unrelated film

anonymous asked:

We're getting pretty close to the number of days that it took for the Part 4 Anime to get announced (127 days was the gap between the end of Part 3 and the teaser for Part 4). I'm guessing we won't get an announcement for the Part 5 anime until either: a) the Blu-Ray for Part 4 anime and the OVA gets released in Japan, or b) it will be a teaser trailer during the Part 4 live-action film that comes out in August. Which do you think is more likely?

I think it’d be more likely the first one; I don’t really see why they would promote the anime in an unrelated film.

Unless if you mean, like, an advert or something in the screening, which would be a little more plausible, but I’d still say the first one seems more likely.

can we have a movie where a chinese teenager stumbles into a european medieval fantasy land. the wypipo are awestruck by her bravery and advanced technology and in turn she learns the ways of their people. then a lurking evil threatens the white tribes and she along with her newfound friends have to step in to save them. once she heroically defeats the threat she is showered with praise and gets the guy. it is a story of adventure, friendship, and self-discovery.

youtube

dudes, could you please check out my last short film, it’s almost a year old, and after so long I’m really excited to say I’ll be coming out with a new film in the next two months!!!!

Taking on a role means committing to it. You have to maintain that same dedication that you had on the first, fresh, new day all the way through Day 80, when production has gone overtime and over budget, and Steven Spielberg is screaming “ACT, YOU SHIT. AAAAAAAACCCCCCCTTTTTT.” And then, if the film leaves room for a sequel and does well enough to warrant one, you might end up coming back. This cycle repeats itself, usually until the money goes away, which means that actors are not only forced to answer the question “What will this role do for my career?” but also “What will my cameo in an almost completely unrelated spinoff to this film do for my career 10 years from now?”

But that’s the nature of the beast, and to disregard it means to disregard a hundred years of cinema history. We’ve been sequel-crazy since we decided that Frankenstein needed a bride. These things have a tendency to make a metric ass load of money and then spiral out of control, meaning that, unless you’ve signed on for a certain number of movies like Evans did, it’s never going to be certain when exactly you’ll be finished. You could either learn that the movie flopped and that no one ever wants to see The Amazing Dogman again (until the inevitable dark, angry reboot). Or you could get a phone call the next day telling you to pack your bags and fly to Vancouver, because both BIRTH OF DOGMAN and DOGMAN VS CATBRO are being shot simultaneously.

But no matter what an actor is told or what they read in an initial script, they have to realize that the demands of a blockbuster (and especially a blockbuster with sequel potential) will overcome any sense of creative fulfillment that they might have. What started as ideal because of the dramatic range that it allows will inevitably turn into running from explosions… again.

4 Complaints From Actors We’re Sick Of Hearing

anonymous asked:

I saw Ghost in the Shell and honestly it was great! Not perfect but great and would buy. The whitewashing controversy is sad but Scarlet really did a good job and the production team did an amazing job. The rest of the cast deserves huge props for their amazing portrayals! If you see it I think you may be surprised by how good it is!

I don’t have doubts that it is good, but personally, that only saddens me more. I am almost sure that I would have enjoyed the movie had it been a standalone American film unrelated to the Ghost in the Shell franchise. Unfortunately, as it stands, I cannot bring myself to watch it.

For me, as a Korean-American, the whole problem I have with the movie has little to do about the polish and quality of the final product; it had to do partially with the integrity of the original story, and mostly to do with a missed opportunity for Asian-American women in Hollywood.

As such, I cannot in good conscience financially support this movie in any way, as the thought of what it could have been (a story about dual identity, feeling different inside and outside, featuring an Asian-American) still makes my heart ache. It could have been something so important, more than just a good action movie. Unfortunately, it doesn’t feel to me that this is the case.

I am, however, happy to hear that you had an enjoyable experience and felt that you wanted to share with me. Thank you for your message, and I hope I was able to articulate my own feelings in an understandable way.

