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the-nightmare-before-bucky · 4 years

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My Favorite Parts of Hamilton on Film

the sick tablecloth trick they did during Room Where it Happens

the look on Angelica’s face in Schuyler Sisters when all those men are talking to her and she just kinda side eyes them

how satisfied and helpless had 90% the same choreo just from a different perspective

also Mulligan being the flower girl makes my heart so darn happy

‘and peggy’

the choreo in literally every single number. the fact that ensemble was singing and dancing all out like that and changing all the props like McScuse me I love them all so much

the adorable ensemble member who gave King George the letter in I know Him

The ensemble member who was hip thrusting during the aerial view of Reynolds Pamphlet

the LIGHTING DESIGN of literally the entire show but some honorable mentions: What’d I Miss, Wait for It, Lauren’s Interlude, The Room Where It Happened, Yorktown,

Literally any time Johnathan Groff was onscreen, but his little dances during Reynold’s Pamphlet are god tier

and on that note, Jefferson dancing on the little table while saying “He’s never gonna be president now”

Washington, Philip, and Maria all being there during Reynold’s Pamphlet but not saying anything, just staring

The tears on Angelica’s face during It’s Quiet Uptown.

Eliza crying during It’s Quiet Uptown but not saying anything until she takes Alexander’s hand (and Alexander’s face when she takes his hand finally, the way he just falls apart in HD - OUCH)

Lafayette and Mulligan being there reading their own letters during the Lauren’s Interlude

all of Philip all the time during act 2. He owns my heart and so does Anthony Ramos

the costumes!! as a costumer and someone on ensemble, lot’s of costume changes can be tricky. But the way they did the costumes was so great because it made it easy to switch characters and show the passage of time

Leslie 👏 Odom 👏 Jr.

How at the end of the show, everyone was lined up together to do bows, they weren’t in order of most lines/most important, etc.

all of “Story of Tonight” just made me cry. it’s so relevant right now and it was so beautiful

“you punched the bursar?” *snaps fingers* “yes”

the three bros being super heckin drunk during Aaron Burr, Sir but still taking over making the beat for each other

ELIZA BEAT BOXING and Philip singing his little song it just makes me *sob*

the small dance movements of the ensemble during My Shot showing how the inklings of the revolution starting and by the end they’re full on dancing

the way Oak says “sewing some pants”

Lafayette playing with the little shot glasses

the spinning stage??? is so cool???

When Hamilton does his thing in my shot and they’re all standing around the box and start dancing one by one slowly??? I love that. ICONIC

the set changes are just beautifully done

Oak’s cloak as Mulligan, the green one, is my favorite thing idk why I just love it (and his beanie)

“tomorrow there’ll be more of us” freaking gets me man and hearing them sing it together on stage hits different

I literally love Jasmine so much and she does an amazing job as peggy she owns my heart

the sisters all have matching earrings?? but with their different colors

the guy doing the book flip thing what how did he do that

mulligan making whiny dog sounds during “my dog speaks more eloquently than thee”

ALL OF JONATHAN GROFF (also he was an ensemble member at the end and that’s great)

the way he dragged his scepter at the beginning of I Know Him cracked me tf up

why did they zoom in on him every time he did a little spit I mean they did him so dirty with the editing but it’s so gd funny

he doesn’t blink!!!!!!

the shoulder shrug during the dadadas.

the vaguely threatening ‘everybody’

all the women singing to intro to “Right Hand Man” I got chills bro

Oak is Large and I love him

the way Hamilton breaks when saying “Call me son one more time!”

Phillipa Soo’s singing is seamless constantly. It never fails

the way they fell like dolls during the rewind sequence of Satisfied

the simple choreo of wait for it speaks so loudly

the way it seems like Burr is trying to convince himself when he says “I am inimitable, I am an original” with the little head nod

hamilton pointing at Lee after Lee chews out Washington

“immigrants, we get the job done”

“i’m so blue” *light cue changes to blue*

“tomorrow there’ll be more of us” during the Lauren’s Interlude (catch me sobbing)

the way Hamilton sits in the chair during the beginning of Non-Stop after Burr tells him too like a pouty child

Angelica’s act two costume with the collar

the way Leslie Odom Jr. says “Hamilton wrote the other 51!” with so much passion I can’t handle it

things will be added to this list as I think of them and as I watch the movie a million more times

#hamilton #hamilfilm #alexander hamilton

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raimispiderman · 3 years

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From the booklet which comes with the Spider-Man Trilogy Limited Edition Collection blu-ray!

This talks about the making of Spider-Man 2, here’s the bit about the first Spider-Man movie.

Click for a transcript:

THE EVOLUTION OF A SUPERHERO

“It was truly gratifying and even a bit overwhelming to witness how strongly moviegoers around the world reacted to Spider-Man,” said director Sam Raimi. “As a filmmaker, I always want people to really enjoy my movies, and on that level, Spider-Man exceeded my expectations.”

After the triumph of the first Spider-Man, Raimi knew he had a responsibility to follow it up with a story that justified the fans’ enthusiasm and their built-in expectations for the next adventure. “There’s great interest in this movie, following the success of the first one,” he acknowledged. “For the kids who come to see it, Spider-Man is their hero. So while the job of making this movie is to provide entertainment, it is also to create a story that shows them a moral character, someone who has to make tough choices and the right decisions in order to continue to be worthy of their admiration.”

The wealth of detailed stories and characters in the Spider-Man comic book series provided a mother lode from which to cull the plot for Spider-Man 2. “The Marvel artists and writers have done a great job through the decades – I know, because I’m a big fan myself – so there’s a tremendous amount of good material to draw upon,” noted Raimi. “Finding a storyline wasn’t that difficult. It was finding the right story, the one that made for a proper follow-up installment, and provided a logical progression for the audience and a logical growth for the character. For the, I relied on the terrific storytelling instincts of my very fine producers Laura Ziskin and Avi Arad. Together with the contributions of our great writers, we found a plot line with ideas that reverberated.”

With the storyline of the new adventure locked, Arad looked forward to the reunion of the Spider-Man filmmaking family, not the least of which was Tobey Maguire. “Tobey was so happy to be Spider-Man again and to be Peter Parker,” said Arad. “As an actor Tobey relished deepening the audience’s understanding of who Peter Parker is and who is becoming,” added Ziskin. “Peter’s a man who is transition, someone who’s struggling with the choices he is making.”

Maguire added, “The theme ‘with great power comes great responsibility’ is never lost on Peter. It’s difficult to be a young man and have to sacrifice as much as he has – presumably for the greater good – and to neglect his personal desires. The struggle continues here and it’s quite complicated, because Peter’s searching desperately for a way to achieve some balance in his life.”

As Peter becomes more immersed in his dilemma, it creates a rift between him and the important people in his life. Though his love for MJ is stronger than ever, she has moved on with her life, pursuing an acting career, living in Manhattan and moving in new social circles. “In this film, Peter is off in his own world and not a reliable presence in MJ’s life,” explained Kirsten Dunst. “She still loves him a great deal, so it has become painful for her to be around him. Though they’ve both done a lot of growing up in the past two years, at the same time, they’ve drifted apart.”

Then, as if Peter’s life were not complicated enough, the situation moves from bad to worse – much worse. Enter Doc Ock.

Dr. Otto Octavius (Alfred Molina) is a brilliant scientist whose life work has been dedicated to experiments utilizing fusion as a new source of energy. Charming, vibrant and energetic, Dr. Octavius is introduced to Peter by Harry Osborn.

“This movie is the story of Peter’s life, which is out of balance, and Dr. Octavius who, for Peter, represents someone who has achieved that balance,” explained Raimi.

“Peter sees Octavius as somebody who has mastered both his gifts – in this case science, through which he can serve the good of mankind, while also maintaining a personal life, a loving relationship with his wife Rosie (Donna Murphy). This leads Peter to the conclusion that it’s possible to have both.” Dr. Octavius, with the support of his wife, has been working diligently in his home laboratory, trying to perfect his groundbreaking fusion theory. But when a demonstration of his creation goes horribly wrong, Dr. Octavius undergoes a terrible transformation – evolving into the powerful, multi-tentacled Doc Ock.

In Spider-Man 2, the talented and versatile Molina brings this powerful adversary to terrifying life. “He is a formidable enemy for Spider-Man,” said Arad. “He can climb walls faster and better than Spider-Man. In fact, there’s nothing Spider-Man can do that Ock cannot counteract.”

Doc Ock, one of the most popular villains of the Spider-Man comic book series, first appeared in “The Amazing Spider-Man #3,” which was published in 1963. He immediately became one of Spider-Man’s most formidable foes. According to comic lore, each of Ock’s limbs can move at speeds of up to 90 feet per second and strike with the force of a jackhammer. The extremely powerful tentacles enable him to lift a vehicle off the ground, pulverize bricks, claw through concrete walls and hover above his victims by rising into the air.

The filmmakers were eager to attract Molina for the central role. “We needed someone who brought a palpable reality to the part, and who was also sincere, had a great sense of humor and personal warmth,” said Raimi. “Alfred is a brilliant actor, and what he’s brought so effectively to the character of Doc Ock is the sense of him as a misunderstood man who has turned into a beast.”

Molina confessed, “I’ve always been a Marvel Comic fan because their characters are so interesting. They have problems. They’re very realistic.” From him, the mechanics behind the role of Doc Ock was a true education. “It was mind-boggling, the breadth and the imagination that went into how each of my character’s actions – flying across the room, crashing through a plate glass window, smashing a taxicab – was to be executed. It’s a unique way of filming that’s not like anything most of us get to do really. It’s a very particular way of working, and absolutely fascinating.”

J.K. Simmons also returns in Spider-Man 2 as Peter’s gruff boss at the Daily Bugle, J Jonah Jameson. “I fire Peter several times in this movie. Every time I see him, I fire him,” laughed Simmons. “And then I re-hire him because there’s always some pressing need for his services.”

Principal photography on Spider-Man 2 began on April 12, 2003, in New York City, where the production spent approximately three weeks shooting at various locations in Manhattan, Queens and Brooklyn, as well as on a Yonkers stage. From ground-level street shots to rooftops high above the city, the filmmakers efficiently utilized the time they spent in New York, giving them the opportunity to expand on the city’s unique environment, which had lent such vibrancy to the first Spider-Man.

“In the first film we established New York as a character in the movie. With Spider-Man 2, we went even further,” said production designer Neil Spisak. “We used a lot more of the city, including [photographic] plates of real buildings and real streets. Improvements in technology over the past three years enabled [visual effects designer] John Dykstra and I to marry existing buildings to scenery buildings to CG buildings even better than the first time around. It’s a much more complete experience.”

“We got more of a feeling of New York in this movie,” added Ziskin. “The movie is being shot in widescreen, which is appropriate because this is a different story, so it required a different approach.”

Production began on the campus of Columbia University in uptown Manhattan, which served as the university Peter Parker attends while he struggles with the responsibilities of his academic workload and his superhero duties. The rooftop of the Hotel Intercontinental, across from the Waldorf Astoria, was the location where Spider-Man contemplates his next move, while downtown, in the Wall Street area, another rooftop served as the “launch-pad” for the Spydercam camera, as it dipped and swooped over several blocks to replicate one of Spider-Man’s high-stakes aerial journeys through the city.

“We executed one of the longest wire shots the Spydercam has ever done,” said executive producer Joseph M. Maracciolo. “The Wall Street shot was around 2,400 feet. I’m an ex New Yorker, so I didn’t find the location shoot particularly daunting. But there are always difficulties when you’re doing wire work in New York, including the placement of the cranes on the buildings, the movement of the cast, crew and equipment, and of course, the crowds.”

“It was a challenge for us to move our production to the tops of buildings, but we couldn’t have been happier, because rooftops are Spider-Man’s world and that is his view of the city as he swings through it,” noted co-producer Grant Curtis. “It was breathtaking to see the world from 70 stories up – a world unto itself. You can’t fully really appreciate the beautiful architecture of New York’s skyscrapers from ground level. We showed some of that in the first film, but we wanted to show more of Spider-Man’s vertiginous world, and I think we really captured that with this film.”

In Spider-Man 2, Doc Ock sweeps Aunt May off her feet – literally – and takes her up several stories of a tall building. Rosemary Harris performed her stunts in a variety of harnesses, but only after she had managed to talk the filmmakers into letting her give her stunt double a rest. “I was a bit miffed at first, because my wonderful stunt double was going to do a lot of these harness maneuvers,” recalled Harris. “So I asked Sam and Laura, ‘Why not let me have a go at it?’ At first they were reluctant. But I begged them to at least let me try and they finally relented.”

Returning to Los Angeles, Spider-Man 2 shot on several stages on the Sony Pictures Studios lot in Culver City. Stage 15 was home to the Daily Bugle offices, as well as Peter’s tiny apartment and Dr. Octavius’ elaborate home laboratory. On Stage 29, the Osborn mansion, where Harry Osborn now lives, was recreated. Stage 27 housed MJ’s apartment set, a giant spider web, the interior of the Planetarium, the massive clock tower set as well as various other set pieces. A series of elevated trains were built on Stage 14, where Spider-Man and Doc Ock match wits.

One of the most elaborate sets for Spider-Man 2 was the pier set, designed by Spisak and built over the course of 15 weeks on Soundstage 30. “In contrast to Dr. Octavius’ lab, which was part of his apartment – a streamlined, organized and clean space – the pier is a maniacal, decaying, decrepit space,” explained Spisak. “It follows his character development in terms of his becoming a wilder, more dangerous and more formidable adversary for Spider-Man.”

The set, approximately 60 feet wide by 120 feet long and 40 feet tall, was constructed over a water tank and enhanced by several different components, including CG/plate work and miniatures.

“Before we built the set, we created an exact ¾ scale model of it, about 7 feet long and 4 feet wide, from drawings and blueprints. The model was extremely useful to the carpenters, who could take measurements to help them construct the full-sized pier, as well as for the miniatures team, so they could ascertain the dimensions, textures and materials that were used,” explained art director Tom Wilkins. “We shot plates down in San Pedro, where we panned from a real pier to the water. In post-production a New York background was added. We also built a miniature pier – interiors and exteriors – to complete the composition on the East River.” The art department team designed a 136 foot by 40 foot-high vinyl backing to represent Ock’s view of Manhattan through a large window at the end of the pier set. Wave machines were rigged in the water to create movement under the pier.

The production then moved to the Universal backlot for two weeks of shooting. Several city streets were transformed into a variety of New York neighborhoods including the exterior of the Lyric Theatre where MJ performances in an off-Broadway production of Oscar Wilde’s The Importance of Being Earnest. Ari’s Village Deli and Bakery became the site of an extremely complex scene involving a quiet conversation between Peter and MJ, which is interrupted by Peter’s “spider sense” – and a car careening through the plate glass window, followed by the arrival of Doc Ock.

