this was filmed in hong kong right

Pointless Fighting Game Trivia of The Day: Soul Calibur the Movie

In spring 2001, the plans for a Soul Calibur movie were supposedly in development. A more surprising fact about the Soul Calibur film was who the film’s director was going to be: Sammo Hung. Hung is a well known martial arts film star, choreographer, and mentor to many in the Hong Kong Action Film Genre. This film would have been his first major time directing a film. Eventually, Hung stepped away, and in 2004, rights were moved Anthem Pictures for a 2007 release. At this point, the film had teaser site, featuring the image above, and Nostradamus quote. Again, it never got off the ground, with the teaser site remaining active for years before it too was taken down.

Bonus fact: Sammo Hung, specifically in his role in the film Pedicab Driver, is the inspiration for Bob in Tekken. Thank you @lordmo for that factoid.

Originally posted by dario-lucio

Originally posted by tekkentagtournament-gifs

hellooo rising seniors!! so junior year just ended (hope we all finished strong) so senior year first semester (i’ve heard) is going to be super busy and it’s best to start work earlier.  so here are my tips / what i’ve been doing

  • have a college list in mind
    • i think it’d be best to consolidate a list before school starts 
  • read the common app essay questions 
  • register for your common app account 
  • read some books!! this isn’t a must to do but some college apps ask for your favorite books so it’d be good to read some more
  • brainstorm some memorable moments in your life that may have changed your prespective etc 
    • it would be good to mind-dump all of these ideas before the school year starts to make the writing portion of college apps to be easier 
  • IF you will have standardized tests to take (if you got caught in that June 2016 ACT Cancellation in South Korea / Hong Kong - i feel you, it sucks) keep studying/reviewing - look at this cancellation as a way to just keep on improving! 
  • RELAX! best tip here - honestly before this school year starts take a break 

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Rurouni Kenshin Fight Sequence Analysis: Choreography

                                           Elements of Cinema

The most popular elements that passionate fans and dissenters of the RurouKen film trilogy all seem to agree on is that the action scenes are awesome. Dissenters usually say, “just watch it for the action.” This always struck me as a strange thing to say. I think it’s because it was always intended to be a slide against the film, as though to say, “The only thing the films did well was the action,” similar to how some might say, “Watch Transformers for the special effects.” 

This actually got me thinking, though. What makes a fight scene? If we broke down a fight scene to its cinematic elements, if we peek behind the curtains, what composes the fight scenes that everyone, including dissenters, would argue is this film trilogy’s strongest element? And to it’s fans, what makes it better than its competition? What did Team Otomo just get right?

The truth is, those questions are gateways to more questions; film is different from any medium because film is alive. It’s evolving, moving towards new directions, restructuring old words and phrases to create beauty and meaning in new ways. RuroKen is no different, but if we’re going to understand how these elements congeal together to create the magnificent and electrifying action sequences fans of this series are going to enjoy, we need to understand those elements in their own isolated contexts. There’s a lot to keep track of, and a lot of these posts will overlap with one another since film is collaborative, so always make sure to come back to previous posts to freshen up and see how things come together. 

Also, if we’re going to understand what Rurouni Kenshin does well, we sometimes need to look at how other fight scenes are crafted, sometimes to terrible results, which means we will occasionally be drawing on other fights from other films and TV shows.


The Dancers of Cinema: Choreography and Action Direction

This post MAY contain spoilers for the following: (you’ve been warned guys):

  • Game of Thrones Season 4
  • Rurouni Kensin trilogy
  • Star Wars The Phantom Menace

The most obvious and exciting element of any action sequence is choreography. This doesn’t always apply to just fighting; stunt coordination, chase sequences, and so forth, require very precise positioning between the actors and the camera to capture the intended effect of that sequence. To a choreographer, also known as an Action Director, designing a fight sequence can be more than just exciting violent titilaton; it can be a valuable lens of which to view our characters. 

The Action Director in our case is Kenji Tanigaki. Bringing his flair and experience from working in Hong Kong and Hollywood action films and working with some of the biggest names in action cinema such as Jackie Chan and Donnie Yen, Tanigaki-san works closely with Otomo to make sure that everything goes well and ensures the actors are perfectly safe. He is also responsible for making every action in the film cinematic and crisp visually. This can get very elaborate and set up varies between directors, but the end result, if done right, is usually incredible. Even his peers respect Tanigaki’s skill; look at this tweet from Gareth Evans, director of The Raid and The Raid 2. (Warning: Language)

First thing they need to make sure they have right is the casting and action team. The actors typically are the ones that need to do these moves to feel authentic. This isn’t universal and can vary depending on director or production team. This mostly commonly in American or Western productions as these actors are often high profile and the right actor isn’t always the best fighter even with training and 6 months isn’t enough time to make them look good. What’s worse, not training seriously can result in injury, which might interfere with scheduling for other shoots that actor may be doing.

