this really was a solid film

SO HEAVEN’S FEEL

lotta stuff was going on yesterday and i was pretty tired at the end of it all, so im only now reporting back after having seen the film. It was good!! a solid B-B+ imo. I’ve got some nitpicks and complaints, some issues with how certain things were handled, but as i expected from ufotable, the core of the film, which is Sakura and her relationship with Shirou, was handled really well. Good Stuff. I’ll still probably point to the hf manga for a truly perfect adaptation, but if ufotable can keep up this level of quality throughout the three films i’ll be satisfied. 

I’ll write up a long post with spoilers shortly talking about what i liked and what i didnt shortly. 

Can we all just appreciate that Ben’s response to Mal unexpectedly turning into a giant terrifying dragon was to just passionately kiss her the moment she was human again?

He accepts every part of her without hesitation. (And boy’s seriously got a thing for how powerful his tiny pixie dragon girlfriend is.)

hey i know i don’t have any followers but! you guys should check out this kickstarter for a cute gay film! it’s called “Erin’s Guide to Kissing Girls” and it’s about middle school girls who aren’t straight and it looks like it’s gonna be really great! it has a little more than two days left and a few hundred dollars before it reaches it goal so! go check it out please i want a cute gay film about middle schoolers! 

One of my favourite things about Age of Ultron is that the Avengers are presented with 2 new super-powered rivals and the only member to really land a solid hit to either of them in the entire film is the very non-super-powered Hawkeye.

Not only that, but in both cases he pretty much just does it out of sheer spite towards them

“OH MIND CONTROL HUH? BET YOU THINK YOU’RE REAL SPECIAL. NICE TRY KID I’VE PLAYED THIS LEVEL BEFORE” *electrocutes Wanda IN THE FACE*

*shoots the glass under Pietro’s feet* “WHAT YOU DIDN’T SEE THAT COMING? HAHAHAHA WHO’S LAUGHING NOW SMARTASS-WITH-A-CATCHPHRASE? THAT’S FOR GETTING ME SHOT”

How to Learn a Language Naturally: Back to the Basics

        Lately as I’ve been gradually getting back into independent language learning I’ve found myself struggling with where to begin. Every textbook I would take out would leave me bored and frustrated with either the simplicity or the level it was placed at relative to where I was at that time; yet without some sort of direction, I felt lost. Already battling against lack of motivation, creating a self-study program from scratch seemed like an incredibly daunting task. However, after taking a step back I’ve begun to see other approaches that I can take to learn the language in a more natural way – turning away from standard study that leaves me unmotivated, and focusing instead on fun and entertaining ways of language application. Here is what I’ve come up with.


Starting off as a beginner:

        My greatest and first word of advice for starting off as a beginner in your target language would be to start looking around websites such as Memrise and Quizlet for lists of most commonly used words. The “Learn [Language] in 200/300 words” posts on Tumblr by @funwithlanguages are also a great place to start. Start working on pronouns, general sentence structure or basic phrases, and learning the overall conjugation patterns for the most basic verbs. Flashcards and index cards are incredibly useful here. This will give you a good foundation off of which you can build further.

        In addition, having some sort of structured course, such as the Teach Yourself series or many available courses on Memrise that teach vocabulary connected with dialogues, is extremely helpful. It has been scientifically proven that a person learns vocabulary much faster when they have some sort of emotional connection formed, and by learning words in context, it is much easier to remember what something means and how it is used.

Reading/Speaking:

Find some good, easy, dual-language books to start off with. Go through them chapter by chapter, making sure to read each paragraph in only the target language before going back and looking up/checking unknown words. Read each section multiple times as to ensure comprehension, and, even better, read it to yourself out loud while working on pronunciation. Later, as you become more advanced, you can move on to books entirely in your target language, and try to write your own definitions of unknown words using the given context before checking them yourself.

Search for different news sources from countries where your target language is spoken. Read through the article and write your own summaries of events.

Try changing the language settings on your phone or social media accounts to your target language, and make note of any new vocabulary – don’t allow yourself to go on autopilot.

Challenge yourself to make short vlogs or general videos in your target language. If needed, feel free to write a script to read off of; otherwise, challenge yourself to speak purely off the top of your head – using as much as you know, even if your sentences start off broken.

Set up Skype sessions with native speakers and practice communicating using whatever knowledge of your target language you possess. If you are unsure of a word, try to use others to describe it instead of resorting to your native language (or even just ask how you would say something using your target language).

Look up the lyrics to different songs in your target language and practice translating. Similarly, try translating other songs into your target language.

Writing:

Find native speakers who would be willing to communicate with and correct you, and practice conversing using only your target language (no matter how often you need to use a dictionary – but make sure you take note of any new vocabulary or concepts you come across!).

Practice writing status updates (whether on a private account or not), journal entries, essays, or fictional pieces in your target language. If able, see if you can find a native speaker who would be willing to give you corrections, or simply post your text on Lang8!

Listening:

Youtube is a great resource for all levels of language learning. Try searching for content creators that make videos in a genre you enjoy, and utilize their channels to practice your listening skills and inferring from context while immersing yourself. Write down any words you are unsure of to look up later.

Music in your target language – listen for words you recognize, and look up those you don’t. Things like lyrics are much more likely to stick in your memory, so use that to your advantage!

Look around for an online radio that broadcasts news in your target language, or even an online news source that posts or broadcasts video.

Watch films in your target language, even if it’s content that was originally in English. Many DVDs come with dubs in other languages depending on where you’re from, and Netflix (especially Netflix Original Series) also offers many different dub and subtitle options depending on the content. Even YouTube occasionally has films or TV episodes uploaded in other languages, so long as you look hard enough.

Grammar:

When it comes to grammar, it is important to have a good, solid grammar book that breaks down all basic ideas into something that is comprehensible. Don’t start off with learning grammar right away, however; give yourself some time to really soak up the language itself and get used to basic concepts first. Once you’re at a higher level, being able to properly break down your target language and put it back together will substantially help your progression to fluency.

Incorporate practice sentences into your writing, utilizing each concept. By forcing yourself to physically use each grammatical structure in a context you’ve come up with yourself, it will be much easier for you to master each idea, as well as help it to become more natural.

Hopefully this was helpful in some way! Good luck, and happy language learning!

Death Note (2017) and the Comparative Lens

I’ll be honest. When I found out that Death Note was getting an Americanized live action adaptation, I wasn’t too thrilled. In fact, I was terrified that something I loved was going to be straight up murdered before my eyes  — and I wasn’t ready to give it a shot. In fact, I was really unwilling to budge on this until recently.

However, about three hours ago, the movie came out on Netflix. Sitting there with my housemates, I decided to give the movie a shot and check it out. for those of you who would like to avoid spoilers, this is the cutoff point for spoilers. There are an awful lot of them beyond this point.

Death Note is not a particularly new thing to many of us. If you’ve spent an hour talking about anime or reading manga, you know that Death Note exists. Finding out about the series or the source material that preceded this movie is not particularly hard; the hard part comes in discarding the source material to give the movie a fair shake.

When you look at something like this, you have to discard your comparative lens at the start of the movie to suspend your disbelief. When you sit down to watch something like, say, Game of Thrones, you are undertaking that viewing with the understanding that it’s not going to be exactly like it was in A Song of Ice and Fire.

The same thing must be done for Death Note (2017). When you sit down to watch this movie, you have to decide if you want to give it a fair shake. If not, that’s fine, but that’s what I set out to do.

Starting from the top, the movie itself isn’t bad. If you hadn’t seen the anime before watching it, it holds up to a 6/10 or a 7/10, but likely doesn’t pass an 8 on most scales. Let me explain by starting with some discussion on the main cast before getting into the actual synopsis and response.

