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flufffysocks · 3 years

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let's talk about andi mack's worldbuilding

sorry this took forever to make! i've been pretty busy with school stuff and i kind of lost my inspiration for a bit, but i ultimately really enjoyed writing it! i wish i could've included more pics (tumblr has a max of 10 per post), and it kinda turned from less of a mini analysis to more of an extremely long rant... but i hope it's still a fun read!

i've been rewatching the show over the past few weeks (thanks again to @disneymack for the link!), and i’ve been noticing a lot that i never did the first time around. this is really the first time i’ve watched the show from start to finish since it aired, and it honestly feels so different this time - probably a combination of the fact that i’m not as focused on plot and can appreciate the show as a whole, and also that the fandom is much, much smaller now, so there’s a lot less noise. so the way i’m consuming this show feels super different than it did the first time, but the show itself doesn’t - it’s just as warm and comforting to me as it was the first time around, if not more so.

i think a lot of that can be attributed to andi mack’s “worldbuilding”. i’m not quite sure that this is the right word in this context, to be honest, because i mostly see it used in reference to fantasy and sci-fi universes, but it just sort of feels right to me for andi mack, because you can really tell how much love and care went into constructing this universe. for clarity, worldbuilding is “the process of creating an imaginary world” in its simplest sense. there’s two main types: hard worldbuilding, which involves inventing entire universes, languages, people, cultures, places, foods, etc. from scratch (think “lord of the rings” or “dune”), and soft worldbuilding, in which the creators don’t explicitly state or explain much about the fictional universe, but rather let it’s nature reveal itself as the story progresses (think studio ghibli films). andi mack to me falls in the soft worldbuilding category. even though it takes place in a realistic fiction universe, there’s a lot of aspects to it that are inexplicably novel in really subtle ways.

so watching the show now, i’ve noticed that the worldbuilding comes primarily from two things - setting and props, and oftentimes the both of them in tandem (because a big part of setting in filmmaking does depend on the props placed in it!).

one of the most obvious examples is the spoon. it really is a sort of quintessential, tropic setting in that it's the main gang's "spot", which automatically gives it a warm and homey feel to it. and its set design only amplifies this:

the choice to make it a very traditional 50s-style diner creates a very nostalgic, retro feel to it, which is something that's really consistent throughout the show, as you'll see. from the round stools at the bar, to the booths, to the staff uniforms, this is very obvious. the thing that i found especially interesting about it though is the choice of color. the typical 50s diner is outfitted with metallic surfaces and red accented furnishings, but the spoon is very distinctly not this.

instead, it's dressed in vibrant teal and orange, giving it a very fresh and modern take on a classic look. so it still maintains that feeling of being funky and retro, but that doesn't retract from the fact that the show is set distinctly in modern times.

of course, this could just be a one-off quirky set piece, but this idea of modernizing and novelizing "retro" things is a really common motif throughout the show. take red rooster records. i mean, it's a record shop - need i say more? it's obviously a very prominent store in shadyside, at least for the main characters, but there's no apparent reason why it is (until season 2 when bowie starts working there, and jonah starts performing there). a lot of the time, though, it functions solely as a record shop. vinyl obviously isn't the most practical or convenient way of listening to music, but it's had its resurgence in pop culture even in the real world, mostly due to its aesthetic value, so it's safe to say that it serves the same purpose in the andi mack universe.

the fringe seems to be nostalgic of a different era, specifically the Y2K/early 2000s period (because it's meant to be bex's territory and symbolic of who she used to be, and its later transformation into cloud 10 is representative of her character arc, but that's beside the point). to be honest, exactly what this store was supposed to be always confused me. it was kind of a combination party store/clothing store/makeup store/beauty parlor? i think that's sort of the point of it though, it's supposed to feel very grunge-y and chaotic (within the confines of a relatively mellow-toned show, of course), and it's supposed to act as a sort of treasure chest of little curios that both make the place interesting and allow the characters to interact with it.

and, of course, there's andi shack. this is really the cherry on top of all of andi mack's sets, just because it's so distinctly andi. it serves such amazing narrative purpose for her (ex. the storyline where cece and ham were going to move - i really loved this because it highlights its place in the andi mack universe so well, and i'm a sucker for the paper cranes shot + i'm still salty that sadie's cranes didn't make it into the finale) and it's the perfect reflection of andi's character development because of how dynamic it is (the crafts and art supplies can get moved around or switched out, and there's always new creations visible).

going back to the nostalgia motif though, the "shack" aspect of it always struck me as very treehouse-like. personally, whenever i think of treehouses, there's this very golden sheen of childhood about it, if that makes sense. i've always seen treehouses in media as a sort of shelter for characters' youthful innocence and idealistic memories. for example, the episode "up a tree" from good luck charlie, the episode "treehouse" from modern family, and "to all the boys 2" all use a treehouse setting as a device to explore the character's desire to hold onto their perfect image of their childhood (side note: this exact theme is actually explored in andi mack in the episode "perfect day 2.0"!). andi shack is no exception to this, but it harnesses this childhood idealism in the same way that it captures the nostalgia of the 50s in the spoon, or the early 2000s in the fringe. it's not some image of a distant past being reflected through that setting; it's very present, and very alive, because it reflects andi as she is in the given moment.

some honorable mentions of more one-off settings include the ferris wheel (from "the snorpion"), the alley art gallery (from "a walker to remember"), SAVA, the color factory (from "it's a dilemna"), and my personal favorite, the cake shop (from "that syncing feeling").