In these sorts of productions, especially those with a tight shooting schedule, they will cast stunt doubles to do the more complex movements that the character might demand but the actors are unable or unwilling to do (Unless you’re Leo DiCaprio and your director is Alejandro Gonzalez Iñnarítu). Here’s an example. This is from Episode 8 of Game of Thrones, “The Mountain & The Viper” (Slight spoilers).

Originally posted by freakyharmony

Here is a set piece clothed with a flurry quick cuts of multiple angles (coverage) of a single piece of choreography done in several takes. We’ll discuss this particular editing style in the Editing section of my series, but the point is, it looks really cool. Pedro Pascal (The actor for Oberyn Martell, this particular character) begins and ends the shot, and it looks as though it were him the entire time until we zoom in. 

Now this isn’t necessarily bad or even terribly distracting if done right. It’s an insurance policy for the actors since fight choreography is extremely exhausting work and training for months on end might not be enough or even an option, especially for the tight shooting schedule found in the production of Game of Thrones. 

This small excerpt took a lot of designing, practice, and rehearsals, not just by the stunt team and the actor/double, but for the crew behind the camera. They probably had to do multiple takes, some with Pedro and some with his double, and edit it rapidly together. They also set up coverage from multiple angles for the editor to have as much footage as possible to assemble an acceptable cut. It’s pretty tiring work just for one seemingly tiny little throwaway and inconsequential piece of choreography.

That being said though, the small bit can show us a lot about the character of Oberyn Martell himself, so it definitely has a place here. Oberyn is pleasing the crowd, showing off his prowess to his audience and THE audience. He’s a bit of a cocky guy so it fits right in with his character in my opinion.

I bring this up to create a negative because this is something Otomo and Tanigaki ACTIVELY avoid. Let me explain.

In Otomo’s action scenes, the emphasis is more on the actors rather than the the movement of the character. His blocking (the arrangement/placement of elements such as characters and objects within the frame) for fight sequences mirror the standard coverage of a conversation with two or three cameras depending on the set piece. Once again, I’ll explain in detail later, but what this is meant to bring up is that his emphasis, as is the emphasis with dialogue scenes between characters, is character.

What I mean is that the camera is usually emphasizing the face of his actors along with their individual movements to show the audience their state of mind and also to show the audience that it’s the actors doing the movements.

 This helps increase immersion, as well as simplifies shooting because the cinematographer (Director of Photography or DP) has a bit more freedom to shoot naturally rather than manufacture angles where we can introduce a stunt double and return to the actor in editing. I refer back to my GOT example. The editing cuts between wide angle and long dolly shots to make sure we can’t see the stunt double’s face as we return to a medium shot before and after the little stunt is done is something Otomo isn’t keen on and neither is Tanigaki.

                     The Men and Women Behind the Moves

A fight sequence is a programmed dance, coordinated moves and visual cues that must be hit for maximum effect but to actually be effective, it needs to seem completely organic and representative of the person fighting. The fighting moves need to come from characters themselves and when done right can illustrate a lot about a character. 

When the choreography comes before the character and feels too rehearsed or unnatural, you can actually distract from the drama of the scene as well as offer no insight visually about the characters fighting. Consider the Star Wars Prequel Trilogy. 

This may look cool because its fast, the moves are flashy and elegant, but from this small bit of choreography and the entire fight itself, we can’t really tell anything about these characters. We know one’s evil because of the color of his light saber (we’ll discuss this in another post), but beyond that, we don’t actually know Darth Maul or how brutal he is, other than he’s ready to kill Obi-Wan’s master and does so. Aside from the cool costumes, there is nothing that visually separates these characters from one another in terms of skill or style. 

Compare this with  the first fight sequence of the first live action movie. Ya’ll know what I’m talking about.