3

Fan sent this unofficial looking book about Genndy Tartakovsky to my Po Box and their 2 page Samurai Jack review they want me to read. My PO Box Apparently Quentin Tarantino wanted Samurai Jack footage to be used on a TV in Kill BIll but decided to use footage of an unrelated live action Samurai Film.

independent.co.uk
Soldier of fortune: Tom Hiddleston is set to become 2012's hottest new
Twelve months ago, only fans of the BBC show Wallander or maybe those who saw him in Joanna Hogg's film Unrelated would've picked Tom Hiddleston out of a crowd. The past year has rather changed matters. Rarely, if ever, has a British actor made such an impression so swiftly – working back-to-back with Kenneth Branagh, Woody Allen, Terence Davies and now Steven Spielberg, he has not so much made a breakthrough as smashed his way into the public consciousness with all the force of a wrecking ball.

Twelve months ago, only fans of the BBC show Wallander or maybe those who saw him in Joanna Hogg’s film Unrelated would’ve picked Tom Hiddleston out of a crowd. The past year has rather changed matters. Rarely, if ever, has a British actor made such an impression so swiftly – working back-to-back with Kenneth Branagh, Woody Allen, Terence Davies and now Steven Spielberg, he has not so much made a breakthrough as smashed his way into the public consciousness with all the force of a wrecking ball.

Even he can’t quite fathom it. Recently he went back to Rada, where he trained. “Some of the staff wanted me to come back and give dispatches from the front line, to give an illustration of what students might expect on the other side of their training,” he explains. “I sat in this room where I’d practised sword-fights and sonnets and Stanislavsky and it felt like I was there yesterday. And I remember saying, ‘I’m supposed to be sitting in the chairs where you are, listening to Mike Leigh or Michael Sheen or whomever.’ I couldn’t believe I was the person giving the talk.” k

We first meet in a private members’ club in Covent Garden, where Hiddleston and I have been assigned use of the fourth-floor library. Seated on an orange plastic chair, he’s tall, thin and handsome in an angular sort of way. His eyes are a fierce blue and his forehead high, supporting a mop of tight brown curls. The handshake is firm, the dress sense preppy – brown brogues, black jeans, and a navy blazer fitted over a white T-shirt. With his Eton education, he seems quintessentially English, though his father was born in Greenock. “When Scotland played England [at rugby], I would support Scotland with him,” he confides.

Given that he turns 31 next month, it’s not that Hiddleston is particularly young to achieve his successes. It’s just the rapidity of his rise that is so shocking. Much of it can be contributed to Branagh. After Hiddleston played his fellow detective in Wallander, and acted alongside him in a West End production of Chekhov’s Ivanov, Branagh wanted his co-star for Thor, the 2011 Marvel Comics blockbuster that he (rather surprisingly) directed. Hiddleston was earmarked for the role of Loki, the god of mischief in Norse mythology and the film’s main antagonist.

He was brought in by Branagh to read for the role, and when the studio executives saw the audition tape, they went wild. “They said, 'Who is that guy? Why haven’t we heard of him before?’” It was a question the rest of Hollywood has since been asking. Woody Allen got in quickly, writing him a letter to ask him to play F Scott Fitzgerald in his delightful fantasy Midnight in Paris. “I didn’t audition,” says Hiddleston. “I didn’t even know he was making a film. He just said, 'Dear Tom, here’s the script, I’d love you to play the part. We’re shooting in Paris in the summer.’”

Also cast in Terence Davies’ recent Terence Rattigan adaptation The Deep Blue Sea (playing Rachel Weisz’s lover), at the same time, he got the call to meet Spielberg for his new film, the First World War epic War Horse. “I remember going home that night and thinking 'What is happening to my life? How did I get here? I’m about to meet one of my heroes! Don’t fuck it up!’” He didn’t. By the time they finished, Spielberg leant across the table and offered him the film there and then. “I nearly whooped, wept, laughed and cried.” Even his agents were shocked.

Then again, it’s not hard to see what entranced Spielberg. Hiddleston must have seemed perfect for the role of the noble British officer, Captain Nicholls. He may not have any military experience, but it’s in his blood. His paternal grandfather was in the Royal Artillery, while his mother’s father was in the Navy. His own father, a scientist by trade, once ran a company that supplied artificial limbs to soldiers returning from the Falklands. Then there’s his father’s great uncle – the last Tom Hiddleston in the family – who was a sergeant in the British Army before he was killed in action, in 1916.

