production notes

Hey guys! I’m planning on making sets of notepads to sell! This is the first design, a Steven/Rose Quartz themed one (the printed version will of course not have my initials all giant on it and will be of a higher quality image) I plan on making sets for the other gems as well as other themes including Sailor Moon, Cardcaptor Sakura, Wonder Woman, and miscellaneous animal themes.

I’m thinking $10+shipping for 50 page, 4.5x6.5 cardboard backed pads.

If I started putting some of these up for preorder would anyone be interested? Any theme suggestions?

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Some new information on Iron Man 3 based on the May 29th shoot:

(POSSIBLE SPOILERS)

  • The production crew will film in Wilmington, North Carolina for two months before they move to China.
  • The film will be partly set in Miami, Florida.  Miami Police Department squad cars were spotted in the Wilmington set.
  • They filmed at the Cape Fear Club.  Two main characters were on the set, one of whom was Robert Downey Jr.  Extras wearing military uniform and Secret Service clothing were spotted for the scene.
  • They also filmed at the Wilmington International Airport.
  • Regarding the main villain:  “While talking to some Wilmington locals, we had one source involved with the production tell us that Mandarin was definitely the villain. He said Mandarin had a set of twins that did most of his dirty work for him. Another source who had visited EUE/Screen Gems Studios told us that the sets they were building included Chinese storefronts." 

(Source: Comic Book, Marvel Freshman)

Let’s talk about “Dona Moça”

Hi, people

Nice to meet you all, I’m Jacqueline Viana and I’m one of the co-creators, assistant writer and transmedia producer of “Dona Moça”. If you don’t know what is “Dona Moça”, let me explain it: it’s a Brazilian webseries adapted from José de Alencar’s “Senhora”, published in 1875. “Senhora” is as important for us Brazilians as “Pride and Prejudice is for British and Americans. José de Alencar is not our greatest writer, but he’s definetely one of the best.

Just as many webshows, we’re heavily inspired by Pemberley Digital’s work, such as Lizzie Bennet Diaries and Emma Approved. Of course, “Dona Moça” is not the first brazilian webseries, but it is the first one in our country with the “modern literary adaptation / transmedia storytelling” approach. Oh, and don’t worry if you can’t understand Portuguese. We provide English captions for those interested in watching it. Hopefully, we’ll be able to translate all the transmedia events on Twitter, Wordpress and Instragram too, but this might take a little more time. If you’re not Brazilian and already watch our TV show, wow! Thank you so much for taking your time and watching it! We couldn’t even imagine how far we would reach when we decided to provide those captions. Please continue talking about it here on tumblr, or comment on our videos. Give us your opinion on it. Tell us where we can improve, where to stop, where to continue. We’re starters here, so any type of feedback is pure gold for us!

I don’t know if you’ve seen, but we’re currently finishing our first season. These first ten episodes where based upon the first part of “Senhora” (the book is divided in four sections, but I promise to present you foreigners with a special video talking about the book so you can follow the show without a lot of doubts). We have just started our crowdfunding campaign on Kickante. Believe it or not, this first season was produced with about 500 reais taken from our own savings (approximately 158 dolars). The money was spent mostly in structure, rental of equipments and payment for our actors. Everybody from both the creative and production team worked for free, mostly because everybody believed in this project and wanted to create something far different from what’s being done so far in entertainment in our country. You can learn a little more about us at the following video (with captions in English, as usual):

https://www.youtube.com/watch?v=jPMyw-qU6pQ

We’re incredibly proud of what we’ve been able to reach so far with so little. We’re asking for this money in order to improve our production values and the payment for our actors and actresses. One of the main reasons we chose Kickante is that it’s one of the very few crowdfunding sites that allows donation from other countries and also because we’re able to keep whatever money we get, despite the fact of reaching or not our goal. Larissa, one of our co-producers, is currently writing a  translation of our campaign text, so you can know how we’re going to use the money and the perks available. If you’re really interested in funding us, please contact us on our twitter account and we’ll provide a very special delivery for you.