[every time i watch this episode i want to eat those cakes so bad]

these settings have less of a distinctly nostalgic feel (especially the color factory, which is a very late 2010s, instagram era setting), but they all definitely have an aura of perfection about them. andi mack is all about bright, colorful visuals, and these settings really play to that, making the andi mack universe seem really fun and inviting, and frankly very instagrammable (literally so, when it comes to the color factory!).

props, on the other hand, are probably a much less obvious tool of worldbuilding. they definitely take up less space in the frame and are generally not as noticeable (i'm sure i'll have missed a bunch that will be great examples, but i'm kind of coming up with all of this off the top of my head), but they really tie everything together.

for example, bex's box, bex's polaroid, and the old tv at the mack apartment (the tv is usually only visible in the periphery of some shots, so you might not catch it at first glance) all complement that very retro aesthetic established through the settings (especially the polaroid and the tv, because there's really no good reason that the characters would otherwise be using these).

besides this, andi's artistic nature provides the perfect excuse for plenty of colorful, crafty props to amplify the visuals and the tone. obviously, as i discussed before, andi shack is the best example of this because it's filled with interesting props. but you also see bits of andi's (and other people's) crafts popping up throughout the show (ex. the tape on the fridge in the mack apartment, andi's and libby's headbands in "the new girls", walker's shoes, andi's phone case, and of course, the bracelet). not only does doing this really solidify this talent as an essential tenet of andi's character, but it also just makes the entirety of shadyside feel like an extension of andi shack. the whole town is a canvas for her crafts (or art, depending on how you want to look at it. i say it's both), and it immensely adds to shadyside's idealism. because who wouldn't want to live in a world made of andi mack's creations?

and, while it's not exactly a prop, the characters' wardrobe is undoubtedly a major influence on the show's worldbuilding. true to it's nature as a disney channel show, all of the characters are always dressed in exceptionally curated outfits of whatever the current trends are, making the show that much more visually appealing. i won't elaborate too much on this, because i could honestly write a whole other analysis on andi mack's fashion (my favorites are andi's and bex's outfits! and kudos to the costume designer(s) for creating such wonderful and in-character wardrobes!). but, i think it's a really really important aspect of how the show's universe is perceived, so it had to be touched upon.

[^ some of my favorite outfits from the show! i am so obsessed with andi's jacket in the finale, and i aspire to be at bex's level of being a leather jacket bisexual]

and lastly, phones. this is a bit of an interesting case (pun intended), because the way they're used fluctuates a bit throughout the show, but i definitely noticed that at least in the first season terri minsky tried to avoid using them altogether. these efforts at distancing from modern tech really grounds the show in it's idealist, nostalgia-heavy roots, so even when the characters start using their phones more later in the show, they don't alter the viewer's impression of the andi mack universe very much.

so, what does all of this have to do with worldbuilding? in andi mack's case, because it's set in a realistic universe and not a fantasy one, a lot of what sets it apart from the real world comes down to tone. because, as much as this world is based on our own, it really does feel separate from it, like an alternate reality that's just slightly more perfect than ours, which makes all the difference. it's the idealism in color and composition in andi mack's settings that makes it so unmistakably andi mack. even the weather is always sunny and perfect (which is incredibly ironic because the town is called shadyside - yes, i am very proud of that observation).

the andi mack universe resides somewhere in this perfect medium that makes it feel like a small town in the middle of nowhere (almost like hill valley in 1955 from "back to the future"), but at the same time like an enclave within a big city (because of its proximity to so many modern, unique, and honestly very classy looking establishments). it is, essentially, an unattainable dream land that tricks you into believing it is attainable because it's just real enough.

all this to say, andi mack does an amazing job of creating of polished, perfect world for its characters. this is pretty common among disney channel and nickelodeon shows, but because most other shows tend to be filmed in a studio with three-wall sets, andi mack is really set apart from them in that it automatically feels more real and tangible. it has its quintessential recurring locations, but it has far more of them (most disney/nick shows usually only have 3-4 recurring settings), and it has a lot more one-off locations. it's also a lot more considerate when it comes to its props, so rather than the show just looking garish and aggressively trendy, it has a distinctive style that's actually appropriate to the characters and the story. overall this creates the effect of expanding the universe, making shadyside feel like it really is a part of a wider world, rather than an artificial bubble. it's idealism is, first and foremost, grounded in reality, and that provides a basis for its brilliant, creative, and relatable storytelling.

tl;dr: andi mack's sets and props give it a very retro and nostalgic tone which makes its whole universe seem super perfect and i want to live there so bad!!

#andi mack #buffy driscoll #cyrus goodman #jonah beck #tj kippen #tyrus #ambi #bex mack #analysis #film analysis #disney channel

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neuroweird · 6 years

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all of the lesbian asks, my dude

Lesbians Asks

1 ) Femme of Butch?

I consider myself more futch, but I like both either, all lesbians.

2 ) Do you have a “type”? If so, describe it

I have an emotional type. Someone who shares some similar interests, but has unique interests as well. Personality traits that complement each other’s, a love language I can work with. Someone with whom a relationship is an adventure and a learning experience. Someone who is adventurous with food and at least some inclination toward healthy / active lifestyles.

3 ) Plaid button-ups or leather jackets?

Plaid button up under a leather jacket.

4 ) Describe your style.

Chronic pain chique? Grey tone futch with a pop of colour?

5 ) Describe your aesthetic.

My “personal” pinterest board.

6 ) Favorite article of clothing?

My grey speckled crewneck sweatshirt.

7 ) Favorite pair of shoes?

My running shoes, bc that’s where my orthotics are.

8 ) Current haircut?

Just long enough to put a tiny little ponytail in it, but short enough that not all my hair fits. Also an undercut at the back.

9 ) Any haircut goals for the future?

Currently growing it out. I want it long again, which I haven’t had since I was like… 12.

10 ) Describe the best date you’ve been on.

