here's hoping i will actually accomplish something of value at work tomorrow

In Defense of a Death Wish: Abby Griffin

(TW: Suicide, Depression)

Listen, I was as shocked as all of you when Abby “Let’s Call It Hope” Griffin asked Marcus Kane to let her die.

It came out of left field. It had JRoth’s brand of Shock Value™ written all over it. But… was it OOC? I honestly don’t think so. In fact, it’s my personal opinion that it might be the most refreshing evidence of character development (and, god forbid, an actual arc) Paige Turco has gotten to play with in far too long.

Now, I gotta put a disclaimer, here - it makes me extremely uncomfortable to agree with, let alone defend the decisions this show makes for its characters, especially Abby. This season in particular was excruciating to watch as the integrity of her character was repeatedly brutalized. So, no, I’m not going to argue that I trust the writers, per se. And I’m definitely not going to argue that this was their plan all along.

What I will argue is that they did, actually, piece it together with the help of a  sleeping giant they found amid the landscape of Abby’s character:

Just because she can see the light doesn’t mean she doesn’t know the darkness.

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Comfort Food

Pairing: Bucky x reader

Request: From @aubzylynn Also lets talk about Bucky in Romania just quietly trying to live his life. He’s got some dead end job with little to no contact with people like a cook or something. And the reader is a waitress or somethin just fallin for this quiet beefcake. 😍

A/N: ahhh I thought this idea was so cute!!! I really hope you like it Aubrey, I really enjoyed writing it. I hope it turned out alright. I tried to keep it all fluff guys!!

Word count: 1434

Warnings: none :)

Originally posted by enochianess

When he first showed up, he was quite. Head hung low, avoiding eye contact even though his sheer presence was intimidating. Not because he was scary, hell no, his eyes were soft and in pain. Broken pieces formed together in the shape of a human face. It was his size, his muscles, and his arm.  Constantin placed him in the kitchen doing dishes, it was what he requested of course, to work away from the eyes of people that could judge him.

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Filmmaking Tips: One of the Most Important Lessons You'll Ever Learn

I’ve been writing this blog for almost five years now and over those years I’ve extolled many a lesson I’ve learned during my journey as a filmmaker. I try to convey things as I learn them and never try to pretend that I know it all, there’s always something new to glean from personal experience.

Last night I had one of those moments of recollection, going back to 2003 when I started in the film business, reviewing the choices I’ve made. I do this to remind myself of the work I’ve accomplished and also the mistakes I hope not to repeat. I thought back to those first three years of trying to make it, of when I wrote a very ambitious screenplay called ‘Ceremony’ and spent years shopping it around with hopes that someone would give me the money to direct it, which never happened.

Ceremony was an interesting script, semi-autobiographical as most first-time screenplays tend to be, and really well written. I’d spent a year writing it, holed away in my apartment, devouring screenwriting books and watching countless movies for reference. The story had a tricky time travel element that weaved mythology and spirituality, and in hindsight it was actually a really beautiful script. I dug it out this morning before I started to write this post, and it really is quite well done, a bit idealistic perhaps, but nothing a few rewrites couldn’t solve.

And then I stopped myself right there. Having now made two feature films, and a third now in edit, I’ve learned a little something about the practicality of being an indie filmmaker, and this is likely one of the most important lessons I can pass on to you, my faithful readers.

And the lesson is this: when you write your first screenplay, write something you can make TODAY. It’s a tough one to follow because when we first start our careers as young filmmakers, our minds are overflowing with ideas and images, and we tend to overpopulate our first scripts with those ideas and images. We write things that are relatively expensive to pull off, requiring six and seven figure budgets, or the attachment of an influential actor or producer.

But I look at my current film, 6 Angry Women, and now realize that it was the type of film I should have made back in 2003. It is one room, seven actors, twelve crew, shot in six days on a five-figure budget. From greenlight to current edit, I’ve been at work for three months, and my goal is that by the end of January, my film should be mixed, conformed and ready to show. I was able to make it NOW, with little dependence upon others to make it happen.