Originally posted by suzuyajuzoo

This fight sequence delivered a lot of critical information we needed to know about Kenshin without him having to say a single word. In the opening text of the film, we’re told of the Battousai’s legendary cruelty, but to see it was a different story. His fighting style tells us three crucial things:

  1. He’s fully equipped to fight and overcome multiple opponents at once, emphasizing his use as an asset in the war effort. He’s fast and kills efficiently, stopping neither to torture or gloat. He neutralizes the threat as quickly as possible.
  2. He has high manuverability to get in and out of his opponents space, suggesting master level swordsmanship skills, especially since he is the only character in the entire scene that we’ve seen with this proficiency. 
  3. He economizes his movements, so there is no motion goes to waste signifying he is ruthless and very efficient in killing. Notice how in the gif above he cuts one opponent and it smoothly leads into him facing the next. He is every bit deserving of the legend we’re told in the opening text.  

Originally posted by suzuyajuzoo

The interaction he has with Saito in this scene shows us that they’ve had multiple inconclusive encounters on the field and Saito managed to survive them, subtly signifying to us that Saito is at the very least his equal, which becomes important given what motivates the forthcoming action scene 10 years later where he completely dominates Kenshin and cuts his shoulder with the Sakabatou. 

 This is an example of how fight choreography can go beyond being cool action and can actually be a tool to help tell the story (the second half of this series will be focusing on just that). 

Originally posted by sexe-fitness-problemes

Later in the film, after these two same characters reunite 10 years later and have a duel, Saito brutally overpowers him. In contrast to Kenshin’s manuverability and speed, Takagi-san designed Saito’s moves to utilize his weight as he’s physically taller and stronger than Kenshin. He’s not as fast but his strikes hold an insane degree of power as we see when Kenshin attempts to parry and Saito manages digs the blade into his shoulder. Saito gives Kenshin a significant amount of trouble and this piece of choreography shows us that Kenshin’s skills have greatly diminished from the opening action sequence. He’s rusty, and if he fought Saito for real, he’d likely die. This once again factors in the story as it sets up Jin-e’s plot at the end of the film to draw out Kenshin’s fighting ability through sheer anger by emphasizing the difference between Kenshin’s current skill and that of his former self.

Another example where choreography transcends its role of entertainment and spectacle and becomes a form of visual storytelling is when fighting Gein. Notice how Kenshin seems to be having trouble here, but after Gein begins to aggravate Kenshin, we get this:

We even get subtle foreshadowing as Kenshin cuts his nose. This foreshadows what he’ll do to Jin-e when he gives him a similar wound after Kenshin is slowly beginning to revert back to the mindset of his assassin days. Even if you don’t have subtitles and have never seen RK before, you can grasp what’s happening just from the visuals.

My absolute favorite example of how choreography can be a powerful indicator of characters and their state of mind is the final fight between Kenshin and Shishio. (The video is below, please check it out before reading on).

Let’s talk about this brutal bastard for a moment. This single fight right here lasts about 2 minutes in the film and to the amazement of everyone, it is one of the most brutal fights I’ve ever seen on film (and I watch A LOT of martial arts films). 

We see glimpses of his utter brutality earlier in the second film when we watch the flashback of Shishio at Toba Fushimi. 

This scene actually sets up about as much crucial information about Shishio as it did Kenshin:

  1.  He is ruthless and unrestrained; his moves emphasize the maximum amount of pain and brutality, ensuring suffering in his opponents before they die.
  2. He fights dirty, not being above using human shields and considers life expendable.
  3. He takes sadistic pleasure in humiliating his opponents, as seen when he stomps on an opponents head and presses their faces into the dirt as he brutally impales them.

When Kenshin-gumi finally arrive to challenge Shishio, we see Shishio’s choreography speak volumes about him.

In the small clip I’ve posted below, we can see that Shishio is psychotically brutal. He isn’t graceful or formal, he lacks all the elegance of Kenshin’s fighting style, and he is sadistically toying with his prey like a cat taunting a mouse. He is less interested in slicing Kenshin as in a formal duel and more interested in repeatedly bashing his flaming sword into Kenshin’s face or pummeling him into a pile of red-headed pulp. He makes no effort to dodge Kenshin’s moves. He reacts to the pain they cause, but instead of deterring him, they excite him. He isn’t above pulling dirty moves like slamming Kenshin repeatedly against a wall while chuckling, or biting a chunk out of Kenshin’s neck. He’s designed to be the exact opposite of Kenshin. 

Tanigaki, when planning a scene of this magnitude, needed  to take into account several elements that can impact what the audience needs to know about these characters. How long has Kenshin been fighting? Is he injured? Shishio, is he ready to fight? Is he reluctant, eager? How would Shishio fight? Does he fight with a flowery style like Kenshin? Is he evasive or does he just take hits and overwhelm his opponents? 

