phil) are some of the best ever recorded on film. The scenes became legendary, making the 1968 Ford Mustang GT 390 an iconic car for the 20th century.

Aston Martin DB5

Looks familiar? Well, it should because this is one of the most famous cars in the world, also known as James Bond’s car! Many regard it as the most beautiful Aston Martin ever manufactured. The car was released in 1963 and it first appeared in 1964’s Goldfinger. Aston Martin and James Bond is an iconic combination which many will never forget. The Aston Martin DB5 continued appearing in Thunderball, GoldenEye, Tomorrow Never Dies, Casino Royale and 2012’s Skyfall.

The Eleanor Mustang

Is the nickname of the famous 1967 Ford Mustang that was used in the 2000 action movie Gone in 60 Seconds starring Nicolas Cage. Eleanor has a 351 Ford V8 engine, packing 400 horsepower, which is enough to compete with the best of today’s high-performance supercars. There were 11 Eleanor Mustangs created for the movie but only three of them could actually be driven. After two of the vehicles were destroyed, only one Eleanor remained to be used for photo shoots and other promotional activities. The car was sold at the Dana Mecum 26th Original Spring Classic Auction in 2013 for USD 1 million.


It’s pointless trying to pick one car from The Fast and the Furious series since, let’s face it, all of them are great. With considerable effort, I have managed making a top 3 of the coolest cars in the series.

1970 Dodge Charger

The 1970 Dodge Charger is the main car that Dominic Toretto drives in the series. The vehicle has been destroyed, rebuilt and then destroyed again. The Charger made a return in the fifth film, while a Charger Daytona appeared in the sixth installment of the series. The car is famous for its incredible 900 horsepower and for holding a record of a quarter mile time of just nine seconds flat, set by Dom’s father.

1995 Toyota Supra

The 1995 Toyota Supra Turbo is the car that Dominic fled with after crashing his 1970 Dodge Charger. The car was equipped with a Twin Turbo 2JZ-GTE engine, Bomex Body Kit, Stage 3-T-4 Turbo and a Dual Wet-Shot Nitrous-Engage.

1999 Nissan Skyline GTR

The 1999 Nissan Skyline GT-R is Brian O’Conner’s signature car and my personal top favorite vehicle in the film series. The fifth generation, known as the R34, kept the same 2.6 liter Twin Turbo engine from the previous models, but introduced a new chassis. The new car had a 50% stiffer body and the improvements to the engine’s valve timing and camshafts along with the ceramic turbocharger gave the engine an actual output of around 320 horsepower.

Bumblebee’s Camaro

In 2007, Chevrolet’s fifth-generation Camaro was selected to represent Bumblebee in theTransformers franchise, reintroducing the muscle car. In case you were wondering who Bumblebee is, here is a short description: Bumblebee is one of the main Autobot characters in the Transformers film series, which originally had the power of transforming itself into a Volkswagen Beetle. Later on, the company chose to change the car into a rally yellow Chevrolet Camaro.

How to Push and Pull Film

Since the birth of digital photography and sub-sequential near death of the printed photograph, there are quite a few darkroom techniques which often get overlooked by even the most seasoned film photographers. One prime example of this is the push/pull process, which is essentially shooting your film at the wrong speed and then developing it at that same wrong speed. To “push” your film is to shoot and develop at a faster film speed, while to “pull” film is to shoot and develop at a slower film speed. This process will change elements of your photograph such as grain size and contrast, but can also be a life saver in more than one tricky situation.

Looking at the History

Back in the day, the way you shot, developed and printed your film in the darkroom clearly defined your overall style as a photographer. That includes variations in agitation, dilution, time, chemical composition, and temperature - which can be minutely adjusted for producing black and white negatives exactly as you’d like them to be. One photographer may agitate side to side while another does it up and down, and both may claim that it produces a specific result. The reality is many factors are at play here and it often comes down to personal preference.