The casting of Lakeith Stanfield as L is great, and he dramatically outperforms the rest of the cast; his take on L is both familiar to those who want similarities to what they know and slightly more emotive and human to appeal to the audience. His grasp of the character is magnificent, and I’m sure he studied for this role. I’d highly recommend watching this movie just to watch his performance if nothing else.

There’s only one problem with this: his performance feels slightly hollow when put next to Nat Wolff and Willem Dafoe. Willem Dafoe is a great man and a talented actor… but this is by no means his best showing. 

Nat Wolff, comparatively fresh to the silver screen (or technically not, since it’s closer to a direct to DVD release), paints a picture of a very fragmented Light. At times too comedic, too frustrated, and too unbelievable, his portrayal of his character comes across as transparent. It surprised me to find that his version of Light didn’t hold up to the “judge and jury” that the film tries to make him.

Light is at times frustrating and all said, a little annoying. My favorite moment of his in the film comes three minutes in, when a bully punches him in the face and knocks him out.

The funny thing about the casting, though, is that it gives Margaret Qualley, playing Mia Sutton (analogous to Misa, from the series) the chance to shine in a dark way.

Since we’ve now discussed the cast, it’s important to note that the casting for this movie is not to blame or to praise in its success or failure. Whether or not this movie is good does not depend entirely on the choices made in its casting.

The movie itself revolves around Light Turner (an Americanization of Light Yagami), the son of a “hippy” and a police chief. Light, after passing off some homework for money to one of his fellow students, finds the eponymous Death Note when it falls from the sky in the middle of a storm. Light, after meeting Ryuk, is forced to come to terms with the power he now holds… and the consequences that accompany that power.

One of his first confidantes is his fellow student, Mia Sutton; Mia is initially skeptical, but after Light kills a criminal on a live stream, she comes around to his side and the two quickly enter into a strange love affair based on his ability to kill these criminals. Light takes the name “Kira” in order to make law enforcement suspect that he’s actually based in Japan, as “Kira” is a true cognate for the English word “killer.”

Hot on Kira’s heels are his father, who doesn’t know his son is involved, and L, a young detective with a murky past. L quickly deduces that Light is based in Seattle based on the mysterious circumstances surrounding the death of a hostage taker, whose name was only released in the Seattle area.

Correctly linking Kira to Light’s father, L begins the investigation in earnest, accidentally pushing the inexperienced boy and his new powers too far. After quick, dazzling victories over the danger known as Kira, L confronts Light in a coffee shop one night, convinced of his foe’s identity.

It’s at this point that things take a sharp turn. Light, in the films, is just a schoolboy in over his head, eager to impress his girlfriend with his “wicked cool” murder powers. He is not the character most loved in the manga or the anime, and this is why the adaptation must be viewed differently. Light’s identity is discovered after the death of several task force members and the public revelation of his father’s name and face on TV. Unbeknownst to Light, Mia murdered those men with a page from the note, attributing it to Ryuk.

When Mr. Turner isn’t killed, L confronts Light in a cafe at night, revealing to him that he’s aware of the high schooler’s alter ego. After Light tries to explain that he didn’t kill the task force members, his pleas fall on deaf ears, and L tersely informs him that he’ll be brought to justice.

After this, things take a steep, steep increase in pace. Light and Mia manage to take control over Watari using the Death Note, with the rule in place (via the notebook) that a person can be controlled for two days before their death. Light, in order to circumvent Watari’s death, intends to burn the page containing Watari’s name before he dies, sparing him.

Unbeknownst to him, Mia takes the page from his notebook… throwing a spanner in the works.

After the death of Watari, Mia reveals that she’s been planning to take the Death Note for herself. Light is then forced to flee by a vengeance driven L, given the ultimatum that if she doesn’t get the notebook by midnight, that he will die (as she’s written his name on her page).

L catches up to Light in the back of an alley as Light tries to meet Mia at the spot of their last date to hand over the notebook. He tries to explain what happened, but L doesn’t listen… and despite having Light at gunpoint, is knocked out from behind by a nearby citizen who overheard Light admit to being Kira. Grateful for what Kira has done, he lets Light go.

Light makes it to Mia atop a ferris wheel at the pier… and tells her not to take the book, as he’s written her name in it, putting them at a stalemate. Only one page of the book can be burned by its holder (Light), and unbeknownst to Mia, Light has made her death conditional. If she takes the book, she will die.

She takes the book and dies.

Light, having written his plan out in advance before fleeing L earlier, is saved when he falls into the water below the pier and is rescued by an old man, whose name he wrote in the book earlier. At the same time, another old man (both criminals) takes the Death Note for two days while Light recovers, filling out pages for him to give him an alibi.

This is explained to Light’s father while Light recovers in the hospital. The movie comes to an end as L realizes the meaning of a clue Light left him during the movie’s main chase scene; finding a stray page of the Death Note, L contemplates writing Light’s name… and Ryuk comments on the interesting nature of mankind.

Back to the review, though. The narrative pacing of the movie is rushed in the front half, for obvious reasons. The pacing that ensues around the climax of the movie, though, is great. The reveal that Mia is actually the antagonist of the movie makes sense and was well thought out. It’s not blatant, but it is foreseeable if you pay attention to her character throughout.

The cinematography is… amateur. It’s not very refined, and most shots make up for in color what they lack in substance. The camera work, for the most part, resembles a college student’s final short film.

Characters often abandon the rules established for them by their characterization in the first half of the movie in ways I’m unsure of. L turns into an action star in the last thirty minutes, and Light is… well, he’s annoying all the way through, but he never really gets a solid definition. The only way to sum up his character in the film is “inept,” but it does bring you to mentally treat him like a villain, which is good.

Its ending is vastly different from its source material (as L is alive), but ultimately more satisfying. The problems that plague the movie throughout, though, never really go away.

Despite this, most cast members put on a strong performance at least once in the film, and the movie follows a nice, neat arc. Reveals are carefully done and at multiple points, I was on the edge of my seat. Gorey action scenes (usually gratuitous deaths) aren’t cheap; they reinforce the notion that what Light is doing is wrong, even if he’s doing it for the right reasons. At no point do I sympathize with the character, which is a little frustrating, but also familiar.

The soundtrack… I don’t like it. It’s too “eighties” for me. It tries too hard to sound like Miami Vice, for unknown reasons. The music is too heavy handed, and often too easily applied to each scene. At no point am I left to wonder the nonexistent subtleties of its soundtrack.

This movie is a solid thriller, with a satisfying ending, a decent cast and a good narrative arc. Despite this, Death Note (2017) does not follow well with its source material, which it uses primarily as a guideline. If you’re expecting to see familiar faces from the manga (or even the anime), you will be disappointed.

Lakeith Stanfield kills it, though. 