“It was a great luxury to be able to build that set from every aspect, so that we could do everything we needed for the scene,” said Spisak. “The walls were made of french plate so that when the car smashed through it, the buildings around it were protected. We were able to design what we thought it should look like visually, then as tricks, gags and stunts became clearer, we were able to add them to the set before it was completely finished.”

“The deli was a full, 360 degree set, with a kitchen, deli counters, pastries, ceiling fans and chandeliers,” added art director Steve Saklad, who worked closely with Spisak. “We dressed the exterior streets so that you could look out of the window and see the intersection of Lafayette Street and Astor Place. It required an enormous amount of signage, billboards, street dressing, trees and traffic lights.”

For Raimi, “The diner was a complex technical scene, because it brought together so many different departments, each relying on the other to fulfil their function and communicate with each other so that each individual shot would work. We utilized mechanical effects and the stunt department had to take an automobile, spin it and flip it through the deli window, with the prop department providing the breakaway items. What made it even more complex was that we had to fly Doc Ock in, using something we dubbed the “walk rig.”

The “walk rig” was created for Doc Ock, because the character not only moves himself, but his tentacles move him around as well. When he walks on the tentacles, they support his weight, so a device was constructed to harness him and move him through space as if the tentacles were supporting him. The visual effects department also created “virtual” tentacles where practical ones weren’t feasible.

When he was in full costume, Molina’s tentacles weighed between 75 to 100 pounds, depending upon the action required for the scene. Each of the tentacles was fully articulated. In their expanded, 13-foot length, each upper tentacle consisted of approximately 76 individual pieces Each vertabra was handmade, hand molded, sanded, individually hand painted, chromed, then painted again and assembled by hand. The entire collection of Doc Ock tentacles, bases, heads and wrists, if laid end to end, would be taller than a 20-story building.

Academy Award winning costume designer James Acheson welcomed the opportunity to further explore and improve upon the already classic Spider-Man costume for Spider-Man 2. “Creating the Spider-Man suit for the first film was a real challenge since we were designing for a kind of Cirque du Soleil acrobat, someone who had a unbelievable kinetic spiraling ability,” he said. “So the suit had to be extremely flexible. For the new installment we made several improvements, though you’d have to be a real enthusiast to spot them. The colors are slightly different, and we have made subtle changes in terms of the movement inside the costume’s hood. We also adjusted the eyepieces of Spider-Man’s mask as well as certain aspects of the spider design on the front and the back of the suit.”

For Spider-Man 2’s Doc Ock, Acheson and Raimi spent close to a year collaborating with Spisak and visual effects designer John Dykstra and working with Edge FX in what began as a series of “group think” sessions, according to Raimi. “I needed John Dykstra’s input, because it was John who was going to have to handle Doc Ock’s movements in CG, so he had to be involved in designing the character, along with Jim, who was going to determine the look of the character,” recalled Raimi. “Part of the look determined the movement, and what the arms look like began to govern how it functioned. Neil was involved because Ock had to be a part of Neil’s world in the film. A great interdependence developed among the department heads in order to achieve the complex nature and physicality of the character,”

“The challenge with Doc Ock is to visually create a believable world, focusing on a man with four tentacles growing out of his back,” said Spisak. “Now, that can be a tough swallow. So, in creating Ock and his world, we needed to design and play it so that everything was credible. Ove the course of several months, it became clear what was physically possible for Ock and what would have to be achieved via CG. We conceptualized the look and only then did we deal with the physical limitations, rather than letting them stop us at the beginning.”

Added Dykstra: “It was a huge challenge to make Doc Ock come to life. His tentacles had to meet several criteria. They had to be appropriate with regard to the world Neil had created for Spider-Man and Ock. The components of the costume – the texture and the weight – had to bed something an actor could actually wear. Since using the tentacles wasn’t always practical, we had to create ‘virtual’ versions with Edge FX. In the end, integrating the tentacles into the story was a marriage of all those components and the collaboration of everyone involved.”

Spisak and his team designed and dressed more than 100 sets and locations for Spider-Man 2. “There are probably 10 enormous sets, while some are simply street corners. We covered eleven blocks in downtown Los Angeles and used many rooftops, streets and buildings in New Yorj City,” noted Spisak. “This is certainly the biggest film I’ve ever done.”

Spisak worked with director of photography Bill Pope on the color palette for the sets, and they pored over research and location pictures to inspire them for the story’s lighting requirements. “In the first film, Peter Parker was younger, less aware and just beginning to discover his new powers. That was reflected in the overall look of the movie,” said Spisak. “With this film, he has been Spider-Man for a while, so his frustration over how to deal with his life versus his duty is more complex. That’s reflected in the color palette and the tone of this film – it’s a little more sophisticated, more complicated and deeper, in terms of color and look.”

Among the tools Dykstra and his team utilized to achieve the shots presenting Spider-Man’s point-of-view, while he is soaring over the city, was Earl Wiggins’ Spydercam. During the New York portion of the shoot, the specialized camera was launched using a remote-controlled computer suspended on a cable from a Wall Street-area rooftop more than 30 stories in the air, which recorded what DSpider-Man saw as he swung over the city. The camera traveled along a line suspended over four blocks, dipping down into the street and over the tops of several blocks of vehicles and background art that had been placed for the sequence.

“We were dropping the camera and moving it up and down over the course of the shot to follow Spider-Man’s trajectory as he swings through the arch, releasing a web, and shooting a new web as he swings into the traffic below,” explained Dykstra.

“One of the successes of the first film was the empathy the audience had for the main character. He was very sympathetic,” Dykstra said, “This movie explores the character in greater depth, and in terms of the visual effects, we’re hoping to give audiences an event more intimate sense of what it’s like to be Spider-Man. In the first film, we get to fly with him. The idea here is to make the flying sequences poetic enough and evocative enough that you will get an even stronger sense of what it’s like to fly like Spider-Man.”

That approach is reinforced by Raimi, said Ziskin, “One of the really striking aspects about Sam is that he is the audience for this film. He makes the movie for the audience, identifies with the characters and is always aware of the rhythms and how each sequence will play – both to him and the other members of the audience. That makes him the perfect director for this kind of material. Also, he’s at a point in his directing career where he’s at the top of his game. He is brilliant technically, but also works extraordinarily well with the actors. Ultimately, his personal connection to Peter Parker and the other main characters is a great gift to the audience.”

“These are tough, scary times and during such periods we look to heroic stories to give us hope,” noted Raimi. “Maybe that has something to do with why the audience was so taken with Spider-Man when he first appeared two years ago. With Spider-Man 2, I truly hope that audiences will feel that they’re seeing a love story, that they’re participating in another episode of Peter Parker’s life and are seeing the challenges and conflicts he faces and how he overcomes them. I hope it will leave them feeling uplifted and exhilarated.”

#spider-man #spider-man 2 #sam raimi #avi arad #laura ziskin #tobey maguire #kirsten dunst #alfred molina #rosemary harris #jk simmons #interviews #behind the scenes #concept art #peter parker #aunt may parker #mary jane watson #doc ock #j jonah jameson #set design

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lwt28brave · 3 years

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Top ten AFHF documentary moments, go!

Hi Sea!

I wasn't home yesterday and when I arrived I was knackered so I had to pospone this for today when I was more awake and present. I'm rewatching the documentary right now so I will be doing both !!!!!

(Two hours later: i'm only 16 minutes in). (I started at 12 and its almost 5pm. I keep... pausing).

1. Helene. I love Louis to the moon and back and I feel like Helene is all of us. She represents us. She cares about him so much and is such a good mentor ♥ I adored both the before concert moments when she's here for him to help him battle his nerves and the post concert hug. She was crying, I was crying, we were all crying.

2. HIM PLAYING THE GUITAR. THIS IS EVERYTHING I'VE EVER WANTED (and I'm greedy, I want much more of it). Louis shut up I'm listening to the guitar. Long haired Louis playing guitar at the beach ;;_;;

3. His confidence. There were moments of doubt (him stress cleaning!), which I think are not only normal and realistic but also a testament to his perseverance both with his voice and his solo career in spite of everything. "I was fucking feeling like I was flying" this has to be one of my favorite quotes even if he said it when he was nervous. His facial expressions looking at the public.

4. Change. I loved how we got a glimpse of him practicing it too. Not my favorite song from him, but I like the general sound of it and I'm really excited for every new song we get. It has such a classic rock touch, his voice sounds amazing in it and the instruments are immaculate.

5. His grandparents. I love to see he has this support system in his family and how close he is to them. How they speak about this at the beginning and also the hugs afterwards and how he worried about how his grandpa was getting there (♥).

//This leaves me with only two points to talk about my favorite things about the performance...//

6. Him starting the concert with We Made It and the transition between the documentary and the concert are amazing choices. The filming and editing in general were top notch. TOU...The aerial shots. The torchs...The strings (The "hah"). Beautiful. Simply beautiful. Too Young already had a special place in my heart but I think I appreciate Perfect Now a little more every time. VOCALS. As for OTB... again... the shots. The flags. His face. It makes me feel so seen and loved.

7. This is already the longest post in the story of posts because I wanted to talk about how much I love everything related to Louis so a general shout out to COACOAC, Fearless, Defenceless, Walls, KMM and most importantly the covers! He owns these songs now, I don't make the rules. VOCALS. VOCALS. Yes that's all I will say. I'm so glad to have another audio for my collection of audios of 7.

8. Every time we see him interact with the band. The shots. The hugs. Both the individual ones and the group one. I'm so glad to see he picked people he feels so comfortable to be around AND they're all amazing musicians.

9. I just think it's so hot to read "Louis Tomlinson Presents", "in association with 78 Productions" by Producer Louis Tomlinson. This is truly Louis baby isn't it. In general I absolutely loved how involved with everything he seemed to be, he truly had every little detail under control. Him being bossy with Matt Vines and nagging him. Nothing else to add here. Just like, making sure it's when not if.

(Yes, this is just a compilation of Louis saying he loves us)

10. All of this is a mutual thing, all of us feeling that moment // So not quite touching distance? And we have gone as close as we can with that? // Putting on something big, and free and for the fans, you know, as a kind gift from us to them // This is only possible because of you lot // And then I get on stage and I fucking see you lot... what the fuck was I worried about // I fucking love you all // I feel you crystal palace // Throughout this whole gig all I felt is excited, about what's to come, the tour ahead of us. And that, that's thanks to all of you in here. I try in these moments to show you me thanks. But honestly, I can't- I can't even articulate. I just fucking love all of you. And everyone who's not here today, you know, anyone who's...fucking, I love you, I love you a lot // I fucked up your moment now, we will save it, we will save it // As per fucking usual got way beyond me expectations. And that's thank to you lot. And I want you to know... every single time I get up in stage... that's why I put today on....any opportunity that I can thank you lot, cause you're fucking unbelievable. Every fucking time I get up in stage you guys make me feel fucking invincible. I fucking love that feeling // If I've got this lot behind me, who the fuck is gonna stop us, you know what I mean?

(Also, very mememememe (diva?) moment but: when I saw me in the Barcelona footage. And the close-up of my friend's face).

Top 10 things I disliked:

1. Him saying "I haven't given it much a thought" about LT2.

2. Him saying "I haven't given it much a thought" about LT2.

3. Him saying "I haven't given it much a thought" about LT2.

4. Him saying "I haven't given it much a thought" about LT2.

5. Him saying "I haven't given it much a thought" about LT2.

6. Him saying "I haven't given it much a thought" about LT2.

7. Him saying "I haven't given it much a thought" about LT2.

8. Him saying "I haven't given it much a thought" about LT2.

9. Him saying "I haven't given it much a thought" about LT2.

10. Him saying "I haven't given it much a thought" about LT2.

(And his t-shirt. I disliked his t-shirt. Please don't kick me out of the fandom. Also him letting the fans to sing Defenceless bridge. Not allowed. Don't do that again).

#Louis Tomlinson #AFHF #top ten moments #enjoying this rewatch more than the first watch tbh #excessive use of the word fucking

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samreviewsmovies · 3 years

Text

West Side Story

Year: October 18, 1961

Director: Robert Wise, Jerome Robbins

Screenwriter: Ernest Lehman

Actors: Natalie Wood (Maria), Richard Beymer (Tony), Russ Tamblyn (Riff), Rita Moreno (Anita), George Chakiris (Bernardo), Simon Oakland (Police Lieutenant Shrank), Ned Glass (Doc), William Bramley ( Police Sergeant Krupke)

Production Company: Mirisch Pictures, Seven Arts Productions

Synopsis: A musical in which a modern day Romeo and Juliet are involved in New York street gangs. On the harsh streets of the upper west side, two gangs battle for control of the turf. The situation becomes complicated when a gang members falls in love with a rival's sister.

Ratings:

Imdb: 7.5/10

Rotten Tomatoes: 92%

Metacritic: 86%

My Rating: 8/10

Platform: Hulu

My Thoughts:

I didn’t realize how old this movie was until I looked it up after I watched it. For some reason my mind said 80′s, and I just went with that. In hindsight, I can definitely see how I was wrong. The things that I didn’t like about this movie, where things that were probably to do with 60′s production. The introduction was stupidly long followed by the aerial shot of New York. Some of the scene transitions were weird to me too.

I did like how, even thought it was a movie, how it was shot, and how the set looked reminded me of a Broadway play, like it originally was. I’m not well versed in camera shots or anything, but I think this was accomplished by having full body shots, instead of a lot of close ups like we would with tv/films today. In particular, the scene that really stands out to me for the play feel, is during “One Hand, One Heart”. We look at Tony and Maria as we would be looking at them on a stage.

I wasn’t the biggest fan of the singing and dancing in this film (but Sam it’s a musical, yeah I know. It just wasn’t for me.) My favorite songs in this film were “America” and “Gee, Officer Krupke”. I felt like they had the strongest messages, and the best story out of all of the others, that and the issues that they talk about are still relevant over 60 years later. I loved the moments of solidarity between the two gangs when it came to saying screw the police. This movie would have been completely different if the gangs got together and took down Shrank, which is not what this movie is about, alas. It’s Romeo and Juliet.

I wanted to not like the romance parts. I really wanted to, but I really enjoyed them when I just let them be cheesy sweet songs. Tony ( Richard Beymer) and Maria (Natalie Wood) had some good chemistry together. I liked Doc (Ned Glass) a lot, a foil character to the other adults and teenagers. He was the voice of reason, and caring adult that these kids didn’t have. However, Anita (Rita Moreno) was by far my favorite. She was strong, so strong. She had to be because she carried that whole movie on her back.

Someone needs to write the sequel were Maria starts her own gang and takes down the Sharks, Jets, and the corrupt police system. I want to see a movie that’s just Maria, righteously pissed off with a gun. Thanks for coming to my TED talk.