“I always found the extraordinary loss of life in the First World War very moving,” he says. “I remember learning about it as a very young child, as an eight- or nine-year-old, asking my teachers what poppies were for. Every year the teachers would suddenly wear these red paper flowers in their lapels, and I would say 'What does that mean?’ And in history, the next thing you learnt was that there was this terrible, terrible war, from 1914 to 1918, when the country lost an entire generation of young men. And I remember that really affecting me at a very young age.”

As a child, Hiddleston’s “musical instrument of choice” was the trumpet. When he was 12, he was selected at school to play the Last Post on Remembrance Sunday. “I remember feeling the weight of that,” he says. “That I was heralding the two minutes’ silence.” He even told Spielberg that “Americans don’t really understand” the British attitude to the Great War. “It was quite a European war until 1917, when the Americans joined up. They don’t have the same sense of the loss of innocence and the cataclysmic loss of life. A whole generation was wiped out.”

Though on one level an old-fashioned family film, War Horse doesn’t shrink from the reality, with jaw-dropping battle scenes every bit as shocking as Spielberg’s own Saving Private Ryan. Based on the novel by Michael Morpurgo (already the inspiration for a hit play), the story follows a horse bought by a Devon farmer (played by Peter Mullan) and raised by his son Albert (Jeremy Irvine), who names him Joey. When war breaks, the steed is sold to Captain Nicholls – “this agent of separation”, as Hiddleston calls him, “who divorces the horse from his boy”.

Hiddleston plays Nicholls with just the right level of nobility, promising to get Joey back to Albert when the war ends. “Other writers might have made him quite bluff, disciplinarian and possibly cruel. But Michael Morpurgo makes him kindly and decent, upstanding and modest, which I found very moving. That was one of the things that attracted me to the part. Having dug around in so much damage as Loki, here was a man with such a sensitive soul who found himself in uniform, and fighting on the front line.”

Hiddleston will be returning to the “wounded, troubled pain and volatility” of Loki this summer. After watching Thor emerge as one of last summer’s biggest hits (it took $450m globally), he is now the lead villain in The Avengers – which, if you’re a fan of the Marvel Comics universe at least, will be the blockbuster movie to end them all. It pits the all-conquering Loki against the titular posse of superheroes, gathered together from such recent smash-hit films as Iron Man, Captain America and, indeed, Thor.

Not surprisingly, given the exalted company that sort of get-together entails, Hiddleston calls the experience “entirely surreal”. “There was one day when, as Loki, I was sat on some steps, staring at the Avengers in front of me. It would be quite odd just to look at a grouping that involves [such actors as] Robert Downey Jr, Scarlett Johansson, Chris Evans, Samuel L Jackson, Mark Ruffalo, Jeremy Renner and Chris Hemsworth. But the fact that they were dressed in the most outlandish hero costumes was bizarre! And I thought to myself, 'This is the dizzy heights.’”

Still, he must be getting used to this state of disorientation after the year he’s just had. Ask him to put it into words, and he can only talk in clichés. “It all happened so quickly, I’m just concentrating on putting one foot in front of the other,” he tells me. What about fame? Is he worried about losing his anonymity? “I’m trying to cross every bridge when I come to it. I think it would be very dangerous to start planning the date at which I will be unable to go to Sainsbury’s.”

Fortunately, he has a stable upbringing to keep those feet anchored. Born in London, Hiddleston grew up in Wimbledon, the middle child of three (he has an older and younger sister). When he was 10, his parents moved to Oxford, after his father James won a job as managing director of a pharmaceutical biotechnology company with links to the university. “He was really stimulated by being an executive go-between, between these two worlds.”

Before Hiddleston’s mother got pregnant with his elder sister and gave up her work to concentrate on parenthood, she was an arts administrator and casting director for an opera company, having trained as a stage manager. “When I was in my teens, she was always one to suggest possibly going to the Picturehouse [arthouse cinema] rather than the Odeon,” he says. “So she was always peppering my appetite for Jurassic Park and Terminator 2 with an appetite for [Michael Winterbottom’s] Jude or whatever.”