“I’ve done three or four solid films now that became cult classics. And everyone’s like, ‘What’s it like being a Muslim?’ That’s offensive. Really, that’s what it is, offensive. What you’re saying is that you cannot see me as creative or an artist or a human being first. I’m so happy to talk about all these things. I think it’s really important that we do. I don’t think it’s enough to be visible anymore. I think we have to be vocal about what we believe in. We’re living in scary times. But I think if those conversations really start detracting from, ‘Oh by the way, someone is skilled at their craft,’ I think that’s a step backwards. You know what I mean?” — Riz Ahmed

2

I’ve done three or four solid films now that became cult classics. And everyone’s like, ‘What’s it like being a Muslim?’ That’s offensive. Really, that’s what it is, offensive. What you’re saying is that you cannot see me as creative or an artist or a human being first. I’m so happy to talk about all these things. I think it’s really important that we do. I don’t think it’s enough to be visible anymore. I think we have to be vocal about what we believe in. We’re living in scary times. But I think if those conversations really start detracting from, ‘Oh by the way, someone is skilled at their craft,’ I think that’s a step backwards. You know what I mean?

muke-ro-wave  asked:

Hey, so whenever I have an idea for a film or a short film, I can only ever get as far as maybe the first two minutes? Even if I have this whole massive concept in my head, I can only ever get the first two minutes down on paper. Either that or I literally don't know what will happen after those two minutes. Do you have any advice on how to combat this as some of my ideas I really want to film, but if I don't have a solid idea to pitch to actors then it's not going to go anywhere

Hello @muke-ro-wave

I think a lot of people have this problem and have no fear, there is a solution! Prewriting. Yes, it’s a thing, and it consists of all the steps that happen before the first draft. It includes outlining, storyboarding, worldbuilding, diagramming, character bios, etc.

The goal of prewriting is to not get stuck when writing your draft. If you outline your story, flesh out your characters, and develop your world, it makes the first draft SO much easier because you know the story direction and you know how your characters react to others and to situations.

Going deeper into prewriting, there are lots of methods to develop and come up with ideas. Below are a few techniques:

-Mind mapping. With this technique, you start with one idea and “branch” off of it to expand the idea and come up with related ideas. This is useful when you have a small idea and you want to build it into something coherent. Below is an example I found online.

-Build characters. This is very common when creating tv shows. Because TV is a more long-term medium, it tends to be character driven. Therefore, some writers build their characters first then simply “drop” them into different situations. Using this method, you’ve got to develop your characters’ backgrounds, know their goals, wants, and needs, give them flaws, and have some aspect of their personality cause conflict. (For example, the strict, pessimistic professor has to work with a carefree and optimistic TA. Conflicting personalities are interesting.)

-Worldbuilding. This is especially helpful when you are developing an idea involving a fictional/fantasy world. Write down questions about the world and come up with different answers for each. Where are the cities? How does geography affect culture? How and why do different cultures interact? Etc. From this world you can create history and pick from that history the most interesting stories.(Tolkien did this.)

-Sticky notes or separate lines. This is more for brainstorming. For each idea you have, put it on a separate line of a notebook or on a separate sticky note. When trying to work out a plot or character, sticky notes are nice because you can visualize, organize, and rearrange all the separate pieces. For brainstorming fresh ideas, I carry a notebook with me and write down one sentence ideas that pop into my head. It can be anything from an interesting concept, to a quote, to a character, to a piece of furniture you thought looked cool.

-Outline. This is the part of prewriting I stress the most. You need to know who is doing what, when, and why. These are the questions an outline should answer at the very least. Even people who don’t outline every detail of their story still have a basic idea where it is going. By outlining your story, you can always refer to it when you are stuck on a scene and ask how the scene gets toward the end, or changes the character or situation.

-Force yourself to write. Sit down with a computer or notebook for a set amount of time (maybe just 5 min. a day.) You aren’t allowed to do anything else for that time other than write. Maybe you won’t write anything, but if you keep doing it, you are going to feel as if time is wasted and you will eventually write something. It also keeps you thinking everyday about writing ideas and keeps you creatively active.

I hope these help,

Jules

anonymous asked:

My boyfriend and I just broke up. It was mutual but it was really heartbreaking because we love each other but just can't be together right now. Could you do a little something cute with my bb Jae from Day6, please? Thank you and I hope you have a wonderful day! :)

im sorry!! here is a cute music majors!au with jae that i hope brightens ur day!!

  • you and jae are both music majors but he’s concentrating on guitar and you’re doing jazz studies
  • which is why you,,,,,,,,,never interact
  • and it’s just chance when you end up walking by the practice rooms, looking to put up posters for a performance of one of your friends when this tall, lanky, frantic looking boy runs up to you and is like
  • “hELP”
  • and youre so startled you drop the stack of flyers you were holding and you’re like holy shit is there a fire or something??? is someone hurt??? why did u yell help??
  • and the boy, glasses perched on the end of his nose, wide eyes looking at you like those of a lost child goes
  • “,,,,,,,,,,my friend ditched me so i have no one to record my audition.” 
  • for a moment you wait for him to continue,,,,,,say something else,,,,,but he doesn’t
  • and you narrow your eyes and go “that,,,,,,,that’s why you yelled help?”
  • he nods, shrugging his guitar case over his shoulder and fixing his glasses, “dowoon canceled on me last minute to go get free food with wonpil,,,,,can you believe that? they call themselves my friends, ugh”
  • for a second you want to laugh but then you just shrug and go “id ditch someone for free food too.”
  • crinkling his nose he goes “really? you just gonna say that to me after i went through this traumatic experience of being abandoned.”
  • “you made me drop my flyers”
  • “if i pick them up, will you help me?”
  • you don’t have anything else planned, plus this guy is pretty funny so why not
  • you nod and the two of you gather the scattered flyers and he leads you toward an empty practice room
  • handing you the handheld camera you look at him and go “why cant i do it on my ph-”
  • “old school is the best school, now get my angle!”
  • you roll your eyes and hold up the camera,,,the guys guitar case is covered in band stickers and scribbles of random things in sharpie
  • he’s wearing relatively plain clothes and his hair is a little messy,,,,,,you dont think it’s a good look for an audition
  • so putting the camera down you walk over and you’re like “hey, whats ur name-” 
  • he tells you it’s jae as he tunes his guitar and settles into the chair
  • you frown, looking him up and down and going “ok jae, let me be real.”
  • “be a real as you want”
  • “you look a mess, take the flannel off and comb your hair”
  • jae pulls his head back in shock, but does shrug off the old looking flannel. as for his hair he runs his hands through it and looks to you for approval
  • shaking your head you go over and tell him to sit still
  • for a minute or two you run your hands through his hair, trying to make it look presentable and less shaggy
  • stepping back you admire your work and give him a thumbs up,,,jae puts his hand up to fix his glasses, simultaneously hiding his oncoming blush from having a cute stranger play with his hair
  •  on the cue you start filming and jae introduce himself with his name, age, and the name of the song he’s going to play
  • you don’t know why but when he starts playing you’re shocked at how good he is,,,,,,,,i mean this is a music major school but still,,,,,,he sounds like a professional
  • doing your best to hold the camera still, you get lost in the sound and the image of jae playing
  • his long body, awkward to the glance at first, looks better with a guitar in his hands 
  • his fingers are long and pretty and then,,,,,,,he starts to sing
  • and it’s a voice like no other and you can’t help yourself - you’re hypnotized
  • you don’t even realize the song is over until jae gets out of his chair and comes over, taking the camera from your hand and pouting because “hey, why are you still recording?”
  • snapping back into reality you go “wow, you’re really good - whats this audition for?” 
  • jae shrugs and mumbles that it’s nothing too crazy,,,but he’s happy you like it
  • grinning he turns to you and goes “thanks for your hardwork, you can really hold a camera well!”
  • you find yourself rolling your eyes again but also whatever - he’s cute
  • you tell him no problem and you turn to gather your flyers and leave when jae goes “ill help you put those up”
  • “you don’t have too-”
  • “nah, you did me a solid so ill help. maybe after,,,,,,,wanna get chicken together?”
  • you smile,,,,,feeling your heart skip a beat 
  • “id like that.”
  • “,,,,,,,,but really a+ filming skill why are you in art school you could TOTALLY be a director”
  • long story short jae makes you laugh the whole time but also when you get food it kinda feels like a date,,,,,maybe????? definitely????

(Note: This is the part 2 of the interview. To read part 1, click here.)

