various directors


The ABCs of Death 2

I figured I’d take a different tack with this one, considering it has such a large scope for an anthology film, and give my thoughts on each short separately, assigning it either a PASS or a FAIL. I did see the first one and was thoroughly underwhelmed, as there was an equal number of passes and fails; but hey, maybe this one will serve as a much-needed improvement. Honestly, the boring opening with the Suspiria rip-off stock-standard music didn’t do much to get me in the mood. But without further ado…

A is for Amateur

Directed by E.L. Katz

This tale about an amateur hitman trying to bump off what I guessed was an amatuer porn baron (which, if it is, great title parallel) has already set a pretty high bar. It’s slick, stylish, but most importantly ultimately very funny and creative. My first exposure to E.L. Katz’s work was Cheap Thrills which I wanted to like but it ultimately left me cold, so it’s nice to feel enthusiastic about this short here. It makes me excited for his upcoming Netflix movie that’s to be released this year.


B is for Beaver

Directed by Julian Barratt

I’m a sucker for the found-footage genre, and I found this short to be amusing for the most part. The whole trope of the narcissistic TV presenter who hounds his crew is done very well here. Personally, my only problem is really that it doesn’t hold up technically. The special effects are a bit hoaky and the sound mixing’s a bit iffy, which I wouldn’t call out except found-footage is a genre that tends to rely on some kind of artificial sense of realism. The punch-line at the end was a bit forced as well. Nevertheless, I still think it suceeds at what it sets out to do, as I did say it still managed to be amusing.


C is for Capital Punishment

Directed by Julian Gilbey

An interesting little short about a small town that enacts vigilante justice on a supposed child-killer. It’s well shot, well acted and the gore effects are nice and over-the-top. The ending was a bit so-so, being rather predictable, but that’s no reason to condemn the whole thing.


D is for Deloused

Directed by Robert Morgan

This one is so fucking surreal and unsettling that I love it. It’s everything a horror short should be. The art-style and animation evoked a Hellraiser by way of Dario Argento kind of vibe, featuring a colourful aesthetic and heaps of interesting creature design. The animated shorts always tend to stand out, with Lee Hardcastle’s T for Toilet being one of the best of the last movie, and this is no exception. It could literally be its own feature length film, and I would not be opposed to the idea at all.


E is for Equilibrium

Directed by Alejandro Brugues

Quirk and tone seems to be the name-of-the-game here, as two castaways find themselves at odds with each other when a beautiful woman washes ashore. The cinematography is fantastic, with some great camerawork and a clever use of colours to show the characters’ descent into madness. The ending is also very funny, and not what I expected at all.


F is for Falling

Directed by Aharon Keshales and Navot Papushado

An israeli soldier has parachuted into a tree, only to be confronted by an Arab boy with a rifle. Honestly, this once just feels aimless. It’s well shot, but the tone is all over the place and it just ends up being really silly, not to mention that this is the first of the shorts where the bad acting really starts to show. It’s not an awful short, but it’s the first dip in quality.


G is for Grandad

Directed by Jim Hoskings

Oh god, the acting in this. This short revolves around an old man and his grandson drinking by the fireplace. The actor playing the grandson is just… so bad… The whole thing has a Greasy Strangler vibe (mainly because Jim Hosking’s only feature is The Greasy Strangler), except it feels like it was written seconds before shooting started, because it’s just nonsense. There’s no point to it. It’s just shock for shock’s sake, which is ultimately how I ended up feeling about The Greasy Strangler, to be honest.


H is for Head Games

Directed by Bill Plympton

This one’s obviously metaphorical, and if the not-so-subtle commentary on relationships and how both parties can destroy each other by playing the titular headgames doesn’t grab you, the animation style will, even if the short visibly struggles to fill its short running time.


I is for Invincible

Directed by Erik Matti

This felt like it was directed by Sam Raimi, with the over-the-top makeup effects and camera-angles. This segment, about a family trying to kill their demonically possessed grandmother to collect the inheritance was the kind of devilish fun I was hoping for from this movie. It’s got a lot of energy to it, thanks to a great cast, even if the lighting is a bit flat and the ending’s a little abrupt.


J is for Jesus

Directed by Dennison Ramalho

A father hires a private investigator to observe and kidnap his son for reasons that are both darkly comedic and bleak. This one’s really sold by a clever script and some decent acting. The cinematography’s a bit uninspired and the ending’s a bit predictable, but the story is solid and the short makes for an interesting watch overall.


K is for Knell

Directed by Kristina Buozyte and Bruno Samper

Beautifully shot and lit, employing a warm colour pallete, this short about a mysterious apparition in the sky causing the residents of an apartment building to go insane and kill each other is hypnotic and vivid. The sound design aids the suspenseful atmosphere, which is unfortunately let down somewhat by the hokay supernatural angle which ultimately doesn’t go anywhere. That said, on a purely technical level, this is definitely one of the best shorts.


L is for Legacy

Directed by Lancelot Imasuen

Some truly obnoxious editing really lets down what would otherwise be an interesting short about an african tribe and the scheming that occurs within, causing a beast to emerge. Not only do the constant cuts and whatnot make the story hard to follow, but they really do no favours to the aformentioned beast, which is clearly a bloke in a costume stomping around, causing people to turn into really bad photoshop effects. Once again, not a terrible short, but not exactly worth the watch either.


M is for Masticate

Directed by Robert Boocheck

Gaining entry into the movie via the winning of a contest, this slow-mo horror show is hilarious, chronicling the journey of a madman on bath-salts as he tries to eat his way through a group of bystanders. My only beef with it is that I have a pet-peeve against obvious contact lenses, but that’s because I’m a prick. The short is still insanely well done.


N is for Nexus

Directed by Larry Fessenden

It’s Halloween, and some poor bloke is running late to meet his girlfriend. What transpires is a Rube Goldberg-esque sequence of events shot like a music-video. There’s not much to say about this one. You can pretty much guess how it’s going to play out, but the presentation is good enough that you won’t get bored watching it. Bonus points for the blink-and-you’ll-miss-it reference to You’re Next.