Given this comfortable environment, it’s tempting to look for autobiographical details in Hiddleston’s work. In particular, Archipelago, his second film for Joanna Hogg, a story of upper-middle-class upheaval – or as he puts it, “the implicit tensions and struggles that happen within every family”. His subtle, painful turn as the aimless Edward is arguably his best to date, as the director mined him for information on what it’s like to be a young man of his age. “Joanna asked direct questions: what keeps you up at night? What nags at the corners of your soul in darker moments?”

He may well have thought back to his own family discord, when his parents divorced when he was 12. “It was very difficult and I always say that it made me who I am,” he told one interviewer last year, “because it made me take responsibility for my life and I saw my parents for the first time as human beings, not as perfect love machines. They were both very badly hurt. I mean, it’s hard enough when you’re ending a short-term relationship, isn’t it? I can’t imagine what it’s like to end a 17-year marriage. But I’m so proud of them and I couldn’t do without them and as a result [of the divorce] I have grown-up, intimate relationships with both of them.”

Talking of relationships, there is some confusion I want to clear up with Hiddleston. In the past, it’s been erroneously reported that Hiddleston was secretly married to the actress Susannah Fielding. Already featured in FHM last year, the Hampshire-raised 26-year-old made one of her first screen appearances in an episode of Wallander with Hiddleston back in 2008. Just checking, I say, but are you? “I am definitively not married. That was a big mistake. Don’t know where it came from.” But you are in a relationship right now? “Well, erm, I dunno actually,” he says, shyly. “That’s kind of an awkward answer, isn’t it?”

We leave it at that – after all, Hiddleston is not the sort you find kicking back in the centre pages of OK! magazine, even if his ever-growing circle of female admirers call themselves “Hiddlestoners”.

It was during his school days at Eton that he discovered acting, which he then continued at Cambridge. Reading Classics at Pembroke – the same college that legendary comic Peter Cook went to, he says proudly – he joined the Amateur Dramatic Club. “I love the acting community at Cambridge,” he says. “It’s really quite committed and serious, since the days of Derek Jacobi and Ian McKellen right through to Emma Thompson and Hugh Laurie.”

From Eton to Cambridge and on to Rada sounds as traditional an English education as you could get, I suggest. “In some ways it does and in some ways it doesn’t. Since my education, I’ve done quite untraditional things. There are very few Etonians who went to Rada. And far fewer Etonians – certainly when I was there – went to Cambridge. I don’t know whether it’s the same now. Most people I knew went to Oxford, because it seemed more of an easy bridge.”

Arriving at the time of the Laura Spence affair – the high-flying state-school pupil who was refused a place at Oxford, allegedly because of her working-class background – he says the entrance examiners put him through his paces. “They made sure I was able to think for myself and stand on my own two feet, intellectually. Cambridge is a meritocratic place. I know this sounds odd, but I met more kinds of people there than I’ve probably met in any place in my life. It seemed to be so international, and there were people from all walks of life, all backgrounds. Any chips on any shoulders had to be very swiftly removed, in any direction.”

When we speak for a second time, just before Christmas, Hiddleston has been “knee-deep in mud, blood and warrior poetry”, playing the title role in a new Sam Mendes-produced BBC film of Shakespeare’s Henry V. With plans to shoot Henry IV Part 1 and 2 in early 2012 – in which he will reprise the role as Prince Hal – it truly feels as though he’s taking over from his fellow Rada alumnus Branagh, who famously directed himself in his 1989 film of Henry V. Already dubbed “Branagh’s boy” in the press, Hiddleston clearly sees him as a mentor. “I trust him implicitly,” he says.

I ask whether he chatted with Branagh about taking on the role of Henry V. “Over the years, we’ve talked about it,” he admits. “He was very kind. He sent me an email when he found out. He just said, 'I heard about the Henrys. The very, very best of luck. You’ll have a fantastic time.’ I was going to ask him about it, then I thought, 'I don’t know.’ What I took from that email was that I had his blessing, in a sense. And I do feel Shakespeare is like an Olympic torch that gets passed on from generation to generation.”

Never mind the Bard: Hiddleston has taken the torch from Branagh, it seems, as he goes once more unto the breach.

10

Daikaiju Eiga 2015: The Year in Review!