When it comes to color, however, it’s not so open. Although black and white photography provides a wide variety of processing options, our perception of color just isn’t that flexible. For instance, we assume the sky to be a specific shade of blue, grass should be green, and so on and so forth; skin tone is even more specific and should only be within a certain color range that we consider “normal.” For example if you took a photograph where your subject had orange or purple skin, you’d assume there was a mistake in developing somewhere along the line. In order to avoid unnatural color outputs due to color misperceptions, old-school photographers were always looking for a better way process film than the patchwork of approaches previously utilized for black and white.

Eventually, this led to Kodak producing the transparency film and E-6 process, which are still in use today - although in limited quantity and usually in the hands of seasoned professionals. We’ve previously done an intro to understanding slide film that you can check out for more info on that. The E-6 process became standard and has been followed  by all manufacturers ever since. Side note - “E-6” stands for ‘E’ for Kodak Ektachrome and ‘6’ for the number of chemical stages in development.

‘Normal’ Process

Normal process means that you do what you’re supposed to. No seriously, if you bought Kodak Portra 100, you’d shoot it at 100 and have it developed (or develop it yourself if you’re so inclined!) at 100. If you have Ilford HP5 400, you’d shoot it at 400 and develop it at 400. Simple.  NORMAL. But hey, push/pull process lets you get more out of what you’ve got, or in some cases rectify a horrible mistake.

{The Peak, Hong Kong by Suhaimi Salleh, Fuji Neopan 400 pushed to 800}

So What Are the Benefits?

Let’s say you only have Ilford Delta ISO 100 and the sun is going down fast, you can shoot that roll at ISO 400, develop it at ISO 400 and boom you just got yourself two extra stops. You also just got yourself some extra contrast but more on that later. Let’s also say you didn’t change the speed on your camera and metered everything at ISO 100 when in fact you were shooting 400. That’s ok! Develop at 400 and your shots should still come out fine. Simply put, you either accidentally or intentionally set your cameras ISO setting to the wrong value to get the shot. The light sensitivity of the film will not be affected by this, as what you did was to overexpose or underexpose the film. In other words, pushing and pulling will either over-process or under-process the result, thus helping you correct it as you develop the film in the darkroom. Push/pull process can be used on black and white, color and slide film.

It’s important to note that pushing film can:

  •    Increase the contrast to a certain extent
  •    Increase the apparent grain to a certain extent
  •    Lighten the image

And pulling film can:

  • Decrease contrast
  • Create a flat and overall dull negative
  • Darken the image

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Confessions of an Extras Casting Director: How Hollywood Makes the World On Screen Conform to Your Stereotypes

For my first day in the professional workforce, I wore heels and a blazer, bought just for the occasion. I was a film and television extras casting assistant in New York City, and felt optimistic, grown-up, and eager to present my contribution to the world.

“You’re gonna wanna do a database search for African-American men, ages 50-65,” my boss told me flatly. “Then just call them, find out if they’re if they’re available for work tomorrow, and if they know how to shine shoes.”

No sweat, obviously. I did have a freshly mounted Bachelor of Arts degree. I plugged in the criteria. Gender: male. Ethnicity: black. Age range: 50-65.


Results Found: 192.

Color in the Darkroom: A Home Guide

{Bessler Color Enlargers via the Bushwick Community Darkroom}

In this post, we’ll be having a look at the equipment required for working with color in your darkroom as well as the process and subsequent hazards. Let’s be clear on a few things first:

1. Working in a color darkroom can be quite expensive. This doesn’t only include the materials involved, but also the equipment needed to produce quality outputs. Not many people have the resources needed for creating a topnotch black and white darkroom, let alone a color one. And even when they do have the money, color photography is a discipline that is multi-faceted, and as such, it requires a great deal of attention to detail.

2. While there may be many talented individuals out there who are all well capable of doing color in their own darkrooms, many pro photographers mostly keep these secrets to themselves, which is a shame. This is why we’re discussing the ins and outs of color printing to help out all those who are missing valuable information on the subject.

Temperature Control is Important

First things first; the most critical factor about processing color is temperature control. Simply put, if you’re unable to keep your chemistry inside ¼ of a degree of 100 degrees, then you shouldn’t try at all. If  this statement sounds absurd to you, here’s what you should know.