O is for Ochlocracy (Mob Rule)

Directed by Hajime Ohata

This is fucking brilliant. In the aftermath of a zombie apocalypse, the living dead, who’re capable of cohesive thought thanks to a new wonder-drug, mobilise and begin to put humans on trial in a courtroom where they sentence the survivors accordingly for their barbarism. It’s an interesting subversion on a seemingly tired genre that makes up for its lack of visual style by heaping on a large amount of wit and cleverness that always keeps you guessing. This feels like it should be a feature film. If I had the money, I would fund in a reanimated hearbeat (because I would have to have sold my kidneys).


P is for P-P-P-P Scary!

Directed by Todd Rohal

More like P is for P-P-P-P I couldn’t think of a word starting with P, so I contrived this weird homage to the Three Stooges in which three bandits on the run encounter what looks like Billy Bob Thornton in Sling Blade and his fucked up baby. I don’t know, I appreciated the visual style, but once again, it’s another short that has no point and never goes anywhere. It’s not interesting, let alone scary or funny.


Q is for Questionnaire

Directed by Rodney Ascher

This one was probably the most unpredictable of the shorts. It’s insanely well-written and acted, and it’s nice that it’s not initially obvious at all where the violence is going to come from, plus the gore effects are decent and the ending is staged perfectly.


R is for Roulette

Directed by Marvin Kren

Eeeeh, this is another one I’m not too enthusiastic about. Technically, it’s not bad. It’s well shot and the art-direction is interesting, not to mention the acting’s not terrible either. The problem is that the premise isn’t really suited to a short film. It’s a game of Russian Roulette, but there’s a lack of context and emotional weight. When the big twist happens, I couldn’t tell you why it happened or why you should care.


S is for Split

Directed by Juan Martinez Moreno

The short is easily the best edited of the bunch. The colour-correction and the whole Brian De Palma-esque split-screen technique is used to really unsettling effect. Unfortunately the short, with its extremely clever premise and execution, is let down by some bad acting and make-up effects, but I think the end-twist makes up for it somewhat, so it does eke over that edge.


T is for Torture Porn

Directed by Jen and Sylvia Soska

I have not seen a Soska Sisters production yet, but their reputation certainly preceeds them, and this is what I assume a movie of theirs would look like. They try for suspense, but they give away the twist way too early, at which point it pretty much devolves into a strobe-fest that plays out exactly how you’d expect. It’s perfectly serviceable, but it’s nowhere near as clever, funny or engaging as the majority of these shorts.


U is for Utopia

Directed by Vincenzo Natali

The premise is very Twilight Zone. Chances are you’ve seen something like it before. The casting is really what makes it work though, particularly with regards to the main character, who you genuinely feel sorry for even though you know exactly what’s coming to him. Not to mention the visual aesthetic is interesting. It was very reminsicient of the Robocop remake, which is definitely a way to go.


V is for Vacation

Directed by Jerome Sable

H is for HANG UP THE FUCKING PHONE!!! Man, you wanna talk shock value? This one takes a predictable premise and tries to make it work by making it as repugnant as humanly possible. I was just bored and repulsed with this one. There was nothing clever about it. The only thing I’d note is the guy playing the obnoxious friend was so over-the-top that he was actually kinda great. That said, this is probably my least favourite of them.


W is for Wish

Directed by Steve Kostanski

80s Nostalgia never gets old, and this He-Man parody is perfectly cheesy and over-the-top with the bad acting and great special effects. It’s like a self-aware version of the Cannon Masters of the Universe. Another one that I would be more than happy to see a feature made out of, even with the incredibly dark as fuck ending.


X is for Xylophone

Directed by Julien Maury and Alexandre Bustillo

Jesus Christ, guess where this one’s going. If it takes you more than a second, you probaby wrote this short. It’s another one that’s technically well-made, but with an entirely predictable premise that it tries to overcome with shock value. It’s a shame, because the effects are good and that last image should be haunting, but we all saw it coming.


Y is for Youth

Directed by Soichi Umezawa

There’s nothing better than a good J-horror, is there? There’s so much visual creativity to this striking short about a young girl venting about her neglectful parents as we see her dark thoughts visualised to surreal effect. It’s so great to see that this one doesn’t rely on shock-value either, with an ending that’s restrained yet still poignant. Definitely one of my favourites.


Z is for Zygote

Directed by Chris Nash

Fuuuuuuuuuuuuck. They certainly saved the weirdest for last. Issues of neglect take a very insanely literal and absurd turn. The special effects are sickening, the acting is great and the cinematography is evocative as hell. That said, I think what really makes this work is the sound design. Holy shit, the sound design in this short makes it the most unsettling of the bunch. It’s definitely a strong note to end the film on.



I found myself enjoying this one a lot more than the first. There was a lot more creativity on show, with a smaller number of shorts relying solely on shock value. Perhaps I had written this series off a bit too quickly. Maybe a third one would be absolutely perfect. Who knows?
‘Uncharted’ Reconfigured: ‘Spider-Man Homecoming’s Tom Holland To Play Young Nathan Drake For Shawn Levy
EXCLUSIVE: Sony Pictures is bullish enough on its upcoming Spider-Man Homecoming star Tom Holland that the studio is doubling down on the young actor by building a second major franchise around him…
By Mike Fleming Jr

EXCLUSIVE: Sony Pictures is bullish enough on its upcoming Spider-Man Homecoming star Tom Holland that the studio is doubling down on the young actor by building a second major franchise around him. Holland is attaching to star in Uncharted, in what will be redrafted as a prequel to the treasure hunting action story line in the Naughty Dog video game for PlayStation. Shawn Levy is directing a film that will take its inspiration from a sequence in the third iteration of the video game that focused on the young thief Drake, and his first encounter with the professional rogue, Sullivan. This reformulation of the franchise was an inspiration of Sony Pictures chief Tom Rothman after seeing the latest cut of the Spider-Man film, sources said. The studio has tried for years with various directors to get this video game to launch a franchise, with past scripts from Joe Carnahan, David Guggenheim and Eric Warren Singer. Sony Pictures will now set a new scribe to draft the story line that captures the protagonist as he grows into the treasure hunter Nathan Drake who made the game a top seller. Uncharted is produced by Charles Roven, Avi Arad, Alex Gartner and Ari Arad.

anonymous asked:

Munakata 2020?

He’s got my vote.

Destiel and editing

@obsessionisaperfume here’s the Kuleshov Effect post I talked about. Hopefully it is sufficient.