This is the third time I’ve done one of these Year in Review posts (2013/2014), and good golly, they just get better and busier every year. What a year 2015 has been for the kaiju genre! Let’s take a look back at the Year in Review.

Following the huge international success of Legendary’s film last year, Godzilla and the kaiju genre as a whole has enjoyed an incredible resurgence in popularity. In April, Tokyo’s four-star Gracery Shinjuku hotel unveiled a Godzilla room, complete with a “life size” bust of Godzilla on the building’s roof. Godzilla himself was also made an official honorary citizen of Japan, for “promoting the entertainment of and watching over the Kabuki-cho neighbourhood and drawing visitors from around the globe”. Bandai Namco’s Godzilla game for the PS4 also reached the western world in July as Godzilla: The Game. It received poor reviews but was warmly received by the fandom. IDW Comics also released the latest in their licensed range of Godzilla comics - “Godzilla In Hell”. While being an extremely divisive title, the book was nonetheless indicative of IDW’s willingness to experiment with the license. The extremely popular fan-favourite “Godzilla: Rulers of Earth” also came to a glorious, blistering conclusion, forever cementing the exciting potential of just what can be done with a Godzilla comic book license when all the right people are involved.

June saw the release of Sion Sono’s Love & Peace, a fantasy drama featuring a giant turtle brought to life in traditional tokusatsu style. In August and September, Shinji Higuchi’s epic two-part adaptation of “Attack On Titan” was unleashed in Japanese cinemas. While being practically disowned by fans of the otherwise-unrelated anime series, the films have been somewhat embraced by the kaiju fandom, who appreciate the film’s championing of traditional tokusatsu miniature effects. Tsuburaya Productions debuted the latest in their long-running Ultra series Ultraman X in July, to rave reviews and fever-pitch fan reaction. The series also championed traditional tokusatsu special effects techniques, and was also the first of the franchise to be simulcast for English viewers through Crunchyroll, allowing Ultraman to reach a wider worldwide audience than ever before. Tsuburaya have also announced a film continuation of the series for next year. In October, Kadokawa completely floored the entire fandom by unveiling a proof-of-concept trailer for a new Gamera film at New York Comic Con. The fiftieth anniversary Gamera project had be thought long-dead, so its resurgence was a welcome and unexpected surprise.

2015 also paved the way for the future of the Godzilla franchise, with both Toho and Legendary Pictures making big announcements about their respective concurrent series. Toho’s 2016 Godzilla film was announced as being titled Shin Gojira, with the English title soon being revealed as Godzilla Resurgence. A teaser trailer and poster (debuting Godzilla’s terrifying new look) soon followed. Meanwhile, after months of rumours and alleged behind the scenes and legal battles, Legendary Pictures announced their ambitious plans to craft a giant monster cinematic universe in the Marvel fold following on from Godzilla ‘14. The series will initially comprise Godzilla, Kong: Skull Island, Godzilla 2, culminating in Godzilla vs. Kong in 2020. With all these new films lined up in separate, concurrent franchises, there’s never been a better time to be a Godzilla fan.

As always, the year was not without its sadness, and lest we forget those we lost this year. Genre legend Hiroshi Koizumi, of Godzilla Raids Again, Mothra, Mothra vs. Godzilla, Ghidorah, the Three-Headed Monster, Godzilla: Tokyo SOS, and many more, sadly passed away in May, while the extremely popular artist Noriyoshi Ohrai, whose work adorned the teaser posters for the Heisei films, as well as many, many more amazing works, left us in October. They are gone but the legacy they leave us will certainly not be forgotten.

2015 is also the year I launched my own podcast - the Kaijusaurus Podcast - with my friend Ross, and it’s been a pleasure hearing all your feedback and enjoyment of the episodes so far! 2015 also saw several incredible fan efforts to celebrate Gamera’s fiftieth in the then-apparent lieu of any official production, but I’ve elaborated upon that in a previous post already. As always, a sincere thank you to everyone who follows and supports my running of this blog, and a special thanks to those who actively listen and contribute to the podcast. You all make it worthwhile.