I’m like the worst person to ask this, since I’ve only gone out with my gf. We went out for brunch on our anniversary two years ago and it was very sweet.

11 ) Describe the worst date you’ve been on.

It was with this trans guy who I didn’t know was a trans guy for the first month I knew him. He had a gender neutral (Jules) name at the time so I just thought he was butch. My friend told me that he was a trans guy and I was like “wow thank god I never misgendered him to his face”.

He asked me out and sort of misheard me when I said “my mom and sister love chocolate but I like savoury foods more”… so he took me to this place called Coco70 which… only sells chocolate dishes… and then we missed the more date appropriate movie we were gonna see and saw Hunger Games (2?) instead.

He was really so sweet, but I didn’t think I was right for him because he was self conscious about how much taller I am than him. He tried so hard to make it special and I appreciated that, but boy was it awkward after I told him I didn’t think I could date him anymore.

12 ) Single? Taken?

I’ve been in a relationship for over 5 years now, but we’re open with it. Thus I am very much open to dating other girls.

13 ) If taken, talk about your girlfriend.

Alice is a lovely person! She adores her cat, and is an amazing writer. She’s a take no shit kind of person, and I appreciate that. She is caring to the point of stressing herself out, she loves to cook (she’s a great cook!).

14 ) If single, what are you looking for in a potential girlfriend/wife?

Everything in 11, but also someone whose idea of “clean” is complementary to mine, similar desires about kids, adventurous ideas about sex? Career ambitions? Likes cats/dogs/both? Someone who would want to be active/better our health together.

15 ) Describe your dream wedding.

Oh my gosh. I cannot possibly do that. I have a “weddings” board on pinterest with different ideas. Nothing too extravagant, nothing too small. Balanced. It would depend on the woman I’m marrying 100%.

16 ) Do you want kids?

I do ! I am uncertain about the method of becoming a mother, but I’m not opposed to adopting, having a donor, myself or my partner carrying the baby (or babies). It all depends really. But yes, I want to be a mother.

17 ) If you could live anywhere in the world, where would you live?

Somewhere not too hot but not too cold. I’d really love to be successful enough to have condos in cities around the world.

18 ) Favourite lesbian movie.

God. I’m a cliche. It’s Carol (2015).

19 ) Favourite lesbian novel/story?

Carol. Again. I need some lesbian book recs. Can I say my own? Because I’m writing my own.

20 ) Favourite lesbian song?

Talia by King Princess?

21 ) Favourite lesbian musician?

I am… uncultured… King Princess?

22 ) What lesbian stereotypes do you fit into, if any?

I lean on everything, and dyke spread.

23 ) Ever been assumed to be nothing more than a gal pal?

My girlfriend’s neighbours thought I was her bc we both had buzz cuts when I visited her, despite her being like 4-5 inches shorter than me.

24 ) If a woman wanted to woo you, what would a surefire way to accomplish that?

I love having matching jewelry with who I’m dating. Get me a necklace or a ring or something and have one for you too? I’m all yours. Also my love language is “words of affirmation” and “receiving gifts”, the latter of which means that I love gifts, but it doesn’t have to be a monetary item, it could be a cool rock.

25 ) Be positive! What do you like most about being a lesbian?

Not having to give men any attention.

26 ) Are you more of a cat person or a dog person?

I like either but I enjoy cats for size and their independence.

27 ) Turn ons.

I need to leave a little bit of mystery.

28 ) Turn offs?

Lack of cleanliness, condescension?

29 ) Do you usually ask other women out or do you wait for them to ask you?

I am a huge coward, and unless there is some mutual interest I just die a little until I either break tell them I want to date them or drop hints until they do? Alice and I just literally decided to be in a relationship, there was no real dating-asking.

30 ) What is your dream career?

Screenwriter, novelist, filmmaker.

31 ) Talk about your interests or hobbies!

I write a lot, I’m working on a few novels and screenplays. You can find my work at @melrosiewrites which is my writeblr. I also dabble in photoshop, and read quite a bit.

32 ) What is the most attractive quality a woman can have?

Usually her face. A nice smile is very captivating.

33 ) Do you love easily or does it take time for you to warm up to someone?

It would be nice not to get petty crushes on all my friends. Does that say enough?

34 ) Ever fallen for your best-friend?

Nope.

35 ) Ever fallen for a straight girl?

Nope.

36 ) The L-Word: yes or no? (love it or hate it?)

I watched it. I was a bit young for it. What a mess.

37 ) Favorite comfort food?

French fries? Sushi?

38 ) Coffee or tea?

Tea, with honey.

39 ) Vegetarian? Vegan? None of the above?

Omnivore, but not against going more plant based. Definitely prepared to accommodate someone’s diet (choice or allergy based). I would like to buy more organic, free range, meat.

40 ) Do you have any pets.

Not at the moment.

41 ) Early riser, or night owl?

I prefer being up early, but I don’t like alarm clocks, I’d rather the sunlight wake me. I go to bed at like 10 PM.

42 ) What is your sign?

Taurus.

43 ) Can you drive?

I cannot.

44 ) Who was your first lesbian crush?

The only openly gay girl in my highschool, who’s a little dumb bc I told her twice that I liked her, but she was very surprised when I told her the second time. She is so butch and now she’s married and a mom! Her wife is expecting their child soon. I’m so happy for her.

45 ) At what age did you know you were a lesbian?

I knew I wasn’t straight when I was like 14? But I identified as bi for most of highschool. I only decided I was a lesbian when I was 18.

46 ) At what age did you come out (if you have)?

Probably soldily after I got with Alice. So, a little over 5 years ago.

47 ) Are you crushing on anyone at the moment (celebrity or otherwise)?