TL;DR: Editing is probably the most powerful tool film has and how it’s used tells the story. Literally. In the case of SPN, there is a lot of instances that can be read as destiel riding in on a giant brick.

Ok, so preamble for those who don’t know what it is: The Kuleshov Effect was named for Soviet filmmaker Lev Kuleshov. It deals with a “mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.”

The original test that coined the name was a short series of clips showing an actor in a black and white film with a stoic expression, intercut with various images. It’s about 50 seconds, have a looksie.

The short was built to see what meaning people would give to the man’s expression and as Kuleshov expected, they reacted accordingly based on what shots were intercut. So the stoic face was read as hungry, lustful, sad, whatever by most people even though it was all the same expression.

You can invoke this effect without both pieces ever seeing each other. You can create a vast head space for a character that the actor may never see by intercutting the actor with something like… war stock footage. We can understand what the character is going through without it ever being spoken and without the actor saying or sometimes really doing anything in relation to it.

That isn’t to say that actors aren’t important, of course they are. But a lot of understanding a filmed work look to the editing. The same way books look at word choice, sentence structure, etc. Editing is the last stand of “authorial intent” (as a nebulous term. Not by a single person) between the production and the audience. It’s the syuzhet, the filter of bias that sets the tone and the pace and the narrative and almost no one is truly privy to it until all of production is over.

Now, directors, producers, various others depending on the work often help dictate the editing to an extent. They decide what version of shots to leave in and give an idea of what they’re going for. Some take a much more active role and are part of the editing process to a great extent. Sometimes it’s just the director helping, sometimes it’s like… 8 other people in production. Sometimes a film studio drops all their footage for their several million dollar property off at a trailer house and says “panic number’s on the fridge, I’ll be back in the morning.” and expects the final edit not to suck.

Editors exist for a reason and it’s not just to cut the film to an edible size, set pace and presentation. “When to cut” and “how to think like an editor” are important to the process on their own and they are their own people.

Authorial intent is honestly kind of hilarious. Especially in works with multiple “intenders”

But let’s poke the intent bear anyway, shall we? ‘Bunch of examples under the cut.

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Our editor-in-chief Paula Gaetos had the chance to interview prolific director, character designer, and monster designer Keita Amemiya, who is best known for being the creator and director of the GARO franchise. He is also known for being the director of various other tokusatsu, including Choujin Sentai Jetman, Choujuu Sentai Liveman, Kamen Rider J, Kamen Rider ZO, and Mechanical Violator Hakaider; he was also the character designer for Kamen Rider BLACK and Kamen Rider BLACK RX.

                                        RALPH ANGEL BORDELON

Ralph Angel Bordelon. The only son in the Bordelon clan. Ralph Angel wears what Ava DuVernay calls the, “Scarlet Letter” of being a convicted felon. Not only is Ralph Angel a convicted felon, he is a father to the sweet, kind-hearted and beautiful soul that is Blue. Ralph Angel is tied to one of the other characters we highlighted; Darla. Darla and Ralph Angel are the parents to Blue who was in the care of Aunt Violet. As with all our Queen Sugar posts there are spoilers ahead. Without further ado, here is Ralph Angel Bordelon.

When we meet Ralph Angel he is sitting in a park playing with his son Blue. He tells Blue to stay put while he steps away. Ralph Angel robs a store, goes back to pick up Blue and heads back to his father’s home to pay Aunt Violet for watching Blue. The overarching storyline for Ralph Angel is him trying to find steady work to maintain good-standing on probation, and regain custody of his son. Ava DuVernay’s reference to his “Scarlet Letter” is an ode to one of my favorite Nathaniel Hawthorne books, The Scarlet Letter. To summarize, Hester Prynne, one of the main characters of the novel, is forced to wear a scarlet ‘A’ to show she is being punished for committing adultery. For Ralph Angel, his scarlet letter would be an ‘F’ to represent his convicted felon status. Anyone who has not been living under a rock knows how hard it is for a convicted felon to find work. They already have their voting rights taken away (this has changed in some places) and even the right to carry a firearm. The various writers and female directors of Queen Sugar do something different with the portrayal of Ralph Angel. A lot of other television characters who are written as felons tend to follow a stereotype. In the case of Ralph Angel, they work to humanize him. He is not written as a gangster. He is not stereotypically hardened in his outward appearance the way many characters are written. He also varies from the felonious father figure stereotype. He allows his son to play with a doll without making him feel like less of a boy. He is a bit soft-spoken. He feels. There is a beautifully emotional moment between Ralph Angel, his father Ernest Bordelon and Blue. You can watch the scene below:

Now that we have all wept, this is arguably one of the best scenes in the show. This scene seemed to set the tone and prepare to show us that Ralph Angel is not the sum of his mistakes. There is a point where Ralph Angel is talked into housing some items that were stolen from his job. When the police come to look for the stolen goods, they find nothing. Ralph Angel realizes that Aunt Violet discovered what was going on and got rid of everything. This was the moment Ralph Angel realized it is unnecessary for him to go back to a life of crime. It is unnecessary for him to feel like there is no other way. Ralph Angel recognizes he is loved. Ralph Angel eventually even lets Darla back into he and Blue’s life. He begins to make an active attempt at being better and building a better life for he and his son. Throughout the first season, Ralph Angel attempts to cope with paying for his sins time and time again. Proving himself to Aunt Violet being his biggest goal. There is a moment in the show where he pleads with Aunt Violet to relinquish her guardianship rights of Blue and allow him to parent fully. These moments are what make Ralph Angel such a magnificent character.

Ralph Angel, like many of the characters on Queen Sugar, angered me, broke my heart and gave me joy. Yet, Ralph Angel, allowing Blue to be himself is the most beautiful of all. There are these toxic ideas of masculinity that exist in our world. People who believe that little boys are supposed to act a certain way to grow into men. Except, those ideas bend towards violence being the way boys show affection and become “real” men. Now, add to all that blackness and it gets worse. Watching this black father allow his little black boy to play with a doll filled my heart with joy. It put a spotlight on what we think boyhood should be. Ralph Angel shines a spotlight on a different form of manhood not always seen on television. Queen Sugar has a legion of female directors who purposefully have done a beautiful job with this character and show. Ralph Angel is poised to make his father, Aunt Violet and the Bordelon name proud. Here at BGA, we can’t wait to see what the second season of OWN’s Queen Sugar has to offer.