I think we can all agree 2015 has been an absolutely phenomenal year for the kaiju genre, and an even better one to be a fan of it. Happy new year when it comes, everyone! The next few years look very bright indeed.

anonymous asked:

ok here's a little gander for ya: you know how everyone always jokes about a homestuck movie? well, i was thinking about that, and then I realized something. copyright. could a homestuck movie even happen because of the sheer amount of copyrighted materials it has? i mean, john's shirt symbol is literally slimer. i figured i'd come to you to ask since you had that big discussion about homestuck's copyrighted-ness a while back so. yeah, if you know, could a homestuck movie even happen?

Iirc John’s shirt is actually a Japanese knockoff of Slimer, but yeah.

Homestuck and copyright is actually a fascinating thing to wrangle with. And tbh, copyright might not be as big a hurdle as trademark. But let’s walk through this.

I’m going to race through some copyright basics to give you a grounding, although this is only scratching the surface and please do not take any of it as legal guidance. Copyright is a MESS.

Copyright protects original creative works put down in tangible form. If I spend years compiling a phonebook that just organizes people’s numbers, it’s not copyright protected - it’s not creative. However, a doodle on my class notes is (as well as my class notes). “Tangible form” makes digital stuff a bit confusing, but most people agree that since it’s stored on a server somewhere, digital content is also protected.

US copyright protections are kinda absurd, tbh. Works that qualify are protected immediately, without any registration. Those protections last for a very long time. This is mostly due to powerful media production companies who want to both protect their own works for as long as possible and also beggar the public domain to hamstring competition. This really violates the original intent of copyright protection, which was to benefit the public two ways - encourage creators to make stuff bc they’d be able to profit off it for a while and THEN release that stuff into the public domain for everyone to use. Corporations ruin everything.

Usually, if you want to use something copyrighted, you need permission and may need to pay a licensing fee. However, there is a built in protection in copyright. This is called “fair use”, and it protects certain unlicensed, unpermitted uses. Four use is determined by considering four factors - the nature of the use (is it for education? for profit? published widely or limited in viewership?), the type of work being used (is the work fiction or nonfiction? artistic or scholarly?), the amount used (is it a lot? is it the most important or recognizable part?), and the potential impact on the market of the original work.

The irritating thing about fair use is that it’s not a right with clear, demarcated boundaries. It’s a legal defense, and whether a use is fair can only ever be proven in the courts. Also, although a case a while back held that copyright holders have to consider fair use before sending cease and desist messages, they often don’t, hoping to intimidate people into backing down. After all, usually it’s only powerful companies who can afford to go to court to defend their use or prosecute users - or pay licensing fees to use content in the first place. See why current copyright law makes me cranky? 

So, let’s talk Homestuck.

Hussie has used a lot of copyright-protected material. His “dubiously royalty free images” for many backgrounds, mis-attributed quotes, etc. He is probably banking on a lot of it falling under fair use, although he has compromised a fair use analysis in a few ways. To break it down… the nature of his use is for entertainment and it’s widely available on the internet, which finds against him. Many of the works he’s used have been artistic rather than scholarly, which also finds against him. The amount varies… sometimes he uses whole stock photos, which is more dangerous than a single quote from a book. Naturally, all his uses are only a small part of Homestuck’s whole. So this one is mixed. Finally, the fourth factor, which is often the most heavily weighed because copyright is all about money these days, is the most in his favor. Most of his uses of copyrighted material are not going to hurt the market for the original. No one is going to use a picture of Derse instead of the original cathedral he colored purple and drew all over. Unfortunately, the courts are far less friendly toward this factor if you’re making a profit off of it. The fact that Hussie is, among other things, selling ad space on the site and selling book versions of the comic, hurts him.

The final point in his favor is a disputed interpretation of the first factor of fair use - “transformative use”. This is the idea that if your use is transformative in some way - if it turns the copyrighted work into something new or uses it in a new way - it is more likely to be fair. This helped Hathi Trust when they were being sued by the author’s guild - their work to make works more accessible and searchable in new ways was considered transformative. Turning a stock photo into a background of a comic panel can also be seen as transformative.

Now, that’s only bearing on one factor out of four, although some courts have held it as more of a game changer than others. That’s what AO3 rests on, after all! But that would be his best defense. 