I would marry Sarah Paulson in a heartbeat. Okay. Otherwise. No serious crushes.

48 ) Talk about how your day went.

I bought maroon gloves that match my scarf, three face masks and those loopy hairbands before class, then bought Timmies for lunch, and have been answering all of these while listening to a guest lecturer in my “the city after dark” class. I’m going to help a family friend with her daughter’s birthday party after.

49 ) Talk about your dreams/aspirations for the future.

Able to afford everything I need to better my health and maintain my health. My dream wardrobe, my dream home (homes?). I want to be challenged in my creative passions, and I want to share them and be a well known screenwriter and filmmaker.

50 ) Least favourite gay celebrity?

Uh. Aub*ey Pl*za? She said something a bit distasteful and a bit transphobic a while back, but otherwise I just don’t really like her vibe. Not too deep.

#lesbin #about me.#answered asks.#long post.#( thank you ! )

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doomonfilm · 6 years

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Ranking : Quentin Tarantino (1963 - present)

When it comes to connecting ‘cool’ with cinema of the past 3 decades, the name that often skyrockets to the top of most lists is Quentin Tarantino. With a distinct flare for mixing varied genres with the grace of a DJ, a unique tone in terms of both dialogue and humor, and more controversy than a gaggle of directors can shake a stick at often surrounding his name, Tarantino’s output never ceases to entertain or amaze. We never quite know what he’ll bring to the table next, but we know what he’s left at the table, and now is the time to put them in a personal favorite order.

While possibly controversial in its inclusion, Four Rooms will be on this list due to Tarantino’s distinct style being present in his equally timed segment of the film. Conversely, Sin City will not be included, as he only co-directed a scene and not an entire section of the film. True Romance and Natural Born Killers have also been excluded, as Tarantino did not direct those films, despite his involvement in them.

10. Four Rooms (1995) While not a full feature directed by Tarantino, his portion was the perfect way to wrap up the entire film. His portion amped up the film’s energy, the stakes were instantly recognizable and identifiable to a viewer, putting this feeling in the pit of your stomach that rides with you until the inevitable conclusion, and it was a continuation of the wonderful working chemistry between Tarantino and Tim Roth. It anchors this list simply because it is not a full-length feature, but it is a notable breathing point in a remarkable career.

9. Inglorious Basterds (2009) In terms of premise alone, this movie should have done it for me. Christoph Waltz gave a performance for the ages. Even my friend Tina Rodriguez is in the opening frames of this film. To put it plain and simple, the final 20 or so minutes of this film lost any and all momentum it had built, in my eyes, and became a piece of shock exploitation when it could have continued being a genre-redefining twist on a story we are all too familiar with. Basterds was definitely a shot at something unique, but Tarantino would go on to do it better in the next film on this list.

8. Django Unchained (2012) This could have been much higher on the list, as it does (in my opinion) what Inglorious Basterds could not in terms of taking a genre or topic we believe is well defined and putting a fresh spin on it. Making a continuation of the Django western series with a former slave in the starring role is a bold choice, but Tarantino came within a breath of hitting the bullseye. The only, and I mean ONLY thing that kicks this film so far down the list is the HORRIBLE choice to include the rap music cues more than two-thirds into the film’s run. It totally took me out of the world that the film had built, and turned it into a Robert Rodriguez level ending for what was nearly a modern day masterpiece.

7. Grindhouse - Death Proof (2007) This film oozes so much style and bravado that it’s almost disgusting. The cars chosen for this film would fit wonderfully in my collection when I become a rich man. The collisions captured for the film are some of the most jaw dropping and gut wrenching ever committed to celluloid. Kurt Russell is a pure joy to watch in this film, and every woman cast in this film has something unique about them that demands your attention and tugs at your heartstrings (if not base desires). The heavy exploitation elements, including the raucous ending, are pitch perfect. Even the touch of the entire missing reel in the theatrical version, present in the home released full cut, divides viewers, as many are missing a huge exposition chunk not present in theaters. Probably would not have worked as well outside of the Grindhouse context, but nevertheless a pleasant surprise of a film that emerged from that collaborative project.

6. Jackie Brown (1997) For a passion project, this film really finds its groove and sticks the landing. One of a handful of Elmore Leonard novels that found its way to the big screen in the mid to late 1990′s, Jackie Brown might be the one that speaks best to an older time and sentiment being forced to find value in a changing age. Robert Forrestor and Pam Grier’s chemistry is undeniable, Bridget Fonda brings a whimsy to the screen not present in full sincerity since the 1970′s, and seeing Samuel L. Jackson paired with Robert De Niro is cinematic gold. The soundtrack is amazing, the story is easy to relate to, and the style used for the film was probably the last Scorcese-esque approach Tarantino used before committing fully to the flare and outlandishness of his exploitation desires. An underappreciated gem, in all honesty.

5. Kill Bill: Volume 1 (2003)

4. Kill Bill: Volume 2 (2004) Oh, what could have been... here was an idea, when pitched, that would cover three to four hours of runtime, emotional and action-based peaks and valleys unparalleled in modern day film, and revitalize the possibility of a director’s vision and execution being identical if not extremely similar. Instead, what we were given were two halves of one film promoted and released as separate films, thoroughly confusing the majority of the viewing public and showing that, despite all that Quentin had done prior, he was still left to answer to the powers that be at Miramax. Had this film been released in its original intended presentation, it would very like be the top film on this list. I will hold out indefinitely for the hopes that it is re-cut as one film for the Criterion Collection one day.