Stephen Anderson began his career at Disney as a storyboard artist on Tarzan. He then served as Head of Story on The Emperor’s New Groove and Brother Bear, before making the leap to director on Meet the Robinsons.

So how did Stephen first hook up with Disney, and how many Meet the Robinsons-related anecdotes can I squeeze from his brain? Let’s find out in the second part of our EXCLUSIVE three-part interview…


Part 2: Working at Disney


The Disney Elite: You started your career at Disney as a storyboard artist on Tarzan. How did that come about?


Stephen Anderson: I got to Disney through a colleague at Hyperion. I became friends with Kevin Lima, who came to Hyperion to direct a feature adaptation of Thumbalina. His co-director was Chris Buck, who had been my animation teacher at CalArts. I helped out on that film as much I could because I loved the idea and I loved working with those two. Eventually the project got shelved and those guys left. Kevin went to Disney and directed A Goofy Movie and after that, Disney wanted him to direct Tarzan. He chose Chris Buck as his co-director and so, because of those connections, I was able to become a part of their story team on Tarzan. We’ve all heard that cliche about how so much of success is who you know? This was a perfect example of that.





The Disney Elite: After working in Story on Tarzan, The Emperor’s New Groove and Brother Bear, you made the leap to director on Meet the Robinsons. Would you explain how you made that huge transition?


Stephen Anderson: First off, the only thing I wanted to do more than be an animator was to be a director. In fact, directing (and screenwriting/filmmaking in general) really took over the older I got. As a teenager, I started seeing more diverse kinds of movies, learning about filmmakers, reading about how movies are made, about screenplay structure, about what a director is, and I grew to love the idea of moviemaking. It was really the films of Steven Spielberg that changed my path and made me want to be a director. First off, the level of emotion and audience reaction that I saw and felt when I watched his films was something I wanted to be able to give to an audience someday. Loving his films then made me want to learn more about him so through reading articles and interviews and watching ‘making of’ specials, I decided that that’s what I wanted to do. So this was always the goal beyond the goal.


After Tarzan, I became interested in pursuing the Head of Story role and was fortunate to be asked to fill that role on Groove and on Brother Bear. I had asked, before Brother Bear, if I could be considered for a directing position in the future so we were already having that conversation. Since I’d been performing leadership roles, they were open to the idea. I helped develop a project for the studio on the side, during the last year of Brother Bear, with the thought that if it continued, I’d be the director. It did NOT continue. I finished Brother Bear, moved back to California (because we had to relocate to Orlando for that project), and was then handed a script for A Day with Wilbur Robinson





The Disney Elite:Meet the Robinsons was one of Disney’s early entries into CG animated features. While Pixar had already released such brilliant films as Toy Story, Toy Story 2 and The Incredibles, over at Disney there was just Dinosaur and Chicken Little. Was Meet the Robinsons always intended as a CG film, and were you at all nervous and/or hesitant about making it one?



Stephen Anderson: Boy, the memory is getting hazy but, as far as I can remember, MtR was always intended to be a CG feature. Yes, in fact I remember that while I was still on Brother Bear, the announcement was made that the studio was transitioning out of hand drawn. I was slightly anxious about doing CG just because it was something new I had to learn on top of already trying to learn how to be a good director. But to me, the creative stuff is always the biggest challenge and the thing that occupies my mind most of the time. Disney has the best people in the world so I’m always confident that the movie will look good, sound good, etc. And I was lucky to have such great artistic and technical leadership surrounding me. I trusted them to help me out if I was confused or uncertain about the technology. They all gave me a boot camp in computer animation at the beginning so I felt like I had a pretty good foundation starting out and I felt safe asking about anything I didn’t know.





The Disney Elite: Meet the Robinsons was the first of Disney’s CG films that made me think, “Now THIS is the perfect pairing of film and format!” The slick, shiny surfaces of the CG at that time really served to complement the futuristic, retro/moderne look of your film. Not only that, but while Pixar was aiming more and more for a photorealistic approach to their animation, your cartoon was, well, CARTOONY! And not just the backgrounds and characters, but also the animation itself. For a relatively early CG film, you got some gorgeously goofy character animation in there! If you wouldn’t mind, would you make a list of the films – animated or otherwise – that you used as inspiration for Meet the Robinsons?


Stephen Anderson: Well story-wise, we looked at the movie You Can’t Take It With You. It’s also about an eccentric family with quirky personalities and passions. Bill Joyce, the author/illustrator of the book that MtR is based on, told me that You Can’t Take It With You was a huge influence on him when he was creating the Robinson family. With our art director, Robh Ruppel, we talked a lot about The Wizard of Oz and how that movie goes from a sepia palette to a Technicolor palette and that influenced the look of the distant past (when we see Lewis’ mother giving him up it’s sepia) and the future (bright, bold and Technicolor). With the animators, we looked at scenes of Jim Carrey as inspiration for both Wilbur and Bowler Hat Guy. Also a lot of Looney Tunes. We used to say that Lewis is a Disney character and Wilbur and the Robinsons are Warner Looney Tunes characters. Lewis moves in more of a solid, natural, Disney-type of animation and the Robinsons are zippier and invade your personal space more like Looney Tunes characters. Those are some of the main influences I can think of.





The Disney Elite: Another wonderfully cartoony element of the film is your choice of voice-actors. The voice-work often reminds me more of 1960s Hanna-Barbera cartoons than anything Disney was doing at the time. I mean, there are some really unexpected picks in there (Batman’s Adam West, Roseanne’s Laurie Metcalf, There’s Something About Mary’s Harland Williams), all of whom do an AMAZING job. Oh, and then there’s YOU – voicing not one, not two, but THREE characters, including the mustache-twirling Bowler Hat Guy! Care to share the story behind that bit of kismet casting?


Stephen Anderson: Thank you for saying that about our voice actor choices. I’ve always been such a fan of those classic voice actors and I liked approaching our casting that way. We thought it best to not go with big names, but just solid character performers. To me, actors who have experience in theater, sketch comedy and improv are really best for animation because they know how to create strong and clear characters.


As far as my involvement goes, it’s pretty simple. I’m sure you know about the work-in-progress reels that we create, where we take our story boards and cut them to temp vocals, music and sound fx. Well, I did the temp voices for those characters and, after several screenings with my voice in there, folks just got used to it and eventually I became the voice of those characters. It was the same with other members of the team. Frankie the Frog, Uncle Gaston and Lewis’ coach, Lefty the butler, the t-rex that BHG unleashes - those were all voiced by members of the story crew.





The Disney Elite: Meet the Robinsons is one of those rare movies that makes me tear up every time I watch it. This is all the more rare seeing as how for most of the film, it’s funny, funny, FUNNY. It seems to me like this kind of emotional punch can only be created when a writer/director is willing to put their own emotions and experiences into their work. Was this true for you? And if so, would you mind sharing a bit of your personal story that effected the story being told in Meet the Robinsons?


Stephen Anderson: The adoption part of the story was not in Bill Joyce’s original book. That was something that two development executives and a writer had built in to the first draft of the script, long before I’d come on to the project. When the studio handed me that script, I couldn’t believe what I was reading. While my story differs from Lewis’, I still totally identified with his quest to know who his mother is and to find out why she gave him up. And the studio had no idea that I was adopted so it was a complete coincidence. Because I understood Lewis so well, I was able to bring out that emotional side much more. It was there in the original draft, but I felt we could strengthen it.