So - would Homestuck the webcomic be protected by fair use? I’m honestly not sure. The courts are very capricious on this matter. But here’s the thing - when you’re one person doing your thing, you can make that call. When a film company gets involved… they are far less likely to take that risk. They’re way more visible. So if a film company were to take on Homestuck as a project, I assume they would strip out anything that could be a copyright violation. That wouldn’t be much of a problem, really - after all, they could generate their own backgrounds, rather than grab stock images. I don’t know if they would worry about the source material  having violations or not. (Didn’t stop the people making the Shadowhunte/rs show, now did it?) Although that might bring Homestuck to the attention of a few people who might not have noticed earlier that their copyrights were infringed upon.

Even so, though, most of the time people don’t prosecute. It’s not worth it. (Unless it’s Disney. Disney comes after elementary schools putting Disney characters on the wall. They suck. Don’t cross them.) So at the end of the day, I don’t think Hussie’s running *much* risk of copyright infringement suits, and a film could easily dodge the risks that he did take.

Now trademarks are another story.

Copyright protects original creative works. Trademarks protect brands. A company’s logo, or name, or tagline… they don’t want someone else using it and confusing consumers. In some cases, people can be trademarked to. A quick search of the trademark office turned up results for ICP, Guy Fieri, and Betty Crocker. Some of those are major plot points in Homestuck! So getting that through in a Homestuck film would probably involve talking with these groups to see if they’re down with, for example, having their company mascot portrayed as a murderous alien queen. Some might see it as product placement or advertising of a sort. Some might not, and they might have to strip company names, mascots, celebrities, and symbols and replace them with something else or strike a financial deal. 

Soooooo, tl;dr:

I am not an expert in copyright or trademark law. This is based off one semester of education on the topic and my best guesses. But I would say that while Homestuck the webcomic gleefully infringes on copyright and violates trademarks, it probably would not be too difficult to clear that out for a film version with a few notable exceptions, which would involve replacements or deals with the people/groups involved.

The Rise and (continuing) Fall of Tom Hiddleston

For the past decade, Tom Hiddleston has slowly and steadily climbed the ladder of success and recognition both at home and abroad. Through his stage performances like Othello with Ewan McGregor, TV work like Wallander with mentor Sir Kenneth Branagh, and indie films like Unrelated and Archipelago, he was gaining a reputation for being an incredibly talented, versatile, and hard-working actor.

The role of Loki in the first Thor movie - at Branagh’s behest - gave him international acclaim, with many reviews praising his performance in both Thor films and the Avengers, often calling him the only bright part of the films. Many fans who went to see the first Thor movie (myself included) point to the scene where he confronts Odin, played by Sir Anthony Hopkins, about his parentage, as the moment they became a fan of Hiddleston’s.

As his CV has grown, so has the devotion and number of his fans, some as always more obsessive than others, but that happens in every fandom, the kind who think their idol can do no wrong and anyone who says the slightest thing against him/her needs to DIAF.

He appeared in small films like The Deep Blue Sea, Spielberg films like War Horse, Shakespearean series like the Hollow Crown, and the series that cemented his leading-man status and made him the front-runner for the James Bond role - The Night Manager.

Only a month ago, Tom Hiddleston had it all. The growing, devoted fandom, the decade-long resume that spoke of his talent, the bright and seemind endless array of opportunities ahead.

Then came hiddleswift.

I will admit to being one of those fans who saw the pictures of Tom and Taylor in Rhode Island and thought - what the fuck? the serious, hardworking, Shakespearean-quoting, bookshelf-filling, earnest actor with a twit of a woman who has the emotional maturity of a 12-week-old puppy and engages in mean girl behavior with anyone who looks at her the wrong way?

WHAT. THE. FUCK.

However, I believe most of his fandom would have consumed a few pints of either ale or ice cream, rolled their eyes, and moved on with their lives, still devoted to him as ever.

But then the famewhoring started. The behavior so unlike anything Tom had ever said or done before. The embarrasing dad-dancing at the Selena Gomez concert. The victorious hand holding by the windows of a Nashville restaurant. The gigolo-like rides in her fleet of planes and cars, because apparently Tom forgot how to call for car service or a cab in New York.

