scene breakdowns

It was a kiss not just a hug...a breakdown

Some people are still assuming it wasn’t a kiss, but a hug. I understand why some would be so skeptical, I do. So here is a scene by scene, blow by blow breakdown of the scene explaining why I believe it was a kiss. Images included.

I’ll touch upon:

1- “If it’s a kiss why didn’t they land with their mouths together?”

2- Head position

3-Reactions (from Yuri and others)

4-Fitting the text (+ “But Yuri denied a kiss earlier!”)

5- The framing of the scene

6-[Blank space for further arguments I only notice later]

Keep reading

anyway sanvers is gonna need to take a backseat because right now i urgently need to grab alex danvers by the shoulders and yell words of reassurance at her until she believes that nothing she did was a mistake and she’s a wonderful lesbian and this is just the beginning and her feelings are important and valid and not only the good ones because heartbreak is a part of it i just need to be like 100% sure that she does not legitimately think it was a mistake to embrace her sexuality because it was the single best thing she’s ever done and she just needs to go through this by herself first

“Less is more”: a musing on the acting in SKAM

Posted on behalf of my actor anon, who doesn’t yet have her own blog:

Acting and actors appear in many shapes, sizes, and abilities but since SKAM presents itself as a drama series, I’m gonna focus on that regard. Also, this is my experience as an actress who clearly prefers dramatic acting, but it could be different for other people ;).

My experience in acting classes when I was younger is that you start out envisioning a character and making that as stereotypical as possible. You need to be a nerd? You push down your shoulders, start to hang back a little, tuck in your chin, slouch, put on glasses. A businesswoman means a straight back, shoulders straight, head up high, a strong position, in heels and direct eyes. Now that’s fine if you spend your time on a theatre stage; it won’t work on a camera unless you’re performing sketches. You look weird. Film is all about the less is more, especially so in regards to dramatic acting.

What I think what makes dramatic acting so different from comedic acting is the level of energy. In comedic acting, it’s all about timing, about sharpness, about being quick on your feet. That’s a little bit different in dramatic acting; you don’t want to make people laugh, you want to make people feel. And the most effective way of making people feel is to make it as realistic and natural as possible, because that’s what they react to in real life as well. You don’t spend energy necessarily on timing, but on making your body feel the emotions you’re supposed to portray. That doesn’t mean method acting per se, but to make it as real as possible it’s the easiest to try and make it feel real to you yourself, the actor.

This is where SKAM comes in: it’s praised for its realism. Now that’s mostly said for the storylines, the themes, the writing. But it’s also certainly the case with the acting. First and foremost, the reason why the actors are so good as they are is because of their age. The stories they portray are things they might encounter in real life, so it’s easy to tap into those emotions. Having 25 year old’s portray high school students doesn’t work because they are so far removed from that time, no matter how in touch with your youth you might think you are. You’ve simply changed too much since your high school years. Another strength is, I think, the level of trust between the actors themselves and the actors and Julie Andem. From what I’ve read in articles and interviews, is that Julie really cares about her actors and the stories they portray. I’d love to see her direct, because from what I see (especially in season 3 and most of the emotionally-driven stuff in the other seasons) I feel like she really takes the time with the actors to get them to their comfort levels and discusses what exactly the intent is in the scene. Why does he react that way? Why is she just taking this and what feelings does she feel at that moment? This way the actors know what both are feeling in the moment, and they can play around with that, and trust each other. Look, you can have chemistry with another actor right away, but trust needs to be build. If I’m doing this, can I count on you to give me your best shot and vice versa? This is important to do, because if the trust’s not there it is noticeable. You need trust to make it realistic, because (and this is the last reason of SKAM’s realism) SKAM relies on quietness. On the moments between dialogue. Fifteen seconds of lying in bed, looking up at the ceiling and really feeling that this is not gonna work out and how will I ever say that to him? On the other actor in the scene to trust you that you will finish your line, not interrupting to fill up that silence. On a girl that cries out of frustration on a bed, with her friends laughing outside that room, with no dialogue whatsoever. You can feel her happiness when she sees the facebook notification, and you feel relieved. That video of non-dialogue scenes by @reasoniwantyoutostay is a masterful expose of some of those moments in season 3. Silence is not awkwardness: it’s realistic. That is why SKAM is great. Less is more; they give the actors the chance to act, not just to say the lines.

