…and what an experience it was. To watch a film in a style so recognisable, admirable, ubiquitous about stories and people that I grew up hearing and being taught about, was truly one of the most emotional experiences in my life. Of course I was crying right from the get go, all the way to the credits.
As I sat and watched the stories woven through my childhood, not just as a New Zealander, but as a Samoan/Maori mix, being told by DISNEY, I was awash with brimming awe. Constantly teetering on the breaking point of tears as I saw the legends of my people being brought to life for all who are reached by the wide stretching arms of Disneys prolific films, to enjoy and become enamoured by.
And I was not alone. The theatre of easily 300 likeminded Kiwis, the majority of which being of Polynesian background, laughed and cried together as we watched familiar stories being told by close to home voices portrayed in the most famous animated style in the world.
So thank you Disney, for this incredible experience you’ve given to the world. Please know how much it means to us in the smallest personal way. Not even about the representation to the masses that this brings. But of the small pride it has given us that in the wide wide world, we have a light that is worth shining.
(Edit: starting off with my sister, the whole theatre clapped too! Which never happens x)
Man: So can you tell us something more about the filming or about your colleagues? We’ve heard that (Y/N) (Y/L/N) was a pro while filming the fighting scenes.
Sebastian: Yeah, she actually was. The first time she came on the set, wearing her suit, I was pretty much excited to finally see her fight. We did some scenes together and neither of us used our stunts. I was amazed by her style and how she could actually move and punch.
(Y/N): It was fun. I enjoy the filming so much.
Sebastian: She even told me that she used to do karate and aikido and other martial arts when she was younger. To be honest, there were moments where I was pretty scared.
(Y/N): Oh, come on, I wasn’t that intimidating.
Sebastian: Do you remember what you’ve done to Larry? You two got in an actual fight. Your lip was bleeding and he had a black eye thanks to your punch.
Man: Which scene was it?
(Y/N): The one where I fought with a policeman. The blood is real, people.
Pairing: SamxReaderxDean Word count: 2,161 Warnings: None Author: Brittiny Request: @philthepegacornOkay,
so Y/n is a writer of the show Supernatural (part of the alternate
universe in the French Mistake) and she get transported to the actual
SPN universe. Everyone loves her -she wrote them so she knows them
better than anybody- and she turns out to be a bad ass hunter because of
all her research and knowledge of the monsters. Not necessarily that
she can fight. Their mission is to get her back to her old life. Even
though none of them want her to go. And she ends up liking it there and
A/N: I was told I could pick the pairing, or make it poly. So, of course I went poly :P I didn’t include much hunting, however. I’m sorry T.T
Walking off the set, you waved goodbye to your coworkers. It had been another long day. Between writing up a new script, and making slight changes to the one they were currently filming, you were grateful for the weekend. Sliding into your car, you cracked your back before buckling up. Your car was nothing fancy, a simple 2012 Toyota. Pulling out of the parking lot, you hummed to yourself.
It was a peaceful drive home, and you enjoyed the sunset on your balcony with a glass of wine. It was just another day for you. You crawled into bed at ten, just like every other night.
Rurouni Kenshin Analysis of Fight Sequences in Film: Film as a language
Hello and welcome to the introduction of a brand new series where I’m going to talk about and analyze fight sequences and how they generally should be composed, and how Rurouni Kenshin and its sequels are brilliant examples of as I explained in the first post when these weren’t a series yet. I have enough material to run this weekly so instead of rehashing an introduction, I want to take this post to explain how things are going to go down, so I hope you bare with me and enjoy this new series!
In this series, we’re going to observe the visual grammar of a fight sequence, how action films are doing it today, and how the RK LA trilogy and films like it have become bonafide brilliant examples of how to properly use it. It’s going to be fun, I promise, but before we get into it, we should probably run down some basics on what exactly I’m talking about, so this entry is going to focus on what exactly film grammar is. Let’s have a look, shall we?
NOTE: This post is not spoiler free and may spoil movies on your checklist or movies you haven’t seen before. If it’s not related to RuroKen, I will try my best to not give to many details away. At the beginning of each post, I will include a list of films I will be discussing as a preemptive spoiler warning for those films to give you a chance to watch them before reading.
PARTS OF A WHOLE: UNDERSTANDING THE LANGUAGE OF CINEMA
There are many times over the decades and history of cinema where we as audience members walked out dazed and amazed at the wonderful visual poetry cinema has to offer. And that’s exactly what it is: poetry. A film is an eloquently composed poem (ideally). Now that sounds pretentious as hell, but that’s also kinda the truth isn’t it? See, to understand film, we need to stop thinking of it in JUST terms of acting and story: film is a language.