Fans, myself included, were grossed out by the almost daily bullshit being fed to the media, but there was time to rescue this baby before it was fed to the dogs.

Then came Aldeburgh, where his mom lives, and what I believe was the death sentence for Tom’s popularity.

He had gone from someone who said some things needed to be kept sacred, to someone who dragged out his mother and little niece for painfully staged photo ops for the various paps that had been called for that very purpose.

That was the moment when a good chunk of his fandom went - OH HELL NO. If you wanted to prostitute yourself for fortune and glory, Thomas, that was your right. But to drag your mother and your little niece in front of the gauntlet for the sole purpose of selling this abomination of a PR stunt turned many fans against you. This was a disgustingly cold-hearted decision you made, Tom, because at some point you decided that you needed to use your family as props in order to sell your romance.

Then came Rome, a veritable array of over the top scenes out of a My Teenage Romance 101 script, parading around the sights in order to find the most scenic spot in which to stand and kiss. The I heart TS shirt, I mean, how much of a pathetic fool are you?

The hope was that once you had to go to work in Thor - you know, the thing that actually made you famous in the first place - this would all be left behind and the PR stunt would die a graceful death.

But no. You had to bring her with you. either because that’s what you signed up to do, or because you chose to. And with that decision you made it clear that you will sacrifice anything to this PR machine you are now a part of. Your family, your dignity, your work, none of it is as important as perpetuating the lie that EHRMAGERD, Tom and taytay are in love!

Oh wait, but now Tommy H only wants to talk about work?

wait, what?

You have purposely whored out your life for this bullshit of a stunt and NOW you want to focus on the work? While going out with taytay and looking like a hostage?

Sorry to say, Thomas, that is not going to happen. Sure, some interviewers may be graceful and only ask you about work but from now on, your golden aura is no more. You are covered in the filth of those who sell their souls for greed, and there is absolutely nothing you can do to get that stain off your face. Nothing. For the rest of your career, you will be followed by the stupidity of the actions that you chose to take in 2016.

The scary thing is, you can still sink lower.

Whenever I see a post about a current animated movie with the comment ‘such and such is WAY better than Frozen!!!,’ all I hear is 'I like this movie, but I can’t be bothered to promote it based on its own merits, so I’m just going to shit all over a completely unrelated film in a weak attempt to make it look good.’  

4

[ Tom Hiddleston won the Laurence Olivier Awards for Best Newcomer in a Play for his dual role ( Posthumus Leonatus & Cloten ) in Cymbeline ! ]  

*Check it ↓ 2008’s news
*First Published Sun 09 Mar 2008 19:20 (GMT)

*Tom Hiddleston Declared 2008’s Laurence Olivier Awards Best Newcomer in a Play 

Tom Hiddleston has been awarded the 2008 Best Newcomer in a Play Laurence Olivier Award. He received two nominations in the category for his roles in Othello at the Donmar Warehouse and for Cymbeline at the Barbican–the latter winning him the award. Nominated alongside Hiddleston were Stephen Wight for Dealer’s Choice at Trafalgar Studios 1 and David Dawson for The Life And Times of Nicholas Nickleby at the Gielgud.
Cymbeline, one of Shakespeare’s lesser known plays, tells the story of stolen sons, a banished son-in-law and a wicked stepmother. Hiddleston performed the role of Posthumus, who secretly marries the King’s daughter Imogen before being tricked into thinking she has been unfaithful. Produced by Cheek By Jowl, this was Hiddleston’s second experience working for the company after performing in their touring production of The Changeling, for which he received an Ian Charleson Award nomination.
After schooling at Eton, Hiddleston completed an English degree at Cambridge before attending RADA, from which he graduated in 2005. He made his London stage debut in Yorgjin Oxo: The Man at Theatre503 in 2005, before appearing in The Changeling in 2006. His second nomination in this category was for his performance in the role of Cassio opposite Chiwetel Ejiofor’s Othello, for which he earned great critical acclaim. Hiddleston’s 2007 also saw him star in the award-winning film Unrelated, written by Joanna Hogg.  

Source: ​officiallondontheatre.co.uk