Post by, S.A.
The Helicarrier

There isn’t much to say about this one really. It is a scene setting one, out of the Avengers movie, tweaked to include the Reader. It is probably a little boring, but it is an important one regardless.

If you have any feedback, please feel free to share it.



“Ladies and gentlemen, you might want to step inside in a minute,” Natasha began, “It’s going to get a little hard to breathe.”

You heard the thrumming of machinery, as if something was powering up.

“Is this a submarine?” Steve asked with mild shock in his voice.

“Really? They want me submerged in a pressurized metal container?” Bruce added, incredulous.

You peered nervously over the edge of the ship, and saw engines slowly rising out of the ocean.

“We aren’t going down,” you said, looking at Steve anxiously.

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Note : the Dreyse cartridge is actually 15mm.

Reffye Mitrailleuse or Canon à Balles

Designed by French artillery general and director of various gun works Jean-Baptiste Verchère de Reffye c.1867 for the French army.

De Reffye is also responsible for the designing and adoption of breech-loading cannons in the French army, although these were still too scarce by the time of the Franco-Prussian war of 1870-71 to have any relevant effect on the battlefield.

The Reffye Mitrailleuse of 1866 was based on the Belgian Montigny Mitrailleuse of 1863, based on the drawings of Toussaint-Henry-Joseph Fafchamps. Some people say it was inspired by an American volley gun we know little about, beside that it sucked, but I have yet to see proof of that. Working the Reffye was very similar to how you would a Montigny ; instead of levers, the gun used cranks to open the breech and load a speed-loaderesque magazine into the gun, and then fire its 25 rifled barrels. The ammunition used was a 13x40 lead bullet in a cardboard and brass centerfire cartridge longer than a human index (the most powerful rifle cartridge in existence at the time), showing the “artillery” mindset the gun was designed in considering the range it gave the weapon (3400m). As opposed to the 200 rounds of the Gatling gun, the Mitrailleuse could indeed only fire 100 rounds a minute.

One of the few successful tactical use of the Reffye, against what was thought to be its effective use at the time, was at the battle of Gravelotte or Saint-Privat, where a battery of six Reffye Mitrailleuse with infantry support mowed down 500 Prussian cuirassiers in 90 seconds, in a WW1 fashion.

The ways to play Kate & Petruchio

In reading up on the many ways to play Kate & Petruchio’s querulous relationship, I stumbled upon this article in The Guardian from January 2012, which talks about various directors’ takes. Super interesting, especially as I’ve always struggled with this one myself:

The other, less stomach-churning interpretation is that this is a curiously misunderstood love story. Lucy Bailey, who is directing the new RSC show, believes their attraction is instant, and what unfolds is “all foreplay to one event, which is to get these two people into bed”. For this to work, Bailey says, Petruchio must never appear to be superior to Kate. “In rehearsals, the play quickly becomes odd if Petruchio starts to lecture, becomes the educator, or takes any moral position. It becomes punitive, and you start to think, ‘This is dead and ghastly.’ It is a fantastic battle of the sexes: it’s because they won’t allow each other to win that the game continues.”

The trouble with the love-at-first-sight version is that it’s hard to understand why Petruchio should mistreat Kate so. Gregory Doran, who directed the play for the RSC in 2003, suggests that Petruchio doesn’t know how to handle their relationship because he is as much of an outcast as Katherine. He points out that both characters are frequently described as mad: “Madness is a way that society can label you. That’s what Kate and Petruchio are struggling against. I don’t think it’s describing an ideal relationship, but it is a real relationship.”

It’s definitely a nice thought, that they were sort of together in madness amongst these obnoxious noblemen.

Imagine.. Going To The Golden Globe Awards With Shannon & Jared Leto *one off special*

“Jared..?” You woke with a start as you found the space next to you empty. You had gotten to know Jared through helping your brother to direct the film Dallas Buyers Club. You weren’t ‘together’ but Jared hated putting a label on what you had. All you knew was that you had spent a lot of nights around his house and a few kisses had been exchanged. You cared for each other and that’s all that mattered. 

You got out of bed wearing your bed shorts and Jared’s old large t-shirt which seemed appropriate for the hot LA nights which you were starting to become used to. It was 2:34AM. 15 hours until the Golden Globe Awards ceremony. 

“Jared?” You repeated as you walked into the bathroom where you could hear mumbling. You stood in the doorway as you watched Jared carefully mumbling words to himself, completely oblivious to you for a few seconds. When he did realize you were there he let out a sigh but did not break his view of his Que cards that he held in his hands.

“I’m not going to win it.” He began as he lent back against the bath as he sat on the floor. He looked tired and you were pretty sure he haden’t gone to sleep since you both got into bed about 2 hours ago. He opened up his legs and allowed you to sit in between them as he wrapped his arms around your waist. 

“I believe in you,” you whispered as you took the Que cards from his hands and placed them gently on the floor. “You’ve worked too hard for this to turn up to the awards tomorrow with huge bags under your eyes, OK?” You turned around and stroked his stubbled face. “Lets go to bed.” You whisper.

“Before you say something real?” Jared replied in a mimicking tone to a song by The Vaccines that you loved but he hated.

“Not funny,” You said pulling him up from the floor and guiding him under the covers. “You’re so not funny.”

You spent the next 6 hours or so hours drifting in and out of sleep whilst keeping a tight grip of Jared’s arm so he wouldn’t go wondering and wouldn’t make any more terrible jokes.


“Time?” You hear Jared calling to you from the bedroom as you finish putting eye-liner on your left eye in the bathroom.

“Three-thirty, we still have an hour and a half Jared..” You reply in a slightly irritated tone as this was about the fifth time he had asked.

“Only an hour actually - we have to be on the red carpet earlier.” He said in a panicked tone. 

“Well, I’m going to go downstairs and wait there. I don’t want to stress you out anymore.” You began as you walked out of the bathroom and Jared’s strong hand caught you before you began to descend down the stairs. 

“Hey - you know I didn’t mean that,” He whispered as he ran his hand up your arm to your shoulder. “You’re the only thing that has kept me sane today, OK?” You smiled and he kissed you on the forehead before disappearing into the bathroom. 