The theme of 'Keep Moving Forward’ evolved out of early discussions about adoption and my personal feelings about it. My parents were very open with me about it and told me I was adopted at a very early age. They used to tell me that when I became 18, I could access my records and find out who my birth parents were and that they would support me in that. So for many years, I looked towards that age as a big milestone and I was determined to find out where I came from. Then one day, I realized my 18th birthday had come and gone and I’d totally forgotten about starting this search. I’d gotten distracted by life, CalArts, starting a career, getting married, etc. And I was so lucky to have been adopted by such a loving family. What would finding my birth parents change? Nothing really. In fact, I’ve heard stories about people having very negative experiences reconnecting with birth parents and that sometimes it makes things worse for them. So the important thing was to not focus on the past but on the positive present and the promising future. And that helped us all realize that that’s exactly what Lewis is going through too.


The Disney Elite. Wow. I’m damned near speechless. That right there made my day, my week, my YEAR. That was incredibly moving and inspiring, Stephen. Thanks so much for sharing that.





Thursday: In Part 3 of our interview, Stephen Anderson tells us about his life at Disney post-Meet the Robinsons. There’s his work as director on Winnie the Pooh, his place in Disney’s famed ‘Story Trust’…oh, and his upcoming, TOP SECRET animated feature film project! He’ll also offer some GREAT advice for folks hoping to make art their life. If this sounds like YOU, make sure to come back and check it out. I hope you’ll join us!


All art via Stephen Anderson’s Instagram

NOTE: This interview would not have been possible without the kindness and assistance of tumblr user Morgan – a.k.a. that-guy-in-the-bowler-hat. Morgan runs the internet’s PREMIER Meet the Robinsons archive and fansite. If you are a fan of MtR, you MUST check out his tumblr a.s.a.p.!

See you around?- Imagine part 2

Part 1

“Again Y/N? But you were only here the other day!” Fionn exclaimed down the line. I nibbled the skin at the corner of my lip and fiddled with a loose thread on the hem of my t-shirt.

“I know Fionn but I really enjoyed it, I’d love to come while you are actually filming, so I can really see what it’s like” I tried. Fionn had been suspicious for a couple of weeks now, he was too smart to know that my pathetic excuses for returning to the set were for more than just ‘spending time with my best friend who has been away from me for so long’. That’s the excuse I used last time, he stared at me blankly for a solid minute before agreeing.

“Y/N, what’s going on?” he asked. But he wasn’t yet smart enough to realise my true reasons for wanting to keep going back. Harry had got my name somehow, off Fionn’s phone most likely, and after adding me on Twitter, we had been messaging back and forth all day, every day since he appeared besides Fionn on my first visit. My newspaper knowledge and pre-judgement of him was completely wrong, I was unable to stop myself from being drawn towards his electric personality.

“Nothing Fionn” I said unconvincingly. There was silence at the end of the line.

“It’s Harry isn’t it…” he said eventually and I hesitated before offering him a quiet ‘yes’.

“I knew it! The damn boy hasn’t shut up about you!” I giggled. “He’s a good guy Y/N” he said and I hummed. “Ok, come down again tomorrow, I’ll meet you at the gates like normal” he added and I thanked him.

“See you tomorrow” he finished and we said out goodbyes. I bit firmly into my bottom lip to conceal the smile that was about to erupt on to my face. This is ridiculous, I was getting giddy about seeing a guy I’d had met in person for 10 minutes and had a 2 week virtual conversation with. But still my heart leapt as his name flashed up on my screen, notifying me that I had received a Twitter message.

Pull yourself together, I thought.

From Harry: So, Fionn tells me that you’re coming to set tomorrow and that I’m to keep you company while he’s filming x

I bit my lip and let out a contented sigh as I rushed to send my reply.

To Harry: Did he now? And what if I don’t want you to keep me company? I hear Tom’s a good laugh ;) x

From Harry: You wound me, you know my jokes are way better than his. And we both know that you want me to keep you company ;) x

To Harry: cocky x

From Harry: me? Cocky? Never! See you tomorrow beautiful :) x    

I didn’t attempt to mute my squeal as I collapsed back on the bed.

***

“Morning Miss” one of the security guards called as I approached the gate the next morning.

“Morning Lewis” I said as I approached. I had become on a first name basis with several of the of the security members on my now twice weekly visits. There was Lewis, the tall bald man who had denied me access on my first visit, John, who was now only working 3 days a week so he could spend time with his sick mother, and Matt, who’s sister has just had twins.

“Y/N!” a voice called as I slipped past the gates. There was no crowd today, the sky was overcast and in the distance rain clouds littered the horizon. Harry appeared from between two trailers and offered me a lopsided grin on his approach. My stomach knotted with each step he took towards me and I had to fight to keep the blush from my cheeks and maintain as much dignity as I could.

“Hi Harry” I grinned as we met, “I thought Fionn was coming to meet me?” I said.

“He was but he got called to set early, we’re running ahead of schedule, so I came instead. It that ok?” he asked with a tilt of the head. His eyebrows were pulled down and his lips fell into a small frown as he looked at me, almost as if he was worried that I didn’t want to see him. I resisted the urge to reach forward and push his lips back up into their perfect smile.

“Of course it’s ok!” I rushed quickly to ease his worry, to which he erupted into a dimple popping grin.

“Good!” he beamed, “come on, I’ll show you where they are filming” he said turning slightly and waiting for me to fall in to stride beside him before we began to make our way across the set. His arm brushed lightly with mine as we walked, the back of his hand dusting the skin of my own with each step he took. Both of us were acutely aware of the contact but neither sad anything about it, instead choosing to continue walking unnecessarily close to one another with as much feigned indifference as we could manage.

“Are you not filming today?” I asked as we squeezed past two more trailers.

“No, I’m not in any of the scenes for a couple of days. They are filming some of the opening shots on the beaches and I don’t come into the film until later on” he explained. I opened my mouth to question him further but he glanced at me with a raised brow and shook his head.

“Don’t bother, Fionn already told me not to tell you anything” he smirked.

“Damn it!” I cried.

“But when we met you said you wouldn’t be able to resist if I started asking you questions?” I said, reminding him of our first meeting to which he chuckled and nodded his head.

“I did, so please don’t try cause Fionn will kill me if I say anything” he laughed. I seized my opportunity.

“Does Fionn die in the movie? Does he get rescued? Do you die? Who dies? Will I cry? What were you filming the other day and why were you all covered in some black sticky stuff?” I rushed. In seconds Harry had me pinned against the side of a white trailer, his hand pressed lightly over my mouth. My stomach erupted in a swarm of butterflies and my blood sizzled in my veins. Harry hesitated for a couple of seconds when he realised the position we had found ourselves in but relaxed when he realised I wasn’t going to push him away in disgust. He removed his hand from my lips but didn’t pull away. His breathing was shallow and a slight blush tinted his cheeks.

“Don’t push it Y/N, cause I will tell you everything and Fionn will never speak to me again” he said lightly and I giggled.

“Sorry, it was worth a shot” I beamed. He gazed at me with bright, thoughtful eyes but said nothing.

“Come on” he said softly, pulling away from me and leading us on.

Harry and I watched filming for several hours. Fionn caught sight of us not long after we arrived and sent me a small wave which I returned and made a mental note to hug and kiss him later. Harry explained all that he could without giving too much away, describing the process and equipment as best he could while repeatedly adding ‘I don’t know much about making movies’.

“So this bit is going to be for the start of the movie?” I asked as Fionn once again ran along the sand carrying a stretcher.

“Yeah this is one of the first scenes” he said.

“And why aren’t you in this bit?” I asked.

“Cause I’m meant to be on that boat over there” he said, pointing to a large, white boat in the distance. ‘Oh’ I said with a small nod. There was a moment of silence as someone called ‘cut’ and ran over to Fionn and the other boy carrying the stretcher and spoke quickly to them.

“So did you really come today just to watch some of the filming?” Harry asked after a while. I kept my eyes on the beach full of people before me and shrugged slightly.