Extra:

https://en.wikipedia.org/wiki/West_Side_Story_(1961_film)

This film was the highest grossing film in 1961

Won 10 Academy awards

Was selected for the National Film Registry in 1997

#West Side Story #Robert Wise #Jerome Robbins #Ernest Lahman #Natalie Wood #richard beymer #russ tamblyn #rita moreno #Ned Glass #george chakiris #Simon Oakland #William Bramley #Mirisch Pictures #Seven Arts Productions

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aion-rsa · 3 years

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How All in the Family Changed the TV Landscape

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All in the Family is roundly considered a touchstone for television achievement now, but when it debuted 50 years ago, even the network carrying it hoped it would fizzle quickly and unnoticed. CBS put an army of operators at phone lines expecting a barrage of complaints from offended middle Americans demanding its cancellation. Those calls didn’t come. What came was a deluge of support from people hoping this mid-season replacement was a permanent addition to the network’s lineup. The premiere episode contained a considerable list of “television firsts.” One of these rarities continues to remain scarce on network TV: creator Norman Lear trusted the intelligence of the viewing audience. To celebrate All in the Family’s 50th anniversary, we look back at its journey from conception to broadcast, and how it continues to influence and inform entertainment and society today.

Actor Carroll O’Connor, who was a large part of the creative process of the series, consistently maintains he took the now-iconic role of Archie Bunker because All in the Family was a satire, not a sitcom. It was funny, but it wasn’t a lampoon. It was grounded in the most serious of realities, more than the generation gap which it openly showcased, but in the schism between progressive and conservative thinking. The divide goes beyond party, and is not delineated by age, wealth, or even class. The Bunkers were working class. The middle-aged bigot chomping on the cigar was played by an outspoken liberal who took the art of acting very seriously. The audience cared deeply, and laughed loudly, because they were never pandered to. They were as respected as the authenticity of the series characters’ parodies.

Even the laughs were genuine. All in the Family was the first major American series to be videotaped in front of a live audience. There was never a canned laugh added, even in the last season when reactions were captured by an audience viewing pre-taped episodes. Up to this time, sitcoms were taped without audiences in single-camera format and the laugh track was added later. Mary Tyler Moore shot live on film, but videotape helped give All in the Family the look of early live television, like the original live broadcasts of The Honeymooners. Lear wanted to shoot the series in black and white, the same as the British series, Till Death Us Do Part, it was based on. He settled for keeping the soundstage neutral, implying the sepia tones of an old family photograph album. The Astoria, Queens, row house living room was supposed to look comfortable but worn, old-fashioned and retrograde, mirroring Archie’s attitudes: A displaced white hourly wage earner left behind by the social upheavals of the 1960s and 1970s.

“I think they invented good weather around 1940.”

American sitcoms began shortly after World War II, and primarily focused on the upper-middle class white families of Father Knows Best, Leave It to Beaver, and The Adventures of Ozzie and Harriet. I Love Lucy’s Ricky Ricardo, played by Cuban-American Desi Arnaz, ran a successful nightclub. The Honeymooners was a standout because Jackie Gleason’s Ralph Kramden was a bus driver from Bensonhurst (the actual address on that show, 328 Chauncey Street, is in the Bedford–Stuyvesant section of Brooklyn). American TV had little use for the working class until the 1970s. They’d only paid frightened lip service to the fights for civil rights and the women’s liberation movements, and when the postwar economy had to be divided to meet with more equalized opportunities there was no one to break it down in easy terms. The charitable and likable Flying Nun didn’t have the answer hidden under her cornette. It wasn’t even on the docket in Nancy, a 1970 sitcom about a first daughter. The first working family on TV competing in the new job market was the Bunkers, and they had something to say about the new competition.

Social commentary wasn’t new on television. Shows like The Twilight Zone and Star Trek routinely explored contemporary issues, including racism, corporate greed, and the military action in Vietnam, through the lens of fantasy and science fiction. The war and other unrest were coming into the people’s living rooms every night on the evening news. The times they were a-changing, but television answered to sponsors who feared offending consumers.

Ah, but British TV, that’s where the action was. Lear read about a show called Till Death Us Do Part, a BBC1 television sitcom that aired from 1965 to 1975. Created by Johnny Speight, the show set its sights on a working-class East End family, spoofing the relationship between reactionary white head of the house Alf Garnett (Warren Mitchell), his wife Else (Dandy Nichols), daughter Rita (Una Stubbs), and her husband Mike Rawlins (Anthony Booth), a socialist from Liverpool. Lear recognized the relationship he had with his own father between the lines.

CBS wanted to buy the rights to the British show as a star vehicle for Gleason, Lear beat out CBS for the rights and personalized it. One of the reasons All in the Family works so well is because Lear wasn’t just putting a representative American family on the screen, he was putting his own family up there.

“If It’s Too Hot in The Kitchen, Stay Away from The Cook.”

Archie Bunker dubbed his son-in-law, Michael Stivic, played by Rob Reiner, a “Meathead, dead from the neck up.” This was the same dubious endearment Lear’s father Herman called him. The same man who routinely commanded Lear’s mother to “stifle herself.” Lear’s mother accused her husband, a “rascal” who was sent to jail for selling fake bonds of being “the laziest white man I ever saw,” according to his memoir Even This I Get to Experience All three lines made it into all three of the pilots taped for All In the Family. When Lear’s father got out of prison after a three-year stretch, the young budding writer sat through constant, heated, family discussions. “I used to sit at the kitchen table and I would score their arguments,” Lear remembers in his memoir. “I would give her points for this, him points for that, as a way of coping with it.”

All in the Family, season 1, episode 1, provides an almost greatest hits package of these terse and tense exchanges, which also taught Lear not to back away from the fray. He served as a radio operator and gunner in the U.S. Air Force during World War II, earning an Air Medal with four Oak Leaf Clusters after flying 52 combat missions, and being among the crew members featured in the books Crew Umbriag and 772nd Bomb Squadron: The Men, The Memories. Lear partnered with Ed Simmons to write sketches for Jerry Lewis and Dean Martin’s first five appearances on the Colgate Comedy Hour in 1950. They remained as the head writers for three years. They also wrote for The Ford Star Revue, The George Gobel Show, and the comedy team Rowan and Martin, who would later headline Laugh-In.

Lear went solo to write opening monologues for The Tennessee Ernie Ford Show, and produce NBC’s sitcom The Martha Raye Show, before creating his first series in 1959, the western The Deputy, which starred Henry Fonda. To get Frank Sinatra to read Lear’s screenplay for the 1963 film Come Blow Your Horn, Lear went on a protracted aerial assault. Over the course of weeks, he had the script delivered while planes with banners flew over Sinatra’s home, or accompanied by a toy brass band or a gaggle of hens. Lear even assembled a “reading den” in Ol’ Blue Eyes’ driveway, complete with smoking jacket, an ashtray and a pipe, an easy chair, ottoman, lamp, and the Jackie Gleason Music to Read By album playing on a portable phonograph. After weeks of missed opportunities, Lear remembers Sinatra finally read the script and “bawled the shit out of me for not getting it to him sooner.”

The creative perseverance Lear showed just to get the right person for the right part is indicative of the lengths Lear would go for creative excellence. He would continue to fight for artistic integrity, transforming prime time comedy with shows like Good Times, One Day at a Time, and the first late-night soap opera Mary Hartman, Mary Hartman. He brought legendary blue comedian Redd Foxx into homes with Sanford and Son, also based on a British sitcom, Steptoe and Son, which starred Harry H. Corbett and Wilfrid Brambell, best known for playing Paul McCartney’s grand-dad in A Hard Day’s Night. But before he could do these, and the successful and progressive All in the Family spinoffs The Jeffersons and Maude, he had to face battles, big and small, over the reluctantly changing face of television.

“Patience is a Virgin”

After Lear beat CBS to the rights to adapt Till Death Us Do Part he offered the show to ABC. When it was being developed for the television studio, the family in the original pilot were named the Justices, and the series was titled “Justice for All,” according to a 1991 “All in the Family 20th Anniversary Special.” They considered future Happy Days dad Tom Bosley, and acclaimed character actor Jack Warden for the lead part, before offering the role to Mickey Rooney. According to Even This I Get to Experience, Lear’s pitch to the veteran actor got to the words “You play a bigot” before Rooney stopped him. “Norm, they’re going to kill you, shoot you dead in the streets,” the Hollywood icon warned, asking if Lear might have a series about a blind detective with a big dog somewhere in the works.

Taped in New York on Sept. 3, 1968, the first pilot starred O’Connor and Jean Stapleton as Archie and Edith Justice. Stapleton, a stage-trained character actor who first worked as a stock player in 1941, was a consistent supporting player for playwright Horton Foote. Stapleton originated the role of Mrs. Strakosh in the 1964 Broadway production of Funny Girl, which starred Barbra Streisand. Lear considered her after seeing her performance in Damn Yankees. She’d made guest appearances on TV series like Dr. Kildare and The Defenders.

O’Connor was born in Manhattan but grew up in Queens, the same borough as the Bunker household with the external living room window which wasn’t visible from the interior. O’Connor acted steadily in theaters in Dublin, Ireland, and New York until director Burgess Meredith, assisted by The Addams Family’s John Astin, cast him in the Broadway adaptation of James Joyce’s novel Ulysses. O’Connor had roles in major motion pictures, including Lonely Are the Brave (1962), Cleopatra (1963), Point Blank (1967), The Devil’s Brigade (1968), Death of a Gunfighter (1969), Marlowe (1969), and Kelly’s Heroes (1970). O’Connor appeared on television series like Gunsmoke, Bonanza, The Fugitive, The Wild Wild West, The Outer Limits, The Man from U.N.C.L.E., I Spy, That Girl, and Voyage to the Bottom of the Sea. He’d guest starred as a villain in a season 1 episode of Mission Impossible, and was up for the parts the Skipper on Gilligan’s Island and Dr. Smith on Lost in Space.

The first pilot also starred Kelly Jean Peters as Gloria and Tim McIntire as her husband Richard. ABC liked it enough to fund a second pilot, “Those Were the Days,” which shot in Los Angeles on Feb. 10, 1969. Richard was played by Chip Oliver, and Gloria Justice was played by Candice Azzara, who would go on to play Rodney Dangerfield’s wife in Easy Money, and make numerous, memorable guest appearances on Barney Miller. D’Urville Martin played Lionel Jefferson in both pilots. ABC cancelled it after one episode, worried about a show with a foul-mouthed, bigoted character as the lead.

CBS, which was trying to veer away from rural shows like Mayberry R.F.D., The Beverly Hillbillies, Petticoat Junction and Green Acres, bought the rights to the urban comedy and renamed it All in the Family. When Gleason’s contract to CBS ran out, Lear was allowed to keep O’Connor on as the main character.

Sally Struthers was one of the young actors featured in Five Easy Pieces, the 1970 counterculture classic starring Jack Nicholson. She’d also recently finished shooting a memorable part in the 1972 Steve McQueen hit The Getaway. Struthers had just been fired from The Tim Conway Comedy Hour because executives thought she made the show look cheap, which was her job. The premise of the show was it was so low-budget it could only afford one musician, who had to hum the theme song because they couldn’t afford an instrument, and one dancer, as opposed to a line of dancers like they had on The Jackie Gleason Show. Lear noticed her as a dancer on The Smothers Brothers Comedy Hour, a counterculture variety show which Rob Reiner wrote for with Steve Martin as a writing partner. Reiner’s then-fiancée, the director Penny Marshall, was also up for the role of Gloria, but in an interview for The Television Academy, Reiner recalls that, while Marshall could pass as Stapleton’s daughter, Struthers was obviously the one who looked like Archie’s “little girl.”

Reiner, the son of comedy legend Carl Reiner, was discovered in a guest acting role on the Andy Griffith vehicle series Headmaster, a show he wrote for, but had also played bit roles in Batman, The Andy Griffith Show, Room 222, Gomer Pyle, U.S.M.C., The Beverly Hillbillies and The Odd Couple. Reportedly, Richard Dreyfuss campaigned for the role of Michael, and Harrison Ford turned it down. Mike Evans was cast as Lionel Jefferson, the Bunkers’ young Black next-door neighbor who sugar-coated nonviolent protests with subtle and subversive twists on “giving people what they want.”

“We’re just sweeping dirty dishes under the rug.”

The very first episode tackled multiple issues right away. It discussed atheism, with Michael and Gloria explaining they have found no evidence of god. The family dissects affirmative action, with Archie asserting everyone has an equal chance to advance if they “hustle for it like I done.” He says he didn’t have millions of people marching for him to get his job, like Black Americans. “His uncle got it for him,” Edith explains, with an off-the-cuff delivery exemplifying why Stapleton is one of the all-time great comic character actors. The family argues socialism, anti-Semitism, sausage links and sausage patties. The generation gap widens as Archie wonders why men’s hair is now down to there, while Gloria’s skirt got so high “all the mystery disappears” when she sits down.

All in the Family would continue to deal with taboo topics like the gay rights movement, divorce, breast cancer, and rape. Future episodes would question why presidential campaign funds are unequal, how tax breaks for corporations kill the middle class, and weigh the personal price of serving in an unpopular war as opposed to dodging the draft. When Archie goes to a female doctor for emergency surgery a few seasons in, All in the Family points out she is most certainly paid less than a male doctor. When skyjackings were a persistent domestic threat in the 1970s, Archie suggested airlines should “arm the passengers.” It is very prescient of the NRA’s suggestion of arming teachers to combat school shootings.

But the first showdown between Lear and the network was fought for the sexual revolution. The first episode’s action begins when Edith and Archie come home early from church and interrupt Michael and Gloria as they’re about to take advantage of having the house to themselves. Gloria’s got her legs wrapped around Michael as he is walking them toward the stairs, and the bed. “At 11:10 on a Sunday,” Archie wants to know as he makes himself known. According to Lear’s memoir, CBS President William Paley objected, saying the line suggested sex. “And the network wants that out even though they’re married–I mean, it was plain silly,” he writes. “My script could have lived without the line, but somehow I understood that if I give on that moment, I’m going to give on silly things forever. So, I had to have that showdown.”

The standoff continued until 25 minutes before air time. CBS broadcast the episode, but put a disclaimer before the opening credits rolled, which Reiner later described as saying “Nothing you’re about to see has anything that we want to have anything to do with. As far as we’re concerned, if you don’t watch the next half hour, it’s okay with us.” Lear knew, with what he was doing, this was going to be the first of many battles, because this was the first show of its kind. Television families didn’t even flush toilets, much less bring unmentionables to the table. “The biggest problem a family might face would have been that the roast was ruined when the boss was coming over to dinner,” Lear writes. “There were no women or their problems in American life on television. There were no health issues. There were no abortions. There were no economic problems. The worst thing that could happen was the roast would be ruined. I realized that was a giant statement — that we weren’t making any statements.”

“What I say ain’t got nothing to do with what I think.”