3. The Hateful Eight (2015) Another film that seems deeply personal upon repeat viewing. This one was very specific on the technical side when it came to shooting with the Ultra Panavision 70 (for a true 70mm aspect ratio), but the result is an amazingly claustrophobic experience, as most of this wideness was used to capture strangers locked in together during a fierce snowstorm. Casting Kurt Russell in a low-key remake of The Thing is a stroke of genius. Casting Jennifer Jason Leigh in a scene-stealing lead actress role was another. This film is perfectly tense when it needs to be, extremely violent (usually out of the blue), and hilarious all in equal measure. A true example of what the film experience can (and should) be, and one that must be seen on a big screen if afforded the opportunity.

2. Reservoir Dogs (1992) It may seem obvious, but one way to get an established and fruitful career is with a monumental and mind-blowing debut. In the case of Quentin Tarintino, we got an exercise in minimalism, a showcase for a handful of actors that were not getting the respect they deserved at the time, and a (deceptively) straightforward genre film that you can hang your notions and comparisons on. What is quickly revealed, however, is a demonstration of how tough guys can be cordial when they need to be, and all business when the heat is on. This tale of a robbery gone horribly wrong shows almost none of the robbery, focusing instead on mostly fallout, and still somehow manages to ratchet the tension up so high that you find yourself constantly on the edge of your seat. Cool aesthetic is drenched all over this film, from casting to production to wardrobe. The radio motif presented in both the film and the soundtrack further solidify the film and sear images into the memory, making them instantly recognizable and utterly unforgettable.

1. Pulp Fiction (1994) Tarantino’s magnum opus. The film where he not only truly honed in on his first great run thanks to his style, aesthetic and motifs, but the film that spawned a generation of copycats, both directly and in terms of general filmmaking style. The film made John Travolta a star to an entirely new generation, it helped put Bruce Willis back on the map, and it made household names out of Uma Thurman, Samuel L. Jackson and Ving Rhames. If there were a single film that was ever symbolic of 1990′s cinema, one would be hard pressed find a film more suitable than this one to fulfill that role. Tarantino was truly firing on all cylinders when he put this one together. The film is so good that it made most everything he touched an instant classic for a long, long time afterwards.

If their were ever a director (or a list) made to generate debate, it would be this one. I anticipate disagreements, and in time, I even anticipate this list to probably change. But, as of this point in my life, and this point in Tarantino’s career, I feel strongly and confidently that this is a good representation of his work and how they stand up to one another.

#ChiefDoomsday #DOOMonFILM #QuentinTarintino #FourRooms #IngloriousBasterds #DjangoUnchained #GrindhouseDeathProof #JackieBrown #KillBillVolume1 #KillBillVolume2 #TheHatefulEight #ReservoirDogs #PulpFiction

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afternoonspeaker-2021-1 · 3 years

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Twist 那個油罐車竟然是實景拍攝

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Crew Stories 昨天上午11:41 ·

On this day in 1996 Twister was released "That's no moon, it's a space station!" Tom Hanks was the original choice for the role of Bill Harding. Hanks read lines with the cast and even chose the character's wardrobe, which stayed in the final film, before dropping out. Kurt Russell and Michael Keaton were other possible considerations. Bill Paxton was chosen due to his "southern everyman charm" on a recommendation from director James Cameron. Another James Cameron connection is the name on the tanker truck that pushes Bill's pickup off of the tree is "Benthic Petroleum" which is the same oil company that Ed Harris' crew works for in The Abyss (1989). The base camp (where the crew trucks and equipment are staged) for the end sequence was at a pig farm down the road from the well-house. Every morning the cast and crew were greeted by the smell of a 2-acre pig-waste holding pond in the middle of all the trucks. 2nd AD Richard Oswald shared with us that the legendary Newt Arnold, was the 1st AD would do a loud Tarzan howl when camera was ready! During the hot summer shoot the crew went thru tons of Gold Bond for their “nether region” during dustings at lunch. Crew stories member Jeff Machit shared this anecdote about his experience on the film, my favorite Twister moment. “We’re working in the middle of tornado alley during the middle of tornado season. Many of the crew were concerned about what to do if we were threatened by a real twister. Production brought in the local TV weather man to reassure us. He told us not to worry as we have an on site Doppler radar. The radar would give us a 15 minute warning. He also reassured us that there were two helicopters standing by to evacuate all the above-the-line personnel. The rest of crew should find a ditch to jump into.” Some crew members, feeling that De Bont was "out of control", left the production five weeks into filming. The camera crew led by cinematographer Don Burgess ASC claimed De Bont "didn't know what he wanted till he saw it. He would shoot one direction, with all the equipment behind the view of the camera, and then he'd want to shoot in the other direction right away and we'd have to move [everything] and he'd get angry that we took too long ... and it was always everybody else's fault, never his". De Bont claims that they had to schedule at least three scenes every day because the weather changed so often, and "Don had trouble adjusting to that". When De Bont threw down a camera assistant in a fit of rage, Burgess and his crew had enough and walked off the set, much to the shock of the cast. I just talked to the AC now a operator and he shared this with us. “Looking back on it, I wish I had the self confidence and awareness to make an official complaint to the studio. But I was 32 years old with two young kids and I was afraid it would affect my ability to find work. Obviously, those were different times.” The camera grip and electric crew remained in place for one more week until cinematographer Jack N. Green's crew agreed to replace them. Unfortunately with just two days left of principal photography Jack Green was injured on stage, a warehouse. The set was built so the second floor would drop. It was very hot and there was air conditioning that was very loud. A test of the floor dropping was going to be done. The 1st AD called it out. Jack was underneath and because of the air conditioning didn’t hear the warning. Jack was instructing lamp operator Matt Hawkins to adjust a light and in doing so moved him out of harms way. Unfortunately for Jack the dropping floor hit him injuring his back. Jack spent some time in the hospital. Jan De Bont took over cinematography duties for the remainder of the shoot. Halfway through filming, both Bill Paxton and Helen Hunt were temporarily blinded by bright electronic lamps used to make the sky behind the two actors look dark and stormy. Paxton remembers that "these things literally sunburned our eyeballs. I got back to my room, I couldn't see". To solve the problem, a Plexiglas filter was placed in front of the