Color materials, unlike the black and white, actually experience a color balance shift even by the tiniest of changes in the developer temperature. This is due to the spectral dyes in the emulsions, which absorb the replacement dyes or transfer from the chemistry in a correct manner at only a certain temperature. When working with C-41, this temperature is 100 degrees. If you fail to meet this tolerance, a scarlet object in the scene might look pink in the final print. So you can understand the importance of temperature.

How to Control the Temperature

There are mainly two ways to control the temperature, but both are quite expensive. The first technique works by using the water regulator valve – a device that accepts both cold and hot water from the supply. It does so in a round dial, quite large in size, which controls the mixing of the water. It also comes with a large round dial thermometer to monitor the temperature. The water regulator valve can cost you anywhere around the $250 range.
The second method of controlling temperature, which is by far the most accurate method, works by using a heated re-circulator pump. This device is specifically designed for photographic purposes. Heated re-circulator pumps regulate the temperature of the water, after taking it from the sink, and then return it back once regulation is done. A unit like this will probably cost you around $500.

Working with a Color Enlarger as Opposed to a Black and White Enlarger

{Beseler Dichro Head Color Enlarger with magenta, yellow and cyan color adjustment dials}

The color enlarger, also called a dichro head, is significantly different from the black and white enlarger. In the former, there’s a color head placed above the negative carrier, which has three filters. The filters are typically of the subtractive variety. In some cases, they may also possess additive filters. The filters are called dichroic filters, which usually graduate from dark to light in all of the colors.

Dials or thumbwheels are generally used for “dialing in” the filter pack, which helps change the level of gradation used within the printing process. The graduations in this technique are in divisions of 5, going from 10 to 90. The numbers represent the corresponding number of a specific filter. For instance, if you’re using individual filters, you will have a Cyan filter of 10 (CP10C), a Yellow filter of 15 (CP15Y), and a Magenta filter of 25 (CP25M). On a given category of paper, this will be your filter pack for a negative.

Of course, it isn’t completely necessary to have color heads on enlargers. You can instead purchase an inexpensive set, or maybe a used one, of color printing filters and do with them using a decent black and white enlarger. This would cost you a lot less.

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Dakota Johnson and Jamie Dornan on the set of Fifty Shades Freed in France! [HQ UNTAGGED PICS]

Dakota Johnson and Jamie Dornan take a dip in the sea while filming a scene for Fifty Shades Freed, in France, on July 13th, 2016.

Down below you’ll find 68 HQ untagged pictures thanks to @FiftyShadesEN.

Article provided by EverythingDakotaJohnson.

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Blu-ray Review: The Invitation

The Invitation reunites Aeon Flux director Karyn Kusama (also of Jennifer’s Body fame) with writers Phil Hay and Matt Manfredi. Unlike their previous collaboration, which was marred by studio interference, their latest was produced independently. Left to their own devices, the trio harnessed the complete creative control to craft a unique and personal effort.

Will (Logan Marshall-Green, Prometheus) and his girlfriend, Kira (Emayatzy Corinealdi, Hand of God), attend at lavish dinner party hosted by Will’s ex-wife, Eden (Tammy Blanchard, Into the Woods), and her new husband, David (Michiel Huisman, Game of Thrones). It’s apparent from their first interaction that Will and Eden have a troubled past, but the details are only slowly revealed as Will explores the opulent Hollywood Hills abode he used to call his home.

The other guests are old friends of the couple, but they haven’t all been together in two years. During that time, Eden and David have become involved in a “spiritual movement” known as The Invitation. The friends humor them by watching a video presentation; some are receptive, while others write it off as a cult. It only serves as fuel for Will’s paranoia, as he begins to suspect that they have been reunited under an ulterior motive.

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Nocturnal Animals : to premiere at Venice Film Festival

Variety announced yesterday that Nocturnal Animals will premiere at the 73rd Venice Film Festival. The full line-up of the italian festival will be announced during a press conference on August 28th. The Venice Film Festival will take place next month from August 31st, till September 10th. 

above : Armie with co-star Amy Adam on the set of Nocturnal Animals. 

The movie which also features Amy Adams, Jake Gyllenhaal and Aaron Taylor-Johnson, should be released on Nov 4th in the UK, and December 9th in the US (source : IMDb). 