Politicians and pundits worried about how the series might affect racial relations. The country had experienced inner city riots, battle lines were drawn over school desegregation, busing children to schools was met with violent resistance. Did All In the Family undermine bigotry or reinforce racism? Were people laughing at Archie or with him? Was it okay to like Archie more than Mike?

Lear believed humor would be cathartic, eroding bigotry. Bigots found a relief valve. Lear always insisted Archie was a satirically exaggerated parody to make racism and sexism look foolish. Liberals protested the character came across as a “loveable bigot,” because satire only works if the audience is in on the joke. Bigoted viewers didn’t see the show as satire. They identified with Archie and saw nothing wrong with ethnic slurs. Mike and Gloria come off like preachy, bleeding-heart liberal, hippie leeches. Lionel handled Archie better than Michael did.

O’Connor humanized Archie as an old-fashioned guy trying to make sense of a rapidly changing world. Bunker gave bigotry a human face and, because he hated everyone, he was written off as an “equal-opportunity bigot.” Not quite a defensible title. Archie was the most liked character on the show, and the most disliked. Most people saw him as a likable loser, so identifiable he was able to change attitudes. In a 1972 interview, O’Connor explained white fans would “tell me, ‘Archie was my father; Archie was my uncle.’ It is always was, was, was. It’s not now. I have an impression that most white people are, in some halting way, trying to reach out, or they’re thinking about it.” It sometimes worked against O’Connor the activist, however. When he backed New York Mayor John Lindsay’s 1972 anti-war nomination for the Democratic presidential nomination, Archie Bunker’s shadow distanced progressives.

Archie was relatable beyond his bigotry. He spoke to the anxieties of working- and middle-class families. Archie was a dock worker in the Corona section of Queens, who had to drive a cab as a second job, with little hope of upward mobility. He didn’t get political correctness. The character’s ideological quips were transformed into the bestselling paperback mock manifesto The Wit and Wisdom of Archie Bunker. White conservative viewers bought “Archie for President” buttons.

“If you call me Cute one more time, I swear I’ll open a vein.”

As cannot be overstated, All in the Family set many precedents, both socially and artistically. The Bunker family is an icon on many levels, Archie and Edith’s chairs are at the Smithsonian. But Archie Bunker is also the Mother Courage of TV. The antithesis of the bland sitcom characters of the time, he also wasn’t the character we hated to love, or loved to hate. Archie was the first character we weren’t supposed to like, but couldn’t help it. This phenomenon continues. The next TV character to take on the iconic mantle was probably Louis De Palma on Taxi. Audiences should have wanted to take a lug wrench to his head, but Danny De Vito brought such a diverse range of rage and vulnerability to that part it was named TV Guide’s most beloved character for years.

We shouldn’t like Walter White, especially when he doffs that pretentious Heisenberg hat, on Breaking Bad. And let’s face it, Slipping Jimmy on Better Call Saul isn’t really the kind of guy you want to leave alone in your living room while you grab a drink. Families across the United States and abroad sat down to an Italian-style family dinner with Tony Soprano and The Sopranos every Sunday night. But on Monday mornings, most of us would have ducked him, especially if we owed him money. Even the advanced model of the Terminator guy was scared of Tony.

The best example of this is South Park’s Eric Cartman. While we don’t know who his father is on the series, he’s got Bunker DNA all over him. He’s even gotten into squabbles with Sally Struthers and Rob Reiner. This wasn’t lost on Lear, who contacted creators Trey Parker and Matt Stone to say he loved the show in 2003. Lear wound up writing for South Park’s seventh season. “They invited me to a party and we’re partying,” Lear told USA Today at the time. “There’s no way to overstate the kick of being welcomed by this group.”

“I hate entertainment. Entertainment is a thing of the past, now we got television.”

Television can educate as much as it wants to entertain, and All in the Family taught the viewing audience a whole new vocabulary. The casual epithets thrown on the show were unheard of in broadcast programming, no matter how commonplace they might have been in the homes of the people watching. When Sammy Davis Jr. comes to Bunker house in the first season, every ethnic and racial slur ever thrown is exchanged. In another first season episode, and both the unaired pilots, Archie breaks down the curse word “Goddamn.” But a large segment of the more socially conservative, and religious, audience thought All in the Family said whatever they wanted just because they could get away with it.

All in the Family debuted to low viewership, but rose to be ranked number one in the Nielsen ratings for five years. The show undermined the perception of the homogeneous middle-class demographic allowing shows like M*A*S*H to comment on contemporary events.

All in the Family represented the changing American neighborhood. The show opened the door for the working poor to join situation comedies as much as when the Bunkers welcomed Lionel, Louise (Isabel Sanford), and George Jefferson (Sherman Hemsley) when they moved into Archie’s neighborhood. Lear reportedly was challenged by the Black Panther Party to expand the range of black characters on his shows. He took the challenge seriously and added subversive humor. Sanford and Son was set in a junkyard in Watts. Foxx’s Fred Sanford rebelled against the middle-class aspirations of his son, Lamont (Demond Wilson). Good Times was set in the projects of Chicago, and took on issues like street gangs, evictions and poor public schools.

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Married With Children, The Simpsons, and King of the Hill continued to explore the comic possibilities of working class drama. Mary Richards on The Mary Tyler Moore Show was a successful, upwardly mobile television producer. Working-class women were represented on sitcoms like Alice, but didn’t have a central voice until 1988 when Roseanne debuted on ABC, and Roseanne Barr ushered in her brand of proletarian feminism. All in the Family’s legacy includes Black-ish, as creator Kenya Barris continues to mine serious and controversial subject matter for cathartic and educational laughter. Tim Allen covets the conservative crown, and is currently the Last Man Standing in for Archie. But as reality gets more exaggerated than any satire can capture, All in the Family remains and retains its most authentic achievement.

The post How All in the Family Changed the TV Landscape appeared first on Den of Geek.

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dumbdancemomssideblog · 4 years

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S1E1: The Competition Begins

okie dokie first ever episode of dance moms rewatch starts now :0 i actually remember watching this the very first time it aired on lifetime because i was channel surfing and saw a commercial for it earlier that day. that was the summer between 8th and 9th grade. ah memories... i didnt know what to expect because i did dance when i was a kid but not on a competition team and it was mostly ballet so i was pretty unfamiliar with this whole world.

anyway lets begin. this is probably gonna be a longer post than what i’ll end up writing for the other episodes in season 1 bc the first episode introduces so much info, just a heads up

Act 1: (aside: yes its insufferable to divide this into “acts” when its really just like “segments separated by commercial breaks” but thats how they’re called in actual tv scripts so im just going with that cuz i cant think of a better/easier way uwu)

god this is so fucking early 2010s lmao

i miss these days where they were just talented nobodies from pittsburgh on a low budget reality tv show that nobody even knew would be successful. and the bad hair and makeup but idk if that was also just a 2011 thing lol

THE REAL HOUSEWIVES GREEN SCREEN INTROS IM DYING

the chalkboard !!!! they werent doing the pyramid on the mirror yet

(apparently abby never did anything similar to the pyramid thing but the producers made her and it became a whole Thing on the show and thats why the moms were like wtf is this bullshit the first week)

mackenzie looks like a toddler. chloe is so tiny. theyre the 2 who changed the most physically over the course of the show

i remember watching this for the first time being used to ballet lyrical and jazz but never having done or really seen acro/gymnastics in dance choreo and being SO flabbergasted. i was thinking “a chin stand is not dancing what the actual hell” and yknow what? i was right

melissa: “my boyfriend knows how much i spend on dance because he signs the checks...............hermehhemrherrmehermh” (the most awkward laugh omg)

maddie is wearing a fucking bumpit in her hair i cannot

melissa deadass just said out loud “im here for my daughter im not here to make friends” ok everybody mark that one off on your catty women’s reality tv show bingo card!

camera man accidentally getting in the shot filming right in front of the huge wall-mirror.... what is this, amateur hour? i’ll let it slide since its the first day of filming rehearsal but step it up, boys

aw i forgot about maddie getting sick and crying :/ poor kid

melissa saying “i cant stand a chid that’s sick” sounds so edited like the intonation made it seem to me like they just cut her off mid-sentence i love lifetime

oh this was still when they were wearing normal stuff to class/rehearsal like black leotards bc they werent getting sent a trillion crazy 2-piece dancewear outfits for free yet bc they werent famous, man those were the days

Act 2:

[obligatory b-roll footage of downtown pittsburgh]

the maddie chloe paige trio !!!! this is making me feel so nostalgic

“knees together, paige. you’re bow-legged, you need to fix that”

“you’re tall, you’re skinny, you’re a beautiful girl, you can do better than this. FOCUS” shes like 10 abby what the hell

“people think im tough and i guess i am but i would rather be the one to make your kid cry in the privacy of my studio than at an open-call audition in front of hundreds of people”

okay unpopular opinion alert: i agree with a lot of what abby says about stuff like this but her delivery is flawed, to but it euphemistically, that being said i think the production team of the show and the fame inflating her ego changed all of this somewhere over the course of the second season and its really sad to see :/ i can expand on that thought later tho

aw paige crying bc abby correcting her (but not saying anything personal or out of line, just technique corrections (at based on what we were shown, we dont know everything she said oop)) shes a sensitive kid she never should have been put on this show :(

paige looks exactly like her mom i didnt realize that before

nia and holly were done so dirty throughout the whole series in terms of the narrative the producers set up about nia being the weakest link :/

Act 3:

cathy’s entire involvement in the show from the very beginning was so painfully obviously scripted (or at least heavily staged)

vivi was also done dirty by the show’s narrative and she was only 6 and they presented her as like the butt of the joke bc her mom’s “character” was crazy and also she wasnt good at dance. i wonder how she feels about the show now that shes a teenager hmm. she really seemed not to give a fuck about dance for better or for worse when she was a kid tho so maybe she doesnt care ?

in what universe would an owner of another competitive dance studio bring her own kid to another studio more than an hour’s drive away, AND be under the impression that she could compete with them in a week, especially when they showed the kids’ and moms’ shocked reaction at the start of the episode to having to learn a dance in a week and compete it? like really what is the point of cathy and vivi being a part of this show im so ????

Act 4:

THE MINISTER DAWN OUTBURST HOW DID I FORGET ABOUT THIS

this fight is about 50% of what got them a full season 1 and then things took off from there tbh. the other 50% was the electricity dance but thats a point for next episode..... :)

“you’re a minister act like one” “YOU’RE RIGHT I AM A MINISTER! LET’S PLAY THE BIBLE GAME ABBY, WHEN JESUS SAW THINGS THAT WERE WRONG HE WENT AFTER THEM, AND YOU’RE NOT GOING TO DO THIS TO MY KID” ma’am i think the wrongs jesus addressed were of slightly more importance than a preteen being told she cant take a dance class if shes violating the studio’s dress code

this is so good bc it wasnt staged afaik and there are regular students all throughout the building just STARING at them like lmao what even is going on, so im pretty sure this is real???

regardless, yeah dont wear socks and a tshirt to an acrobatics class, thats common fucking sense

another cameraman-in-mirror sighting, but its hard to think about angles when filming spontaneous drama like this, so i wont count it against them

“you called me fat” (i remember that being in the episode but thats not on the episode available through lifetime on demand that im watching from my moms tv hmmmmmm) “i told you to close and tuck in your two-piece costume, theres a big difference. HOW CAN YOU REMEMBER THAT BUT YOU CAN’T REMEMBER TO TURN YOUR FEET OUT” uh scream

she really called the police on this woman i cannot handle this. can you imagine being a police officer responding to this call?

“we have a parent thats out of control. pardon? no shes doesnt have weapons, just her mouth” iconic

im sorry im still not over the hair and makeup. the flat hair with the side bangs. the black pencil eyeliner applied all the way around the eye. why did any of us think this was a look :( why did we do this :(

Act 5:

they went all the way to phoenix to compete 3 numbers, only 2 of which are shown in the episode.

i think this is the only time they ever went to west coast dance explosion because its an actual competition and they wouldnt allow filming after this lol i think they did go to wcde one weekend in addition to a competition where they were filming but it wasnt shown or mentioned at all

abby not wanting brooke and paige to have a french manicure on stage if theyre the only ones in the group with the french tips is perfectly valid idk why it was framed as some crazy micromanaging shit

i also am really not a fan of the whole “high functioning alcoholic wine mom/crazy stage mom” schtick they were pushing for the first few episodes of this show

in retrospect i feel like so many of the quips in this episode were intentionally fucking crazy just to get the audience engaged enough to want to watch more episodes...

“see those girls down there, those girls with the legs? thats who you’re up against, so step it up”

abby warning them that its dangerous for their little party hats to slip when they’re doing aerials and pirouettes and stuff: “what if you were at radio city music hall and they had the ice rink out and you were doing a side aerial and fell 13 stories down and died, huh?” fantastic point abby thank you for saying that to 5 girls ages 8-12 less than 5 minutes before they went on stage. perfect time for a teaching moment like that :)

i forgot how bad the camera work was in the first few episodes for footage of their performances. like they really didnt think the show’s audience would actually want to watch the kids dance, the producers and editors thought we just wanted to see stage mothers yelling at each other lol

also the mic feed over the music of abby talking to herself giving them corrections while watching them dance on stage.... im so glad they quit doing that. i dont remember them doing it like that for any other episode, i hope im right

this choreo is very basic and its a cute dance i guess but its very cringe in some places and for the first episode this is such a forgettable group routine

their scandalized reaction to placing third and the sad piano music is so funny honestly

and maddies reaction in the interview which was almost definitely fed to her by the producers where shes like “i win all the time i dont really know what its like to LOSE i always win or get runner up” so many of maddies lines from season 1 interviews sound so fake and she was probably too naive to know they were getting her to say that stuff so they could paint her as a conceited brat (she was EIGHT)

the trio costume was so ugly im sorry (is it supposed to be like a 50s pinup bathing suit?) (and the headband thing looks so bad) and also the music is bad but they had no real authority over that bc of copyright stuff

chloe’s headpiece coming forward and the ensuing drama was another moment in the episode that really solidified public interest in the show imho....

“YOU’RE IN THE BAR HAVING A DRINK AND YOUR KID’S HEADPIECE IS FALLING OFF” “it did not FALL OFF it CAME FORWARD it was FINE!!!”

“mistakes happen, we’re human.” “YOU are. mistakes like that dont happen to me”

and then the “next time on dance moms” with the WILDLY INAPPROPRIATE electricity dance, of course. genuinely that was really smart of the producers in terms of structuring things to generate intrigue lol. and obviously it ended up working....

#dance moms #s1e1 #season 1

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moonlightmadnessreviews · 5 years

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Midsommar (2019): Bleakness in Broad Daylight

As I left the theater after my viewing of Midsommar, one thought rang clearly through my mind: “I NEED to discuss what I’ve just watched!” 2018’s Hereditary effected me much in the same way and, though the movies are at times visual opposites, Aster has solidified his filmic vocabulary. Produced by A24, Midsommar sees Aster once again tackling issues of grief, denial and one character’s journey to fulfill their destiny.

