A thing I need in my house
This is how a visual piece of emotional action happens in a script. There are some words, but the characters and their emotions are not expressed in conversation. Something huge happens, and it’s something we watch, rather than listen to.
Little Miss Sunshine was written by Michael Arndt.
Anonymous asked: Not that i want to defend DC (i dropped all the DC books i was buying when nu52 started), but is it possible they just want no weddings period, for all the mishegasit causes in big two superhero comics, and it wasnt targeted at the LGBT characters?
I actually believe that’s precisely what’s going on. It has nothing to do with their sexuality, but rather a company edict of the New 52.
That said, it’s also impossible to separate. Their justification - sound or not - makes no difference to the appearance. DC could have the best of all reasons for not wanting characters to marry, but in the case of Maggie and Kate, there’s a message being sent, regardless of intent. One hopes they’ll untangle it somehow. Rather than labeling it as homophobia, I think it’s rather a tone-deafness.
Unfortunately, to a community that has been under-and-miserably-represented for the most part, there’s really no way to see it as anything other than another slap in the face.
Just my opinion.
In which Greg Rucka articulates my thoughts better than I ever could.
I just don’t understand why they let the proposal happen in the first place if they didn’t want to follow through. Was the hope to kill Maggie? Break them up? I suppose we’ll find out. A grieving Kate would take the comic to very dark places. But they still could have been married first. The fear of marriage in DC seems a little tone deaf and condescending to the readership. Do they think we’re all going to go “ewwww mawwiage!” ?
Superman was no less cool married to Lois then when they were dating. In fact considering DC’s history of portraying marriage
Our reaction to characters marrying is going to infinitely more mature than these storylines.
I fucking love the way this movie portrayed anxiety and anxiety attacks (though not necessarily the way other characters reacted to them ((namely the child)) but that’s another story)
tell me anxiety isn’t a big deal when Tony fucking Stark thought he’d been poisoned the first time he had an attack
Favourite Director/Actor Collaborations: Kurosawa/Mifune
Between 1948 and 1965, Akira Kurosawa directed 17 films. Of those 17, Toshiro Mifune starred in all but one. While the two had a falling out after the filming of their last collaboration, Red Beard, their mutual respect for one another remained intact until the end.
Kurosawa has this quality, this ability to bring things out of you that you never knew were there. It is enormously difficult work, but each picture with him is a revelation. When you see his films, you find them full realizations of ideas, of emotions, of a philosophy which surprises with its strength, even shocks with its power. You had not expected to be so moved, to find within your own self this depth of understanding.
— Toshiro Mifune
I am a person who is rarely impressed by actors, but in the case of Mifune, I was completely overwhelmed.
— Akira Kurosawa
Can we just for a moment actually look at this from an art/animating view?
I like this gif. I really do. I find Jack attractive, and it’s not just because I like teenage boys with white/silvery hair. But as I’ve been looking at it I’ve been noticing all these little things that make CGI movies so realistic in a way, nowadays.
- The strings on his hoodie. As he turns, they move the way you’d expect them to, they look like they have the right weight or something. They fall the right way. Someone watched people turning around in hoodies and made sure this was right. A+ on the physics engine and the lighting system in this movie.
- At the ‘end’ of the loop watch his chest. He’s breathing. ”Of course he’s breathing,” you might say. But he’s breathing. His chest is expanding, like a real chest, not just from sighing or anything, but from just standing there and being a human. You don’t even notice it, like you don’t really notice the breathing of yourself, or your friends, or your family, or anyone else. It’s one of those things that brings subtle life to things and I’m just completely taken over it.
- His ear. ”But Melissa,” you say again, “It’s a fucking ear.” Yes. Yes it is. It is a stylized ear, but look at the lighting. It looks like it’s glowing red dully, and that’s not because he’s frosty and people get red on their ears when they’re cold. It’s because light is going through his ear, and showing the blood in it, and so it looks red. You never really think about it, but ears are pretty thin, and when the right light is on it you can sort of see through it. But only a little. You can see the insides. You know what I mean.