From the production notes for The Dark Knight Rises - all the Tom Hardy bits:

Tom Hardy—who dons body armor and a bulky breathing mask as the menacing villain Bane—recalls precisely that moment.  It happened in the midst of a massive crowd scene on Wall Street in Manhattan, during a fight sequence between their two characters.  “It was the first time I ever heard Christian say he was tired,” Hardy remembers.  “I was watching him for however many months getting beaten up and wet and cold, and he never said anything.  Inside, I was dying, but I was thinking, ‘This can’t bother me because he’s not bothered.’  But on Wall Street, he just turned and said, ‘You know what?  I’m exhausted.’  I said, ‘Me too.’”
“We stopped the fight and started hugging each other,” Bale adds.   

[…]

Tom Hardy agrees, noting, “The thing about Chris is that he creates such a safe place to work, but it’s also challenging because this is a guy who flips trucks for real.  So, you never know what you’re going to be asked to do.  There are all kinds of pressures involved in a movie like this.  It’s like test-flying a brand new aircraft for the military.  There’s pressure that you’re going to crash it.  But at the end of the day, if I opted out of the pressure then I wouldn’t be doing my job.”

Hardy plays Bane, the film’s destructive villain who presents a real threat to Gotham City and to Batman. “Bane is a serious piece of kit,” Hardy describes. “He’s not there to joke. He’s come to do business and there’s no frivolity or messing around. It’s very blunt and militant, very aggressive from the start.”

Nolan agrees, calling Bane “extremely efficient. He’s driven by a very specific set of actions and plans. Nothing is wasted. He’s much more of a physical adversary. In the first two films, we’d never presented Batman with a physical challenge, somebody who would literally stand toe-to-toe with him and battle in a physical sense. That’s an important part of who Batman is.  He’s trained in fighting. He has honed his body. He’s an incredibly physical hero. So, we really wanted him for the first time in our movies to meet his match in somebody who’s truly a monstrous figure.”

After working with the director on Inception, Hardy leapt at the chance to do another film with Nolan and signed onto The Dark Knight Rises without even reading the script. “Chris actually called me on the phone and said, ‘Tom, there’s a character you might be quite good for but I’m not sure if it’s something you’d be interested in because it’s going to demand you to wear a mask, and I appreciate that as an actor you probably wouldn’t want to wear a mask for six months,’” the actor recalls. “He couldn’t tell me anything about the character, just that he had a mask and he was a bad, very bad guy. And I said, ‘Let me get this straight. You want me to come away and work with you around the world and I have the use of an entire stunt team and as many weapons as I want for six months and all I have to do is wear a mask?’ He was like, ‘Yeah, pretty much.’ So, I said, ‘I’m in.  Absolutely,’” Hardy laughs.  

The actor sees the mask as an indelible part of Bane’s identity. “If you look at mask work over history, they all have their own character,” he says. “Each mask is built specifically to draw out a specific character in Italian theater and whatnot. So, actually, a lot of the work is done by being camouflaged. You’re not self-conscious.”

That camouflage came in handy for some of Hardy’s more intense stunts. “I was on a walkway, holding onto the side of a building and very delicately walking out onto a platform about sixty feet high,” he remembers with a wry smile. “I wasn’t very manly, or masculine without the mask.” 

“Bane is a phenomenally strong-minded character,” Bale adds. “So, you’ve got to be bold, and you’ve got a bold actor right here. Tom goes the distance. I mean, he goes way beyond what most other actors would do. He’s created a phenomenal villain.”

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From the very long productions note to Locke; sounds like they all had a great time doing this. With words from Olivia Colman, Andrew Scott and Ruth Wilson and more (I don’t have a direct link to the document - I had to download it. Let me know if anyone wants the whole thing!)