Both written and directed by Ari Aster, Midsommar begins with a mural. Upon this first watch (and considering my brain was scrambling to keep up with my eyes as they did their best to take in every detail), it seems the mural depicted the change of seasons. This is a theme the movie plays with throughout its nearly 2 hour run time. The mural opens like the curtain on a grand stage and invites us into a cold, snowy landscape. An ethereal chanting plays over jump cut after jump cut. Frame after frame of this vast cold land. Then suddenly, as if startled out of a dream, we jump from snowy treetops to a suburban aerial view that zooms in deeper and deeper to the tempo of a phone desperately ringing.

We are introduced to Dani, played by Florence Pugh, as she attempts to reach her parents after receiving an ominous e-mail from her sister. After leaving her voicemail, Dani places a phone call to her boyfriend Christian, played by Jack Reynor, who is with a group of friends when Dani calls. The friends are rounded out by Josh (William Jackson Harper), Pelle (Vilhelm Blomgren) and finally, Mark (Will Poulter and his friggin’ eyebrows, don’t even get me started). We learn that Christian feels he should breakup with Dani, this current freak out over her inability to reach her parents and her bi-polar sister’s erratic behavior being the latest in what is apparently a long line of freak outs. He receives yet another call from Dani and what follows is just the first of Midsommar’s shocking and brutally bleak scenes.

I won’t get into spoilers for this scene (“Haunting in its realism.” is as much as I’ll give you) but it does bring me to what I find incredibly interesting about Aster’s direction. The director has managed to set quite firmly his filmic vocabulary via one device in particular and one which has become a favorite topic of discussion of mine: the Ari Aster Cry. Last year’s Hereditary gave us one of the most brutal, realistic and certainly uncomfortable depictions of grief through Toni Collette’s cries before, during, and even after her daughter’s funeral. A round of applause is certainly in order for Collette’s performance, but I also feel Aster has a way of bringing these cries out of his actresses, capturing them in long, uninterrupted takes. Pugh gives an equally inspired, incredibly pained, and mournful cry after the aforementioned events. Your skin crawls as screams, cries, and an assortment of other guttural noises leave her body.

When I saw Hereditary, a couple left during the post-funeral cry scene, and I half expected to see at least one couple bail out at this point as well. Alas, I suppose I was accompanied by a more courageous audience this time. What I love is how Aster sticks our faces deep inside a character’s grief and refuses us any respite, not unlike a heavy handed owner shoving his dog’s face in its own mess, forcing us to deal with how uncomfortable we are with hearing someone express genuine pain and suffering. And so, we are ushered along by our title card, reminding us we’ve merely been given a glimpse of what we’re in for.

Cinematography is provided by Pawel Pogorzelski, and his contributions are critical in helping us feel fully immersed in the beautiful, albeit frightening world that Midsommar paints. We follow Dani, Christian and his friends to Sweden for a Midsommar festival Pelle has invited everyone to. We learn he grew up in a commune where old Scandinavian rituals are still being followed. Landscapes are shot in such a way that they seem inviting, yet so vast that one can not help but feel isolated. As the festival and many of its ceremonies take place in open fields washed in bright and direct sunlight, it is as if the film makers are forcing our eyes open, ensuring we can not look away from any of the horrifying events. I love the way Aster moves the camera through a room, much like we are looking in on a stage play. He takes a similar approach in these open fields and though free of walls, he often frames characters with the commune’s bunk houses and shacks, helping to give our eyes those familiar points of reference.

Through Dani’s character, the movie explores themes of control and free will, or lack there of. We see her taking medication for either depression or anxiety. Often times she is offered hallucinogens and accepts merely out of a sense of obligation. I hesitate to call it peer pressure, because she accepts from a position of someone who doesn’t want to be a downer or a party pooper. She has relinquished control not only of her mind, but in her relationship with Christian, and her through her reluctance to deal with past traumas, handing herself over to them. Aster further explores Dani’s state of mind through camera work and the various jump cuts through out the movie which often see Dani being transported from place to place as if she has lost time and has snapped back into the present.

After a shot of the clouds outside Dani’s airplane window during their flight to Sweden, the camera begins to shake as if being jostled by turbulence, though it is more likely a view into Dani’s emotional state. Upon arriving to Pelle’s commune, the camera performs a beautiful rolling move, sweeping over the friends’ car and swapping the sky for the road to show us the name of the commune upside down, before planting us back on our feet. It’s a perfect analogy for how disoriented our characters are for much of the film’s runtime.

When dealing with gore, the movie once again forces us to witness horrific events in broad daylight. We bear witness to a ceremonial ättestupa (if you already know what that is, you’ll be amused by Josh’s reaction) in a stark, stone valley surrounded by lime. It seems to wash out and intentionally overexpose the scene to ratchet up the shock of blood, bone and gore. The camera hangs on these moments at times a beat too long, as if playing chicken with the viewer. “Will I cut to another scene, or will you cover your eyes? Are you enjoying the sound of this character fighting for breath after being bludgeoned, or are you dying to cover your ears and run from it?”

As vibrant and visually stunning as the movie is, it is certainly a slow burn. Much like the music provided by The Haxan Cloak, the movie can drone on at times, yet the notes it pedals to throughout help to keep it from losing its audience. Thankfully, Aster does not fill these droning moments with dumps of exposition, helping to keep the commune shrouded in mystery til the very last note. There are a few musical motifs that are stated throughout the movie, much like the visual clues set up in the first act which hint at the fate of each character and payoff in the final act, culminating in the crescendo that is the May Queen ceremony.

The movie ends with Dani making a monumentally important decision. After being broken down in the commune, forced time and time again to leave her comfort zone and put in incredibly uncomfortable positions, some viewers may see the ending as Dani just giving in and accepting once again a lack of control.

After having had time to think on the ending for the last day or so, I stick with my original take on the ending. We see Dani accept a new found power brought out of her at the exact moment she stops denying what has been in front of her the whole time: her grief, her failing relationship with Christian, and the fate of her friends. She purged herself of those demons through the iconic Ari Aster Cry and takes on the role of May Queen (not so much a spoiler as it is hinted that Pelle has chosen her for this exact role through out the movie), wearing a crown of breathing flowers and an oversized dress that is a bouquet onto itself. The tension built through the movie stands at one end, while Dani’s character arc builds from an opposite point, finally meeting in the middle high above their respective bases to form a pyramid which mirrors the sacred temple our protagonist stands before in the film’s final moments.

Midsommar is another masterpiece from the mind of Ari Aster. Though the film pairs nicely with Hereditary, it’s warm tones standing in contrast to the latter’s cold overcast, the film manages to stand firmly on its own. Another example of Aster’s exploration of grief, destiny and our longing for control, it also plays at our base need to feel as though we are part of a greater entity. As societal beings, we search for a home, a family, and at times though it seems impossible to fit in, we are shocked to find the strength we are looking for lies deep within ourself, like the sun on a midsummer’s day.

Rating: 5 Full Moons out of 5 🌕🌕🌕🌕🌕

#Midsommar #Ari Aster #Florence Pugh #Jack Reynor #William Jackson Harper #Vilhelm Blomgren #Will Poulter #A24 #Midsommar Movie #Film Reviews #Horror Film #Folk Horror #Moonlight Madness #Moonlight Madness Reviews

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littleworldbigdreamsblog · 4 years

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Lonely in Tokyo-MIREI (A review)

Introduction

So I have never really heard of this artist until youtube recommended her recently and maaaaaaaan I am so happy they did because this song is pure FIRE. We have certain things to discuss this time like social issues of being famous and how that can cause a sense of loneliness. As I said the song is fire.

The Artist

So first things first who is MIREI? Those who know help me, those who don’t well we are in the same boat. So what does one do to get information on the internet? Yes you in the back, google and wiki! So based on my research she is a Japanese born artist. She is signed to 2 companies, one is in Japan (MASTERSIX FOUNDATION) and the other in America (Cool Japan Music). Her image is not that of the typical “kawaii” Japanese girl persona seen in media and entertainment but way darker. So far what I have heard from this song and her other music she has this R&B and Pop vibe which I dig. I like what I see so far so I would highly recommend you check this girl out.

The Song

Listen to it here: https://www.youtube.com/watch?v=DIZcqNTCKnQ

So “Lonely in Tokyo” goes deep when it comes to meaning. Topics that stood out to me were a scrutiny of the Japanese idol lifestyle and the loneliness and depression that comes with it all affecting young people.

From reading a little into the song (and reading youtube comments) I saw that this song was written for her friend who was an idol in Japan. This song therefore discusses the issues this person and other youths in Japan have to deal with.

MIREI addresses the dark side of the industry and how it mass produces the same kind of artist. She is clearly not okay with this and encourages the listeners of her music to stand against it. In verse 2 there are clear examples of her views in lines like “ So I dance / Lip syncing on the stage / Sing the lyrics they made / Trapped in a golden cage” alluding to the type of content idols are allowed or forced to perform. In an interview MIREI herself stated that most of the lyrics used in some idol songs are very simple and lack depth. As someone who consumes a lot of idol content I would have to agree because I am very particular when it comes to what I listen to because after a while they all sound and look the same. I am not saying however that you are wrong for liking idol music.

MIREI not only tackles the music or content but also the social environment of this idol lifestyle and how it can affect a person. A part of this is a term I learnt called papakatsu. This is when young Japanese girls look for sugar daddies to buy them gifts and give them money in return for dates or showing up at events together. We see this in the 1st pre-chorus lines “One more drink I'm right back home / One little dinner won't crush my soul /Dior bag, how can I say no?” In this way MIREI is also saying that in order to be famous or part of that world the youths have to sacrifice a piece of themselves for the money and brand name things....but it’s no big deal or it won’t crush their souls right?

We are left to also assume that some of these girls are from under privileged homes with the mention of money being tight and “mom’s out wasted” making for a very unstable family life as well. Therefore if we are referring to the song these girls heavily depend on papakatsu to live day to day in hopes of becoming an idol one day. If you ask me that is such an unhealthy means to obtain fame.

From the title we know that loneliness will be incorporated somewhere in the lyrics of this song. The connection that is super important is that link between fame and loneliness. So after getting this fame by using people and sacrificing your dignity you are still lonely? Doesn’t seem very worth it for me. MIREI however draws a clear line between being alone and being lonely. Like in the pre chorus “Beep beep beep there goes my phone / Why won't they leave me alone?” shows that the company that comes with the fame isn’t that great and it is just people who want to be around her because of her name not her as a person.So the loneliness aspect is the lack of real socialization like making friends or even having a partner.

This point leads to how this loneliness causes a total meltdown of mental health. This further explores the feeling of always looking for love and belonging and never finding it.

MIREI says it perfectly in this line “Loved but I got no lover”. On the topic of love, in the lyrics of the song MIREI keeps emphasizing this aspect of paying for love “Black suits gon’ pay for love” only to say later that it isn’t enough saying “ Money can't solve my problems (Problems) /Money don't make no change (No change)”.

On the topic of belonging this is highlighted in the chorus with the lines “We are lonely in Tokyo / Neon can't light the road / Reach out in need of hope / With nowhere to go”. There is an allusion to the yellow brick road from The Wizard of Oz with the use of “Neon can’t light the road” meaning that it doesn’t have a clear path to fame or happiness or finding a place to belong.

The Video

So this video was so simple in terms of there being a clear story line that directly correlated with the lyrics of the song. Now I love having to decipher symbolism in film and literature, I mean that is what I went to school for but this video was as clear as it comes. It follows the story of a young girl on her journey to be an idol. On the way we see the issues addressed in the lyrics that she has to deal with.

What really caught my eye was the use of Japan as a major back drop for the issues being brought forward. I mean globally these problems are present in any music industry but she chose Japan and throughout the song repeats the line “There's no place like home”. And if I am being honest that is what makes it special because it literally paints a picture of what it is like in modern Japan, a very metropolitan area, for the youths chasing a dream. It shows that even in a place so populated as Tokyo, it is so incredibly lonely.

Physically the video offers some amazing shots of Tokyo both aerial and on the ground level creating an incredible aesthetic. With visuals of the lights and hustle and bustle of the Japanese people just going about their business it really depicts how people pretend to not know what is going on. They pretend like day to day the journey to obtain this idol lifestyle isn’t as toxic and unhealthy as it is.

We have come to the end friends. I know there are a couple topics I could have gone into as well but this ain’t a research paper my guy. I hope you liked it and would be interested in listening to MIREI’s music because the girl is talented.

References :

https://genius.com/Mirei-lonely-in-tokyo-lyrics (Lyrics)

https://www.teenvogue.com/story/japanese-singer-mirei-timesup-mental-health-debut-album-take-me-away (Mirei info)

https://www.worldofbuzz.com/new-sugar-daddy-trend-papakatsu-emerging-among-young-attractive-japanese-girls/ (Papakatsu)

PS all gifs were made by me I will put out a gif set of Mirei at a later date.

#mirei #lonely in tokyo #review #song review #music video review #idol

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almasexya · 4 years

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Monster Monday: Godzilla Returns... as fast as he can!

If there’s one thing that always colors discussions of 1955′s Godzilla Raids Again, it’s speed. Released a blistering 6 months after the original Godzilla, the sequel was a clear hope to capture that lightning in a bottle a second time. While very much overshadowed by its superior predecessor and the unabashed wackiness of the subsequent King Kong vs. Godzilla, Raids Again is hardly a failure either. For a special effects feature produced as quickly as it was, it’s a wonder the film turned out the way it did, and while it’s hardly a classic, Raids Again is very much worth seeing, if only as an example of where the tried and true Godzilla formula began.

This is my second go-round with this film, once again courtesy of the Criterion box set, and while I haven’t gotten a chance to compare it to my old Classic Media DVD, at the very least the increased resolution helps add detail and clarity to a 60-year-old movie.

Godzilla Raids Again represents a paradigm shift for the series, though it’s hard to say if the filmmakers knew that at the time. The original team, aside from effect director Eiji Tsuburaya, is nowhere to be found, and the film absolutely suffers for it. Director Motoyoshi Oda does a serviceable job here, a couple of horrendous aerial shots of a lifeless Godzilla prop aside. His most signature moments ape scenes from the original (shots of Osaka burning evoke the images of Tokyo’s destruction, but lack the gravity and emotion of the previous film). The same can’t be said for Masaru Sato’s music, which is largely underwhelming when it shows up at all, lending the film one of the most barren soundscapes of the series. However, what truly stands out is the cementing of the Godzilla formula - a basic plot throwing together stock human characters who, for one reason or another stumble into a monster smackdown and then, through a series of contrived coincidences, get dragged into the thick of it. While the explanation might sound condescending, we’re not into that territory yet; the story here is entirely fine, if not a bit underwhelming only because the tight, dreadful plotting of the original looms so high above it.