 So those were basically my general ideas on the acting in SKAM. Once again, these are my opinions. I’d love to discuss. I might in the future write out my favourite scenes on a separate blog. Cuz I need to talk about Tarjei’s eyes (in a non-creepy way) and Lisa’s underratedness. 

okay but i’m re-watching scenes from old gilmore girls episodes and like people are kidding themselves if they really believe that rory loved her previous boyfriends even a third of the amount that she loved logan. like everyone likes to talk “deep connection and knowing who she is.. “ but none of that substitutes love? and i don’t care how you slice it the boyfriend she was most in love with was logan huntzberger. we saw that in the series and in the revival period.

anonymous asked:

Hi, just saw your amazing post on Daredevil. Could you comment on the choreography in Batman v Superman as well?

We haven’t seen Batman v Superman and we don’t really have any intention to. However, I can do the general Wonder Woman, Batman, and Superman breakdown using Bruce Timm’s DCAU/Timmverse which is actually just as useful when it comes to studying superhero combat. There’s some good stuff there, especially in Justice League Unlimited where we get a lot of heroes who fight in a variety of different ways.

One of the really cool things about DC’s heroes in comparison to Marvel’s is that the archetypes build to a lot of really interesting combinations which compliment each other well. It’s my personal opinion that Marvel does “Versus” stories better because Stan Lee loved the concept of superheroes beating each other up and because they’re much more neurotic. They’re more likely to get into spats over ideological differences when it comes to the right way to fight crime. Most of the Marvel heroes are very human, they’re more likely to squabble, and those squabble’s are more likely to result in fights which either threaten half the Eastern Seaboard or involve the Punisher trapping Daredevil on a rooftop full of sonic mines.

It might be weird to say that the DC heroes are more than human, but they are. They’re much more mythological, more ideals we aspire to reach. They’re the best of humanity and while they don’t have the same neurosis of Marvel, they’re stories have the potential to be incredibly uplifting when they embrace their origins. It’s a different kind of human, better than human, in some ways transhuman. They’re much better at overcoming the basic ideological pettiness which leave the Marvel heroes squabbling in a ditch.

If the next question is “who do you prefer, Marvel or DC?”

The answer is Dark Horse.

I’m kidding. Well, I’m not. Ghost is bae.

The truth is I actually like them both and I think they both tell very different kinds of stories, but those stories are very interesting in different ways. They both occasionally have identity issues, but when they’re on point then they’re fantastic.

Okay, fighting styles:

Superman: Superman doesn’t actually know how to fight. Unlike Wonder Woman and Batman, he isn’t a trained fighter. Combat isn’t his specialty and this is, in large part, because he’s never needed to learn. He’s Superman. 9/10 he’s invulnerable to most ancillary damage. He’s willing to sit there with criminals and talk it out, mostly because they can’t really do much to him. His powers mean he has an opportunity for empathy in the heat of combat which Batman can’t afford. This is why he generally gets his ass handed to him by the likes of Zodd or other surviving members of the Kryptonian military, or Darkseid. He doesn’t fight so much as flail and again, it’s fine. It makes sense. Superman is also the most emotionally driven of the Golden Trio. While he keeps himself under very strict control most of the time due to the massive collateral damage his powers can cause, he’s the one most easily goaded. There are a number of villains who prey on this flaw including Darkseid and Lex, who both goad him into taking action that have terrible backlash. His powers can be as much as curse as a blessing.

His lack of training and combat knowledge is the main reason why Batman stands a chance against him and why Batman can knock him down a peg. Wonder Woman doesn’t really have the same issues, but it helps anyway.

Batman: Batman is a very clinical fighter, he’s a tactician and a strategist. He’s trained with and been trained by some of the best warriors and hand to hand combatants the DC universe has to offer. Batman’s brain is what lets him keep up though. Of the three, he’s the most likely to see a situation’s hidden trap door or figure out an enemy’s weakness on the fly then determine a solution. He’s the voice of reason to Superman’s emotion, willing to do what’s necessary to make it through but also coming to the battle prepared. Whether that’s carrying a Kryptonite ring in a lead box every time he goes into Metropolis or just having it on standby for twenty years, Batman will always assess the situation before diving in. It’s a good question of how much Batman knows, but really the answer will generally be more than you think.