These kinds of questions are some that he needs to ask and work out with the director and actors on set to figure out the fight scene and choreography.  It’s not an easy job. After his stunt team performs it and does camera tests to show Otomo as well as be prepared to revise if Otomo and his DP want to place the camera in certain places, the set of moves are then taught to the actors who interpret them in the context of their character, and then perform them in excruciating detail. Just imagine he nightmare he went through filming the four vs one fight scene at the film’s climax. I think that fight scene deserves its own post some day. 

                                     Reality vs Cinematic Realism

As impressive as they may be, the final obstacle a choreographer must deal with is the camera. Some moves may be practical, but they don’t look good on screen. The moves need to test well for the camera, which is why there are cameras present during rehearsals. 

This helps the director and the cinematographer know in advance what the shot is going to look and give feed back to the Action Director to adjust certain moves if they don’t test well or are illegible on screen. That being said, sometimes this means certain moves need to be exaggerated, heavily expanded on, or redone entirely, which may not be in accordance to the real life basis of those techniques. The biggest example of this is actually a fan favorite technique… The Battoujutsu that Kenshin earned his name sake for.

This looks good. In real life though, this stance is incredibly impractical, and to help me illustrate that fact, I present you real life superhuman Iaido master, Isao Machii.

This is the real life Battojutsu stance. Notice how different it looks from Kenshin’s.

Originally posted by silenthill

This is the technique performed:

Originally posted by marshallastr

Why did Otomo and Tanigaki change it? I mean, it doesn’t look to bad right? This all ties in to how Kenji Tanigaki choreographs and speaks to the main element that TeamOtomo emphasizes throughout all of these action sequences: Drama. Drama comes first and in good cinema, drama doesn’t just stem from the writing; it’s also visual. Kenshin’s stance is very exaggerated compared to Machii-san’s because Hiten Mitsurugi was designed for the camera. This may be obvious to some, but remember that the next time we see a film with unrealistic choreography, it might be because it looks better. 

Don’t misunderstand though, Machii-san is extremely impressive, but on film, it doesn’t have the same gravitas or dramatic flair it does in RK. This is because Machii’s battojutsu is designed to actually kill; it’s a practical move with no room for flair.

 Tanigaki probably adjusted the stance because, arguably, it’s not as visually interesting and doesn’t work as well with the camera  because its much too practical and restrained. Otomo envisioned the Battojutsu strikes to carry a lot of narrative weight, and Tanigaki has to interpret that with considerations to the camera. You might think, “well, I thought Machii’s looked cooler.” Sure, you may be right, but it wouldn’t work on camera the same way Tanigaki’s “Sou Ryu Sen” does. How do I know? Because we actually do see Kenshin perform Battojutsu accurately.

Originally posted by pedroam-bang

This is what it would probably look like this in real life, which works for this particular instance. Our reaction is probably like Eiji and Misao’s in the background. But when Battojutsu becomes the point of the whole fight, the finale or the ultimate technique, it can’t look like this. It needs to be dramatic, it needs to be cinematic. Compare with this: 

It’s slow, the stance is heavily exaggerated but the tension rises. The slow moves emphasize this epic moment; because we know there’s going to essentially be an explosion of motion, the slow build up tenses us with anticipation. We know these two are going to go at it, and the exaggerated stance tells the audience visually, even if you have no clue what battojutsu is or looks like in real life, that this is serious and this moment is climactic. 

The choreographer doesn’t just have to adapt the movement of characters to look good on camera, they need to make every move cinematic to fit the tone of the scene. They need to design a move after carefully considering whether or not it looks good on camera. Multiple camera tests are needed in order to ensure they get the look just right and months of planning go in, just to film a tiny little scene like this battojutsu duel. Impressive, huh? 


                                               Final Thoughts

All in all, Rurouni Kenshin’s choreography and stunt team all work day and night to build an aspect of the visual language of this film. Their choreography spellbinds us, shows us insight to their characters, as well as sets up different tone, and whether we laugh:

Originally posted by takeruandcaterpillars

or cheer:

Originally posted by lynxyz

They are masters of controlling what we see and how we feel about it and if done right can create truly memorable drama without being tied down by dialogue. I have no doubt in my mind Kenji Tanigaki and his team are a large part of why this worked as they took what we loved from the manga and brought it to life with a wonderful stunt team and actors and we should applaud their efforts. 

These are some of the most exciting action sequences to make it to the screen, up there with Bruce Lee films, Ip Man, and the Raid movies. Great action, great drama, and great story telling; that’s what this is all about folks. And this is where I leave you to go work on the next installment; See ya guys!

