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Justice for DC and YA Heroes Panel

Sarah J. Maas = Catwoman (2018) 

  • Selena’s friends are meant to draw her out from her guarded nature and be a teen in the way she wasn’t able to before because of who she had to take care of 
  • Selena is toward the later end of the teen, age spectrum 
  • It is dual POV (or multi) 
  • There is a character named Lucas Fox, the son of Lucius Fox 
    • I KNOW RIGHT LUCAS = LUCIEN, FOX !!!! I HAD THE SAME WTF OH MY GOD MOMENT 
  • Selena is a bit “quiet” and guarded because of the people she has protected from a young age and growing up so quickly 
  • SJM continually referenced Poison Ivy and Harley Quinn (maybe something important)
  • Her favorite version of Cat woman is Michelle Phipher
    • She kept her in mind when drafting the book but when she started writing her version of Selena is much different that the way Phipher portrayed Selena 
  • SJM doesn’t outline her books, LIKE DOES NOT, so when she was told she had to send DC a three page synopsis of what the book was going to be about she was nervous 
    • But then when she started writing she just didn’t stop and it ended up being 23 (or maybe 33) pages 
  • She advises to not wear leather in July 
    • Selena’s new suit is more “breathable" 
  • She has just sent in/gotten back feedback on her first round of edits 
    • This summer will be a BIG focus on Cat woman edits

Keep reading

Six of Crows as musical

- Wylan would be the protagonist and the whole musical is about him developing from this good mercher’s son to this badass gang member
- Jesper is one of the main reasons for the character development
- Jesper and Nina would sing all the jazzy songs
- Kaz would be that person who is all gloomy in the beginning and isn’t too fond of music but then discovers the joy music brings
- He learns to play the piano pretty quick and he’s a fucking genious
- Inej would sing all the slow songs accompanied by Kaz on the piano, if he’s in a good mood he might join in and sing aswell
- but mostly he just wants to listen to Inej sing because her voice is too angelic and so damn pure
- Matthias doesn’t like joining in the singing but sometimes Nina can convince him to play the guitar
- Nina and Jesper love the dancing parts, all the others hate dancing

3

Listen here.

youtube

Sarah J Maas, Leigh Bardugo, Marie Lu and  Matt de la Pena on a panel talking about their future books on DC superheroes.

92/100

(…)Que es un problema de ética, de pura ética reconocer a la mujer, ser humano, todos sus derechos (…). Y en el Parlamento francés, en 1848, Victor Considerant se levantó para decir que una Constitución que concede el voto al mendigo, al doméstico y al analfabeto -que en España existe- no puede negárselo a la mujer. 

Heyaaa. 

Tengo un trabajo multidisciplinar sobre la situación de la mujer durante el franquismo. Me hacía mucha ilusión que me tocase precisamente este tema. 

Además, me estoy leyendo La sombra del viento de Carlos Ruiz Zafón (ambientada en la misma época en la que está centrado el trabajo), y el libro me está fascinando.

¿Qué tal vuestro fin de semana? ¿Lo habéis aprovechado?