Batman is the problem solver. He’s the one who most often gets to the heart of what is really going on, sees through the machinations, and figures out why the fight is happening in the first place. The man with the plan is what he is and the best writers like Bruce Timm will recognize that the detective skills actually trump the combat skills. Batman is the Great Detective for a reason. He studies his opponents, attacks their weaknesses, and that’s the path which leads to victory.

Wonder Woman: Unlike the other two, Wonder Woman is actually a soldier. She is a warrior. She understands battle layouts, strategy, and trains with a wide variety of weapons. She can punch properly, she can grapple, and, really, she can fight. I don’t just mean that in the sense she’s classically trained or one of the best combatants in the DCU, but in so much as that’s a part of her outlook more so than Batman or Superman. They aren’t warriors in the same way and Diana can whup both their asses. When in the trio, Wonder Woman is basically the midpoint between Superman and Batman. Unlike Superman, she can actually fight rather than flail. Also unlike Superman, she has existed without all the powers that have essentially been his birthright. While Wonder Woman is physically enhanced via training and magic depending on who is writing the Amazons this week, it’s her enchanted armor forged by Hephaestus that imbues her with her defining superpowers. This gives her the context to human combat and humanity which Superman often struggles with and she has a leg up on Batman in that she’s… well… an emotionally stable adult.

Essentially, she serves as a great balance point between the two extremes of brains and heart. She fights with both without either controlling her actions. Like Superman, she has the luxury of being compassionate toward her enemies and more so than him the ability to control the fight better. Superman is often so strong he can’t really afford to fight at all if he wants to talk someone down, rather he disables them by destroying their weapons or letting him shoot at him until they run out of bullets. Batman, meanwhile, is much more fragile. While, when written right, he’s a very compassionate individual he also has to use his head to stay ahead of the curve in order to get his enemies into a situation where he can talk to them safely. Wonder Woman is the middle ground between the two. She’s a very good tactician and her skill is such that she’s taken on the entirety of the Justice League.

However, her compassion is the balancing strength. For this reason, she has an excellent track record for turning adversaries into allies.

It may not answer the question you wanted, but that’s the best I’ve got.


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anonymous asked:

So, we all know how much we love your fanfiction the space between, and lately I have lots of free time because... I'm in holidays! If you have to see one of the scenes you most like in your fanfiction coming to real in a fanart, which one you would choose? Because I want to draw it for you!

Wow, I’m honored, thank you so much. I’d be beyond happy with anything you’d draw—just the fact that you want to is enough. But if I had to choose and you need ideas, these are some of my favorites:

(Warning, spoilers for the story if you haven’t read it yet. I’ll try to keep it vague)

  • Their first meeting and/or the car breakdown scene 
  • Paul seeing Daryl asleep the first night he crashes at the apartment
  • The bridge scene from the new chapter
  • Don’t want to spoil too much, but anything that happens in the new chapter lol
  • Paul waking up to the bookcase
  • Daryl taking care of drunk Paul
  • Any scene of them eating together or just talking on the couch bed 

That’s all I can think of right now, but if something else inspires you more feel free to draw that. Thank you again. :)

What’s going on tumblr?

Guys, where are all the wonderful gifsets for The Final Problem??? I need them !! All I see is people complaining/praising/fighting the episode while all I want is my dose of art. It wasn’t like that back in the day, we used to have plenty of gifs few hours after the show aired. C’mon! I especially need a gifset of the Sherlolly scene + Sherlock’s breakdown, please please please!! 

I Promise

Anon who wanted a breakdown of scenes proving Bum is BPD and yes once again you sweet Anon looking for advice on their loved one with it, I will answer you as soon as i can. Your asks are gonna take some time and brain power and I wanna be sure I can give them all I can. So hang in there. I got you fam.

plinkflamingos replied to your photo “When your callboard signs are too legit to quit. ����…”

What are your typical callboard signs? And what do you put on your callboard? Do you also have a digital callboard for parents to look at?

Callboard signs and what goes under them: Contact info (stage management contact information, theater address, instructions for how to have food delivery dropped off), Schedule (master calendar, weekly schedule, daily calls), Miscellaneous (renderings, scene breakdowns, cute notes/funny things), Announcements (memos), Sign In (sign in sheet)

The closest thing I have to a digital callboard is a facebook group. We put together a SECRET group – anything that goes on the callboard is posted in this group for the cast/crew/parents of young cast members to see. I also email the information out. It’s a bit of overkill, but better safe than sorry. 

tfp challenge day 8

What’s your favorite (or if you can’t chose, Top Whatever) episode of TFP? What made it stick out of the bunch?