                                             SPECIAL THANKS 

  • To everyone for reading
  • HYRK for giving me an avenue to write about this wonderful series. 
  • To the people who let me borrow their gifs. I know many of you worked so hard on them and they’re really helpful. 

DISCLAIMER ABOUT GIFS: A lot of the graphics I used are crowd-sourced. I got them from Tumblr’s auto-find system they implemented or on google. If you see a gif without proper credit and its yours and you’d like some credit, please contact me and I’ll designate everyone to your blog as well as give you a credit in this section of the post. 

Does anyone else think they should have changed Patsys hair on her return?

If not the style then at least the colour, we know it’s not her natural colour and i somehow doubt she can get the right dye job done in Hong Kong? They obviously filmed her return at the same time they filmed the rest of her scenes.

It’s just a small thing, but these things do matter.

The Warriors Movie Breakdown

Hey everyone! You as excited for an idea of a warriors movie as I am? Great! Here’s my little note as a person with a BFA in animation and a couple years of film experience already under her belt. Why’s this important to share? Because it means I somewhat know what I’m talking about and these aren't’ all just my opinions.

First of all, the movie’s not happening quite yet. All that happened is Alibaba Pictures bought the rights to the Warriors movies (or any original story or spin-off ideas they want to do with it). It just means no one else can talk about buying and making a movie if they wanted to wait on it. What we need to look out for is when it is GREENLIT, or in pre-production. Alibaba is very interested in moving forward it sounds like, so I don’t think it’ll take too long at least. So, basically, it’d be like if some of us bought a book and haven’t opened it yet. I own it, but I haven’t started working through it.

The next is that a lot of people are really afraid of how a movie might turn out thanks to TennelleFlower’s warriors movie video discussion ( ). While plenty of their points are valid, we still don’t know what parts of the books are being adapted - plus, this technically isn’t an american production and a lot of american film making techniques might not apply. That’s right, Alibaba Productions is based in Hong Kong! They have deals with Hong Kong studios and productions. But, there will be plenty of western influence, as they also have a deal with Amblin. What’s Amblin? Amblin did the Steven Spielburg animated movies such as Balto or an American Tale. While this isn’t a guarentee of a perfect book adaptation, the animation will likely be very lovely and the story should hopefully be very sound.

Unless someone can figure out how to spend all their time and effort and money on making a very true and very long warriors adaptation, this is the best chance we have at seeing our characters brought to life. And, frankly, the only ones who are going to be on the big screen any time soon. And, frankly, even if the movie isn’t completely accurate, hopefully people who see it will want to pick up the books and read for themselves. To be honest, that’s how I read the Guardians of Ga’hoole books, and the movie wasn’t close at all! And, just for the record … Harry Potter managed to do it, maybe Warriors can too. 

This movie will likely take 3 years (at the VERY VERY LEAST){and you better hope it’s this long or this thing was made WAY too fast and probably won’t be very good or well thought through} before we even start seeing previews, so we’ll have time to let them do their thing, thing about it once the hype is down, and just wait and see. Fingers crossed everyone!

Update: There is a video to accompany this post here:

Update 2: Warrior Cats Movie Gets A Studio:

George Harrison and Madonna, Shanghai Surprise press conference, 6 March 1986

Photo: Dave Hogan/Getty Images

“I don’t like people who think they’re big shots.” - George Harrison

* * *

“[George] Harrison was uncharacteristically curt in summing up the two stars. ’[Sean] Penn is a pain in the ass,’ he complained to the Hollywood Reporter. Of Madonna, as quoted in Cleo magazine, he said, ‘All this aloofness and star stuff… it’s bullshit. I’m not trying to be nasty, she’s probably got a lot in her that she hasn’t even disovered yet, but she has to realise that you can be a fabulous person and be humble as well.’” - Very Naughty Boys: The Amazing True Story of HandMade Films by Robert Sellers [x]

* * *

George Harrison: “…We got the wrong actors…”
Q: “But as actors you had Madonna and Sean Penn.”
GH: “That’s what I mean! [Laughs]” - Countdown, 22 February 1988

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(source: | 1 nov 2017) “Joshua: Teenager vs. Superpower”, a film on Hong Kong student leader Joshua Wong Chi-fung, is among the titles vying for nomination in the Best Documentary Feature category for next year’s Oscar awards.

The film on Wong is among 170 titles that were submitted to the US Academy of Motion Picture Arts and Sciences for documentary feature Oscar consideration, Hollywood trade publications reported.

A shortlist of 15 films will be announced by the Academy in December before the final nominees list is unveiled in January for the 2018 awards ceremony.