The day had consisted of you preparing your outfit for tonight: a long blue dress with dark purple shoes and Jared not talking very much at all. You didn’t think he’d be that nervous about tonight but the look on his face at all times of the day suggested otherwise. You’d been waiting for Shannon to come and make Jared more relaxed. 

Walking down the stairs, you realized that Shannon had just closed the door in the house that you and Jared had rented in LA for a while. Your face almost hit the floor when you saw what Shannon looked like: his short hair styled perfectly with a black suit and black tie. You couldn’t get over how dapper he looked. 

“You look.. Wow.” He said before you even had the chance to open your mouth. He took off his sunglasses and stood before you with complete admiration which made you blush. 

“Could say the same about you - you scrub up well.” You joked. You walked over to Shannon and planted a gentle kiss on his cheek which made him go red and stutter.

“What was that for?” He said with a slight smirk.

“For being you,” You couldn’t really stop these words escaping as they had been building up for a long time. “For looking after Jared when I couldn’t be there. For supporting and believing in him always. For being so accepting of me and making me feel welcome. For being such an idiot sometimes but always for the right reasons. Just.. Thank you.” You could see his smile getting wider and wider as his face got redder and redder. 

“Your past has been my pleasure and your future will be my privilege,” He choked and laughed at how serious that sounded. “What I mean to say is - it’s my pleasure. Thank you for everything.” His words made you feel unstable on your feet as they hit you completely by surprise. Shannon grabbed your arm and looked straight into your eyes. His eyes were less piercing than Jared’s: more relaxed. More unpredictable. You could feel his breathe on your face. 

“Where’s Jared?” He said abruptly as he pulled away and straightened his tie. 

“Upstairs,” You stutter. “Been a nightmare keeping him anywhere for more than 5 minutes.” You laugh. Shannon smiled in response and bounds up the winding staircase. 


“OK Shannon I want a picture for Instagram - can you handle not breaking the camera on this phone?” Jared’s friend Jamie says as he holds up the iPhone to Shannon’s cleanly shaven face. Without needing to adjust any expression - he has his photo taken and you realize how photogenic Shannon really is.

“So - are you excited, Jared?” Jamie says as he looks expectantly to Jared’s stone face. He nods quickly and puts a tighter grip on your hand as the cab pulls up outside the venue. 

“Time to do or die, brother.” Shannon says in a rehearsed tone as they step out of the cab and the cameras start flashing immediately.

As you had been helping direct the film with your brother - you were granted a ticket to the awards. As a nominee - Jared instantly gained a ticket and one more which he decided to give to Shannon. 

You allow the two boys to walk on to the carpet first as the photographers snap away happily at this new pair of celebrities. About 10 seconds into the pictures, Jared looks your way with a confused look. 

“Get over here!” He says reaching out for your hand. “You’re too beautiful not to be in these photos!” You join in the middle of the two brothers as Jared puts his arm around your waist and Shannon puts his arm around your shoulders. When you had walked further on the red carpet to the doors of the official venue, Jared stops walking and turns to you. 

“You really are absolutely beautiful, you know that?” He says, planting a kiss of your forehead. “I really don’t deserve someone like you.” He says before trying to walk off to which you hold his hand, stopping his movements.

“I guess I’ve just got a thing for transsexual drugs addicts.” You whisper in his ear as you pull him forward to carry on walking. 


The whole night had been perfect so far. The food and drink had been absolutely amazing and the awards had been given out without a problem. 

“The next award is.. Best supporting actor!” On the table sat various directors and producers of Dallas Buyers Club, you, Shannon and Jared. The whole table seem to tense. 

“Nominated for this award is Barkhad Abdi for his role in 'Captain Phillips’,” There was a collective applause from all over the room. “..Daniel Bruhl for his role in 'Rush’..” There was another round of applause which was slightly louder this time. “..Bradley Cooper for his role in 'American Hustle’..” Now the applause had really began. The whole table new it would be difficult to win against Bradley Cooper. “..Michael Fassbender for his role in '12 Years A Slave’..” there was a short pause until he said, “..And finally Jared Leto for his role in 'Dallas Buyers Club’.” This was the moment that the whole room applauded louder than for any of the other nominees.

The whole room hushed and became silent. 

Jared’s hand gripped yours tighter and tighter as the seconds dragged on.

“And the winner is..” You bit your lip as did everybody else on the table.

“Jared Leto for his role in Dallas Buyers Club!" 

Shannon stood up before anybody else had the chance and looked at Jared with wild eyes. Jared stood to his feet and was enveloped by Shannon as he kept repeating "You did it!” As his smile grew larger. 

“No, we did it. I couldn’t have done it without you, brother.” This made Shannon hug him even tighter as Jared slowly turned to you. 

“Thank you for believing it me,” He whispered as he planted a kiss on your forehead. “Especially when I couldn’t believe in myself.” This last words cut right through you like a knife and you tried hard to stop the tears from falling as these words were so precious and genuine. 

“I love you,” He mouthed.

“I love you too.” You mouthed back. 

You two weren’t together but this is more than you had ever meant to anyone before. 


The rest of the night was an oblivion of happiness and relief. Jared, Shannon and you among multiple other people had gone to an after party in which Jared had been invited. Everyone had had a lot to drink and the night was getting on into around two in the morning. 

“What a difference 24 hours can make to a person, right?” Jared said in a slurred voice. “I’m just going to get some water-” He turned around to see co-workers walking over to him. “Oh hey guys!”

It was so relieving to see Jared so busy with people congratulating him. You couldn’t think of anyone who deserved it more.

The room had gotten very clammy so you decided to go outside to cool down. 

“Hey,” You heard a slurred voice say as you walked out of the door. “Looking for me?” Shannon had gotten drunk and seemed to have had the same idea as you. He still seemed to make sense although his words were slow and slurred. 

“Someone is a little bit drunk..” You say as you grabbed Shannon’s right arm as he was unsteady on his feet.

“Someone is right..” He said with a chuckle that made you laugh. He regained his posture and towered over you. 

Before you knew it, his lips had crashed onto you..

And this time - it wasn’t on your cheek. 