Moments that made me yell in joy (that I can remember because I admittedly haven’t watched the show in a while)

  • Soundwave kicking Wheeljack’s ass
  • Soundwave kicking Airachnid’s ass
  • Soundwave slapping Fowler to the side and kidnapping Ratchet
  • Soundwave trolling Team Prime after they captured him
  • That one scene where Starscream’s got a blaster to Fowler and Arcess taps him and says, “I wouldn’t” and Starscream gets the most evil look and purrs, “Oh but I might.”
  • Predaking vs Ultra Magnus and Wheeljack
  • Knockout’s introduction
  • Breakdown’s introduction (and subsequently, Breakdown throwing a pillar at Miko and nearly killing her)
  • Any scene where Knockout and Breakdown are together
  • Megatron wrecking Synth-En!Ratchet
  • Knockout nearly killing that teenager
  • Knockout nearly killing that one racer
  • Knockout electrocuting Optimus
  • Knockout flirting with Optimus only for it to be revealed to be an opening for his husband to drive in and punch Optimus
  • Soundwave’s legs being mistaken for Arcee’s legs
  • “You’re a robot, should you know how to build an engine?” “You’re a human, can be build me a small intestine?”
  • Team Prime nearly dying from the Scraplet infestation
  • Megatron beating up anyone who isn’t Starscream
  • Starscream on the red energon and fucking up Team Prime and stealing the keys
  • Starscream killing Cliffjumper
  • Starscream bragging about killing Cliffjumper
  • Starscream whenever he does awesome stuff in the air
  • Breakdown being lovely to the vehicons
  • Breakdown falling on his front and showing that his chest is way too big for his face to come anywhere near the ground
  • This is a long list I should stop probably
  • You get the general idea though
  • I love the decepticons being awesome and the autobots/humans getting hurt

When you’re still awake at 5:30am because you started making paperwork and watching HGTV and all of a sudden it’s 5 episodes later and you have an actor/scene breakdown, a new calendar, and a new contact sheet as well as a reformatted script #littlestagemanagerthings

mad max meta master post

I’ve had a few requests for a master list of all my article/essay-length analysis posts on Mad Max: Fury Road. So, in honor of DVD release day, here it is, hopefully in roughly chronological order.

I’ll keep updating this as needed. For an extensive, ever-evolving list of the best fan commentary/analysis of MMFR from around the Tumblrverse, see redshoesnblueskies‘s MMFR meta page.

My original writing

General review (after I’d seen the movie once; some ideas evolved with further discussion)

Furiosa vs. tropes for women in action

Max vs. tropes for men in action

Action movie story structure: Mad Max: Fury Road edition

Mad Max scene breakdown: “Can I talk to you?”

Max, Furiosa and Loneliness (still my favorite thing I have written on this film)

Goals, Obstacles and Stakes: A Short Gif Set Filmmaking Lesson (using a sequence of the third act to discuss dramatic storytelling)

Furiosa and her rage

Furiosa murder faces, continued (an expansion of the discussion in the link above)

Bonus: Elizabeth Olsen talking about being told to make “calm faces” during action sequences, relevant to the two links above

Fury Road and R-rated violence

Max, Furiosa and Touch

Many Mothers (Fury Road’s women and dealing with the scarcity of female characters in film)

Did Angharad actually go under the wheels? plus a follow-up discussion here

Pulling the knife out

Fight and Flight

Character Introductions: Max

Ticking clocks

Blockbusters for adults

Fury Road: no one fights alone

Multi-person discussions

Un-heroic violence

Furiosa murder faces, continued (multi-person discussion of the original post)

Eyes: a compilation (multi-person discussion of Furiosa and her crew)

War Rig hero moments

160 days of guilt

Antiheroic Furiosa

Fury Road as a war movie

Essential meta by others

(Note: I have reblogged a lot of great commentary by others and it can all be found under my Mad Max: Fury Road tag. These are the pieces that I tend to reference in things I have written, wish I had written, or consider essential analysis for understanding the film.)