Have you ever wondered why movies look better or are more engaging than a TV show with a similar plot, despite the acting being around the same level? Maybe you chocked it up to higher production value? Well believe it or not, it might have less to do with how good the actors or the writing is, and might have more to do with how the directors understand the visual language of film. Just like two poets might write of similar subjects but the one with the deeper understanding might get that point across a bit clearer or in a more clever way, filmmakers use the camera and camera techniques to bypass your understanding (or lack thereof) of film.
Now if this sounds intimidating, don’t worry about it. See, you’re actually already fluent in film-anese! Your vocabulary might not be so advanced, or you might not be able to understand everything consciously, but your brain is already adept to the language of cinema, sort of how you are fluent in english, but Cormac McCarthy’s metaphors might confuse you or maybe you’re not very good at poetry; that doesn’t mean you don’t speak English.
A film is moving pictures projected on a screen; everyone knows that, but those images and the camera capturing them are doing more than simply recording these staged events on a set with a bunch of actors and a guy in a funny hat on a chair yelling “action!”. They’re telling a story in their own right and to do that, they need to understand and follow (or break) certain rules to deliver the maximum impact a story is capable of, so the first part of this series is intended to help us learn the rules behind film’s poetry so we can conceive how Keishi Otomo and other directors got good at writing poems! Er…film..! Yeah!
Just like there is more to a film than simply talking and explosions, there is more to an action sequence than flashy choreography and fast editing; there is a whole world of prepping and planning that a director and film crew must undertake when filming an action sequence and over the next few weeks, we’re going to examine some of the major and common tools directors like Otomo use to get his fight sequences above average and memorable as opposed to other directors.
Keep in mind that film’s language is alive and constantly evolving. A technique employed by one director might be abhorred by another, and each director will use the “grammar” of film to compose their own “poem”; even though the basic language is the same, the meaning and story told with them will vary.
The future entires of the first part of this series will be divided into four different posts, each written and released weekly. I decided this format was the best way to do this kind of post because I have so much to say and tumblr’s formatting doesn’t lend itself well to long posts so I hope you guys stick with me for that long and enjoy the hell of the ride! The four posts will be examining:
1. Choreography - This, in broad strokes, is the process of how an action sequence is composed, from drafting to shooting day. This will also show us how the stunt team prepped the actors for their big action set pieces that leave us all breathless!
2. Lighting & Production Design - This section examines the art of designing a fight scene, not in choreography, but in presentation, meaning we’ll take a look at how color is used, lighting, costuming, location, sets, and props help sell the fight sequences and engross us in the world and sell the tone.
3. Cinematography & Directing - Well, answering what it means to be a director, but mostly shot placement, what angles to shot from, what type of shot to frame a scene in and the psychology behind the scene, how the actors are directed to perform, and how it uses production values to create tone.
4. Editing - Our final entry, and arguably our most ambiguous one, is studying how an editor takes all the footage shot by a director, decides which takes to use, and cuts it down into a coherent action scene that’s easy to follow and doesn’t leave everyone confused.
These posts will be up weekly and I will try to have them up by 9PM EST on Sundays so please stay tuned, please like and reblog these posts as I’ve worked very hard on them, feel free to discuss, and most importantly, stay awesome!
If any of you lovely folks like what i do here and are willing and able to help to make sure content gets put out on time, please private message me! These are huge posts and I could use any helping hands for these ones!
No, they will not be replacing my other Hiten encyclopedia posts, but this project was something I was really passionate about and I wanted to get it out there in between posts. Thank you so much for reading and keep loving RK!
So last week I posted the images from my recent shoot with photographer, Martin Higgs. One of the last makeup looks I created was this cracked desert-style skin look, and it received a fantastic response across my social media platforms. So when I told everyone that I had filmed a ‘behind the scenes’ of the makeup, there was a massive buzz of excitement. I spent yesterday editing the footage and uploading it to my channel for you all today! I hope you enjoy it as much as I did creating.
endless list of favourite movies;girl, interrupted “Crazy isn’t being broken or swallowing a dark secret. It’s you or me amplified. If you ever told a lie and enjoyed it. If you ever wished you could be a child forever. They were not perfect, but they were my friends and by the ‘70s, most of them were out living lives. Some I’ve seen, some never again, but there isn’t a day my heart doesn’t find them.”
This was requested by anon (please do one where you’re best friends with Michael and while have a movie marathon with him, he realizes that he likes you much more than a friend and asks you out? thank you) If you havent watched Silver linings this may be confusing so sorry about that, ENJOY!!!!
