We’ve heard it in the catchy, upbeat love songs, and seen it in the intricately made friendship lockets. Cynics and realists will call it “stupid” or “idealistic”. But there will always be something magical in all this Disney-like “happily ever afters”, and all these vows of “forevers”…
As a devoted Person of Interest fan, In Extremis, S.2:20 is one of my favorites for several reasons. The writers, Greg Plageman and Tony Camerino put everybody in extremis to one degree or another.
First, and most importantly, The Machine is dying. The number, Dr. Nelson, is dying. Fusco is about to be arrested for murder. Carter has a huge moral dilemma- her hatred of dirty cops and her partner.
The most shocking was Finch gathering polonium and handing it off to Reese who murders a man with it. Our mild-mannered, anti-violence Finch- I mean, what a terrible thing for him!
Stuffed into this complex story were flashbacks of how Fusco began his criminal activities; Dr. Nelson’s relationship with his daughter; Snarky Reese (always a good thing); and some beautifully shot scenes by Director Chris Fisher and DOP Manuel Billeter. And Bear made a short but dramatic appearance.
There were also many many locations with one scene shot in the middle of a blizzard! Can’t beat all this. Super Episode.
CAN WE TALK ABOUT HOW BEAUTIFULLY THIS SCENE WAS SHOT?
LOOK AT THAT DUAL REFLECTION OF ALICE. ALL OF HER SECRETS AND LIES AND THE MASK SHE WEARS AND BETTY’S ASKING HER TO EXPOSE THEM. And it’s so telling that because Betty is facing her mom head on she can’t see that dual reflection.
I LOVED the way that they cut this scene with Betty and Alice to Penelope and Cheryl. How it’s Betty standing her ground, facing her mother on equal footing, and even forcing Alice back a little, demanding the truth and leaving Alice shell shocked. So much growth since the pilot scene where Alice swoops in, condescendingly holds Betty’s chin, drops of Betty’s meds, and swoops out.
AND THEN. IT TRANSITIONS TO CHERYL AND PENELOPE. And even though Cheryl has the higher ground on the stairs it is still Penelope on the lower level taking control. Cheryl’s sad baby voice BEGGING for her mommy to let her stay home killed me and then Penelope DOES NOT CARE. She literally says she does not care. And poor Cheryl runs away.
AND THEN. IT TRANSITIONS BACK TO ALICE AND BETTY. AND ALICE IS THE MOST DRESSED DOWN WE HAVE EVER SEEN HER. Alice has clearly been crying and Betty is in a battle ready pose. Alice WILLINGLY SURRENDERS. She sits down on the bed, putting herself on a lower level, and exposes her secrets to Betty. Madchen had me in TEARS crying along with Alice. And I LOVE this emotional honesty that Betty is trying to build into all of her relationships. With Jughead, with the rest of her friends, and with her mother.
Ok, this is in reply to this thread started by @1895itsallfine that I can’t reblog because someone in it got me blocked (? I guess?).
It deals with the reasons why S4 went down as it did, why johnlock was abandoned after S3/TAB, and asks if the BBC or ACD trust are to blame.
I’d just like to chip in my 2 cents.
I don’t think so. The BBC produced things like London Spy. They don’t have an initial problem with gay characters. Most ACD stories are in the public domain. Allegedly, the BBC pays the trust anyway. Imagine the trust in 2017 taking the BBC to court because they made Holmes and Watson a gay couple on their show. The public outcry! It would fall back badly on the trust. There might have been a silent pay off instead. The BBC is not some small player, it’s one of the biggest TV corporations in the world. If they wanted to, they could have taken on the ACD trust.
Of course, there’s always politics to consider. The BBC gets critizised by the Torie government a lot. The head of drama changed. And one fandom theory goes that it would be such a big scandal/secret to make Holmes and Watson gay that it was something that had to be fought for, that it was controversial and probably a big reveal, that perhaps some people high up were against it. Which I never understood.
Honestly, I think the first misconception of parts of the fandom - and especially tjlc - was that it would be a BIG thing to make Holmes and Watson a gay couple on a Britsh TV show. It might be in Russia, or China - but not in Western Europe in 2009.It just isn’t. If they wanted to, they could have done it - and no one could have stopped them. But they didn’t want to go there in the first place.That was the second misconception of the fandom (but it was not without reason, it was deliberately fed).
I saw that someone had asked about tips for budding screenwriters on someone else’s blog, and seeing as I did not have much to do this morning, I thought that I would write out basic tips that I have struggled with in screenwriting classes that are fairly common mistakes/problems.
Every Line Is A Punch Line. Starting out for me I had hyper realistic, long winded, totally boring dialogue that was not necessary at all. Get to the point. The shorter the better and the more you can represent a character through as little dialogue as possible the better. Screenwriting is bizarre because on one hand, you want it to sound realistic on screen, but realistic dialogue on screen is very different from what people actually sound like in real life.
If You Are Working In Movies: Everything Is VISUAL. If You Are Working in TV: The DIALOGUE Is Essential. Yet at the same time, don’t get too carried away with visual descriptions. Your goal is to make clear images in the readers head with as few words as possible.