The documentary on Wong, a 78-minute feature directed by Joe Piscatella, was viewed by members of the Oscar nomination committee on Monday in New York, according to Hong Kong’s Apple Daily newspaper.

With the help of Hollywood star and civil rights activist Richard Gere, the Wong film was screened by some members from the nomination committee and received a standing ovation at the end, according to the report.

Wong, who had just been released on bail last week, appeared on screen via a conference video and shared his experience in jail for 69 days.

“This is only round two. We’re not afraid of Xi Jinping, it’s time to stand up and fight,” he said. “They can lock me up but they can’t lock up my determination, this is a long war to wage.”

On the Attrition of Jaegers

You’re gonna kick yourself when you see it. I did.

This is Anchorage, during the Knifehead engagement.

And this is Hong Kong, during Pitfall:

Q: What’s the difference, here?
A: Look at how they ID the Jaegers.

In Anchorage, it was GD-34 against a kaiju. During Pitfall, they labeled them Striker Eureka and Gipsy Danger. I went looking for other mid-deployment screens and through the film itself to check, but I don’t think this was a mistake in post-production. I’ve got a theory.

Q: How many Jaegers were built?
A: At least thirty-four.

At the beginning of the film, G. Danger’s walking around with the number ‘34’ emblazoned on both shoulders. After Mako’s restoration and refit, the right arm still says '34’, but the left shoulder’s wearing a '5’. (I didn’t see numbers on any of the other Jaegers in-film except for ADF-06 on Striker, and I looked.) I’ve mentioned elsewhere that I think G. Danger was part of a production run, but what’s the likelihood that the fifth Jaeger ever built was built to the exact same specs as a Mark-III produced however many years later?

Q: How many Jaegers were built in each generation?

I don’t know that I necessarily think there were upwards of thirty factory line-produced Mark-III’s (how many kaiju came through the breach, jesus), but there were certainly a hell of a lot more Jaegers than we saw on-screen, enough that it was an impressive person who knew all their names and numbers. Enough Jaegers, possibly, that after they started losing them, it got to be painful to look at letters and numbers on a screen, that it was a reminder that 08-14 and 17, 19, and 21-33 were dead and gone. Enough Jaegers lost that it wasn’t hard for anyone to remember the names of the ones that were left.

Q: So how many Jaegers and Jaeger pilots went down in the five and a half years between Knifehead and Pitfall?

Very good question.


Femme Fatale - Omegaling’s list of leading lady horror movies

“It is women who love horror.  Gloat over it.  Feed on it.  Are nourished by it.  Shudder and cling and cry out - and come back for more.” ~Bela Lugosi

anonymous asked:

j, how do you know everything that's going on with exo all the time? could you explain the stuff? i've been out of the loop because of summer break. what's happened?

I try to stay up to date for all of you, of course!
(Editing as other things come out.)

Let’s go at this as the full team and then member by member, shall we?

EXO SUMMER WRAP-UP (June - August 2015)

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Going back to this question

I might have been watching one of these tonight…

The Legend of Drunken Master
Starring Jackie Chan. A sequel to Drunken Master, oddly made 16 years later, even though the characters haven’t aged (in theory). Rather entertaining actually, I recommend if you like martial arts films.

Devil’s Dynamite
I haven’t watched this one yet, but assuming it’s like Robo Vampire (I got a double feature DVD), it’s a rather ridiculous story of drug smuggling and Chinese vampires. An odd USA/Hong Kong production. Cannot recommend.

City Hunter
Another Jackie Chan film. Based on the Japanese manga. Utterly ridiculous and filmed with cartoon level slapstick and SFX. Cannot recommend, although it’s perhaps worth seeing Jackie Chan as Chun Li.

anonymous asked:

Do you think there's anything Dan & Phil have done recently to subtle-y hint at them being more than friends? Or do you think they're going to start doing that? Some people are thinking easing people into their relationship is going to be part of their new 'branding' then eventually coming out as a couple, but I'm not sure I personally can't see them officially stating they are in a relationship.

I don’t think they’re trying to hint at anything, I just think they’re at a point of comfort with people making assumptions. They always stop short of definitive confirmations, right? I mean, they do, it’s not even a question. They aren’t flat out confirming anything. But the comfort level stands out to me so much in all the little things they don’t hold back.