Private Show  — Little Mix

we don’t need a reason

Stanley Kubrick’in Favori Filmleri

  • Annie Hall (Woody Allen, 1977)
  • Husbands and Wives (Woody Allen, 1992)
  • Manhattan (Woody Allen, 1979)
  • Radio Days (Woody Allen, 1987)
  • McCabe & Mrs. Miller (Robert Altman, 1971)
  • If… (Lindsay Anderson, 1968)
  • Boogie Nights (Paul Thomas Anderson, 1998)
  • La notte (Michelangelo Antonioni, 1961)
  • Harold and Maude (Hal Ashby, 1971)
  • Pelle the Conqueror (Bille August, 1987)
  • Babette’s Feast (Gabriel Axel, 1987)
  • Casque d’Or (Jacques Becker, 1952)
  • Édouard et Caroline (Jacques Becker, 1951)
  • Cries and Whispers (Ingmar Bergman, 1972)
  • Smiles of a Summer Night (Ingmar Bergman, 1955)
  • Wild Strawberries (Ingmar Bergman, 1972)
  • Deliverance (John Boorman, 1972)
  • Henry V (Kenneth Branagh, 1989)
  • Modern Romance (Albert Brooks, 1981)
  • Children of Paradise (Marcel Carné, 1945)
  • City Lights (Charles Chaplin, 1931)
  • The Bank Dick (Edward Cline, 1940)
  • Beauty and the Beast (Jean Cocteau, 1946)
  • Apocalypse Now (Francis Ford Coppola, 1979)
  • The Godfather (Francis Ford Coppola, 1972)
  • The Silence of the Lambs (Jonathan Demme, 1991)
  • Alexander Nevsky (Sergei Eisenstein, 1938)
  • The Spirit of the Beehive (Victor Erice, 1973)
  • La strada (Federico Fellini, 1954)
  • I vitelloni (Federico Fellini, 1953)
  • La Kermesse Héroïque (Jacques Feyder, 1935)
  • Tora! Tora! Tora! (Richard Fleischer, 1970)
  • The Fireman’s Ball (Miloš Forman, 1967)
  • One Flew Over the Cuckoo’s Nest (Milos Forman, 1975)
  • Cabaret (Bob Fosse, 1972)
  • The Exorcist (William Friedkin, 1973)
  • Get Carter (Mike Hodges, 1971)
  • The Terminal Man (Mike Hodges, 1974)
  • The Texas Chainsaw Massacre (Tobe Hooper, 1974)
  • Hell’s Angels (Howard Hughes, 1930)
  • The Treasure of Sierra Madre (John Huston, 1947)
  • Dekalog (Krzysztof Kieslowski, 1990)
  • Rashomon (Akira Kurosawa, 1950)
  • Seven Samurai (Akira Kurosawa, 1954)
  • Throne of Blood (Akira Kurosawa, 1957)
  • Metropolis (Fritz Lang, 1927)
  • An American Werewolf in London (John Landis, 1981)
  • Abigail’s Party (Mike Leigh, 1977)
  • La bonne année (Claude Lelouch, 1973)
  • Once Upon a Time in the West (Sergio Leone, 1968)
  • Very Nice, Very Nice (Arthur Lipsett, 1961)
  • American Graffiti (George Lucas, 1973)
  • Dog Day Afternoon (Sidney Lumet, 1975)
  • Eraserhead (David Lynch, 1976)
  • House of Games (David Mamet, 1987)
  • The Red Squirrel (Julio Medem, 1993)
  • Bob le flambeur (Jean-Pierre Melville, 1956)
  • Closely Watched Trains (Jiří Menzel, 1966)
  • Pacific 231 (Jean Mitry, 1949)
  • Roger & Me (Michael Moore, 1989)
  • Henry V (Laurence Olivier, 1944)
  • The Earrings of Madame de… (Max Ophuls, 1953)
  • Le plaisir (Max Ophuls, 1951)
  • La ronde (Max Ophuls, 1950)
  • Rosemary’s Baby (Roman Polanski, 1968)
  • The Battle of Algiers (Gillo Pontecorvo, 1966)
  • Heimat (Edgar Reitz, 1984)
  • Blood Wedding (Carlos Saura, 1981)
  • Cría Cuervos (Carlos Saura, 1975)
  • Peppermint Frappé (Carlos Saura, 1967)
  • Alien (Ridley Scott, 1977)
  • The Anderson Platoon (Pierre Schoendoerffer, 1967)
  • White Men Can’t Jump (Ron Shelton, 1992)
  • Miss Julie (Alf Sjöberg, 1951)
  • The Phantom Carriage (Victor Sjöström, 1921)
  • The Vanishing (George Sluizer, 1988)
  • Close Encounters of the Third Kind (Steven Spielberg, 1977)
  • E.T. the Extra-terrestrial (Steven Spielberg, 1982)
  • Mary Poppins (Robert Stevenson, 1964)
  • Platoon (Oliver Stone, 1986)
  • Pulp Fiction (Quentin Tarantino, 1994)
  • The Sacrifice (Andrei Tarkovsky, 1986)
  • Solaris (Andrei Tarkovsky, 1972)
  • The Emigrants (Jan Troell, 1970)
  • The Blue Angel (Josef von Sternberg, 1930)
  • Danton (Andrzej Wajda, 1984)
  • Girl Friends (Claudia Weill, 1978)
  • The Cars that Ate Paris (Peter Weir, 1974)
  • Picnic at Hanging Rock (Peter Weir, 1975)
  • Citizen Kane (Orson Welles, 1941)
  • Roxie Hart (William Wellman, 1942)
  • Ådalen 31 (Bo Widerberg, 1969)
  • The Siege of Manchester (Herbert Wise, 1965)