Knight and the Shoebox producers knew to make it work they needed a world-class film star. “In my opinion, the best actor around is Tom Hardy,” says Knight of the british actor who has most recently starred in Christopher Nolan’s blockbusters Inception and The Dark Knight Rises.

Neither Knight nor the producers had worked with Hardy. However Hardy had been close to playing both Joey in Hummingbird and Mr Darcy in Joe Wright’s Pride And Prejudice, also produced by Webster, a role for which he was ultimately considered too young at the time.

“We asked Steve how he was going to get Tom Hardy, who is the busiest actor in the world, to commit to this,” says Webster. “Steve said, `I’m having a drink with him tomorrow at the Groucho Club and I’m going to talk him into it’. We said, “OK, well call us after that”, and sure enough Steve did and said, “Tom’s in”. We didn’t believe it for a second and followed up with his agents, both here and in America. They said, “Yeah he likes this, so once there is a script, he’ll do it, and he’ll give you a window to do it in. And that window was two weeks.”

Hardy’s wafer-thin availability in early 2013 presented the filmmakers with an enormous but appealing creative challenge. “The conversation became, `can we make a film in two weeks?’ ” says producer Guy Heeley. “We decided we could. We could if we were absolutely sure it would work technically and we had all our ducks in a row. I was a first assistant director for 15 years so this is my area of expertise.”

Knight never had anyone else in mind for the role of Ivan Locke than Tom Hardy and his finely calibrated performance has rewarded that belief. “Tom is one of those people who, as soon as they are on screen, all eyes are on him,” Knight says. “People want to see inside his head. He is so brilliant at the complexity of a reaction, the complexity of an emotion. He keeps it in when it is necessary and lets it go when necessary. He knows when it’s right and he knows when it’s wrong. He’s brilliant.”

Hardy’s resume is crammed with rich, picturesque characters for which he has rightly won much acclaim. He was a homeless alcoholic in Stuart: A Life Backwards, frighteningly believable as a violent psychopath in Bronson, and menacing as the villain in The Dark Knight Rises, to name merely three. Ivan Locke is his first `straight’ performance. There are no elaborate costumes, no tics, and there is nowhere to hide.

“He’s not a monster or a demon, just an ordinary bloke,” says Knight. “The beard makes him more ordinary still as he didn’t want to be too pretty.” It was Hardy’s idea to give Ivan a Welsh accent. “The Welsh accent is very neutral,” says Knight. “It’s perfect for Ivan. It doesn’t have the swagger of a lot of urban accents.”

Knight’s intention to shoot the entire film each night was attractive to Hardy. “This method is very actor-friendly, they love it,” Knight says. “As an actor, you want a length of time to get into your character. Normally when you’re filming it’s a line here, a line there, it’s difficult. This way really gives everyone a chance to get into it.”

LOCKE’s short, sharp shooting schedule has also helped. “It’s not taking eight weeks of your life,” says Knight. “It’s going in, doing it, getting it done and getting out. When people see the light at the end of the tunnel they give everything in that short burst so you get fantastic performances.”

For editor Justine Wright, tasked with watching hours of footage of his face, Hardy’s performance is stunning. “All the different Ivans he gave us are interesting and different,” she explains. “When you watch a performance over and over again, you can become bored of it, but I haven’t. It’s constantly surprising. You see all these little subtleties. He’s very,very,very good.”

Hardy is surrounded by some of the industry’s most compelling actors. “We made a dream team list of who we wanted and we pretty much got everybody,” says Knight. “There is a certain sort of `alone-ness’ about being in a car and driving on your own,” he continues. `People do very odd things when they are driving alone. They sing to themselves, talk to themselves. I wanted to capture the loneliness of that moment. And then these voices come in and their lives change.”

The actors were impressed by the quality of the script, the opportunity to work with Hardy and the intriguing concept of Knight’s “anti film”. “It’s a fascinating, quirky piece, experimental and interesting,” says Ruth Wilson. “I won’t do anything like this again because it won’t happen ever again I think, so that’s why I did it.”