“I’d be lying if I said it was my only reason” I said, glancing quickly at Harry who already had his gaze firmly fixed on me. His cheeks flushed and he bowed his head to hide the smile pulling at the corner of his lips.

“I’ve really liked talking to you over these past couple of weeks” he said quietly and I looked at him once more.

“Really?” I asked, the end of my sentence rising in hope and my eyebrows raising.

“Really” he said genuinely with a small nod. I offered him a beaming smile and felt the heat rising in my cheeks.

“Maybe we could hang out, away from set, I mean. We could go for dinner or something?” he rambled nervously. I giggled and he blushed.

“Sure, I think Fionn is getting sick of seeing me anyway” I laughed to which Harry grinned.

“No, I think he’s just getting sick of the hugs and kisses” he joked and I erupted into a fit of laughter. Harry watched with glittering eyes and a small smile on his lips.

“Yeah he doesn’t like that” I chuckled finally, wiping away a small tear which had leaked from the corner of my eye.

“No he doesn’t,” he said, “I wouldn’t mind it though” he grinned cheekily and I giggled, reaching up on my tip toes to plant a gently kiss on his cheek, much more delicate than the ones I give Fionn. Harry’s face blushed scarlet and I smiled.

“Hey, Y/N!” someone called from the beach. Fionn was making his way towards us and gestured for me to come over to a small set of steps down to the beach.

“I better go see him” I said gently to Harry. He nodded and offered me a small smile.

“So, I’ll message you later about dinner, yeah?” he asked and I smiled.

“Yeah, I’ll send you my number” I said lightly to which he grinned. I took a couple of steps around him and headed towards the steps where Fionn was not waiting patiently at the bottom. I turned back as I reached the first step.

“Oi, Harry!” I called to grab his attention, his head snapped towards me and he raised his eyebrows, “see you around” I grinned. His smile beamed so bright beneath the sun I forgot how to breathe for several seconds.

“See you around Y/N” he said.        

Thoughts on Strange Magic

Thoughts on Strange Magic

I love Strange Magic so much! It’s so different - a jukebox musical heavily laden with singing and fairy fantasy calendar visuals. The commitment to this artistic vision is breathtaking, and risk taking. There’s just nothing else like it.

I mean, if you actually saw some of the scant promotion for Strange Magic, you might have noticed the fantasy calendar visuals. But nothing could prepare you for the amount of singing in the film because it’s so far outside what you could reasonably expect. Apparently the film makers even considered making it sung through entirely.

(I’m kind of hoping that unnamed Lin-Manuel Miranda Walt Disney Animation Studio feature will do this, but of course with original music/lyrics rather than jukebox remixes.)

The risk of trying something way out there is that people might reject it. That’s pretty much what has happened with Strange Magic and I think that’s a shame. But if you give the movie a chance, it’s a really trippy fairy fantasy that has the whimsical dreamy feeling of A Midsummer Night’s Dream and grounds it in compelling characters with solid motivations.

The use of singing produces, at times, a weird surreal effect because it’s sometimes unclear whether the characters are really singing, or if it’s oblivious “musical” singing. Since these characters are fairies rather than humans, it’s entirely plausible for them to actually go around actually singing all the time. But then it’s weird when the Bog King says “At least you’re not singing”, and then a minute later he’s joining in the song he seemed to initially to shun. This confusing ambiguity accentuates the fuzzy transition between sword fighting and dancing together.

The duet/duel itself is something different. It reflects feelings that are similar to things like Esmeralda’s fight with Phoebus, or Megamind’s banter with Metroman (or, I’ll grudgingly admit, Roxanne…Metromind forever!). But in the form of a singing duet? I really can’t think of any precedent.

Later, it gets sublimely surreal when the movie eases into the titular duet of “Strange Magic”. The movie seems to transition into true “musical” singing, where singing is exposing Marianne and Bog’s inner thoughts rather than them actually singing. But it’s ambiguous, in a way that accentuates the surreal change of pacing and visual attitude (it literally shows the previously scary things of the dark forest in a new light).

This second duet is leisurely and dreamy, evoking the ethereal flight of Lois Lane and Superman. Oh, did I mention that there is a lot of singing in Strange Magic? Well, there is. And that’s how we’re able to enjoy three very different feeling romancing duets between the protags.

The third one is at the end, capping the movie off with an unabashedly trippy introduction of a kaleidescope effect. Because of course! I mean, why not just go all out, and go out with a bang?

Fundamentally though, Strange Magic is a movie about a love potion. Crazy hijinks ensue, but by the end of the night everyone lives happily ever after. But George Lucas fills in the big factor that was missing in A Midsummer Night’s Dream - characters that we actually care about. There’s no shortcut to that, so the bulk of the movie builds up the characters and their relationships so we love them and love seeing them bounce off each other. (Even the villain, who we love to see get put in his place.)

Each character has a core motivation that makes it easy to root for (or against) them. Marianne loves her sister Dawn. Dawn is boy crazy. Dawn’s best friend Sunny is hopelessly in love her. Roland wants an army, and is only interested in marrying Marianne so he can get that. Bog hates love and the chaos it causes. Bog’s mother wants him to fall in love. And so on.

Strange Magic is not a movie where tension is driven by a real sense of danger. You know everything’s going to work out in the end. The tension is driven by magic and love - or really, the magic of love. So, building up the characters and showing by their actions what they care about, we get a real connection with them and feel for them. There’s particularly an interesting disconnect between what Bog says about himself and the proof of his every action and instinctive expression. He sings that he’s “evil”, but his actions betray someone who is instinctively caring even to strangers he finds annoying.

The movie has been billed as a “Beauty and the Beast” story where the beast doesn’t change. But honestly, that’s more just a hook and a recurring vibe. Still, it’s fun seeing how Strange Magic deviates from Beauty and the Beast:

1) Learning to love: Strange Magic doesn’t confuse things by making either protag need to learn to love. They’re both had their heart broken, but they’re both basically doing okay single. Ironically, the fact that they both hate love at this point in their lives is one of the things that draws them together.

2) Transformation: There is a transformation, actually, but it takes place well before the protags even meet. Marianne starts off pretty much the sort of princess who is really not Bog’s type. She only unwittingly transforms herself into the sort of person that would catch Bog’s heart after her fiance breaks her heart. This transformation takes place over some time, since she trains herself into a strong sword fighter against a virtual knight to vent her frustrations.

Speaking of that virtual knight, it’s a fun callback to Sleeping Beauty. In Sleeping Beauty, Briar Rose dances with a virtual prince that’s made up of her woodland creature friends. Then, she dances with her Phillip while singing a duet. In Strange Love, Marianne learns how to sword fight dueling with a virtual knight made up of her tiny fairy spirit friends. Later, she’ll sword fight with Bog in a fight that becomes more like a dance, singing what becomes a duet.

3) Imprisonment: The “beast” does imprison Marianne’s sister Dawn, but Marianne doesn’t offer to take her place. The real prison is a result of the love potion, not the physical cell Dawn’s held in. Bog and Marianne try to free Dawn together.

4) Beauty: Neither protag is physically hideous nor is either transformed to become “beautiful”. This helps to not confuse the message about how it is to fall in love with someone’s mind or spirit rather than one’s appearances. Bog mistakenly deduced that he was too hideous to love, but that turned out to be a misinterpretation. And while Marianne isn’t physically his ideal type, neither does he consider her ugly.

Ultimately, there are so many deviations for Beauty and the Beast that it’s really more of A Midsummer Night’s Dream with some Beauty and the Beast ideas sprinkled in, than a BatB story.