‘I don’t understand, you asked if I watched it, I said I did, you told me to watch it again, I did and now you’re making me watch it again’ you question beyond confused as Michael comes back in the room handing you a can of Red Bull.
‘Because it’s a good film, and I want to watch it with you’ he explains, moving over to get the blanket off the other sofa and bringing it over to you, he sits next you and throws half the blanket over you, wrapping the rest around him. And the movie begins. Throughout the movie you and Michael have moved closer and you’re now cuddling into his side, his arm resting around your body, the standard way you end a movie with your best friend.
‘Why are they so fucking stubborn’ you whine to no one in particular, getting frustrated by the film as Tiffany and Pat have another argument, Michael doesn’t respond but minutes later be groan and then shouts ‘JUST FUCKING KISS HER’ making you laugh, you look up to see him clearly annoyed by the ignorance of the pair. You watch a couple more seconds before pausing it, excusing yourself to use the toilet, when you get back to the living room Michael isn’t there so you head into the kitchen; he is stirring something in a pan.
‘Dude what are you doing, we’re in the middle of a film’ you whine, he looks at you over his shoulder and smirks.
‘I have to eat’ he explains, you sigh and jump on the counter next to the oven and look in the pan to see noodles and you pull an uninterested face, which courses Michael to laugh at you. ‘So judgemental’
‘I opened up to you and you judged me’ you mimic Tiffany’s voice and Michael laughs, and then raises an eyebrow.
‘Did you just quote our film?’ he asks, you dodge the question not wanting to admit you have watched it more than three times.
‘Our film? Can’t we have a different film, like Toy Story or…oh…oh I got it Of Mice and Men, your Lennie’ you laugh.
‘Fuck you, we are buzz and woody’ he tells you and you roll your eyes, ‘And I’m woody’ he adds making you punch his arm.
‘So unfair, I would clearly make the better cow boy’ you tell him and he laughs ‘you’re a fucking girl. You can’t be a cow boy’ he explains.
‘Michael we are nineteen years old and just decided our film is fucking toy story I could be a fricking Clifford the bed red dog if I wanted to be’ you argue and he laughs again.
‘Shouldn’t I be Clifford you know seems as it’s my name’ he asks, making you roll your eyes ‘Whatever, you get my point, so I’m woody and your buzz, you get to fly’ you sale him.
‘I must have crash landed and had my memory erased’ he puts on his best buzz voice and you smirk confidently before looking hi up and down.
‘The word I’m searching for I can’t say because there’s preschool toys present.’ You put on a slight accent and raise an eyebrow at Michael as if to challenge him, he laughs and instead of quoting something else from toy story he begins to sing.
‘You’ve got a friend in me, You’ve got a friend in me, When the road looks rough ahead’ you smile and join in, as you sing together Michael takes your hand pulling you off the side and you begins to dance around the kitchen Michael spinning you occasionally and between the singing and laughter your shocked when the smoke alarm goes off and both freeze looking over to the pan, smoke flowing from the top, you rush over and turn off the heat as Michael opens the window, you stare into the pan trying not to laugh, Michael moves next to you and looks in the pan too, both of you turning to each other at the same time and without a word you hand him your phone and seconds later he is ordering pizza.
‘I’m just saying, people can be so fucking stupid, like how blind can two people act’ Michael continues.
‘I don’t think they are acting through Michael, they just don’t want to admit it to themselves’ you explain rolling your eyes at how emotionally involved in the film Michael is getting.
‘That it, why are they too stupid to admit it even to themselves, what’s the reason to keep it hidden?’ he argues.
‘They are scared, she doesn’t want to need someone and he doesn’t want to need someone, they are denying it because they can stand the thought of needing each other, they are telling themselves it won’t work because it help them face the trust in their own head that the others isn’t interested’ you explain.
‘But he is, he’s fucking interested, why won’t she make the first move’ Michael suddenly taking Pat’s side, you narrow your eyes a little.
‘Why does she have to make the first move, her husband just died, he needs to man the hell up and kiss her’ you argue, both of your voices rising, passion flowing in the words but neither of you know why.
‘He needs her, she needs him, it’s so clear, why can’t they admit it, it’s so fucking frustrating, they are in love, Jesus how hard is it, how hard is it to say..’ he stops for a moment, taking in a huge breath, his eyes fixed on yours, his green popping today more than usually, or maybe your just looking a little closer today. ‘I love you’ neither of you speak, and then the doorbell rings through the silent house. ‘See its not difficulty, he just has to tell her’ Michael finishes as he gets up and walk out of the room.