The human story, such as it is, involves a pair of pilots working for a fishing company, Tsukioka (Hiroshi Koizumi) and Kobayashi (Minoru Chiaki), who spend their days spotting schools of tuna and transmitting their locations back to HQ, where the boss’ daughter Hidemi (Setsuko Wakayama) informs the ship captains and trades flirtatious remarks with Tsukioka. Wispy as it is, not even 10 minutes in Kobayashi has crash-landed on an island, prompting the duo to stumble into Godzilla, who is currently in the middle of what appears to be a grudge match with an airhorn, if the sound design is anything to go by.

But an airhorn it is not - quick shots of Godzilla scrabbling around at something reveal the other precedent set by the film: Godzilla no longer is no longer the only daikaiju in the neighborhood. Godzilla Raids Again marks the introduction of Anguirus, the title holder for Kaiju with Most Romanizations, but as far as I’m aware Anguirus is the official one, so we’re sticking with that. After the two monsters fall into the sea, the two pilots are off to Osaka to let the government know that Godzilla is back, and he’s brought a friend.

In a rare show of series continuity, Dr. Yamane (Takashi Shimura) from the original film is brought back as a consultant in the inevitable scene where the military discusses how to deal with Godzilla and learn what they can about his new opponent. Yamane, along with a zoologist, win some scientific credibility by stating that Godzilla and Anguirus are likely anywhere from from 70-150 million years old, (the original clocks the Big G at a spritely 2 million) then immediately throw it away by explaining that Anguirus’ brain extends into his back and torso, which explains why he’s so nimble and quick. Go figure.

Eventually the two Kaiju end up in Osaka, after attempts to drive Godzilla away with flares fail (Yamane’s role, aside from expert witness, is to explain the plot of the original to anyone in the audience who hadn’t seen it yet). The Godzilla suit is far more form-fitting this time around, and suit actor Harou Nakajima gives it all he’s got, tumbling and clawing at his opponent with remarkable ferocity. Anguirus looks good for the time as well, and the effects team wisely created a visually distinct monster, a spiked, vicious quadraped that’s a stark contrast to the imposing Godzilla. The hand puppets used for close up shots are still rather dreadful, looking nothing like the suits they’re meant to represent, but luckily they don’t stick around far into the series.

The sped up scenes of monster combat (apparently due to a film speed error that Tsuburaya ended up approving of) are unique to the film, a far cry from the personified monster battles that are yet to come. Godzilla and Anguirus brutally claw at each other like wild animals, and scenes of Godzilla biting Anguirus in the neck, drawing blood in the process, might as well be from a different series all together. However, they very much work in the context of the movie, as at this point Godzilla lacked any real personality - he was still very much in his metaphorical stage, and metaphors don’t mug for the camera and pull off wrestling moves. Why the monsters are fighting, or how Anguirus is also so enormous, matter not a bit to the plot, which makes the correct assumption that there’s no other reason for big rubber monsters to exist than to beat the snot out of each other.

If the film has any real marks against it, it’s that it drags in the second half. After the destruction of their Osaka facilities, our protagonists move north to Hokkaido, where they invariably get roped into the hunt for Godzilla, who went out to sea after besting Anguirus in a battle that feels more like the climax of the movie than anything that comes after. What follows is a slog through Kobayashi’s love life, which signals his impending death by atomic breath in the finale to anyone watching. Tsukioka, through connections with the military, does manage to avenge his friend by burying Godzilla under an avalanche of ice in a fairly unique battle sequence that almost overstays its welcome, especially when the team aborts in the middle of the battle to talk strategy in a move that throws the tension right out the window.

All that said, Raids Again does manage to capture some of the original’s dread - deprived of the Oxygen Destroyer that killed the original Godzilla, the humans lack a clear method to deter the beast, and are all the more terrified for it. The destruction of Tokyo looms large over this film, and its scenes of citizens hurriedly evacuating are some of its very best. For a film made in a short amount of time, Godzilla Raids Again does exactly what it needs to, and while it may not be the most terribly memorable of Godzilla’s early outings, it was an important one for the series as a whole.

#monster monday #godzilla

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thisspaceintentionallyleftblank · 5 years

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Try, Try Again (pt. 2)

Hi all! Chapter 1 of this fic got a really positive reception, so I’d like to make sure I thank everyone that left a like or a nice comment. I hope you enjoy this chapter as well!

Also, I’ve got an AO3 account now, so this fic should be available there as well sometime soon.

(Chapter 1)

Chapter 2 (2847 words)

“Ok, good buddy,” Rex gestured down the ship’s cavernous hallway. “Let me give you the tour.” Emmet nodded mutely, and the two began walking deeper into the bowels of the ship.

It was a truly awesome sight. Emmet felt like he couldn’t even begin to describe how incredibly cool this ship was. Everything around him seemed to whir and buzz and shine. Even the floor beneath him hummed in time with the heartbeat of the engines, their electrical power streaking around him in bundles of glowing conduits. High above them, the looming ceiling was nearly obscured by a network of criss-crossing catwalks, upon which amorphous, shadowy figures were moving quickly back and forth.

“Are those,” he asked dumbfoundedly, “real velociraptors?”

“Oh yeah.” Rex replied with a sly smile. “Turns out, raptors make a killer spaceship crew. You’ll get the chance to meet most of them while you’re here.”

Emmet squealed in excitement. “Really?!”

“Yup,” Rex answered as they turned a corner, entering an even larger room. “This,” he explained, “is the main hangar bay.” Around them, multiple small spacecrafts sat scattered about, all of them in various stages of completion. Huddled around one of them was a group of raptors, clearly hard at work repairing the little ship.

“Could I- Can I go meet them?” Emmet asked, pointing as subtly as he could towards the dinosaurs.

“Of course! Why don’t we get some introductions out of the way?” Rex clapped a hand onto Emmet’s shoulder and steered him over towards the maintenance crew.

“Emmet,” Rex started, “I’d like you to meet Reacher, Mace and Jean-Claude.” He turned to the raptors. “You three, I’d like you to meet Emmet.”

The raptors screeched back various greetings; although, the one wearing a welding helmet, presumably Jean-Claude, was rather muffled.

“Hey everybody,” Emmet gushed. “I’m like, super pumped to meet all of you.”

The raptors smiled up at Emmet as friendly as they could. Being velociraptors, their smiles consisted mostly of bared serrated teeth and a sense of predatory instinct, but Emmet didn’t really seem to mind.

“Alright, time to move along.” Rex began leading Emmet out another door in the hanger bay. “Keep up the good work, crew,” he shouted over his shoulder as they exited.

“Where are we heading now?” Emmet asked.

“The main surveillance room. It would take to long to show you every place on this ship, so I figured we could save sometime by heading there.”

At the end of this hallway sat a set of elevator doors. Rex pressed the button marked “up” and, no sooner than he had done so, the doors flung themselves open. Stepping inside, Emmet could see yet another raptor. Eagerly he hopped into the elevator carriage to introduce himself.

“Hey, there!” Emmet crowed. “My name’s Emmet. What’s yours?”

“SHARON.”

“It’s super nice to meet you, Sharon. Where do yo-” Emmet choked mid-sentence, as the elevator had begun ascending at an incredibly rapid pace. Above the door, the floor numbers were dinging on and off in a frenzy. Trying not to fall over, Emmet reached out, grabbing onto Rex’s vest.

Rex, who was seemingly have no issues maintaining his balanced, chortled. “Sorry buddy, probably should have warned you about the Veloci-Lifts, huh?”

Emmet didn’t trust himself enough to open his mouth, so he settled for a few, vigorous nods.

When the elevator finally stopped, Emmet staggered off, still clutching onto Rex with one hand. Behind them, Sharon pressed another button inside the lift and the thing took off with a tremendous whoosh, soaring still higher into the ship.

Once he’d regained his bearings, Emmet began to notice that this floor seemed to be filled with nothing but large, swiveling monitors, each of them twisting to look at the two new arrivals. In the center of the room, another raptor sat comfortably in a desk chair, munching away on a doughnut.

“This is the surveillance room?” Emmet asked in a subdued whisper.

Rex nodded, and pointed Emmet towards one of the larger screens. The image was kind of grainy, but he could still make out a room filled with shelves and cabinets that the raptors were navigating around with mixed success. “This here is weapon hangar 37, where I keep all the laser guns that go ‘pew-pew’, and this,” he tapped at the screen and the image flickered to a slightly different room, “is weapon hanger 432, where I keep the laser guns that go ‘neee-yow’.”

“An important distinction,” Emmet concurred heartily.

Rex tapped the screen again, and this time the image shifted to show a large auditorium. A wide, blank screen hung in front of the cushy-looking seats, most of which were filled with members of the crew.

“A movie theatre?” Emmet asked eagerly. “Do you guys have the film adaptation of ‘Honey, Where Are My Pants?’”

“That’s a hard no.” Rex shot Emmet a sidelong glance. “We only stock cool, mature films. You know, PG-13 kinda stuff.”

“That’s pretty hardcore.”

“Heh, not as hardcore as this!” The image changed again, revealing a smaller room stocked with a variety of workout machines and dumbells. Raptors in headbands and legwarmers were diligently lifting their weights and helping spot each other.

“Man,” Emmet muttered as he leaned in to look at the monitor curiously. “Those raptors must be really strong.”

“Pshh, not really,” Rex explained. “I had to get rid of all my really heavy weights because they were making it too hard for the ship to take off.” Rex flexed, displaying his substantial biceps and inadvertently leaning against the screen.

“Wow! Do you really have a slide in here?” Emmet cried, staring at the new image with eager fascination. “How fun is it?”

“Excuse me? Nothing on this ship is fun, kid. That right there is a tactical chute, which is way, way tougher than a slide.”

Emmet didn’t look particularly convinced. “What exactly makes it tougher?”

“I painted flames on the side.”

“That doesn’t-”

“Moving on,” Rex pressed the screen more forcefully than was perhaps necessary. “Here’s the barracks.” On screen, a number of raptors were shown sleeping peacefully in their bunks. The resolution wasn’t the best, but Emmet thought one might have been holding a teddy bear. He leaned in to look closer, but the image changed again too quickly to tell for sure.

“What’s this one?” Emmet asked. The new room had been nicely furnished with a sitting area, a kitchenette, and a few vending machines. It looked almost out of place considering the other rooms he’d seen.

“Oh, that’s just the break room.” Rex grumbled. “It’s super un-tough, so you won’t spend much time in there.”

“Why do you have it?”

“Eh, it was one of the raptor union requirements.” Rex shrugged half-heartedly. “I didn’t want to fight them on it. Plus it got Conan to stop using my mini-fridge.”

Emmet nodded seriously. “I see. I see.”

“Oh, here we go,” Rex declared as the image shifted into an aerial view of a huge room, filled to the brim with dinosaurs working at computer stations. “This is the main control bridge. We’ll be heading up there next.”

Emmet groaned. “You mean we’ll have to take the elevator again?” Rex just laughed in response and started pulling Emmet back towards the lift doors.

This time, Emmet managed to get ahold of the handrail before the lift started screaming its way upwards. Now that he wasn’t tipping over, the ride was a lot more enjoyable. It was a little bit like a roller coaster even.

Seeing the doofy grin plastered across Emmet’s face, Rex couldn’t help but think back to the first time he’d met himself. That version of Emmet had been just as impressed by the ship, the cool gadgets, and even Rex himself. It was validating in a way, to know that Rex had succeeding in becoming the best, the coolest, and the most ideal-est version of himself. For a brief moment, he considered the possibility of just staying on the ship with Emmet. Maybe this time, things would go right. This time, Emmet would see that Rex was right.

No, Rex thought, his smirk sinking into sneer. I won’t make the same mistakes twice. I’m Rex Dangervest. I don’t scare away from a tough situation or a risky plan. I’m tough enough to do this.

Eventually, the elevator came to a halt, and the doors hissed open to reveal the bridge. A few raptors looked over at their arrival curiously, but the majority remained focused on their work. Behind the rows of desks and computer monitors, the giant window displayed a picturesque view of the harsh desert outside.

“Oh my G-O-S-H gosh!” Emmet cried. “This is the coolest moment of my life. Which is saying something, because I once saved the world.”

Rex snorted, before quickly regaining his composure. “Emmet, I’d like you to meet the best pilots in the universe. I’d trust each and everyone of them with my life. Except for Rambo.” Rex turned to glare at a raptor standing at the water cooler who returned his gaze with equal animosity.

“Ooooo-kay, then.” Emmet sidled past Rex and began peering at the main console. “Man,” he exclaimed. “I never realized how many buttons a spaceship came with. Benny would love this!” He turned to look back at Rex. “Can I press any of them?”

“You can press any of them that you want. That’s part of being tough, Emmet. Taking control of a situation and just pressing every single button your little heart desires.”

Gleefully, Emmet practically danced up and down the dash, pressing nearly every button available. Each one seemed to beep or glow in their own unique manner, which only served to delight him further.

“Okay,” he panted. “What did I actually do?”

“Nothing.” Rex replied.

“What?” Emmet’s delighted grin dropped.

“The ship’s grounded, Emmet.”

“Oh,” Emmet chuckled, “I mean, yeah. I knew that. Obviously.”

The lift doors suddenly clattered open, interrupting Emmet’s poor attempt at saving face. A raptor stepped out into the room, carrying a bundle of something over to where Emmet and Rex were standing.

“Good work, Ripley.” Rex took the delivery from her, holding it up to reveal a dark blue uniform with a bright orange swatch across it.

“Whoa,” Emmet couldn’t help but admire how cool the outfit was. “What is it?”

“It’s your spacesuit, Emmet.” Rex rolled his eyes. “You can’t honestly expect to travel on this ship without one, right?” He pushed the suit into Emmet’s hands. “Now why don’t you go try it on?”

Beside him, Ripley screeched. “FOLLOW ME.”

“This is gonna look so awesome,” Emmet muttered to himself as he followed Ripley into the lift.

As he watched them leave, Rex’s smile faded, his expression quickly taking on a more serious complection.

“Bullet,” he called out, and a raptor with a clipboard and headset came over to stand by his side. “I need to talk to you about… The Contingency Plan.”

“THE ONE WHERE WE RUN AWAY, GET CONCEALING FACIAL HAIR, ADOPT NEW NAMES AND ACCENTS, AND BEGIN A NEW LIFE AS NON-TRADITIONAL COLLEGE STUDENTS, OR DO YOU MEAN THE OTHER CONTINGENCY PLAN?”

Rex stared blankly for a moment. “I- I obviously mean the other one.” He fixed Bullet with a scruntixing look, “Is that first plan even one I’ve ever suggested?”

“NO,” Bullet replied, “BUT I THOUGHT IT’D BE HELPFUL TO CLARIFY.”

Rex sighed, running a hand down his face. “Of course, you did.” He turned to face the raptor. “Could you just... write down the actual plan? I need all the raptor on board to be ready to go when I give the signal.”