“Grace of Monaco” (Olivier Dahan)

“Adieu au langage” (Jean-Luc Godard)
“The Captive” (Atom Egoyan)
“Clouds of Sils Maria” (Olivier Assayas)
“Foxcatcher” (Bennett Miller)
“The Homesman” (Tommy Lee Jones)
“Jimmy’s Hall” (Ken Loach)
“La Meraviglie” (Alice Rohrwacher)
“Maps to the Stars” (David Cronenberg)
“Mommy” (Xavier Dolan)
“Mr. Turner” (Mike Leigh)
“Saint Laurent” (Bertrand Bonello)
“The Search” (Michel Hazanavicius)
“Still the Water” (Naomi Kawase)
“Two Days, One Night” (Jean-Pierre and Luc Dardenne)
“Wild Tales” (Damian Szifron)
“Winter Sleep” (Nuri Bilge Ceylan)

“Coming Home” (Zhang Yimou)
“How to Train Your Dragon 2”
“Les Gens du Monde” (Yves Jeuland)

OPENER: “Party Girl” (Marie Amachoukeli, Claire Burger and Samuel Theis)
“Amour fou” (Jessica Hausner)
“Bird People” (Pascale Ferran)
“The Blue Room” (Mathieu Amalric)
“Charlie’s Country” (Rolf de Heer)
“Dohee-ya” (July Jung)
“Eleanor Rigby” (Ned Benson)
“Fantasia” (Wang Chao)
“Harcheck mi headro” (Keren Yedaya)
“Hermosa juventud” (Jaime Rosales)
“Incompresa” (Asia Argento)
“Jauja” (Lisandro Alonso)
“Lost River” (Ryan Gosling)
“Run” (Philippe Lacote)
“The Salt of the Earth” (Wim Wenders and Juliano Ribeiro Salgado)
“Snow in Paradise” (Andrew Hulme)
“Titli” (Kanu Behl)
“Tourist” (Ruben Ostlund)

“The Rover” (David Michod)
“The Salvation” (Kristian Levring)
“The Target” (Yoon Hong-seung)

“The Bridges of Sarajevo” (various directors)
“Eau argentee” (Mohammed Ossama)
“Maidan” (Sergei Loznitsa)
“Red Army” (Polsky Gabe)
“Caricaturistes – Fantassins de la democratie” (Stephanie Valloatto)


Directors’ Fortnight 

OPENING FILMBande De Files, dir: Céline Sciamma
CLOSING FILMPride, Matthew Warchus

Alleluia, dir: Fabrice Du Welz
Catch Me Daddy, Daniel Wolfe
Next To Her, dir: Asaf Korman
Cold In July, dir: Jim Mickle
Fighters, dir: Thomas Cailley
Gett — The Trial Of Viviane Amsalem, dir: Ronit & Shlomi Elkabetz
Kaguya-Hime No Monogatari, dir: Isao Takahata
Eat Your Bones, dir: Jean-Charles Hue
A Hard Day, dir: Seong-Hun Kim
National Gallery, dir: Frederick Wiseman
Queen And Country, dir: John Boorman
Refugiado, dir: Diego Lerman
These Final Hours, dir: Zach Hilditch
Tu Dors Nicole, dir: Stéphane Lafleur
Whiplash, dir: Damien Chazelle

Li’l Quinquin, dir: Bruno Dumont
The Texas Chain Saw Massacre, dir: Tobe Hooper (4K restoration)

Fragments, dir: Aga Woszczynska
In August, dir: Jenna Hasse
Cambodia 2099, dir: Davy Chou
The Revolution Hunter, dir: Margarida Rego
8 Bullets, dir: Frank Ternier
It Can Pass Through The Wall, dir: Radu Jude
Torn, dirs: Elmar Imanov & Engin Kundag
Heartless, dirs: Nara Normande & Tião Tiao
Man On The Chair, dir: Dahee Jeong
Jutra, dir: Marie-Josée Saint-Pierre
Guy Moquet, dir: Demis Herenger

From the archive - Peter Capaldi on Cricklewood Greats, The Thick of It and Malcolm Tucker (February 2012)

We are in Peter Capaldi’s spacious, if spartan, dressing room in the vast, empty, 1930s Hornsey Town Hall in north London. The actor’s days are spent filming (he’s working on the second series of The Hour, in which he is the new head of news) and his nights are on stage (as Professor Marcus in The Ladykillers); a punishing schedule from which he emerges looking exhausted, hardly surprisingly – chalky white, with a nose-dripping cold, and exceedingly thin.

He is dressed in a 50s costume of drab grey suit with braces and black-rimmed spectacles – so similar to his own pair that he later struggles to remember which are his. When I sit on one of two sofas, he asks if I would mind swapping because he needs to protect his back while he eats his BBC canteen lunch, a suitably retro plateful of roast pork and two veg.

It is his only mildly unchivalrous act (the springs on the sofa I sit on are shot and I sink to the ground); the rest of the time, he couldn’t be more charming and less like the Bafta-winning role for which he is most famous, foul-mouthed Labour spin doctor, Malcolm Tucker in The Thick of It.

Cricklewood Greats

What Capaldi would clearly like is to have a post-lunch kip on the bed in the corner of his room with its girly, pastel-patterned duvet (which, positively Sherlock-like, I divine correctly as belonging to his teenage daughter, Cissy.) But, alas, he has something to promote, and since he wrote it, directed it, presented it and even designed the art work that appears in it, he’s just going to have to be a trouper and get on with it.

Cricklewood Greats is a send-up of those reverential documentaries where the presenters talk in hushed tones about the legendary long-dead stars of now-defunct film studios.

It starts with the silent movies and a familiar, bowler-hatted comical chap called the Little Drunk, through the 1930s comedies of Florrie Fontaine with such mega-hits as Florrie Drives a Lorry, the horror B-movies featuring Dr Worm, thence Dr Jekyll and Matron Hyde (“He always brought class to films that didn’t always deserve it”) leading to the finale of Terry Gilliam’s Professor Hypochondria’s Magical Odyssey, whose literally explosive direction finally did for the studios.

So is this his revenge for countless hours of television irritation? “Actually I love these sort of documentaries, which you might turn on late on a Saturday night – like, say, The Alma Cogan Story,” Capaldi says. “But they are ripe for spoofing, because the presenters are always so serious and anxious to make themselves look like rather attractive and interesting people.”