beams. The actors took eye drops and wore special glasses for a few days to recuperate. After filming in a particularly unsanitary ditch (for the first tornado chase scene, in which Bill and Jo are forced to shelter from an approaching F1 tornado under a short bridge), Hunt and Paxton needed hepatitis shots. During the same sequence, Hunt repeatedly hit her head on a low wooden bridge, so exhausted from the demanding shoot that she stood up so quickly her head struck a beam. During one stunt in which Hunt opened the door of a vehicle speeding through a cornfield, she momentarily let go of the door and it struck her on the side of the head. Some sources claim she received a concussion in the incident. De Bont said, "I love Helen to death, but you know, she can be also a little bit clumsy. " She responded, "Clumsy? The guy burned my retinas, but I'm clumsy ... I thought I was a good sport. I don't know ultimately if Jan chalks me up as that or not, but one would hope so". To simulate the high speed winds that occurs during a tornado and Ritter fans weren’t enough special effects Legend John Frazier and his effects crew (the real heroes of this production) procured some jet engines from a Boeing 707 and mounted them to flatbed trailer! This crew pulled off some pretty epic stuff on this one from dropping tractors from cranes and helicopters to driving a truck thru the facade of a tumbling house! The instrument package used in the movie, "Dorothy", is an homage to the instrument pack real tornado researchers attempt to place in the paths of tornadoes, "T.O.T.O.". Lois Smith's character is reading Dante Alighieri's Inferno when the twister hits Wakita. The book also features a tornado in the second circle of Hell that punishes people ruled by Lust. After the team leaves Wakita, there is a seemingly impossible helicopter shot in which the camera descends several hundred feet in a matter of seconds, ending up mere feet from Jonas's convoy. This was achieved by having the cars drive slower than usual and then speeding up the film. A recording of a camel's moan was slowed down and used as the sound of the tornado. Although Amblin Entertainment has collaborated with both Warner Bros. and Universal on many occasions (Amblin co-founder Steven Spielberg directed films for both studios), as of 2014, this film marks the only time Amblin collaborated with both studios on the same film. The real town of Wakita, Oklahoma had part of its old downtown area demolished by the film crew for the scenes after the twister passes. The studio then paid for the downtown to be rebuilt. The town also kept the new fire truck used in the film De Bont insisted on using multiple cameras, which led to the exposure of 1,300,000 feet (400,000 m) of film, compared to the usual maximum of 300,000 feet (91,000 m). The 35mm short ends were used to shoot Jon Favreau’s SWINGERS. pre production in Oklahoma was briefly delayed due to the bombing of the Alfred P. Murrah Federal Building in Oklahoma City on April 19, 1995. Many of the crew went to the site to help with recovery efforts. This was the first movie released on DVD, and the last released on HD-DVD. After Bill Paxton died, Spotter Network choreographed 200 storm chasers to spell out "BP" with their GPS tracker blips on a radar display to honor him. This kind of tribute had only been done five times before, and it was the first time it had been done for someone who wasn't a storm chaser. (IMDb/Wikipedia/crew stories) some photos from Sound utility and crew stories member Robert K. Maxfield and Paxtonmobile by Mel Roswell,excerpts from a previous post from Matt Hawkins, Jim Plannette, Richard Oswald If you recognize any crew members comment so we may update. A special Thank you to every crew member that endured this production, you were deep in the suck and it was worth it! These kinds of popcorn movies inspired many of us to pursue a career in the filmmaking process.

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weekendwarriorblog · 4 years

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The Weekend Warrior Home Edition May 1, 2020 – THE WRETCHED, VANILLA, DEERSKIN, BULL

Just think... this weekend would have been the start of the summer box office with Marvel’s Black Widow before COVID came along. Now, we’re waiting for anywhere from two to three months or longer for the next big studio release in movie theaters with so many other “big�� movies already being dumped to digital.

This is yet another week with no movies in theaters unless you’re in driving distance to a drive-in (i.e. you have a car), but at least we have some great stuff to watch at home, including a few virtual film festivals and virtual cinemas.

The first major disaster brought on by the advent of COVID-19 was the cancellation of the annual SXSW Festival in Austin. The movie that was supposed to open the fest, Judd Apatow’s The King of Staten Island, starring Pete Davidson, was supposed to open SXSW in March and then play Tribeca earlier this month, but Universal reported earlier this week that it was going to release it via digital download on June 12, the same day it was going to get a theatrical release.

Amazon has teamed with SXSW to screen 39 projects, including seven features, that will screen free of charge on Amazon from April 27 through May 6. The four narrative features available are the British-Bulgarian dramedy Cat in the Wall from Mina Mileva and Vesela Kazakova, which is being compared to Ken Loch’s I, Daniel Blake. There’s also the Guatemalan romance Gunpowder Heart, the French period film Le Choc du Futur and the French sci-fi anthology, Selfie. The docs being offered are Karen Bernstein’s I’m Gonna Make You Love Me is described as “Fellini meets Motown” about one man’s search for self-acceptance, while Matt Riddlehoover’s My Darling Vivian about Johnny Cash’s first wife, Vivian Liberto, who gave the country singer four daughters. Last up is Alex Lee Moyer’s TFW no GW, a doc about the state of isolation, rejection and alienation that we all seemed to be feeling these days. There will also be a ton of shorts available that you can learn more about at The Hollywood Reporter.