“GOT IT, BOSS.”

Bullet walked back to her station, scribbling furiously at her clipboard and leaving Rex alone with his thoughts. Emmet seemed to be enjoying his time on the Rexcelsior, which was good. And the raptors had all been briefed on the general plan, so that they all knew what needed to be done in order to toughen Emmet up. This new plan for Our-mom-aggedon was perfect. Utterly flawless. Rex had only established The Contingency Plan because he’d more than learned his lesson about planning for unlikely outcomes. That’s why, he thought to himself. That’s the only reason.

“Hey, Rex!” Emmet leapt out of the elevator, and, watching him nearly bouncing in excitement, the smile came back to Rex’s face easily. “Rex,” Emmet asked, “do I look tough yet?”

“That’s an affirmative, buddy.”

Emmet beamed. “Do you have a spacesuit too? What does yours look like? Are you going to put it on?”

“Well,” Rex shrugged. “Mine’s pretty much the same as yours, except that I won’t be needing mine.”

Confusion twisted Emmet’s brow. “What do you mean?”

“Well, I’m afraid I can’t stick around, kid. I just came onboard to give you the tour. The raptors are gonna take care of the rest.” Rex smiled genially, hoping to less the disappointment.

“Oh,” Emmet’s face fell. “I was… really hoping that we’d hang out some more, that’s all.”

“Well,” Rex forced out an upbeat tone. “That’s just the way it’s gotta be. I mean, after all, someone’s gotta tell your friends that you didn’t just run off, right?”

“I guess that’s a good point.” Emmet’s crestfallen expression seemed at odds with his agreement. Once again, Rex entertained the tempting notion of staying on the ship. After all, training Emmet seemed a much more welcoming task than stepping foot into Apocalypseburg.

“Well,” Rex found himself saying. “Even though I can’t stay, we can still maintain communication with each other.” Striding over to one of the equipment cabinets bookending the dash, he opened the door and retrieved two radios.

“Here’s yours.” Rex passed one of the devices to Emmet. “The raptors all know how to use them so, uh, if you have any questions then just ask anyone.”

“Thanks, Rex.” Emmet looked down at the radio with adoration. Abruptly though, his expression shifted slightly as a new thought occurred to him.

“Hey Rex, uh, just for curiosity's sake, how long is the toughness seminar supposed to last?”

“A week,” Rex answered quickly. “Uh, give or take, that is. It depends on you really. But,” he grinned widely and leaned closer towards him, “you’re a pretty fast learner, right?”

“I’ll do my best!” Emmet returned Rex’s smile.

“I know, buddy.” Rex straightened himself and turned towards Ripley, who had been getting uncomfortable standing there unaddressed for so long. “Meet me in the super secret antechamber in two minutes. Bring the stuff.”

“ON IT, BOSS,” Ripley screeched and trotted out of the room.

“Hey, what was-”

“Emmet,” Rex interrupted. “I’m giving you free range of the ship starting now, okay?”

“Really?” His previous question vanished from Emmet’s mind, quickly superseded by the literal stars in his eyes.

“Really.” Rex gestured towards the elevator. “Now, why don’t you go make yourself at home.”

“Ok, Rex.” Emmet ran back into the elevator. “I won’t let you dow-!” His shout was cut off abruptly as the doors slammed themselves shut.

Taking a moment to steel himself, Rex began making his way to the super secret antechamber. The ship didn’t really have many private rooms, but this one had been necessary. After all, only a fool would leave relics lying out in the open.

With a practiced hand, Rex found the false panel in hallway 2-J and tapped out the intricate keycode. The panel receded into the surrounding wall, creating an opening into the dark room. As he stepped inside, the lights flicked on, revealing his motley collection.

The most prominent object, resting in the center of the room on a raised table, was a large permanent marker. The black, felt-tipped pen had been crucial for Rex’s transformation, but it wasn’t what he was looking for right now. Instead, it was a nearby tall plastic vial that housed the substance that Rex needed - yellow paint.

His hand steady, Rex dipped the applicator into the viscous liquid and, turning to a close by reflective panel for a mirror, applied the paint carefully, so as to hide his new facial features. With broad strokes he covered up his stubble, thinned out his eyebrows, and obscured his sharp cheekbones.

Next, he brushed his hair. He’d long since lost his hairbrush, so he used his fingers as best he could to part his disheveled mop of hair into the same, neat style he’d worn for so many years.

Moments later, Ripley entered the room, carrying with her the final piece of his disguise.

“Perfect,” Rex murmured as he took Emmet’s work clothes from her. “Excellent work.”

“OF COURSE.” Ripley screeched, and turned to leave.

It only took a few seconds for Rex to shrug on the new clothes, leaving his own in a heap on the floor. His new plan was finally beginning to come together now.

He stole one more look into the mirror before he left.

Emmet looked back at him with an unreadable expression.

We won’t have to do things the hard way this time, Emmet, he thought, not unless you force my hand again.

#the lego movie 2 #lego movie 2 #tlm2 #tlm2 spoilers #rex dangervest #emmet brickowski #more characters will show up next chapter I promise #also im serious about the nice comments and stuff #that really meant the world to me #<3

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skizmin · 5 years

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↦ skizmin, top 2018 music videos:

regular, nct 127

⤏ um. do i even need to explain??? it’s obvious. sm has ALWAYS made epic videos, but the amount of gorgeous editing in this like Oh My God Did You See That Tiger????? the shot with the gold background and they’re dancing is my absolute fav bc the lighting is SO odd but works so well. ugh. UGH. i love this video definitely one of my favs

getting closer, seventeen

⤏ okay. my fav mv director (who dominates this list) basically this video saved my YEAR. released late on but like. EVERYTHING this director does i am bound to love. working with seventsen for a while, they have a good dynamic, and the way he uses colour here in a specifically dark video is just??? genius??? ugh i love this video so much it’s perfect in almost every way.

thanks, seventeen

⤏ sigh here we go again fav mv director. first thing, jihoon when all the lights turn on and illuminate him a bit more. this is continued throughout the WHOLE video can u believe the shot was made by turning on lights kpop groups take some NOTES bc vm project is PEGGING them at u rn. okay makeup room scene. the colours in this are HHHhh, this warmth we haven’t really seen as the brainstorming scenes are stark, and the recording and practicing scenes are cool toned. and. AND. the way they all mouth “because we’re carved in each other’s hearts” and turn their heads to the camera i CHOKED what a beautiful shot and just. amazing direction. basically, for the concept of this video, it is amazingly made. from the way it slowly transitions from performance shots in the practise room to shots where members focused on the camera like a real performance on stage. honestly how does jo beomjin nail EVERY song and concept thrown at him idk

giddy up, the boyz

⤏ okay so the first shot we get of the boyz is a one shot of their whole first verse. that is a 36 second long shot. and it doesn’t even feel boring. this music video is THE MASTER of continuous shots. solo shots for the boys are long and, if i can say this, perfect for fan creators that may make gifs, animations or artworks without blurry quick scenes. BY FAR the best shot in the ENTIRE music video (2:02 for reference) is a shot that starts as an aerial, showing a circular formation around haknyeon, it then cascades down, following him to ensure the intensity of his movements is well emphasised, it then falls down to straight on level showing the whole group before continuing to zoom to jacob, following his movements in leading the dance before finally cutting. this shot is 14 seconds long. i could talk abt so much but but i just. THIS!! OKAY!! a fantastic video. camera director needs some recognition.

no air, the boyz

⤏ colours colours colours!!! i especially respect with this video that although the white background dancing was blue toned, they took account of kevin’s red hair and added red accents to certain members clothing to even it out!!! ISNT THAT THOUGHTFUL AND NEAT!!! tbz have worked with a few music video directors since their debut, and i’m shocked at how consistent their videos have been accounting this. their directors ability to connect with the group is crazy, and they’re all perfect on filming dance scenes. WATER. water water water. now, this is a very cheap trick but an effective one, and something i LOVE seeing. dancing in water and spraying water on the ground for night scenes ALWAYS looks gorgeous.

bbibbi, iu

⤏ this video. THIS VIDEO. okay, let’s get it out of the way, the colours in this video are actually gorgeous. the way the director (again, VMs jo beomjin) uses them is perfect, keep it unblocked, mix it with contrasting props and odd shapes, take the eyes OFF the colour, whilst still having the colour dominate the screen. clearly, my favourite scenes from this video is the white room with the yellow concentrated area where she dances, taking your eyes away from the odd colour placement and of course the scene where she’s on the field with the “mirror” “window” whatever. VM never fails to wow me with their flawless and nicely placed editing skills. the angle shots on the field scenes are just gorgeous. all the angles are gorgeous. ugh. T H I S V I D E O. the only think i dislike is the animated paper planes, they’re just unnecessary tbh sjsjsj

new heroes, ten

⤏ okay so this director did nct dream go too which didn’t make the list but STILL good anyway so new heroes. i think we ALL know why it’s here. imagine a music video so SIMPLE yet so stunning, using the old fashioned ways with lights, illusion, contrast, costume and good ol’ golden hour. the colours in this video are simply gorgeous, that much is clear, but the technique with the lights in the sheet thingy??? jesus christ. the way they shined off of his body even when they did shots without the sheet i was DEAD. the shirt man. what a perfect way of inveloping costume into your filming techniques??? the way it reflected all the light??? PUTTING HIM IN FRONT OF THE WATER WHERE IT WAS REFLECTING THE SAME LIGHT??? SIMPLE GENIUS. and then it goes from that the the GORGEOUS blue sky and like. all those scenes of extravagant buildings vs. shitty ones and WHOA. i love. i love a lot.

bad boy, red velvet

⤏ sm yet again. colours once more. you cannot deny the way colours are used here is amazing. like. oh my GOD the pinks the everything i’m in love shhixhaha. literally every set they used was gorgeous, the solo shots were gorgeous. the way the director used slowmo and the way they used props and costumes like i’m so. IN LOVE.

love scenario, ikon

⤏ vm project yet AGAIN. so. you’ve all seen it so i don’t need to go too in depth but the CONTINUOUS SHOTS IM IN LOVE. we’ve seen from seventeen clap that jo beomjin loves using multiple people but it’s used so ELEGANTLY here especially with jinhwan omg i like, cried. the sets and shadows and colours and everything is just fucking. amazing. simply gorgeous. i’m so in love with this video.

#vm project is my ult and jo beomjin is my bias #for anon!! but also i knew id do this anyway #if the read more doesnt work i am SORRY its bc i suck and thmblr sucks and everyone sucks #skizmin #claudia time

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makistar2018 · 5 years

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Taylor Swift’s ‘Reputation’ Tour Documentary Is A Tribute To The Massive Joy Of Pop Concerts

CHLOE GILKE January 8, 2019

The best concert movie of all time doesn’t cut away to show the audience at all. Stop Making Sense, Jonathan Demme’s 1984 documentary about new wave legends Talking Heads, simply films the band onstage — no tricks, no complicated camera gymnastics. “Hi. I got a tape I want to play,” David Byrne tells the audience as he strolls out in his iconic giant suit. For 90 minutes, he and his band play to a silent crowd we never see onscreen. Stop Making Senseis praised by film nerds and music geeks alike for its singular ability to make you feel like you’re there at the show, capturing Byrne’s frenetic energy just as you’d witness it from a really, really good seat.

Stop Making Sense is a great movie, but it’s also a lonely movie. Watching a concert film with no crowd cutaways lets you see the whole performance without interruptions, I guess, but I buy tickets to concerts to get to dance in a room with people who love something as much as I do. The distraction of the crowd is the whole point. In the film, Byrne’s energy is rendered in full, but enjoying his performance without the feedback of the crowd feels deceitful.

Taylor Swift: Reputation Stadium Tour isn’t just full of incredible cutaways to the crowd. Swift’s Netflix special is a love letter to the audience at her shows, and to her fans in general. The special, filmed October 6 at Swift’s last US tour datein Arlington, Texas, is a masterful documentation of the magical energy at a pop show.

Swift didn’t come to my city for the Reputation tour — the closest show to me was the Arlington one, four hours away. Having just drained my concert funds following another pop artist around this summer, I couldn’t afford the cost of a ticket to Swift’s show. Since Arlington was the last stop of the US tour, some of Swift’s most devoted fans traveled from out of state (or out of country) to see her there, driving resale ticket prices sky high. And I certainly wasn’t the only Texan who wished to be there.

Not all fans can afford to go to shows, or live in cities where acts tour, but fans in the digital age have found ways to take care of each other and make sure that everyone can enjoy the thrill of a show. Through taking photographs (many of which are professional quality), taking videos of songs, and even streaming shows on Periscope (the biggest heroes of all), the lucky fans who are able to go to a performance share memories with their sisters who can’t make it. Phone cameras are so good now that the fan-shot videos often look like they’re professionally filmed, and the audio is good enough that you don’t feel like you missed too much by not being there.

youtube

Still, the fact that Swift decided to release a professionally shot film of her tour is incredible. With free reign over the whole AT&T Stadium, director Paul Dugdale is able to capture the massive scope of the production from every angle. For a lot of the show, he keeps a Stop Making Sense-esque medium close-up on Swift like the jumbo screens at concerts do, so you can see her facial expressions and watch the minutiae of her choreography. But sometimes he films from the tip-top nosebleeds of the stadium, making Swift and her dancers look like ants three stories below, and from the back of the floor, where Swift is dwarfed by the thousands of fans that stand in front of the camera. You could make the argument that the constant switching of POV is obtrusive, but if Dugdale just set up a camera right in front of the stage and let Swift dance in front of it, you wouldn’t get a full sense of how giant the stadium she’s playing in is.

There are plenty of neat visual tricks to satisfy fans who were at the shows, too. Each member of the audience had a light-up bracelet because Swift said she “wanted to make sure I could see every single one of you” from the stage, and Dugdale sweeps around the 50,000+ matching lights with a sick aerial shot, making the crowd look like a whole city. When Swift walks down the catwalk mid-show, it’s cool to see the camera trailing her from behind as she says hello and touches everyone’s hands. (If you’ve ever been on the catwalk at a show like this, your view is usually of the inside of someone else’s armpit.)

Because this is a professionally filmed concert special, the audio is crystal-clear and beautiful, with the crowd quieted down so viewers at home can hear Swift best. But during her B-stage performance of fan favorite “All Too Well,” even the best audio efforts can’t cut out how loud the fans were singing along. Swift, practiced and gracious in her stage banter, is genuinely moved by how much people seem to love the song that once was such a fresh wound. Swift marvels at how many people have lyrics to the song inked “underneath their skin,” and shares her thoughts on how other people’s interpretation and co-optation of the song has given it a new, less painful, meaning for her. “You turned this song into a collage of memories watching you scream the words to this song,” she says, before her voice is swallowed up by the crowd.

