The colors in Enola Holmes (f1 field scene)

It ain’t really clear on theses pictures but I just want to mention that the colors during the entire movie are just a pleasure. Specially during the field/ campfire scenes. They have these warm colors, and this Pinterest Cottagecore kind of aesthetic that I really love. Probably one of the reasons why it’s my favorite movie franchise (cause the second movie also follows that color palette of warm yellows and Victorian blues, pinks, and greens)

Pensare ad un obiettivo il più lontano possibile, e augurarsi di non raggiungerlo mai.

I 400 giorni – Funamboli e Maestri dir. Daniele Orazi [x]

me and the chick i pulled

The other day one of my classmates said I could make a “fuck ton” of money as a cinematographer and I was like… heheheh thank you

Im starting the first complete draft of my first movie project, my plan is to continue developing it all throughout university so when I finish my film production bachelor’s degree and start my film direction masters degree I can have it completely finished and polished. The project is named “They we’re supposed to bloom yesterday” and it’s an artistic musical set in a world we’re everyone has a personal magical garden (There’s more than that ofc but I’m gonna be here all day if I explain it all). It’s a work of magical realism with themes of neurodivergency, familiar relationships, dealing with a world in which everyone has their own path while you seemingly don’t have one and how we as a society deal with empathy and compassion. I’m really excited but I’ll have to wait a long time until I’m ok with it.

Surely I have the modding ability to make new careers (<- has literally never made a mod before)

aspiring director looking for an aspiring screenwriter buddy to create art with!

❪    ཐི♥︎ཋྀ    ❫     dear   @lovegates​  ,              

    ��         “  well  i’m  not  gonna  be  the  one  to  leave.  i’ve  got  work  here  that  i  can’t  miss  out  on  and  technically  .  .  i  was  here  first.  ”

I haven't opened the Ssum app for 2 days.

I feel like I'm abandoning Teo but not through his own fault, it's the lackadaisical writing and very janky mechanics.

Like, I actually like Teo a lot, he's super cute, but I can't sit through another just-barely-touched-upon "new part-time job" (super shallow and filler content) and the frustration of having yet another "there's still an hour till the next chat gdi why did you close this one???" moment.

(I don't mind paying for content to a certain extent, am blessed enough to have the disposable income, but I draw the line at feeling like I'm being arbitrarily failed even when I follow the schedule.)

Yeah... Yeah. I think I'm done. Sorry Teo, you're the sweetest, but this was a poor showing on your creator's part. Perhaps it was just too ambitious an undertaking? :/

Love looking up the actresses who starred in American Girl movies back when they made those and seeing what they've been in since then.

Felicity? Yeah she starred in The Fault in Our Stars and the Divergent movies apparently.

Kit? Yeah Abigail Breslin has been in a million things because, well, it's Abigail Breslin but uh she's one of the main people in the Zombieland movies

Samantha? Can't remember anything recently but she was Leslie in Bridge to Terabithia.

Melody? She's been in so many things like Black-ish and the new Proud Family. Really making a name for herself and all that.

Grace? Olivia Rodrigo.

I know how directors of movies feel because I too want to take that skrunkly little man and put him into situations like I’m playing Barbies.

Early morning zoom call meeting...

oh no i’m in luv with our main character :(

My next short film written and directed by me

The end result is an audacious film, formally experimental and with an almost clinically detached point of view. Mainly shot on hidden cameras, it concentrates on the domestic life of the Höss family (Rudolf, his wife, Hedwig, and their five children), whose house stood just outside the perimeter of the concentration camp, the horror within suggested in glimpses of smoking chimneys but, more disturbingly, through an almost constant ambient soundscape of industrial noise and human shouts and cries. It is an unsettling film: a study in extreme cognitive dissonance. It stayed with me for weeks after I watched it, so much so that I attended another screening to try to decipher its uneasy merging of almost clinical observation and moments of abrupt and jarring experimentalism – the screen turns blood red at one point. On both occasions, it fulfilled Glazer’s aim “to make it a narrative that you, the viewer, complete, that you are involved in and ask questions of”. […]

[Glazer] first started thinking about The Zone of Interest when he read Martin Amis’s novel of the same name not long after its publication in 2014. Having secured the rights with his producer, Jim Wilson, the pair began what would become several years of intense and meticulous pre-production preparation. “Our reading actually took us away from the book and deep into Amis’s primary sources,” he says, “The more fragments of information we uncovered about Rudolf and Hedwig Höss in the Auschwitz archives, the more I realised that they were working-class people who were upwardly mobile. They aspired to become a bourgeois family in the way that many of us do today. That was what was so grotesque and striking about them – how familiar they were to us.”

[…] When he first visited Auschwitz, Glazer went to the Hösses’ house and, to his surprise, found it inhabited by a Polish family who had lived there since the end of the war. “I saw the remnants of the garden, and its proximity to the camp, and the wall, and it was chilling,” he says quietly. “Afterwards I entered the camp and looked at the wall from the other side, trying to imagine what the prisoners must have heard. There is no doubt that they would have heard happiness and gaiety as the Höss children laughed and splashed around in the pool. The film became about the proximity of the horror and the happiness, how one person’s paradise is another’s hell.”

A funny thing about the attempt to make Scorsese into one pole of those "highbrow (actually middlebrow) vs. middlebrow (actually lowbrow) art" tastes-great-more-filling stealth advertising things - okay, let's start over, a funny thing about Disney/Marvel directors and Scorsese talking shit on each other is this:

Scorsese views himself mostly as a craftsman, his films primarily as a jobsite, and gets asked questions about movies as part of that (admittedly very weird) job. His admirers see him as a visionary artist, but that's ultimately secondary for him to getting shit like cinematography, casting, direction, etc right - the things a director does, not what they aspire to. This is all over how he talks about other directors, focusing primarily on craft; it's actually pretty rare for him to make blanket statements about such-and-such a genre being artless schlock, the sort of shit you'd hear from someone who is a film critic for a living rather than gladhanding producers for a living.

The Disney/Marvel directors view themselves mostly as artists, their films primarily as a form of self-expression (admittedly under tight limits imposed by the demands of money), and are strongly incentivized to engage in something we might call "counter-criticism" by a mix of ego and studio pressure. Their concerns are at the end of the day artistic concerns, prestige and respect for achieving finished films, which is measurable in part by box office returns and in part by aggregate critical reception - which skews absurdly positive to begin with! But negative reviews by people they can't brush off are something they have an incredibly difficult time tolerating.

This state of affairs is, to put it lightly, incredibly strange. Scorsese is globally admired as a filmmaker with a specific artistic vision, but his vocabulary and concerns in embodying that vision are technical. The various directors of Disney/Marvel films are a revolving door of hired hands who have, exercise, and seemingly desire close to zero creative control over their most noteworthy work - and yet their concerns are artistic.

This is a dialogue that takes place on a smaller scale in many forms of art; it's extremely commonplace for artists with outsized industrial-scale success (and let us diplomatically say significantly compromised fidelity to their stated desires as artists) to wear the brittle persona of a misunderstood visionary, and for the actual visionaries who have achieved some notoriety (and the nobodies who live in their shadow) to have primarily technical and economistic concerns, and for these two groups to frequently butt heads while talking completely past each other. Something something Walter Benjamin, I guess!