The second weekend of the Virtual Oxford Film Festival will launch a few more feature premieres, as well as a virtual panel and the Fest Forward collection of experimental films. First up, on Friday, May 1 is a panel called “Creating Black Stories in Mississippi” at noon central time, and if you’re interested in that, you may want to check out the Mississippi Shorts, Getting to the Root and 70 Years of Blackness, which will now run through May 8, giving you more time to see them. Friday will also see the premieres of Daniel Lafrentz’s crime-drama The Long Shadow, preceded by Will Goss’ short, Sweet Steel. (Hey! I know Will Goss!) There will be a Zoom Q&A for the two movies on Wednesday, May 6, at 6pm Central. Also available Friday is Travis Beard’s doc, Rockabul, which is about the Afghan band District Unknown who fought against the USA’s counter-culture campaign by challenging freedom of expression and youth identify in Kabul with a QnA on May 8 at 8pm central. The Fest Forward Collection includes 8 international animated films from places like Estonia and Egypt, and those will have a virtual QnA on Saturday, May 2, at 1pm Central. (All of these Oxford QnAs and panels are recorded and available to watch for as long as the films are available to watch.) You can get tickets for all these movies and events on Eventive.

This week’s Featured Film is the Pierce Brothers’ (Brett and Drew Pierce) horror flick, THE WRETCHED (IFC Midnight), which was a nice surprise since I’m not as easy a lay when it comes to horror flicks as other “horror fan” movie writers. The film involves a somewhat quizzical premise that isn’t too apparent as it begins, as we’re not exactly sure what is going on as it begins. It stars John Paul Howard as Ben, a young man living with his father (Jamison Jones), who has separated from Ben’s mother, as the two of them work at the nearby marina over the summer. Ben is immediately picked on and bullied by the locals, but he’s more distracted by the odd behavior of the woman next door (played by Madelyn Stunenkel). I’m not going to go too far into spoiler territory but the premise does involve witchcraft and an ancient evil that’s cropped up in the small town and is causing the disappearance of many small children… maybe… most of their parents seem to forget they have kids as they follow under the spell of the evil Ben’s discovered.

This is just a fantastic little scarer that at times reminded me of the original Fright Night, and I was really impressed with what the Pierce Brothers, first of all by working with a cast of great lesser-known actors, but the visual FX are fantastic and every aspect of the film’s mood and tone is just about perfect. I guess I’ve seen so much low budget horror that doesn’t really match the standards or production values of even some of the smaller-budget Blumhouse movies.

While you may not be near any of the scattered drive-in across the country that will probably be playing the movie, I definitely recommend downloading and/or renting it if you’re a fan of quality horror. The Pierces are extremely talented filmmakers who I’m sure will be doing better things down the road. For me, this is right up there with The Invisible Man, as far as this year’s stronger horror films.

Out now on VOD and Digital is Will Dennis’ quirky road comedy VANILLA (Gravitas Ventures) about a comedian (Kelsea Bauman) who goes on a three-day road trip from New York to New Orleans with an ice cream entrepreneur (Dennis), to sell his van with a questionable past to his ex-girlfriend. Both of them see the trip as a date, of sorts, but they set up a number of rules and boundaries to make the trip work. It’s a pretty simple premise that’s made more fun by the unique elements Dennis introduces. Vanilla is a sweet, cute romantic movie with two actors appearing in their first movie that reminds me a little of the early work of the Duplass Brothers or Joe Swanberg where there’s a simplicity to the storytelling, but it’s really driven by the wonderful chemistry between the two leads. It’s kind of amazing how enjoyable this movie is considering the inexperience of both actors, and I hope this gets seen by more people. This is a wonderful discovery film that I was told played at the Lighthouse International Film Festival in Jersey and the Phoenix Film Festival, just a reminder why film festivals are so important!

Also on VOD and Digital this Friday is Annie Silverstein’s BULL (Samuel Goldwyn), starring Rob Morgan from Mudbound, Just Mercy and Netflix’s Daredevil. Amber Havard plays 14-year-old Kristal, a young troubled girl who is on her way to ending up in jail like her mother. After an incident where Kristal is in danger of going to juvie, she’s given a choice instead to help her next door neighbor, Morgan’s bull rider Abe Turner, with errands around his home. Kris soon discovers her own love for bull riding, as this unlikely relationship grows. I’m a big fan of Rob Morgan as an actor, because his work is highly-underrated, and I do have to say that Bull is a great vehicle for Morgan to have more of a leading role than he normally gets. He shines in that capacity, and Havard does a decent job in their scenes together, even though it’s a far lower key role. Then again, I thought this was a moderately decent indie that covered topics very similar to other movies, including Laure de Clermont-Tonnerre’s The Mustang last year and Chloé Zhao’s The Rider a year earlier. Unfortunately, the material and especially Silverstein’s writing isn’t up to par with those movies, and it took me a little longer to get into this vs. those other films. Oddly, this will probably be seen by more people due to its VOD release, and that’s fine since I’d love movies like this to find more of an audience even with its pacing issues.

Back in the VOD/digital world, we have a handful of new releases including Quentin (Rubber) Dupieux’s DEERSKIN (“Le Daim”) (Greenwich), which I got a chance to see at Rendezvous with French Cinema back in February before the world came to a screeching halt, and that series ended up also being sidelined. The movie stars Oscar winner Jean Dujardin from The Artist whose obsession with a designer deerskin jacket leads him into a life of crime as he tries to complete his all-deerskin wardrobe. I generally like Dupieux’s weird sense of humor, and though this is less of a genre film than Rubber, it’s an entertaining film as we watch Dujardin’s character get further and further into trouble as he becomes obsessed with making a movie… as well as abolishing the world of all other jackets besides his own. If that sounds weird like a strange premise, then you clearly don’t know Dupieux’s work, and maybe it’s not for you. Deerskin is a movie I fully appreciated, because it was so weird and you never know where it was going, even going into the realm of American Psycho as it went along. Dujardin’s expressive performance was quite fun to watch, plus it it also co-stars Adèle Haenel from Portrait of a Lady on Fire, for those who loved that movie. Again, not for everyone, but if you enjoy Dupieux’s strange filmmaking ethos then Deerskin is another highly original offering.