- When he’s turning, his right arm is reasonably loose, and you can see the subtle movements from centrifugal forces or whatever, that his arm moves out and then back in again, and his hand moves with it in a way, and it’s adjusting the staff so that it stays on his shoulder instead of just flinging off into the sunset. And if you look, the staff is making the proper bobbing for balancing, and it’s just like AJDFKSJAFJSDKAJFDA
- His hair. It moves and bounces just ever so slightly, and it’s so shiny and perfect, and I want it, and ajfDSAJFSAKJFSAJFSajfksxjvkaskreqw /dies
- You can’t see it well in this, but throughout the entire movie when there was a particular closeup of Jack’s eyebrows, I was in love. Sure, from far away they look like they’re just dark, but up close there are silvery white hairs in his eyebrows. There are actually a lot of them, but they’re mixed in ever so slightly and it’s giving me an art boner. I recently had to do a lot of work on hairlines and eyebrows, and you don’t really realize how important highlighting a few hairs here and there makes it so much more realistic than just a dark smear for an eyebrow. As for why they decided to make his eyebrows dark, it’s because white eyebrows on a very pale person looks very strange and uncomfortable. It doesn’t show up well on screen, for one, and emotions are shown much easier if the brows contrast with the skin. The same goes for eyelashes. Light eyelashes look unsettling, because we’re so used to seeing darker lashes break up the white of the skin and the white of the eye. (I understand this point is moot with people who aren’t pasty white, but Jack is pasty white.) From what I’ve seen, facial hair is commonly a little darker than head hair on white folks. Unless you’re a weird ginger. But getting back to his eyebrows, it’s fantastic that there’s brown and silver-white in there AND THEY HAVE INDIVIDUAL HAIRS ON HIS FACE
- Also this son of a bitch has remotely realistic fingernails and I was freaking out because nails are terrifying to me.
- The frost details on his hoodie reflect more light than the fabric and it’s SHINY.
And that’s why he feels real.
I think this film definitely deserves a lot more credit for it’s flawless animation.
And aside from Jack Frost, I kind of want to start talking about how Tooth was brilliant. Because seriously, her feathers were God damn realistic as hell and her movements didn’t odd like I expected they would.
Because it irks me when there are those films where there’s a Human/Fairy thing just looks awkward because they’re not really flying, they’re just hanging in the air and looking like they’re dangling from a string. BUT TOOTH WASN’T LIKE THAT. KUDOS TO YOU, ANIMATORS.
And the reason it looks so perfect is because they did a craptonne of tests so that when they animated her, they’d make her fly realistically instead of just thinking something like “U NO WUT SHE CAN FLY COZ MAGIC AND WINGZ LOOK PRETTY SO WE’LL KEEP THEM ANYWAYZ”. No, her wings actually do something. Or at least, they look like they do.
“… tests based on a very simple hummingbird dragonfly kind of creature, with a little bit more weight because she’s bigger.”
I’m not an animation expert, I don’t study graphic design anymore at all, and physics and I broke up ages ago and it was a very messy end to our relationship, but although I’m stupidly educated in the ways of those important life things, I can still recognise when something moves the way it should.
Or maybe I suck and I have no clue.
My favourite thing about the baby tooth fairies has to be the feathers though.
Their tail feathers fan out, but you don’t really notice it when you’re watching because it’s so quick and you’re not meant to be focusing on that part of the screen. But they’re all animated individually. They’re all doing different things, their tails are fanning at different times to different degrees, it’s just. WHUT.
ART AND ANIMATION?!
You, stop scrolling, we need to address some things about Hyperbole and a Half writer Allie Brosh. Think calling her the voice of a generation is going too far? Bullshit. This woman is one of the most real, relatable, creative, funny, and vulnerable writers of all time. From the pants-wettingly hilarious God of Cake to the needed-to-said-but-everyone’s-too-afraid-to-talk about it Adventures in Depression, Allie’s posts have genius pacing and are fantastic at highlighting the wonderful idiosyncrasies that make her who she is. She’s willing to let us in to aspects of her life that she doesn’t even understand so that people going through similar things can feel less fucking alone in a world that vilifies and over simplifies the complexities of mental illness. Allie doesn’t smile for you, or hand you bullshit platitudes because that. doesn’t. fucking. help. She’ll laugh when she’s damn well ready to laugh and she’ll cry when she damn well needs to cry, and you’ll do both with her because she speaks to the parts of all of us that we thought were too weird and too complicated to be understood.
(Source: , via seetomato)
I NEED THE MARTIAN MANHUNTER ONE. NEED IT.