Nocturnal Animals is an adaptation of the book named “Tony and Susan” :  

 An art gallery owner is haunted by her ex-husband’s novel, a violent thriller she interprets as a veiled threat and a symbolic revenge tale.

See, we won’t be done seeing Armie on a big screen this fall, and we LOVE it! 

DVD Review: Hell Hunters

It’s amazing that, even as we transition from physical media to digital, there are still many movies that have never been released on DVD. Up until recently, one such title on that list of forgotten gems was Hell Hunters. Film Chest Media has unearthed the 1986 action-thriller for its long-awaited DVD debut. Unfortunately, no Blu-ray is planned.

The cover of the release boasts that the film has been restored in high-definition from an original 35mm print. While I don’t doubt the source of the material, the use of the word “restored” is liberal. There are definitely no touch ups here; the picture and audio quality are both rough around the edges. More glaring, the image jitters up and down ever so slightly, most noticeable at the very beginning. It’s annoying, but at least the film finally has a release.

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Jared Leto: The Unlikely Triumphs of a Rock-Star Movie Star

Rolling Stone Magazine, 27/07/16

Some interesting/funny quotes taken from the article written by Brian Hiatt:


  • He’s warm and engaging, with none of the solipsistic remoteness that often comes with years of fame. But he also seems curiously self-perfected, as if he’s gone clear in some one-man Church of Letology, and sleeker than any Homo sapiens should be, moving with serpentine ease.
  • “More than one Academy Award-winning actor has walked into my office,” says Leto’s music manager, Irving Azoff, “and said, ‘I can be a successful rock star, help me!’ He’s the only one that pulled it off.”


  • Since his earliest interviews, he’s been vague and occasionally deceptive about the details of his childhood. “I lied about it so much, I don’t know what the truth is,” he claims. “I remember River Phoenix saying in an interview that he tried to lie as much as possible, and I just took that approach ever since." 
  • There was also some petty thievery, and maybe worse – he says he was arrested a few times, and has hinted at an incident "involving a gun and some cocaine.”

Suicide Squad

  • Leto had a lot of fun playing the Joker, way more fun than he usually does on movies — even though he injured himself pretty badly on set, tearing his labrum while hanging from a helicopter.
  • “Look, they weren’t used condoms,” says Ayer. “Let’s be real here. They’re removed from their packages, but it wasn’t actually used. And, of course, I was mortified. Like, 'Jared, put that stuff away — get that out of here, what are you doing?' ”
  • He got along particularly well with rapper-actor Common, who has a small henchman role in the film. “He was not afraid of being all up in my face looking like he’s ready to kiss me,” says Common. “You could feel the danger, you could feel the sexuality, the craziness, but there was something still cool about him.”

Dallas Buyers Club

  • At one point, Vallée recalls, McConaughey — also doing a certain degree of Method work as his homophobic-but-learning character — looked at Leto shimmying onto the set and said, “I don’t know whether to kick your ass or fuck it!" 

My So-Called Life

  • I point out that Leto was almost objectified in the show — in a progressive move, he played a lust-object role usually reserved for women. "Oh, yeah,” he says. “It was about time. I’m happy to have taken that, uh, baton or whatever.”

The former secret Air Force base in LA he recently purchased

  • He threw a raucous, celebrity-studded Halloween party here last year (he dressed up as the pope), using a screening room to show scary footage. “There was a haunted hallway set up, and it ended in this S&M bondage room right here,” he says. “It was interesting — all the people who were lining up to volunteer to get spanked were, like, my tech buddies.”


  • “You know what I’ve learned about women? I know absolutely nothing about women.” There are no truths, he suggests, that apply to women as a group. “The older I get, it’s just people. I just see people." 

Full article here.

Why The Conjuring 2 Spin Off Is A Bad Idea.

Now some of you might be thinking i’m against the spin off to The Conjuring 2 because i am anti-reboot/remake and tend to have an aversion to spin offs. If you’re thinking that’s why i’m against this idea, let me tell you now you’re 100% wrong.