What appealed to him about the project was not the presenting role, but the idea that he could make “these tiny little films, y’know. [In 1995, he won an Oscar for directing a 20-minute short film, Franz Kafka’s It’s a Wonderful Life.] And I thought how fun it would be to do one with fictional characters. Those programmes always tend to be about very successful characters and I like the idea of slightly unsuccessful people who showbusiness jettisoned at a certain point.”


Capaldi was brought up in a poor but respectable Glaswegian tenement, as the actor describes it, in Springburn, with his sister, his late father Gerry, son of an Italian shepherd from a little village near Monte Cassino, and mother Nancy, of Irish parentage.

Nancy and Gerry ran a café on the ground floor of the tenement they lived in. Also in the block was Peter’s paternal grandmother, his maternal grandmother lived opposite, his uncles and aunts and their children in the building behind them.

“It was the tail end of that very traditional, extended family and I loved it. My Italian granny and my mother made great spaghetti, but it wasn’t a kind of southern Italian, Godfather-esque kind of thing – it was a wonderful, big mixing pot of all kinds of people – when you came home from school and your mum wasn’t in, there were lots of people you could go to.

“It was quite poor. Where my grandmother lived, the only toilet was a communal one on the landing, but it was spotless.”

Artistic child

His uncle Peter, after whom the actor was named, and his father were both talented painters and encouraged young Peter to draw, “which I did well, from when I was a child, so there was always the belief and encouragement that I would do something artistic.”

His desire to act was based on a few random plays he had taken part in at school but “we were not a literary family, we didn’t go to the theatre, we never listened to Shakespeare… I just fancied the idea of acting. It seemed like a fun life.”

He applied to a number of drama schools in London but when he failed to get in, enrolled instead at Glasgow School of Art, where he was a contemporary of Peter Howson, who went on to be the official war artist in Bosnia.

Lucky break

Capaldi was in a band called the Dreamboys who used to support the slightly more memorable Altered Images, with fellow Glaswegian, Clare I Could Be Happy Grogan. She had starred in the charming Gregory’s Girl by Bill Forsyth, the director who was to change Capaldi’s path – in one of the many flukey twists and turns that mark the actor’s life.

The director was a friend of Capaldi’s costume-designer landlady, and on meeting the lodger in his pal’s kitchen one night, was so struck by “the drama” of the 23-year-old’s face that he cast him as a young oil-company employee opposite Burt Lancaster in Local Hero, released in early 1983.

When I say that in my mind’s eye I can still see that callow young man (there was something unusually striking about his face, as well as his acting) but that it fades in and out of Tucker’s snarl, all these years later, Capaldi laughs: “Well, I’m lucky enough to have hung around for that amount of time. I’ve been lucky enough to hang on!”

After the excitement of his lucky break… nothing. “It was a different time. Now kids go to drama school and then leave straightaway to go to Los Angeles and meet piles of agents. But I wasn’t a trained actor. I had no idea what you did. So I just went back to Glasgow and spent all my fee on curries and lagers and taking my friends out.”

The road to Hollywood

Eventually, he arrived in London where he was helped by fellow Scots actor Denis Lawson, who he knew from Local Hero. There was a good part playing the manservant to John Malkovich’s Valmont in Dangerous Liaisons in 1988, but not much else stands out.

In 1993, he wrote and starred in a low-budget Scottish road movie, Soft Top, Hard Shoulder, that won the audience award at the London Film Festival. Then came his Hollywood moment with Franz Kafka’s It’s a Wonderful Life; the idea arising, fortuitously, when Capaldi’s wife, Elaine Collins, an actress turned producer, muddled up the existential writer with the American director, Frank Capra.

On the back of this success, doors were opened in Hollywood, flesh was pressed, deals were struck and then unstruck. The mighty Miramax gave the go-ahead on a screenplay, Moon Man, that Capaldi had worked on for a year, flew him out to Manhattan to toast his success, but en route – mysteriously and humiliatingly – the green light had turned to red.

The Thick of It

The family home in London’s Crouch End was paid for, however, by the fat fees from the company and was duly dubbed Villa Miramax. In 2001, Strictly Sinatra, a film Capaldi wrote and directed starring Ian Hart, was a flop, followed by years of Poirot-this and Foyle’s War-that, before Armando Iannucci, another Scots-Italian who had been brought up in the same street as Capaldi – as the two of them later discovered – had the good sense to see that Peter would make a brilliant Malcolm Tucker.

This offer came in the nick of time, as Capaldi was seriously contemplating another career. “Although it wouldn’t have really been what I wanted to do, I had started sending out story-boards that I’d drawn to various directors because I’d thought, ‘I’ve got to get a job. I’ve got to get some other work.’”

His misadventures in Hollywood were what inspired his creation of Tucker rather than, as is widely thought, Tony Blair’s former director of communications Alastair Campell.

“The only people that I had witnessed personally behaving in the way that Malcolm does were American agents or producers. You could see people at ICM in Los Angeles – malevolent forces in Armani suits – barking the foulest and most terrifying of obscenities down the phone at people.

“The producers, too. Harvey Weinstein and the team at Miramax were long celebrated for Malcolm-like behaviour, so in fact they were the people I thought about. That was the model I took, rather than Alastair Campbell, as I didn’t know him. Alastair might be a bit disappointed to know this!”

Playing Malcolm Tucker

The Thick of It returns later this year, for a fourth season. I wonder whether Capaldi actually likes his character? Does he find him satisfying or liberating to play?

“I like Malcolm very much. He’s got a heart of gold [Really?] and he’s only trying to do his job; it’s not his fault that he’s confronted by an army of idiots. It’s quite exciting to play him, because he tends to always be on the offensive and he gets given wonderful lines, lots and lots of them. As any actor will tell you, that’s an attractive position to be in.

“His verve, his vigour is a great tonic. Also I think he’s quite complicated, he’s not just a swearing man. He lives in a real world full of tough people making tough decisions. At his best he cuts through that world with a certain spring in his step and humour; get in his way, though, and he’ll cut you open with his face.”

I wonder how much he finds himself, after seven years – off and on – of playing the man, maybe sharing some of Malcolm’s characteristics a little bit at home? “Unfortunately, if you spend hours being scornful, there’s a residue left when you ask ‘Where is the TV remote control?’ or ‘What do you mean, I have to mow the lawn?’”