And you suddenly let out a huge breath, one you didn’t realise you were holding in, why is your tummy suddenly filled with a strange feeling, not hunger, something else, something new, or maybe you just never released it before. Everything seems to be freezing, like time has stopped, and your suddenly thinking over everything you and Michael have ever done together, in all the years you have been friends, and its then, then you realise you have always had that feeling, whenever your with him, but only now you understand it, now you know.
‘I love you’ your eyes dart to the door where Michael is standing with a pizza box, you mentally shake the thoughts from your head and smile ‘I get it Michael, it’s easy, they should just admit it’ you finally agree but he shakes his head, putting the box on the coffee table and sitting on the edge of the sofa, he is watching you, absorbing all the features, and you do the same, noticing the new look in his eyes but again you re-think, is it new, or is it something else you never before noticed.
‘No, I love you, (Y/N), I’m admitting it, I love you’
First part: He Fooled Me Too *Tony Stark x Reader* Summary: Requested by: @grimmisconflicted Can I get a Tony x Reader where the reader is a well-known actress in New York, and her manager wants her to date her friend Tony Stark for publicity? But eventually, they each fall in love with the other and don’t tell each other how they truly feel. Warning: swearing and maybe slight fluff Admins Note: Here is part 2 of the original request, so to understand what’s happening I suggest reading the first part, I suppose you can still enjoy if you didn’t want to read it. First part was ALL angst, this part will feature some but mostly fluff from Tony. It’s been almost a week, everyone needs to know that I got so much anxietty after writing the original, I hate ending things without fluff… especially cliff hangers! So here it is. - Rosalee
Three weeks, three long and bitter weeks went by as you filmed in Paris, you should be enjoying this time there; only your mind was often travelling across the ocean towards a certain country that held a certain someone. You often had doubts maybe you should have told how you felt but then again, would it change anything? Did he even honestly like you back? Why would you put yourself through rejection when this heart-ache would soon fade, eventually.
The thought of losing Tony over these feelings was too much, only you were losing him anyway; on purposefully ignoring his calls and short text messages, refusing his visits stating the set was busy ALL day; he was fading from your life anyway due to these feelings.
Why couldn’t you just put these feelings down? Hide them away whilst being with him? He’s your best friend, were you really going to allow these feelings to drift you from him?
Tony’s has been the only person to ever push you towards your dreams, to really believe in you and for some stupid reason you had to fall for him, you had to somehow fuck things up for yourself; He’s Tony Stark, of course, you’d end up falling for him, everyone does at some point and when that happens he leaves them… not because he’s an asshole but because in a sense he doesn’t want to give them false hope.
“(Y/N), you have thirty minutes till needed on set, you also have a visitor” you looked up at your assistant; Paige, she had been a real help these past three weeks, constantly keeping you busy by setting up French press interviews and running lines with other actors. Before you can ask who, he stepped through the trailer door, Paige left with an awkward smile; leaving you in the thick silence, no smile present on his face as he looks at you, you shift uncomfortably in the chair.
You can hear the light pattering of rain against the trailer window, that wasn’t going to be a problem when filming the next scene, hopefully, it stops soon; you watched as the rain fell down the window.
“Clearly a busy set” Tony begins, you shut your eyes tightly and let out a small sigh, opening them and trying not to convey too much emotion “I can see why I would be problem here, wouldn’t want to interrupt the set’s doughnut breaks” his voice is laced with sarcasm “and here I thought you were avoiding me, silly me, you were in Pairs… PARIS?” he asked loudly
“I had to find out from Natasha, that you had gone to Paris, have I done something to offend you?” you shake your head “What’s going on? What’s with the ignoring phone calls, short texts and me having to find out where you are from Nat?” so many questions, you didn’t know where to begin, or what to say.
“I- I can’t tell you what’s going on” you mutter “you’re acting as if I play an important part in your life, Tony we rarely see each other anyway, what’s the big deal that I came to Paris… to film a movie, may I add?” you asked, anger boiling through, how could he be so pissed off?
“You can’t tell ME what’s going on?” he asked and you nodded “I’m sorry for whatever I’ve done to deserve the silent treatment, we may not see each other every fucking day but I’d like to think we are important to one another, that we respect each other enough to tell the other what’s going on” Tony fires out.
“You don’t know what these few weeks have been like for me,” you tell him “How I’ve been feeling and everything between, you have nothing to be sorry for, it’s me… okay? And I’m sorry that I’ve had to resort to shutting you out but if you knew, God, Tony if you knew you’d run a mile” you rack a hand through your (H/C) hair.