Katrina’s life falls apart over a series of telephone calls with her husband. We hear her shock, then anger and eventually the process of the decision she makes. Like reading a novel or listening to a radio play, we create what Katrina might look like for ourselves. “Ruth gives such a brilliant performance,” says Knight. “When you hear her you see her in your head. You see the bedroom she’s in, you see the kids and you see that domestic situation.”

It’s a situation Wilson relishes. “What’s interesting for all of us is that you might not recognize who we are,” the actress says of the supporting cast. “That’s a joy and a benefit for us.”

Olivia Colman, who plays Bethan, is one of the UK’s most in-demand actors. She compares the audience’s perspective to being a passenger in Ivan’s car. “You’re watching this guy’s life unravel, going, `Oh God! Who’s going to phone him now? Please have some good news!’ He can’t see anyone so you are going through his emotions with him.” Colman does not have much sympathy for her character. “She’s a home-wrecker!” says Colman. “When I first read it I was thinking it’s just awful, it’s really sad.”

The Irish-born actor Andrew Scott, well known for his role as Moriarty in the BBC TV series Sherlock, provides light relief as Ivan’s subordinate Donal. He has to be talked through a very difficult process over the telephone. “He goes from calm to slightly hysterical, from sober to slightly drunk,” says Scott of Donal. “And he’s running around. I have to imagine what he’s going through so I’m not coming with exactly the same energy each time, so it gives Tom something to play off.”

“Andrew Scott is very funny and gets so many laughs,” says Knight. “It’s very important people laugh because it’s a tragedy and a comedy, often at the same time. As the pressure builds on Ivan, we should release that tension with laughter.”

Locke’s sons are played by 17 year-old Tom Holland and 18 year-old Bill Milner. “It is an incredible story,” says Holland. “It happens in such a short space of time, which is so scary. It’s very interesting and very fun to do as an actor.“

“I said to all the actors, including Tom,” treat it as a play,” Knight explains. “If something goes wrong, deal with it, as you would on stage. And they did that brilliantly.”

In the hotel, the other actors were in the recording room with headphones on, either receiving a call from Hardy or making a call to him. Casali made sure there were props in the room such as drawers to rummage through and mobile phones to pick up. “Steve wanted them to be able to act and have that received in a car,” says the sound editor.

“There is a camaraderie that comes from when you do something that’s so unusual,” says Andrew Scott. “We’re all in this together and we’re all here to support Tom because his is the big responsibility.”

As Bethan, Colman was presented with a particular auditory challenge. “It’s just quite embarrassing, going `moaaaaaaah’, hoping people around aren’t laughing.”

LAWLESS production notes, available for download.

Isn’t it sweet that Shia sent Tom a fan mail. Sparko!

… Meanwhile, LaBeouf had been looking for opportunities to work with acclaimed English actor Tom Hardy. The two had struck up a friendship after LaBeouf sent Hardy a fan email about his arresting performance in the crime biopic BRONSON, and had begun forwarding scripts back and forth to one another. LaBeouf sent Bondurant’s novel to Hardy, followed by Cave’s screenplay. Hardy loved them both, and proved to be ideal casting for the role of quiet, fearless and fearsome Forrest Bondurant.

Hillcoat was also keen to work with Hardy, whose reputation as an exceptional talent preceded him.  “I kept hearing about this incredible guy called Tom Hardy. I started watching his work, and I was awestruck - he was amazing. I could also see Tom and Shia as brothers. And Tom’s take on the character was quite audacious - he saw Forrest as the matriarch and the patriarch of the family, in the wake of their parents’ deaths. He wanted to explore Forrest’s softer side and play him in a quiet, contained way. By taking on the roles of the mother and the father of this family, he was really responsible and very caring, especially towards his brothers. But because of the time and the culture, he is unable to articulate it. Tom’s approach was very much about the different emotional textures there were to Forrest and how distilled and controlled he was. It was a unique and fascinating attitude towards the character,” Hillcoat notes.