Do your family and friends ever tease you about Malcolm-like tendencies? “It’s most commonly said that I’m very nice and not like Malcolm at all. But some of my friends feel that he does lurk inside me. They think they had seen him long before he appeared on the television and he’s still there and not to be disturbed.”


Capaldi has been described as coming from an “Old Labour” background, but when I ask him about his parents’ politics, he laughs: “They’re so not political… that’s why I’m laughing.”

He talks movingly about how in the big, tough industrial cities of Glasgow, Liverpool and Newcastle, “there is a great embracing of creativity and a great pride in it. The Billy Elliot thing is quite rare… Actually, I think people are thrilled to see young people with their gifts… unless they’re dumb.

“I lived through a golden period where society felt that it was good to help people who didn’t have a great deal of money fulfil their potential. It’s sad, considering where we are now. I wouldn’t be here if it were not for the grant system that paid for me to go to art school – because my parents couldn’t have afforded it.”


He still tries to draw every day, inspired by John Byrne, the 70-something artist, playwright and father of Tilda Swinton’s children, who once told him, à propos of his own daily regimen: “If you can do this, why wouldn’t you?”

He talks, very tenderly, about “the succour” of looking at great paintings by Vermeer and Rembrandt, the drawings of Holbein through to the Turner-shortlisted George Shaw, who paints the Coventry estate he grew up in.


Sometimes, he wishes that he had made it in Hollywood: “I’m not on the radar there… but the only reason I’d want to be is because occasionally you see something magnificent, and you just think, ‘Oh, I would love to be part of that!’”

Like what? “Michael Mann’s The Last of the Mohicans. It’s not just epic, it’s the craft of film-making taken to an extremely high level. The costumes are fabulous, the sets are fabulous, the script is fabulous… the acting is extraordinary. And we never do anything like that, you know.

“So you think, ‘There is a wonderful thing’ and, yes, of course, I would love to be part of it but you have to set out to do that and move away from your family or move them with you.

“I guess you’d earn an enormous amount of money, and I’ve never had to make that decision. But also, I’m too…” a very long, thoughtful pause, and then a big laugh, “Well, I suppose I like my life exactly the way it is.”

oh my god, joss whedon can’t even interpret his own fucking writing let me lay this all out because i can’t stand his ass

  1. whedon wrote tony creating ultron and marvel was fine with that
  2. tony created ultron because he was afraid and it was a decision that went wrong 
  3. whedon then turns around and calls tony a villain after he writes tony creating ultron out of fear and a ptsd reaction
  4. whedon’s a dumb ass fucker


if you want to talk about his past or his iron-legion-that-are-basically-drones or whatever and call him a villain, you know what fine, i’m too tired to argue with that anymore. i still don’t believe bad writing and various directors misunderstanding mcu!tony makes him a villain

but ultron doesn’t make tony a villain and if you believe it does then you have to call bruce a villain too

i’m done


I found more mall cop doodles.  The top one is some of my info desk/front office squad:

green is Kurt.  He’s a bit effeminate and seems really timid and squirrelly at first–he censors himself when he swears and if you ever hear him slip it’s immediately followed by a gasp and an expression of regret.  Once you get to know him he’s actually really hilarious though, and super into womens’ studies/gender roles, so we spent a lot of time mimicking and making fun of the hyper-masculinity exhibited by the various directors above us.  He has a really weird laugh that can’t be written phonetically, but I tried.

orange is Kelsey.  She also seems a little spacey at first, and she has this way of staring at you with these wide eyes like she’s hanging on every word you’re saying, trying to figure you out.  She’s super athletic and kinda boyish and always wears a big sports jacket on top of her uniform for some reason.  She’s also really into film studies and psychology, so we had some pretty deep conversations about what makes up ones character.  I’d sometimes go back and talk to her even once I was off, because we were in the middle of something really big.  

Red is Jack.  Jack is kinda short and incredibly well-groomed.  He looks like he comes from money, and he does, so you’d assume he’s a little out of touch, but he’s actually incredibly well-versed and interested in social/racial/economic inequality.  On top of that, he’s witty and charismatic as fuck.  He’s definitely a party guy, and you can tell he likes being the life of that party.  If you could somehow mix a rich frat boy with a social activist you’d probably get Jack.  I always wanted to draw a comic of this time the security staff grabbed him in the garage and held him down, shoving his face down towards a workbench vice grip, because he started yelling “NO!  NOT THE BEARD!  ANYTHING BUT THE BEARD, PLEASE GOD NOOOO!”  It was all in good fun.  

Bottom is Ken, the Security Director.  I spent a year and a half talking to Ken almost every single day of the week and I still can’t exactly describe him in a paragraph.  He’s the most frustrating, insensitive person you will ever meet.  The human embodiment of a PR disaster.  He used to be a detective for St. Louis County and worked on a lot of fucked up murder cases, so he’s seen the worst of humanity and I guess at some point he stopped giving a fuck about being a socially acceptable human being.  Which isn’t to say that he’s not fun to talk to; he’s fucking hysterical.  I could sit for a whole shift and listen to him tell old cop stories about all the stupid shit he’s done.  Deep down he’s got a functioning moral compass somewhere, but there’s a lot of shit sitting on top of it.  He secretly wishes he could’ve been a stand-up comedian.  

Japonism breaking news

The Calendar has broken sakumoto shippers into gazillion pieces: I no longer have a reason to complain about ‘official’ acknowledgement with Papa Jun and Mama Sho.

Pics from


Life in a Day (2011)

Location: Netflix Instant Play

Rating: A(+)

Additional Comments:  I’m not really sure how I can really communicate how good this film is.  It’s definitely difficult to write about because it’s not a typical film.  Its directors are beyond numerous, and “every day people”.  The concept is so abstract and seemingly effortless and even obvious, but its execution is impeccable.  It’s one of those movies that has definitely had a profound effect on my perception and my way of thinking.  I was expecting it to be like Babies was, but it’s so much more interesting and profound than Babies.  Definitely one of the best films on Netflix instant.  If you’ve been putting off seeing it, don’t anymore.

I’m one of those people who constantly has moments like that scene in Amelie where she ponders how many people are having orgasms at that very moment.  This is kind of like the answer to that unanswerable question.