It’s the way they took their dream vacation together and were not only willing but eager to share a tiny bit of that with us. It’s the way they come back from a long stretch away from home and both tell us about the week they spent in pajamas watching tv. It’s the way Dan shares with us Phil bringing him coffees as soon as the weather turns crisper. The way every show either of them mentions is a coin flip now, we hear what Dan thought then what Phil though. It’s the way Dan brags that Phil brought him sweet potato fries in bed. It’s happy birthday to everyone’s favourite angel bean and pictures of board game nights with friends in their cozy little living room and Dan posting a video of Phil flipping pancakes as he made them breakfast and how they no longer pretend every video made isn’t a joint effort no matter whose channel it’s on. The way Dan said he watched Bates Motel with Phil and Phil said he watched that show when he couldn’t sleep on the bus. It’s pulling their bed apart to try and make it look like two in Hong Kong but still telling us about the amazing view when they went to dinner and Dan filming himself fetching Phil medicine and shared custody of a pokemon and stupid little fond moments that reveal with actions not words how much they mean to each other and how much they enjoy each other. 

It’s their home that they share and their life that they share and how they’ve mentioned wanting a bigger place four times since coming back from Australia and I do think hint is the wrong word and you honestly might be right that they never officially state they are in a relationship but there’s still something newer and more secure and more confident in them and how they are each other and I am so ready to see where it leads. 

First off, I’d like to thank God that lives in us all. Recently, John and I got to go to Selma and perform “Glory” on the same bridge that Dr. King and the people of the civil rights movement marched on 50 years ago. This bridge was once a landmark of a divided nation, but now is a symbol for change. The spirit of this bridge transcends race, gender, religion, sexual orientation, and social status. The spirit of this bridge connects the kid from the South side of Chicago, dreaming of a better life to those in France standing up for their freedom of expression to the people in Hong Kong protesting for democracy. This bridge was built on hope. Welded with compassion. And elevated by love for all human beings.“ 


"Thank you. Nina Simone said it’s an artist’s duty to reflect the times in which we live. We wrote this song for a film that was based on events that were 50 years ago, but we say Selma is now, because the struggle for justice is right now. We know that the voting rights, the act that they fought for 50 years ago is being compromised right now in this country today. We know that right now the struggle for freedom and justice is real. We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850. When people are marching with our song, we want to tell you that we are with you, we see you, we love you, and march on.


Common and John Legend winning Best Song for ‘Glory’ featured in Ava DuVernay’s Selma 

I am posting this because while I have seen parts of their speeches on tumblr I have not seen the whole thing posted. And I think the message is even stronger when it is all together. Common and John Legend’s words were incredibly humbling to hear and one which we need to take to heart.

Wong Kar-wai Short Film Series: The Hand

The Hand remains one of the overlooked pieces in the Wong Kar-wai filmography, mostly because it’s unknown. Miraculously shot around the same time as 2046’s messy production cycle, it makes up one-third of Eros, an Antonioni-curated short film compilation showcasing interpretations on lust/love by three world-class auteurs. Needless to say, Wong Kar-wai, the master of longing and desire, was right in his comfort zone.

At the time of release, Eros had lukewarm to negative reception, mostly due to the underwhelming efforts of Antonioni and Soderbergh, but Wong Kar-wai’s The Hand stood out as a gem in the muck. It’s no surprise then that The Hand happens to closely resemble Wong’s magnum opus, In the Mood for Love. A condensed, economic spiritual successor so to speak.

Keep reading

so i just found out my local movie theater is only playing httyd2 until july 3

are you fucking kidding me. that means if i wanted to see it again, it would have to be today, tomorrow, or thursday, and i can’t any of those days. there’s another movie theater that’s about a half hour away, but even that one is only playing it until july 9.

i’m so fucking upset right now. it hasn’t even been a month, and they’re already pulling httyd2 out of theaters. httyd2 is one of the best movies i’ve ever seen, and deserves so much more recognition. i still can’t believe it’s already leaving theaters. i weep for america. so disappointing. such a shame.

Okay, international dragons fans. i’m counting on you to support this film as much as you can. the film comes out tomorrow in Belgium, France and The Netherlands. It comes out July 3 in Denmark, Hong Kong and Sweden. It comes out on July 4 in Estonia, Finland, Lithuania, Latvia and Norway. On July 10, it comes out in The UK and New Zealand. July 24 for Germany, August 1 for Spain, and August 16 for Italy.