External image

Yours truly directing ‘6 Angry Women’ with my DoP Faroukh Mistry. Photo by Fawzia Mirza.

With Ceremony I needed to raise about two million dollars to realistically make it happen, and for someone with zero film credentials and no connections, that’s an impossible task. I was trying to sell a movie that I couldn’t make. It’d be a different story if I wanted to make a living as a screenwriter, where I could then write anything and try to sell the script to people who have the means to get it made, with a director and cast that are not of my choosing. But that’s not what I want to do. I want to direct. That’s always been my goal.

Write films that can be made today. Look at Shane Carruth’s Primer, which he made for $7,000. Or Evan Glodell’s Bellflower, which was made for $20,000. These were films that could be made now, today, without the aid of a studio or any kind of attachments. They are feasible, plausible, and exceptionally creative.

Note that I never said they were easy. It never is. Making a low / zero budget movie, if you’re serious about making a true creative statement, is one of the most difficult things you’ll ever do. Don’t settle for three people mumbling about being bored and listless in a room. Throw genre into it. Make it science fiction, make it horror, make it with wall-to-wall sex, or all three combined. But it should say something, and say it in the most inspired, intriguing and creative way possible. Come up with that script you can make right now and greenlight it tomorrow.

Wait- science fiction? That’s expensive! No, it really isn’t. Primer was about time travel but it used its narrative as special effects. Mike Cahill and Brit Marling’s Another Earth is essentially the same thing as Interstellar but one was made for $200k while the other was made for $200 million. Remember that the greatest special effect is the human condition. Show your creativity, your intelligence, your gusto on the page and you will see the universe expand in front of you. Then greenlight it.

Once you make that decision to greenlight, your work will be focused and determined because you’re working on something that you know is going to get made, as opposed to something that might get made. It’s a HUGE difference.

I can’t emphasize enough how important this will be in your career. I’ve heard countless times before the advice of “just go make a movie” and it seemed too easy, to fey to be of any value. Which is why it needed to be modified: just go make a movie that you can film today. Be in the moment, embrace your talent and hunger, and then look at the world around you. You’ll see resources you never knew existed emerge around you. Don’t depend on a Kickstarter, reserve that for post-production if you need it. Cobble funds through friends, family and small patrons. Ask for a hundred dollars here and there. Get five thousand dollars together. If you live in Canada or Europe, use your government funds. You can make magic if you trust your talent and push yourself into bold new territories. Don’t make boring, safe shit. Push push push until you’re convinced you’re doing something so batshit insane it’s almost suicidal to even try. Then shoot your movie. Edit it. Put it out there. See what happens.

Meaningless [Part 2]

Alright! Here is the second and final part of Meaningless. It was quite highly requested so I really truly hope I did justice to it and to your expectations.

I hope you like it! 

Length: ~7.8k
Genre: Angst/Fluff

If you haven’t read Part 1, go here!

Part 2

You threw your bag down on the floor and cracked open the window, letting out a sigh as you fell onto your soft mattress. It had been a long day and all you wanted to do was sleep, not worry about making dinner or any of that.

The sound of your stomach rumbling made you pout, staring at the ceiling in thought. Instant ramen was probably a bad choice for your health, but it was pretty appealing today.

Just as you were about to go and see how much you had left, the sound of your phone ringing drew your attention.

“Shit,” you mumbled, dragging yourself to sit on the floor before your discarded bag and fishing through it, searching for the device. You found it just in time.

“Hey, Joon!” You smiled, glad to hear from him. “I swear I talk to you more than Jin these days.”

His low chuckle came from the other end. “Not my fault he’s being a negligent best friend.”

You stood up with a laugh, deciding to head to the kitchen anyway. “Don’t let him hear you say that.”

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