Mad Max costuming (Furiosa’s backstory as told through her costume)

Fury Road for the Fifth Time (in particular, the first section breaking down the “de-escalation sequence” when Max first gets in the Rig)

Fury Road: Physics and Feminism (analysis of the Max/Furiosa fight, but also so much more)

The Visceral Thrill of Mad Max (Fury Road and the human body)

Valkyrie, Ace, Max: Past, Present, Future (Furiosa and her companions)


I’ve had a few requests lately to do a shot breakdown for a scene in “Big Hero 6” to show my workflow. I’ve never done anything like this before, it’s super intimidating! I’m a strong believer that workflow is a personal thing, there’s no right or wrong, whatever makes the process more enjoyable and gets you to the end result. This is a test I did before the production of “Big Hero 6”, the objective was to have Fred dunk a basketball to test out his jumping abilities and fire breathing skills. What a dream assignment!!! So I’ve compiled some work in progress videos that help to breakdown this scene. I make an effort to let my workflow evolve and adapt depending on the shot, so this is in no way a “how to video”, just my personal approach for this particular scene. I love what I do, this was so much FUN!!

Thanks for watching:D

Property of Walt Disney Animation Studios. For educational purposes only:)

Jellybean Breakdown

Since the dialogue is already out there, I’m going to go ahead and post this draft for y'all before my poor inbox crashes. 😂


Who makes Lucas laugh and why:

Riley’s goofiness, aka something extremely obvious about Riley that literally EVERYBODY who cares about her loves about her ( )


Maya’s “huckleberrys” and “hahurrs,” aka something that is unique to Maya and Lucas ALONE. It’s just between them.


Who would Lucas rather have a deep conversation with:

The library. A VERY IMPORTANT moment between Riley and Lucas which arguably defines their relationship. Ski Lodge 2 is going to make it VERY CLEAR what the library conversation was really about. Anyway, it was mostly Lucas talking TO Riley while she swooned and didn’t say much about herself other than how she had a hamster once. But Riley was VERY SUPPORTIVE of Lucas’s maybe wanting to be a vet, and that’s important too. They connected.


The campfire. Lucas pushing Maya about really difficult stuff (feeeeelings), almost kissing while staring deeply into each other’s eyes, and Maya’s concern for Lucas’s safety. If you think that wasn’t a MAJOR connection, please Rewatch GM Boy.


Both girls make him go blahahahahah, buts it’s VAGUE man. 😂


Lucas thinks “it’s always been Riley” because it’s “not a coincidence” she fell in his lap. (GM Upstate is going to call that into question in a big way. 👀) Either way, it’s nothing about WHO RILEY IS, or how Lucas feels about her. This comment is the embodiment of “supposed to.” It’s always been Riley because the “universe said.”


Defying what the “universe said” to keep Maya in the running, pointing out the REALITY which is that Maya pushed Riley, and then saying something about WHO MAYA IS AS A PERSON. Which is super important because Maya’s lost in terms of her identity at the moment and this comes on the heels of Farkle reminding Riley who SHE is in a very intimate scene in GMPR.


Lucas literally can’t say one thing about Riley without adding a “but Maya…” including after he basically says the universe wants him with Riley.

If you think the feelings driving those “but Mayas” are magically going to go *poof* forever just because Riley and Lucas are going to try a relationship, then I got some oceanfront property in Wyoming that may interest you.

Don’t watch the birdie. This is the season of feelings and if you think everything was finalized forever just eight episodes in and no more shoes are gonna drop then I don’t know what to tell you anymore. Every GM Texas has a GMNY. 💛👍

@its-austen-anon-scholar, you wanna take it from here? (I think you know what I mean…)



Director - Judith Veenendaal
Cinematographer - Noel Schoolderman
Genre - Visual Poem 
Format - RED Epic

Comments - This is a short piece by Judith Veenendaal, an art and film director out of Amsterdam, to the poetry of Johnny B.A.N.G. Reilly, that I really enjoyed to watch. This is a good example of a very minimal yet contemporary visual style that is beginning to permeate into modern shorts. It’s sleek, anamorphic, contains alot of movement, and well composed. The score by A. Taylor really lifts the spoken word and serves as an incredible tool in creating a clear arc within the short time frame (which is imperative if you want to make this kind of piece, without the arc its just pretty images). All in all a well done piece, short and sweet, and definitely worth the watch

This is the first of these kind of short film posts I would love to continue doing, along with some scene breakdowns and DOP breakdowns, but only if there is interest, so if you like it make sure to let me know or give it a like! Thanks everyone!