So how does it compare to A Midsummer Night’s Dream? Well, I feel that A Midsummer Night’s Dream lacks characters that we really care about. Puck’s silly love dusting and magic produces silly pairings for comedic shock value, but little else because I don’t think we’re given much reason to care about what happens to the characters.

In contrast, Strange Magic concentrates almost entirely upon just one usage of the love potion. By devoting so much attention to this one usage, and making it clear how much chaos and stress is produced just from that one love dusting alone, the movie successfully amplifies the impact of the ridiculous love dusting chaos produced by the Imp.

So, the story spends a lot of time building up the relationship of Marianne and her sister Dawn. It takes time to really show us how much they care for each other. It’s essential to the story because it makes it natural for Marianne and Bog to go from fighting to loving. It seems Marianne really did enjoy their fight, but her higher priority is clearly her sister. It’s only as it becomes clear Marianne and Bog are on the same side when it comes to curing her sister that it becomes more than just a spark of natural chemistry.

A Midsummer Night’s Dream is framed within a lover’s tiff between a husband and wife, but we don’t have any emotional reason to care about them. The lover’s tiff in Strange Magic takes place near the end, after we have grown to care about the characters and their relationship. As they note in Spinal Tap, such a fine line between stupid and clever.

Oh, and one final random thought - I really appreciate how the central romance in Strange Magic is between two characters who aren’t experiencing their first love. They both have enough life experience feeling the crushing pain of heartbreak that they treat Dawn with tender care, at least. The result is that both characters are jaded and have made mistakes, like Megara from Hercules. But neither is broken out of a funk by the adorkable naivete of a manic pixie dream girl/guy. Rather, they just happen to feel a lot in common because of where they’ve been and where they are in their lives

I really appreciate that defiance of trope, and it’s another thing that makes Strange Magic so different.

Hey @anti-tony people I’m not sure if you know about this but marvel actually did a trilogy of like. super low-budget student-film type movies that go into a lot of Tony’s backstory and if you haven’t seen them that’s probably why you don’t know about any of Tonys character arc or just. general details about him as a person and his motivations over the past decade! I’d really recommend watching them so that everything makes a little more sense. The first one is like a little over 2 hrs long and apparently they didn’t even have a solid script or anything, and marvel was super nervous about hiring the lead actor, but I thought they turned out pretty well!! Anyway the first movie was released in 2008 and it’s called Iron Man and

On Justice League

I’ve just come back from the movie, and here are the figures. (very slight spoilers)

10 upskirt shots. Two down-boob shots. A fair few completely unnecessary shots zooming or panning with Diana’s hips/butt/upper thighs in the extreme foreground. One Barry faceplanting into Diana’s boobs.

Uncountable Amazons dressed in bikini armour.

Yes, my twin and I double-checked each others’ counts. We only started counting because there were three extended upskirt shots of Diana within the first three minutes of her appearance.

Note: By upskirt shots, I have excluded those quick ones you might see in fight scenes. So a kick or a pan here or there were fairly discounted. Even Hippolyta had an arguable upskirt shot if you counted one moment when she was sliding under something - we didn’t count that one. I also counted a shot with Diana’s tight-trousered butt very uncomfortably taking up two-thirds of the shot.

Oh, and this quote:

“The banks jump like cougars if you miss a dime.”

You’ll never guess who said that sentence.

Clark’s MOTHER.

*applause*

Okay, all in all, it wasn’t a horrible film. A solid 2.5 stars out of 5, really. The problem both my twin and I had with it was that after seeing Wonder Woman, you really can’t help but notice the difference. What is there to be gained by stripping the Amazons of their warrior armour in favour of what the ironettes (Iron Man 2′s dancers) wear, or starting many shots where Diana entered a scene by placing the camera at hip level or lower? Is there a point to all this? Does it make a better movie?

No. No it doesn’t.

I’m not saying you shouldn’t watch the movie. It was fairly enjoyable in its own superheroey way. But given all of the above, it was just somewhat…saddening.

my jse ego theory

Ok so 

I was thinking about all the jacksepticeye egos, and how they’re all connected. Stay with me here. 

Firstly, we need to go over what we know about the egos. We know:

1) Dapper is just Anti in disguise. We know this because during the “glitch” part of the silent film video, he’s seen ripping off his mustache. This is a common trope for villains revealing their clever disguises.

2) Dr Schneep tried to save Jack and is the nemesis of Anti.

3) Jackieboy Man is the cool-ified version of Jack (see the Cool Patrol music video.)

4) Chase Brody has a family. We also know that Anti may have corrupted him.

Additional information we know:

1) Anti can travel through time and possibly to alternate dimensions. The only reason we know this is because Jack liked a tumblr post that talked about this. Sure that’s not really solid validation, but I’ll take it. The alternate dimensions part is important.

2) Anti is possibly triggered by Jack injuring himself. Alternatively, him cutting his finger in the silent film video could have been intentional by Anti.

With alternate dimensions and time travel, consider this:

Usually I don’t like talking about Rob Zombie because personally I don’t consider him an ego. However, since the rest of the community does, what about this: what if Rob Zombie is Jack after Anti killed him.

Think about it. Anti has killed Jack twice now, but Jack is still tickin’ and making videos. How? Because Anti killed him in alternate dimensions. Rob Zombie could be Schneep’s attempt at saving him in one of those dimensions. Almost like Frankenstein.

And what about Marvin? The magnificent magician who has it all. The charasmatic and successful man that everyone loves, yet always concealed behind a mask. Capable of amazing and impossible feats. What if Marvin is the successful version Chase Brody from another dimension? Chase, the man who could never pull off impressive tricks or make anyone love him.

And all of this, pulled by the strings of the Puppeteer. Antisepticeye himself. The demon who can manipulate time and space, fueled and brought to life by our own blind admiration. The being that never fails to remind us that he’s truly in control, that he’s here now, not Jack. Because that’s exactly the point. 

We’re all just going in fucking circles.

Homemade Fertilizer

Can’t afford to buy fertilizer or just want to make your own? Here is my magic plant juice recipe (proven to yield awesome results)!

You will need:
- A clean jar
- Banana peels
- Egg shells
- Used coffee grounds OR tea bags
- Coffee filter / paper towel (for straining)

1. Chop up banana peels.
2. Clean egg shells of any remaining yolk and/or film.
3. Collect used coffee grounds (or used tea bags, if you don’t drink coffee).
4. Place all of these in your CLEAN! jar.
5. Top with water. Close jar and shake it up nice and good.
6. Leave it alone in a cool, dark place for about a week.
7. Strain the solids.
8. Keep refrigerated. Or don’t. Personally I just leave it a cool, dark corner of my studio. Just make sure to keep it out of direct sunlight.

* Use fertilizer full-strength on plants that really need a boost. Otherwise, you can dilute it with water.
* Banana peels are full of macronutrients like potassium and magnesium, eggshells add calcium, and coffee grounds add nitrogen.

Now go forth and get your plants drunk and happy!!!

“Caitriona is in New York I know and it’s snowing and she’s cold and miserable, poor thing, I miss her greatly.“ 

-Youtube Greetings 2015

Obviously I sort have missed my partner in crime but it’s not that long, until  he’s driving me nuts once again.

  -ECCC 2017

Since you two have been such close partners on this whole experience, what was it like to go on without her?

Yeah. Honestly, it’s like having a death in the family. Well, I don’t know, I mean, it’s just like a different show. It’s hard to separate yourself from the character. Jamie’s present, living in his world, and Claire’s present and living in her world, and they both believe the other is dead. It’s always hard when we’re apart, actually, because she’s a great person, great to come to work with, and a very good actress. But I think it all adds to the reunion—if there’s a reunion, or when there’s a reunion—well you know there’s one in the books. It should be very special.