Start The Story As Close To The End As Possible. I can’t tell you how many times I’ve bored audiences with longwinded, beautifully shot, quiet, elegant scenes nor how many times I have been a bored audience member for that exact reason. If you’re unsure when to start, start writing at the moment that you are most excited about and then have someone read it aloud. If it doesn’t make sense, go back and revise it.
Remember, these are just general tips, but in the screenwriting/filmmaking world, remember that they can always be broken if they are broken well. Hope this helps! :)
In place of a Top 10 films of 2015 list, A-BitterSweet-Life presents a list of films from the past year that bring forth the magical quality of visual storytelling while shedding light on how cinema as an art form can provide uniquely captivating stories that attest to the power of cinematic expression.
45 Years is a film all film lovers regardless of age ought to see, a cinematic experience all filmmakers ought to aspire to create: engaging, revealing, emotionally pulling, and inspiring. Director Andrew Haigh demonstrates the captivating effect of simplicity and subtlety, and whether it is through a long take of a human in reflection or the sound of the mountains burdening the soul of one imagining past events, he offers audiences and filmmakers an example of a film that naturally defines the artistic in cinema and the art form’s ability to capture and portray life in a close-to-the-skin, honest manner. The Assassin directed by Hou Hsiao-hsien shares a similar spotlight. The art of cinema could be defined as the poetry of moving pictures and sounds through Hou’s enchanting take on the wuxia film. Beautifully shot and edited scenes along with an impressionistic narrative reveal how a filmmaker of detail can create something so refreshing and yet all the while timeless, bringing to light the significance of the filmmaker’s style. Alejandro González Iñárritu’s The Revenant reaffirms how exploring new frontiers in terms of ways to tell cinematic stories can be as equally impacting as an epic portrayal of survival and frontier justice. Denis Villeneuve’s Sicario pays further attention to the possibilities offered by the language of film: when guided by an attention for the visual and aural elements of film language, even a drug cartel thriller can deliver elegance, even artistic action films can exist.
Again we visit romantic love, and like Andrew Haigh’s 45 Years, Todd Haynes offers a captivating example with Carol of harmony in film, when each of its elements such as direction, the image, and performance come together to create what seems like a perfect arrangement of things. It brings to mind Robert Bresson’s definition of cinema:
Son of Saul is unflinching on its quest to depict the realities of the Holocaust in film rather than approaching it for dramatic value. Once a student of Béla Tarr, director László Nemes similarly chooses to address the human situation within a story with his first feature, and he boldly sheds light on the transportational quality of film and its power to offer an intimate human experience. Comparisons to a master like Tarr do not come close to truly describing the true nature of the Nemes’ style of directing, it only furthers arguments for a promising career. Meanwhile, Creed director Ryan Coogler continues to impress. His sophomore effort shows how a film in the right hands can elevate from mere entertainment and offer an engaging cinematic experience. Paolo Sorrentino proves yet again that a stylistic approach to storytelling can enchant audiences–his film Youth is striking, visually and emotionally. Unique and intelligent filmmaking with an honest voice reveals itself in Marielle Heller’s first feature film Diary of a Teenage Girl and makes the demand for more diverse and human stories. “The human” continues to resurface in this list because one may say that film is the ultimate expression of the human experience. As such, John Crowley beautifully awakens the past and echoes the journeys of many with the well-crafted and emotionally engaging Brooklyn.
Honorable Mentions: Girlhood, Slow West, The Duke of Burgundy, Me, My Friend Earl, and the Dying Girl, Joy, Phoenix, and Star Wars: The Force Awakens.
“They have to take care of each other, they’re family. Mellie is Fitz’s family. Both Mellie and Fitz are victims of Big Jerry, and he has to take care of Mellie; he loves her as his family. Now that they’ve shared this loss of a child, they’re going to have to recover together.”
I loved this from the interview with Tony Goldwyn on THR (http://www.hollywoodreporter.com/live-feed/scandal-season-4-tony-goldwyn-fitz-olivia-697563). It really outlines their relationship as a whole. They need each other as a family, and obviously aren’t in love, but they feel a love on another level. A different kind of love. It really illustrates the connection and history that they have with each other. The understanding that they have with one another. Such beautifully shot scenes from the finale.
it’s been 3 days after TFP and I still can’t understand why people ship Eurus and Jim (maybe it’s my own preferences but even this beautifully shot scene can’t convince me in the possibility of their relationship) and why some fans think that the bodyguard is Seb and they had sex. I can suppose that the second one is connected with my not-so-good english, but Seb? This man? We’re all desperate mormor shippers who want to see Moran in the show, but pointing at every man with a gun and saying that he’s Sebastian Moran looks very silly. Sorry.
There’s a new web series from Issa Rae Productions and I’ve already declared it my favorite one yet.
Created and written by Jahmela Biggs, the series premiere of First was incredibly sweet and charming and featured some really beautifully shot scenes. There was something about this simple yet spirited black love relationship between Robin and Charles that got me a little into my ~feelings~.
There’s also a handsome poet with a buttery rich voice licking his lips, which – OKAY. YOU GOT ME.
Girls don’t want boys, girls want Delphine Cormier to be alive and for Cosima Niehaus to see just how much she sacrificed for her and to tell her she is truly sorry and that she loves her and for Delphine to be fully accepted and welcomed into the family and also like a beautifully shot love scene because we deserve it after all this goddamn heartache because no fandom should have to suffer this much, you know?