My reason for being against this is far more logical than you may think and actually comes down to key dot points in The Conjuring 2 that make the possibility of a spin off pointless and in essence counteract the very plot to the film. Why the spin off centered around the Demon Nun is a bad idea comes down to one line in The Conjuring 2. If you haven’t seen The Conjuring 2 do not read on as the next part of this contains *SPOILERS* from the movie.

During the final 30 minutes of the film is when the balance of power starts to shift for our heroes Ed Warren (Patrick Wilson) and Lorraine Warren (Vera Farmiga). As the Warrens are on the train preparing to leave they replay recordings to find there is a hidden message among the tapes. It is after they hear this Lorraine has a vision and is finally able to speak with the spirit of Bill Wilkins. Upon breaking from her trance she states to Ed that an inhuman spirit is using the spirit of Bill Wilkins like a pawn. She then goes on to say “something that’s taken a blasphemous form to attack my faith”. This is key.

The meaning of this statement goes into the foundation of the film, and actually comes from reality and the cases Ed and Lorraine worked on in their lives and what they came to understand about the paranormal and demons in general. Now if you don’t believe any of this that is perfectly fine, it’s still the base mythology for the films, so that’s reason enough to pay attention.

What Lorraine’s line meant, and perhaps is something not very fleshed out in the movies is that demons thrive on anonymity. It gives them power over those they torment. Think about it, are people likely to believe you if you go around saying you’re being attacked by a demonic nun? No, they’ll think you’re crazy and send you straight to the funny farm. Demons majority of the time will not reveal their true names or true face to those who see them.  This however is portrayed in the film. The demon hid it’s presence from Lorraine, 1. so that no one would believe Janet (Madison Wolfe) and therefore make her easier to cut off from everyone else and 2. because prior to the Warrens involvement in the case the demon had revealed it’s name to Lorraine, and if she realised this she would have power over the demon. 

A tool demon’s use is to take the form of something you hold sacred or something you fear and turn it into something far more sinister. This is a clever strategy designed to break down the human spirit and make it harder for people’s accounts to hold much credibility. Ed and Lorraine are devout Catholics and take a lot of strength from their faith. The demon in question took the form of a sinister looking nun to torment and mock Lorraine and the faith she held so sacred to break her down.

It is for this very reason a spin off based on this demon would not work. The demon we have now come to know as Valak (played by Bonnie Aarons) does not actually have the form of a demonic nun. It only took this form to torment Lorraine because of her catholic faith. If the demon was to torment another person it would take the form of something they love or something they fear. Which it essentially did to the Hodgson’s children. Their favourite nursery rhyme and one they all bonded over was The Crooked Man. The demon in question took the form of The Crooked Man to terrorise the children by turning something they loved against them. This is something it would do to whom ever it came into contact with. It’s appearance is based on that person’s fear and desire. So without Lorraine Warren being in this spin off Valak would have no reason to take on the form of the demonic nun. 

This spin off being a bad idea has nothing to do with personal taste, although this is a very clear cash grab attempt made by the studios as they did the same thing with Annabelle after the release of The Conjuring. And that was a huge bust, mainly because they created a whole new fictional story which in no way relates to the basis it was created from or holds any of the original stories mythology, and because of that it loses a lot of weight. The same thing is bound to happen if the demonic nun spin off is picked up. It breaks away from The Conjuring mythology, and a films mythology is what gives the plot depth, it’s what helps it all make sense. Start messing with that and the whole film falls apart.

The Conjuring 2 was a fantastic film and i would be more than thrilled to see a 3rd installment based on another case that Ed and Lorraine worked on, but a spin off would definitely not work. I’m not saying the film would be bad, if done right it could be amazing, but logically it would not make sense. And you still can’t deny the fact this is a cash grab idea at work.

I am a staunch feminist. Perhaps the most extreme feminist you’ll ever meet. Underrepresentation of women in film and tv is real. If you were to read three scholarly peer reviewed film articles you would see this. I believe in rape culture. I believe there is a wage gap. I believe in systemic racism. I believe in these things because they are undeniable. They have been the heartbeat of scholarly argumentation for the past 20 years. They exist. Actually… they more than exist. They exist to such an extent that they control our lives. 

If you don’t like that?