When I talked to Sam last week, he said filming Season 3 without you was “like having a death in the family—”

Och! He’s already killed me in his mind. Gone. Too sad.

What is it like for you to shoot without Sam?

It’s really strange! Sam and I obviously have worked so closely together for the last three years. Even when I was filming some stuff with Tobias  it was never solid blocks where Sam and I wouldn’t be working at least a couple of days in between. I definitely miss him. The other day we were in the makeup trailer right beside each other, and we’re like, “Oh, you’re off to your world, and I’m off to my world.” It’s very strange… I think pretty soon we’ll be back together, and he’ll be sick of the sight of me.

-Vanity Fair 2016

anonymous asked:

Can I just say, I feel like I'm the only one that's extremely irritated with the whole moving theories? Like it's great if they are but in all seriousness, there's a lot to disprove them moving, specially right now with everything going on(vaca). And moving is something serious, not some secret project that doesn't have to be acknowledge right away like moving would. Why the fuck would they be so hush hush over moving? There's no need to?? And dan said he's redecorating his room SOO... no move.

fair enough. idg why it’s the foundation for so much discourse to be honest. if they move they move if they don’t they don’t. they inevitably will eventually bc they’ve said themselves that the house is too small for all of their things. so it’s rly more a matter of “when” and that seems v uninteresting to me overall to be frank

edit: since yesterday i’ve been thinking about the wholly inadequate answer i gave to this ask. not only was i a bit condescending in my response (and i want to say sorry about that bc i didn’t intend for my tone to be laced with so much judgment … of course it’s valid to be interested in if/when they’re moving and think about what it could mean for them,) but i also didn’t even really respond to the question that this anon posed and i feel really bad about it (which is also why i realized i should probs log off and not try to answer much else, since i was not in a great place to be thinking about this stuff.) 

i do want to try and respond better tho to the question of why dnp would “be so hush hush over moving” (though i apologize in advance since u said you’re feeling irritated by the moving theories. this is a full on explanation of all the evidence that supports that theory.) the first point i want to make is that i actually don’t think they’re really trying to keep it hush hush. they’re obviously not outright stating that they’re moving, but dan especially has made several allusions to that notion over the last few months, many of which seem to have been forgotten in the overall discussion happening in the fandom right now. there were all of the needing storage mentions of course, and then the explicit statement in that january live show that “getting more storage” was definitely on the agenda for 2017. that could obviously be an innocuous statement, but with dan’s extensive knowledge of phandom discourse, the chance seems slim that he didn’t know that “getting storage” was being used as a way to talk about moving. then there were all of those subtle mentions about how long they’ve lived in the flat–i think on 2 or 3 separate occasions dan brought up that he couldn’t believe they’d been there for 5 years now. there was also the mention that he wants a new piano, and that that was something he would do this year. again while it’s possible he meant getting a new piano in this flat, he’s also stated in the past that the piano has been in that apartment since it was constructed and it just seems more feasible to accomplish that goal in a new place? and he also stated in january that after filming a lot for dapg, the early part of 2017 would be dedicated to “life things.” and, finally, with respect to yesterday’s live show, if they’re really trying to keep this some enormous secret dan would’ve tried a lot harder imo to hide the absence of the wirrow painting and the shit on his bedside table. or he would’ve waited until after the tuesday live show to get the stuff moved. or he would’ve canceled the tuesday live show altogether, especially bc he had a pretty solid excuse in being swamped with pre-travel preparation (he even made it seem like a possibility that he wouldn’t stream today during the joint live show last week.)

generally, i do think there are a number of reasons they would want to keep it mostly secret (the pressure from millions of people openly speculating about it, drawing conclusions from it, expressing their heartbreak bc of their emotional attachment to their current flat, etc. seems like an incomprehensible stress on top of the already stressful process of moving.) but i also think it’s important to note that they’re not really trying very hard to eliminate speculation on it either. in my opinion, they seem more like they’re attempting to lowkey prepare people without outright stating it so that no one who is seriously invested in them and their personal matters (aka the ardent live show watchers) can truly claim to be shocked or surprised when it happens. i mean, just look at their tags here on tumblr rn–if they were aiming to keep it “hush hush” i would say they miserably failed. if, however, their goal was to tell people subtly without confirming it outright,, then they clearly succeeded.

overall, since dnp have always been people who seem to make every decision and statement with so much premeditated thought, the easiest explanation of all of the past statements i’ve listed (and yesterday’s very pointed “you could say i’m relocating it … one could say” …. like rly if he’s aesthetically rearranging his current bedroom why that sketchy “one could say” addendum? it makes literally no sense in that context) is that they’re moving. i also don’t understand why it seems like such a ‘reach’ to people. they’ve lived in that flat so long. they’ve talked about needing more space for so long. it just seems very logical to me on every level that two people with their level of intertwined living and their financial capacity would take this relatively chiller time in their professional lives to do something about their struggle w too limited space, the annoying loudness of their street, their leaky gas pipes, their overbearing landlord, etc. etc. and “see if there’s a better way to live” (also dan’s words from earlier this year, in case ppl forgot) 

in short, all of these things seem to make at least a reasonable case for them moving (and moving soon), and  all of dan’s talk about aesthetics and new backgrounds for his videos, plus asking viewers to send him “palettes,” are easier explained, imo, as just a bit of (adorable) excitement around the upcoming process of redecorating in a new place. he’ll still need to think about how to arrange his furniture and what sort of decorative pieces to add to his background in this hypothetical new place, obvi, and he never explicitly said the words “i’m redecorating this bedroom that i currently inhabit.” moreover, that they’re moving and some of their stuff has already been packed away explains all of the sketchier elements of the show in a much cleaner way. for example, why was dan’s excuse for using his phone that the mouse to his “laptop” was dead? do they not have batteries? do they not have other computer mouses in their house? (they do. like at least 2 if not more.) why would not having a mouse, if that was even true, necessitate him sitting on his bed with his phone? why not use his laptop? or if that’s broken too, why not use phil’s laptop as he has done before? using a phone seems like the most inconvenient solution, and sitting on the bed with that phone seems doubly inconvenient. like, let’s say all of the other tech is packed away for their trip or dead or broken and his only option really was his phone … why did he choose to sit on his bed? something he hasn’t done in a live show in literal years? something that is so clearly uncomfortable? wouldn’t it have been easier to sit at his desk with his phone leaned against something? and then obvi why the weirdness with the painting? why the empty bedside table? also, why will phil be unavailable to do a live show until the 25th if the aus convention ends the 15th and, by dan’s own words, they’re coming home before going to florida? 

i really think the simplest explanation to all of these things is that his room is being emptied and he didn’t want to show us, they’re in the process of moving some stuff out, maybe all of it, so that they’ll be totally relocated in the coming weeks. i think the notion that he was talking about rearranging his room makes much less sense bc then he would’ve just directly said “lol i’m rearranging my room right now and i need ideas and also that’s why the painting is gone.” there was literally no reason for him to be so weird and unclear about it. that they’ve been house-hunting and packing shit up would also account in large part for their apparent busy schedules and stress over the last few weeks. it would account for why dan has made so many allusions to being tired (rmmbr “i’m so tired … i don’t know why … actually i do know why”?? rmmbr him clarifying at one point that he was “physically” tired??? hmmm.) 

obvi everything is speculation at the end of the day, i could be totally wrong on all of this and dan might just be a crazy person who says random misleading shit for kicks, but i guess overall i’m just a bit confused why the idea that they’re moving is being treated like some sort of outrageous tinhat theory when: 1. there have been so many signs pointing to it 2. it just makes sense for them at this stage of their lives, and 3. they’ve seemingly not tried super hard to hide it either.