Film at Lincoln Center’s Virtual Cinema will also be playing Catalan filmmaker Albert Serra’s new film Liberté (Cinema Guild), following it being a selection at the 57th New York Film Festival last year. This one takes place in the 18th century where a group of “bewigged libertines” engage in “pansexual games of pain, torture, humiliation and other dissolute, Sadean pleasure.” Sounds like something that would never play in Middle America if not for being available across the country thanks to this Virtual Cinema. I can’t remember if I saw Serra’s other film, The Death of Louis XIV, but this doesn’t sound like something I would watch unless I had free time at a festival, and clearly, I didn’t have time for this one at least year’s NYFF.

Another foreign film to look out for via virtual cinema is César Diaz’s Belgian-Guatemalan film, Our Mothers (Nuestras Madres) (Outside Pictures), which will be available via Virtual Cinema Friday. Besides being the Belgian entry for the 92nd Academy Awards, it also won the Caméra d’Or at last year’s Cannes, where it premiered during Cannes International Critics Week. It stars Armando Espitia as young anthropologist Ernesto who works for the Forensic Foundation in Guatemala as the country is in the middle of trying the soldiers who began the country’s civil war. Ernesto’s job is to identify the bodies of the missing, including possibly his father whose went missing during the war. The project began as a documentary and then became a narrative film.

Semi-related to the above, Cinema Tropical will be releasing three new genre-breaking films from a new generation of Brazilian directors, the “Cinema Tropical Collection” also done in conjunction with Lincoln Center, beginning with Gabriel Martins and Maurílio’s In the Heart of the World on Thursday, April 30.

Another movie getting a “Virtual Cinema” release (i.e. VOD/Digital) is Alex Rivera and Cristina Ibarra’s “docu-thriller” THE INFILTRATORS (Oscilloscope), which tells the true story of two immigrants who are thrown into a detention center. Marco and Viri are members of the National Immigrant Youth Alliance, a group of young DREAMers who want to put a stop to unjust deportations by being put in detention themselves, a plan that doesn’t go the way they planned. The film cuts between documentary footage of the real “infiltrators” with reenactments of the events inside the detention story, so it’s part documentary and part drama.

Also, Kino Lorber will be releasing Beanpole director Kantemir Balagov’s 2017 debut film, Tesnota (Closeness), virtually on Friday to help assist New York arthouse, Anthology Film Archives. This one is set in 1998 Nalchik in the North Caucasus of Russia and focuses on 24-year-old Jewish girl Ilana who works in her father’s garage, and while celebrating her young brother David’s engagement, he and his fiancée are kidnapped, but the Jewish community won’t go to the police to pay the ransom, so Ilana and her parents have to figure out a way to save them on their own.

STREAMING AND CABLE

Lots of stuff on Netflix this week, including THE HALF OF IT, the new film from Alice Wu, her first movie as as director since her terrific 2004 debut, Saving Face! This one stars Leah Lewis as Ellie Chu, a cash-strapped teen who writes a love to the school’s jock but ends up becoming friends with him and falling for the girl he has a crush on. I haven’t watched it yet to review, but I’m looking forward to it being a nice twist on Netflix’s other teen-oriented romance films.

Ryan Murphy’s second series for Netflix, Hollywood, will debut its first season on Friday, this one co-created with Ian Brennan (Glee, Scream Queens). It takes place in a post-WWII Hollywood and tells the story of a group of actors and filmmakers trying to make it. The cast includes Darren Criss, Patti Lupone, Mira Sorvino, Rob Reiner, Samara Weaving AND Michelle Krusiec, who starred in Alice Wu’s Saving Face! (See how it’s all connecting together?)

Chris Bolan’s documentary A Secret Love, which premieres on Netflix Wednesday, about two women, Pat Henschel and pro baseball player Terry Donahue, who fell in love in 1947 but had to keep that love a secret for 65 years due to the prejudice against lesbians they would have had to face.

Starting on Amazon this Friday is Upload, the new series from Greg Daniels (The Office, Parks and Recreation), with the first season being made up of ten episodes. It stars Robbie Amell, who I got to interview last year for a small indie sci-fi film called Code 8. This is another dealing with life, death and the afterlife which seems to be a running theme through many series in recent years (such as Miracle Workers and The Good Place). In this one, Amell plays Nathan, a spoiled rich guy who ends up at Upload after a horrifying accident that takes his place, while Andy Allo plays the Upload “angel” assigned to Nathan who has to get him acclimated to his new afterlife. I’ve only watched the first episode of this so far, and it’s okay. I’m curious to see where it goes since it’s not a straight comedy perse like some of Daniels’ other work, and a lot is put on Amell’s shoulders to be funny, and Daniels is working with a lot of lesser-known actors for this one.

On Sunday, Showtime will launch the season debuts of Billions (Season 5) and the first season of Penny Dreadful: City of Angels.

Also, Lionsgate’s free movie offering this Friday is Damien Chazelle’s La La Land, my #1 movie of that year… thanks for nothing, #Schmoonlight!

Next week, more movies and shows not in theaters!

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

#TheWeekendWarrior #movies #Reviews #TheWretched #Deerskin #BlueStory #Bull #vanilla

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judefan824-blog · 4 years

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