“Well, what the hell did you know? Did you know how bad things were for me? No, because you wouldn’t even open my texts. If you had even answered one, just one! Told me what a jerk I was, anything! But you didn’t. You took your friendship away without even discussing it with me. So, thank you very much for forgiving me. But I don’t forgive you.” he breathed heavily, slow tears slip down your cheeks, you are quick to wipe them not wanting to ruin the sets make up.
“I have to get to set” you stand up, the heavy rain pouring down on the trailer, he stared at you and you tried to smile “it was really nice seeing you, I hope flying out here wasn’t an inconvenience to you, I’d hate that” he sighed with annoyance.
“Why do you do that?” he asked angrily, you frown at him “act as if everything is a movie? Like a camera is always on you? Why do you need to fake everything? Has anything been real?” he asked, that was a slap in the face, you blankly stare at him and if any moment was a chance, to be honest, it was now.
“Every red carpet with you has been real,” you tell him it’s silent as he stares at you, you knew you’ve probably made things worse for yourself, admitting that everything that happened on those red carpets has been real for you. You weren’t faking or trying to do a job, it was real and enjoyed it, the silence becomes too much and you walk out of the trailer.
The rain poured down, soaking through your black top and jeans, getting your hair wet and probably ruining your makeup; you see the set people covering the cameras and mics, the director ordering people around, producer explaining what’s happening to the other actors.
“It was real for you too?” you hear him call, you stop and turn around, he’s standing in the doorway of the trailer with a serious look upon his face “that was all real for you also?” you nod slowly, frowning as he steps down, suit getting wet but he didn’t seem to car; brown hair getting soaked and flopping down as everything seems to be silent
“So it’s not gonna be easy. It’s going to be really hard; we’re gonna have to work at this every day, but I want to do that because I want you. I want all of you, forever, every day. You and me… every day.” you smile gently, your breathing is uneven as he stares at you intently, awaiting your response.
“You… love me?” you ask and then it dawns on you “did you just use a Notebook line on me?” he chuckled and nodded, you smiled and looked at the sky for a moment, looking back at Tony who was smiling.
Cupping your face, he presses his mouth to yours in a slow and loving kiss, his goatee scratching your skin but you enjoy the feeling; you smile into the kiss, he gently pulls back, the rain suddenly becoming cold as you come back to reality.
“Talk about romantic, huh?” he asked “confessing our love to one another here, so cliché for a movie star and billionaire” he rolled his eyes, you nodded.
“From Paris with love, right?” you asked and he nodded, kissing you once more.
(AHH, after that angsty one I think this has done it justice, let’s all admit that I am better at Fluff than Angst but I am getting better right? Love you guys. I got inspiration for a couple lines from the movie Beaches, so if you recognise a whole bit that Tony says, its from the Better Midler movie Beaches; that’s super angsty, I may watch it again and turn it into a Natasha x Platonic reader one shot, unsure. I am taking on Angst requests, so send those in. But you can request any; imagine and one shot by myself and Angie - Rosalee)
I went to the cinema to watch the hobbit and I fucking met Aneurin Barnard
Ok so the is what happened; me: hey are you Aneurin b-
Him: -Barnard yeah! Hi!
Me& my cousin: omg we watch everything you’re in, we like you so much(laugh).
Him: oh really? Wow thanks! So you guys watched all of it? ( talking about the white queen)
Me: omg yes but the ending was so sad!
Then he asked for our names and shook our hands and we asked home what film he was going to watch and he said the hobbit and I was like omg same and he was like yeah I watched the first one and I loved the books and stuff since I was small so yeah I’m very excited and he told us to enjoy the film and he was really nice and when we asked for photos he said alright and I was like “omg we should take selfies hah” and he started laughing and was like “omg yeah haha selfies” damn 2014 is already great haha
The Normal Heart at Inside Out (Toronto LGBT Film Fest): Q/A With Matt Bomer
I know many of you will be watching the movie tomorrow evening - it is incredibly powerful and the performances are stunning. In particular, Matt Bomer (who plays Felix, Ned’s lover), and Jim Parsons (who plays a fifth business sort of character and a chronicler of all things) really moved me. But truly, it was a stellar cast and I won’t say too much more before you all watch it tomorrow.
But I thought you might enjoy tidbits from a really lovely, warm, and genuine Q/A after the movie with Matt Bomer. I don’t have it recorded, so this is from memory - but I think it’s worth remembering: