I don’t even know how to respond to this, because the whole feud was just stupid, immature, and complicated. But long story short. Adams was one of those people who thought that Hamilton had been up to some shady business when he was secretary of the treasury. Adams was also really paranoid and constantly thought that people were plotting against him, so naturally Hamilton became his scapegoat for every little bad thing that was said about him. Which was actually true and not at all uncalled for. Hamilton didn’t like when people criticized his person and/or his work. So he started publishing some bad stuff about Adams in the newspaper. Including a pamphlet called “Concerning the Public Conduct and Character of John Adams, Esq. President of the United States”. This angered Adams who obviously thought that his suspicions about Hamilton organizing a plot to overthrow him was true. And so it went back and forth, ending with both parties hating each others guts. Which is sad because they were actually really likeminded when it came to politics, and would probably have made a great team if both of them hadn’t been so vain and easily hurt. So that’s basically it.
The Squip Squad hanging out with their respective favorite Eeveelution peeps :3
Jeremy and Ari (Espeon)
Michael and Lunar (Umbreon)
Christine and Belle (Sylveon)
Brooke and Splash (Vaporeon)
Chloe and Flurry (Glaceon)
Jenna and Bloom (Leafeon)
Rich and Cinder (Flareon)
Jake (;-;) and Charge (Jolteon)
((OOOHOHOH KIT HOLY MOLY THIS IS SO GREAT??? It must have taken you forever to draw all of them :0
Ahh…those kids, sweet guild kids, they’d get along well with Jeremy n co., I feel that Team Star would too :’)
ANYWAY HAVE AN APPROPRIATE REACTION
“LOOK AT ALL OF THEM RI ISN’T IT WONDERFUL”
I love this thank you I. I wanna smooch all them kids hhh))
Hey kiddo. The ball was pretty CRAZY huh, haha. Remember, its your ol pal Fresh!!! That was fun. The end-- well. I mean. I'm WICKED RAD FINE, but. I wanted to make sure. Are ya doin ok? You're the most determined kid I ever did meet. But. It was a lot to take in, especially someone so young! MISS YA KID. Maybe I'll come see ya when. I'm feeling a little fresher, ya dig?
“Fresh!! Hiya! I’m– I’m okay! It was a little crazy, b-but I’m fine! I just– I was really worried about you! I hope you feel better, Fresh. Stay safe, okay? Please?? Don’t get hurt! I…… I’ll see you soon!!”
and they ask me
why i am like this.
i don’t know.
i just am.
i hate it sometimes.
but, i am,
and i will learn to
come to terms with that.
i will learn to cry passionately
and give myself over to these times,
with no regrets.
i will learn that
when he raises his voice at me,
it’s okay for me to want to cry,
because - from what i’ve experienced,
i have appropriate reactions to these things.
i will learn to say that with courage,
with no shame in it.
i will learn to say that
i survived abuse,
without being embarassed
or scared of what people might think.
i will be okay one day.
maybe not now,
but one day.
"#yknow when i was a kid i thought id be doing cool shit when i turned 16 #instead im alone in my room redrawing mst3k screencaps in an impressionist type style" what do you mean that is the coolest shit!
u know what? ur right. thank u. i dont have any appropriate reaction gifs/images for this so take milkwalker instead
Editing '6 Angry Women' - From a Director's Standpoint
I’m in the home stretch of the first assembly of 6 Angry Women, with about four minutes left to cut together. I am editing the film in its entirety, and editing is something I enjoy immensely. I’ve edited all my work save for a few commercial and corporate assignments, and this is something I’d like to maintain. I feel all directors should at least edit the first assembly of the film, but that’s just me, and my definition of a first assembly is a lot different than most.
My first assembly pretty much resembles about 90-95% of the final edit, as I pretty much edit in sequence and fine tune as I go along. It’s not the prescribed way of editing, but it works for me because that’s how my mind works.
It also works because of the way the film was conceived. As many of you might recall I didn’t have a proper script for the film until about 12 hours before the shoot started. We’d improvised for six weeks in rehearsal and so much of the film was coming together in my head, and continued to piece itself together as we were shooting. I didn’t have any storyboards or even a shot list, I pretty much made it up as I went along.
My goal therefore as a director was to accumulate as much coverage as I could over 6 eight-hour shooting days. We had a lot of ground to cover so I really had to motor through the story, and since we had six equal speaking parts, everyone had to be covered at all times.
This was a monumental challenge, and it took us a a day or two to really figure out a method that would aid me best in the edit, I didn’t want to be scouring random footage to piece together like a collage.
I broke the film up into chapters on paper, with each chapter dedicated to a single juror’s vote. Which meant each chapter had a driving character, a primary antagonist / ally, and supporting arguments / reactions. My first goal was to attain a wide master; doing this would guarantee that at the minimum I had the entire sequence filmed. I would place my A camera behind the main protagonist of the scene, and capture a 3-shot from their over-the-shoulder perspective. Since I was shooting 4:3 aspect ratio, this was not an easy thing to figure out as our frame was compact. I’d place the B camera on the adjacent character, also a 3-shot from the other side. This covers my six jurors in entirety. Here’s a crude diagram of the setup.
Or here’s a variation of it:
Here’s a good example of what we see from A camera:
You see the B cam in the far corner; this gets cropped off in the 4:3 frame.
From here we can punch into close-ups of the characters that are facing the camera, but performance is a funny thing. I wanted to preserve the energy of the actors that were driving the scene, so I flipped the cameras around to the other side of the table and covered a wide and a close-up of the primary characters.
This is situational. If there is a heated debate going on between the primary character and a secondary, I would want to place equal emphasis on the reactions of the secondary. So I might place my cameras like this, getting two OTS or ECUs of each:
We work on variations of this throughout, changing up frame composition to keep things visually interesting. What we got were some pretty striking images, without compromising performance and not missing any valuable reactions. We get our wide, close-ups and ECUs, and run through the scene about 15-20 times in total before moving on to the next sequence.
We were able to facilitate the close-ups and ECU’s by means of production design; our table was able to break apart into three pieces, so we were able to take parts out and move the cameras in close. It produced some very compelling images, things that give a different flavor than using a telephoto lens from afar.
Shooting this way allows me to edit the film in a very organic and natural way, but it is by no means easy. This is hands down the most difficult edit I’ve ever taken on. Between multiple takes of six perspectives and three layers of wides, CUs and ECUs, the number of combinations that any given sequence can have are infinite. I have to decide whose reaction is the most appropriate to the narrative, which composition tells the story best, and which of those elements cut together in the best way possible. It’s a certifiably insane edit, and I’ll go into more detail in coming posts.
But it’s coming together beautifully, and what we managed to do in six days, without compromising any quality whatsoever, is something I’m really proud of. This does not look, feel or perform like a low five-figure budget film. We shot the hell out of it and my actors went above and beyond - we operated with fear of the unknown but we took care of one another and made each other better. I can’t wait for people to see it.