Come on international fans. I’m counting on you.

ahhh the sehun panda is spotted again! it was on the same day but tao really can’t let it go :P (now I want an appearance of it during other outings hehe, i can only hope right?)

second pic: Tao waving his Sehun panda after receiving it at the Nature Republic Fanmeet in Hong Kong. Taken as he was leaving the fanmeet.

first pic: this was after the fanmeet when they went to a Nature Republic post and was filming an interview. He is still carrying his Sehun Panda :] you are really attached to huh, Tao :] This can keep him company when they are doing separate promotions again~

Imagine Dragons Discuss ‘Battle Cry,’ Breaking Records & Making New Music (Q&A)


Billboard: You guys just flew back from Hong Kong, where you performed at the “Transformers 4” premiere. How’d it go?
Dan Reynolds: It was our first time ever going to Hong Kong. For many years, we were a young band who would go to a new city and have nobody come out to see us, so we still have that expectation when we go to a new place. But right when I got there, there was a lady who came in to clean my hotel room and asked if we could take a picture together. I was like, you know who we are? And she said, “Yes, I have your CD!” That was a cool way to arrive into a city. Social media makes the world so much smaller and the band has grown large enough, things move organically on their own throughout the world. But we loved Hong Kong. And it was incredible to be a part of such a big movie premiere. It was our first time for that, too.

Director Michael Bay hand-picked you guys to write the theme for the film. How easily did “Battle Cry” come together?
Dan R.: It was so organic. Originally, we didn’t think we were going to be able to do it. We’ve been saying no to everything because physically we just haven’t had time. But we got into a room with him, he told us the story and I had a melody that rang in my head right from that moment. Some songs take a year to come together, but “Battle Cry” wrote itself very quickly. It was cool to compose a song in a more cinematic way – we tried to create something to benefit a visual as opposed to just being true to the song. And then working with Hans Zimmer and Steve Jablonsky – legends. That was huge for us.

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A Girl of Lights and Lies

“Miss Hayle! Miss Hayle! Oh please, Miss Hayle, over here!”

I turn my head, bat my eyes. A flirtatious giggle that’s not of my own making escapes my lips right before the cameras flash. The paparazzi eats it up like those little sour apple lollipops I binge eat when my trainer’s not breathing down my neck.

The thought of them makes me drool. It’s been way too long since I’ve had any candy, or anything besides those green juices that are supposed to make my hips wilt, along with my sanity.

Stars, what I wouldn’t give for a lollipop right now.

My perfect pose is interrupted when soft fingers skirt their way down my elbow until they bury themselves in the crook. This makes me smile even more and bend to the left so the paparazzi can get a better picture of us together. We’ll definitely make the first page of all the major news outlets tomorrow morning. In a matter of minutes we’ll be on all the social media feeds.

Winter Hayle engaged to co-star and long-rumored boyfriend, Aimery Park.

Our fans will have a field day.

“A kiss for the cameras! Let’s see that love!” one of the reporters shouts.

Of course we’re going to oblige.

But I like to do things a little unconventionally—it’s good to keep them on their toes. So when Aimery leans in to kiss me, I raise the hand with my new rock in front of my lips a little naughtily. His eyebrows raise and I let out my infamous giggle again. He buys it and makes a show of how impish I am to ignore his advances.

I wonder how much he’s faking too.

After all, it’s a stunt from our agents. Why not stir up buzz around the Moon Kingdom sequel with the hottest engagement Hollywood has seen in years?

You always get rewarded for pretending in this job.

“You’re acting rather coy today,” he whispers in my ear. The strategic pull of one of my ebony ringlets is taken right out of one of the scenes we’re filming and I know the audience is going to ooh and aah at his next move.

They always like when his lips graze just below my ear.

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First off, I would like to thank God, who lives in us all. Recently John and I got to go to Selma and perform Glory on the same bridge that Dr. King and the people of the civil rights movement marched on fifty years ago. This bridge was once a landmark of a divided nation, but now it’s a symbol for change. The spirit of this bridge transcends race, gender, religion, sexual orientation, and social status. The spirit of this bridge connects the kid from the south side of Chicago dreaming of a better life to those in France standing up for their freedom of expression to the people in Hong Kong protesting for democracy. This bridge was built on hope, welded with compassion, and elevated by love for all human beings.  

Nina Simone said ‘it’s an artist’s duty to reflect the times in which we live.’ We wrote this song for a film that was based on events that were fifty years ago but we say that Selma is now because the struggle for justice is right now. We know that the Voting Rights Act that they fought for fifty years ago is being compromised right now in this country today. We know that right now the struggle for freedom and justice is real. We live in the most incarcerated country in the world. There are more black men under correctional control today than there were under slavery in 1850. When people are marching with our song, we want to tell you that we are with you, we see you, we love you, and march on. God bless you.

—  Common & John Legend accepting their Oscar for Best Song