The end credits of the movie show Swift and her crew hugging it out backstage, cross-cut with fans wiping their melting glitter and mascara and walking through the emptying stadium, back to their cars and real life. The footage of Swift, an intimate backstage peek, appears onscreen next to young girls hugging one another, mothers pulling their children out of seats, friends saying goodbye until next tour. The people who filled these stadiums were just as much a part of the magic as the people who made the incredible stage production happen, and the concert film is a tribute to all the joy they experienced in those rooms. For the people who were there, I imagine it’s a beautiful rendering of those memories. For those of us who weren’t, it was a lovely way to experience the Reputationtour and see Swift perform without breaking the bank.

Because, however grand the spectacle of the Reputation tour was, the real spectacle was seeing 50,000 people who all love the same thing gathered in one place, loving that thing. Anybody can set a bunch of cameras up and film a performance, but it’s harder to capture the scope of a feeling and the energy of a room. Taylor Swift: Reputation Stadium Tour honors the sacred joy of her performance that night, and the people who made it happen.

If you have a Netflix account, check out the film here.

Uproxx

#taylor swift #reputation tour #netflix #2019.01.08 #review

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ideaztech · 3 years

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How To Become A Wedding Videographer – A Quick Step by Step Guide On 2021

WHY WEDDINGS?

Odds are, this has occurred: somebody finds out that you simply do movie, and they request you to picture their marriage. When it is a whole Catholic service, a traditional Hindu Vivaha, or even Druids amassing in the forests, a marriage is the 1 opportunity which the majority of men and women get to get a movie made about these! If you do video, then individuals may want to employ you for it.

But in the event that you made your wedding movie and you lived, you could be asking your self should I do wedding videography? In an business of spec jobs and hope-someone-pays-for-my film fact. Plus it may teach you. A lot.

No Film School achieved to a couple of filmmakers that have generated some of the best wedding movies on earth.

To do it, you'll have to find out your fashion for weddings.

A life threatening filmmaker and also a classically trained studio painter, Alex and Whitney Douglas have created a exceptional style that's landed them among the planet's most renowned traveling wedding videographers. They almost completely shoot destination weddings. Jetting involving nations such as Italy, Indonesia, or India, the filmmakers create a point to catch the location of their wedding because a third part to the groom and bride.

"We love visiting these areas and going out and investigating the landscapes," explained Alex Douglas into NFS. "we would like to challenge ourselves. Our business model is not about efficiency. We prefer to invest more time on jobs to have the ability to find creative satisfaction...that's worked well for us since it has gotten us into a location where we've got a very different style or aesthetic."

Magbanua's design is called Cinematic Journalism: he's got a knack for being in the ideal place at the ideal time to catch the candid feelings of this day. Sleek and enchanting like a Primetime TV series, Magbanua has created his design for almost 20 decades. Magbanua introduced the world a new benchmark of wedding movie: the same-day-edit. Over the previous two decades, he's mastered the mad craft of introducing an edit in the Reception of exactly what occurred earlier in the afternoon!

"The question we always attempt to answer is how do we CAPTURE and interpret all of the feelings, all of the party, the pomp, or maybe the familiarity of the wedding to our moderate -- movie?" Magbanua clarified to NFS. "Wedding Videos have located a significant mass approval locally. And it is a gorgeous thing...I really like it.

Check out the employment of Jason Magbanua:

Matt Johnson is unique and down to ground, and his personality for a wedding videographer reflects this. You can also recognize him from his pleasure Youtube tutorials at which he moves over anything from each bit of audio equipment he possesses to the way to edit a marriage movie.

Similar to every other videographers beginning, there is a focus on just documenting the afternoon," explained Johnson into NFS. "You are a glorified tripod in there." However, as he describes, your personality evolves over the years and it develops from verbatim documentation into some creative voice. "You will find wedding filmmakers which produce hot videos in slow motion the entire time. We are like, it is not likely to be alluring, romantic the entire time! Occasionally it is going to be somewhat goofy, kind of bizarre. Where we turn something on its mind and do the polar opposite of everything you would ordinarily see."

Check out the employment of Film Strong Weddings:

Sarah and Rick Pendergraft owe their district storytelling fashion to their roots in the information, as terrorists, anchors, manufacturers. They then understood this was something that they can do -- and also something to which they'd deliver their journalistic style.

"A great deal of it goes back into our journalism and reporting history of enjoying storytelling and people's stories," explained Sarah Pendergraft into NFS. "Our movies are extremely narrative-driven, really sound driven. Admittedly, it is not like we awakened in with this glorious storytelling...but when we actually began going that path and found our pace, we discovered what we adored together with all the story."

Check out the employment of Pen Weddings:

PLANNING

Like what in filmmaking, the further pre-production, the greater creation. If you are attempting to earn a wedding videography shot list, you have got a few primary scenes to find out. You could have the ability to acquire a complete manufacturing deadline in the wedding planner which will provide you special times and areas for all these scenes. While this will vary Based upon the culture and customs of this bunch, this is a sketch of what many weddings split down into:

All of the excitement of the wedding is bubbly beneath the outside while the wedding party, close family and friends prepare. Concerning the most essential candid moments of this day, this is it. This is frequently a time when photographs are taken of the wedding celebration.

CEREMONY:

Outside, inside, casual, sanctified; this is the kingdom of tripods & extended lenses

COCKTAIL HOUR & COUPLE PORTRAIT SESSION:

The bunch goes into a luminous sunset for portraits with each other, or period the dreaded group photographs, while guests frequently get beverages, games, along with yummy tidbits

RECEPTION:

Food. Toasts. Cakes. Dances. Goodbyes. Why? It may be dark. It may be crowded. A whole lot of people can start impromptu addresses, and a few people today drink a lot of. Great luck!

How can the best-of-the-best handle the components of a marriage? What applications do they work? Following is a profile of just how four entirely different filmmaking teams produce their own award winning videos.

Just take a deep breath, equipment heads. For weddings, newer and bigger is NOT better.

The most precious advantage of your camera to the wedding day? You understand how to utilize it. Intimately. Whereas on a commercial or storyline, you may score cred by bringing a fresh launch of a lens or camera, to a wedding day there isn't any room for mistakes. The experts know that the most essential piece of equipment you may bring is that the one which you know like the back of your hands.

"I've ALL the toys but in the close of the afternoon - it is 1 person, 1 camera," stated Jason Magbanua.

"We must carry as hardly any pieces of gear with us as you can on our excursions because we are traveling to distant nations occasionally and it can find a little tricky," explained Alex Douglas.

"Anything that is documenting the afternoon at which we are running around rather than in a static place, I am on a Movi M10 using a 1DX2. In a civilization of continuously changing cameras, that does not really fit that storyline."

"I dedicate myself to particular rules. I'd like the lowest footprint potential. So I will shoot handheld with a strap a great deal of time and using a 24-70mm lens. I have that lens range versatility. In a universe with one-handed gimbals and very tiny gimbals, I prefer using this MoVi M10, since I will do lots of telephoto gimbal work. I discover that it is exceptional, as much as having the ability to control. I have rules such as that, but I'm definitely prepared to split them for gear if it actually adds something to our capacity to tell tales."

FILMSTRONG shoots the Sony a7S II.

Especially cause I've a YouTube station where I discuss equipment," explained Matt Johnson. "So people are like, why have not you updated?"

In a wedding, you don't have complete control over the light. While many lights as I bring as many items as I attempt to restrain. It is never ideal."

My favourite is 50mm. Rachel resides on the 135mm daily and it is wonderful. "

"The IBIS is a TREMENDOUS slice of technology to need to assist with our run and gun design and that cinema verite look we constantly aim for," comprehensive Magbanua.

Bridal preps I will completely cover together with all the 25mm Voigtlanders (equal 50mm on MFT). And then we proceed longer throughout the service. And I've an older 50mm Planar Zeiss on a Metabones that I can not seem not to use. "

"We've got several Sigma artwork lenses along with a lot of Canon lenses since we had been Canon previously, and we're using adapters," explained Sarah Pendergraft. After we reach a service, it is typically a great deal of 70-200mm unless it is a little setting. We divide up just like for Preps. Then whether it is a first appearance or a service at the stage, we come together and we are normally together the remainder of the day"

"We do have particular parts where I am setting up sound for the service while he is getting folks coming. I am setting up sound and receiving particulars of this reception while he is performing cocktail hour and possibly getting some aerials if it is light enough and there is an outside setting.

We, through time, have only honed in on our particular roles."

SOUND

Each filmmaker expressed the significance of audio. Jason Magbanua says he's anal and utilizes Deity D3PROs on most of the cameras, Instamics, Deity Lavs, Zoom H6s, and older Tascam recorders as copies. Matt Johnson has an entire wedding videography tutorial on each bit of audio equipment he owns) Here is how it works for Sarah Pendergraft, whose design of"sound inspired storytelling" takes five to seven sound sources for every scene in her marriage movies:

They've inner micro SD recorders, which means you are not going via the camera preamps. You are recording directly into the mike. On occasion you're able to send the mics throughout the room [through Preps] while we are doing"narrative time" to get better sound of those folks around the area. Occasionally they ask questions want that sound also. When we do sit down with the wedding couple to get [tales ] we utilize Countrymen lavs with little Tascam recorders. We've got black, tan and white lavs and also do our very best to conceal them. We microphone up for initial appearance or for the service. Nearly every bride ours for the previous five or six decades is sporting a hidden mic beneath her dress. In terms of backup, typically, you're obtaining a feed in the band or the DJ.

Then we have among those shotgun mics pointed at one of the speakers as a true last resort setup. Then we place an Instamic, a small little recorder on the microphone that they are using for toasts. We also have a few nearby recorders round the area for choosing up laughter, applause, along with the audience noise separate from another sound. And we do exactly the exact same thing in the service. Mic that the officiant, the bunch. When there's a reader, then mic whatever podium they are likely to. And the exact same thing with nearby recorders for audience noise, or when there is a string quartet. We strive our very best to have something scattered on each major sound. "

MOVEMENT

And just how IBIS has changed the game to get a sensible handheld feel that could currently be smooth and nice.

Here is how Jason Magbanua explains his philosophy towards motion:

"I need that natural, floating appearance. Shaky camera into a lesser level. I really like that doc feel. Of being at the present time. It permits us to install shots quicker during mad moments (where you can find a lot). We nearly always use manual focus also. Sticks through the service and a camera onto a Zhiyun Crane and for variety. I'd almost always prefer hand-held camera sessions also. I've a Mavic Guru 2 too when we are permitted to use them.

Many filmmakers agreed when the place is really a highlight, a drone may be a fantastic tool.

"I adore drones. Notably for the destinations we all take, it truly provides a feeling of landscape or space. . .If these folks are deciding to get married in such far-off areas, then that place is significant to them. Additionally, it always only adds something else...

The cutting edge stuff that is being performed at weddings is since you've got more creative freedom than you would on stains, or in your corporate shoots or anything. This is similar to a golden era of wedding movies because the technologies has allowed for folks to inform cinematic, inventive stories. And customers are now getting educated about the value of this and it becoming as precious as the wedding pictures. The pub is set higher but they are also excited by a few of those creative storytelling which makes it possible for filmmakers to further research those languages and aesthetics. I believe that it's a fairly exciting time for the genre"

LIGHTING

However, the sun sets, and you may want some help.

Getting ready

Filmmakers, for the large part, will attempt to promote the wedding party to perform crucial things alongside a window with lovely light, but maybe not more than that.

Ceremony

Indoor places often will not allow lighting, however if they do and it is needed, a few filmmakers will up something. Jason Magbanua will utilize Aputure lights to get a dim ceremony when he receives permission. He'll utilize an Aputure MC lighting as a wonderful match for portrait sessions and bride shots. Pen Weddings will do exactly the exact same for the service.

Reception

In the reception, the most peculiar aspect of this wedding, Pen Weddings will attempt to find a backlight and a secret constantly LED Dedolights. They prefer to place up lights unobtrusively around in which the DJ speakers are and utilize one mild as a backlight pointed so it is not unpleasant but adds feel. "We enjoy the Dedolights due to the dimmers on these," explained Sarah Pendergraft. "Some dance flooring have layouts that are odd, therefore we still put up all 3 lights, however we pick, fine, if I am shooting from this way, this one has turned away. That way we are not blasting them in the specific same way I am shooting"

Crucial point? Do not be obtrusive. As Matt Johnson describes it:

"Lights are excellent but do not make it too a lot of production. You need lights which aren't likely to blind men and women. Nobody enjoys it if grandma's off to the face of the dancing floor and you are beating some 300 Watt monster on her. I generally attract two lights. I've one spotlight I utilize to your dance floor to light the dance. And I have another headed panel I bring together to help light the toast every time individuals are talking. That gives us with just a bit of depth"

CREW

The majority of the filmmakers consisted of two-person teams, together with occasional added shooters. Jason Magbanua is the exclusion, who frequently applies four camera operators, two supporters for lighting and sound, and yet another Day editor. Hats off to his group!

If you get booked for a marriage you have to travel to, then here are three major points to think about, based on Sculpting with Time Productions.

Some states you can just say you are a hobbyist, although some such as the Bahamas have rigorous work licenses.

Contemplate ATA Carnet. It may cost a pretty penny, but it ensures that you are not hassled by the habits of every country about why it is you're bringing all this equipment (and if you want to get charged customs fees or possess is confiscated right once you need it the most)

Obtain a LiPo safe tote to continue all of your batteries and allow it to via TSA without hassle.

Make copies of your footage and keep it in the hotel safe. If you are doing a fantastic job at entering the nooks and crannies of this wonderful location you're seeing, you do not wish to risk having footage becoming stolen or go missing in the event that you happen upon some untoward scenarios!

Wedding videography strategies for beginners!

I understand you do movie. Would you wish to picture it?' However, with the caveat, I don't have any clue what I am doing. Nothing was appropriate whatsoever, but I only tried to make it operate. The couple ends up enjoying it and that I did not despise it. I've got a good deal of room for improvement however.'"

The takeaway? Snacks, water bottles, a dim ensemble, and allowing the few know beforehand which you're early in your career. And be certain that you split the video in the future to your cringe-worthy variable, as Matt termed it. He shared with the edit of the very first wedding movie:

When it's your wedding movie, you might be only 1 individual. But shooting with a single camera is tough for certain moments particularly, where it may be well worth it for a unmanned instant installment.

"You definitely can. But strategy it out, map a program. Temper expectations. You'll be using the bride the majority of the time schedule the groom around that. At least possess an unmanned camera to the service so that you may edit at least two angles. "

Creating a wedding video to your customers typically starts in the start with their pick of edit. Along with the filmmakers offer you many spans. Do not hesitate to edit the entire damned day together! Bear in mind that less is more, particularly when it has to do with your sanity and just how much you're charging

#mechanical #mechanical art #Research Industrial Design Mechanical Engineering Electrical Engineering Production Transition UXDesign UIDesign WebDevelopment AppDevelopme #industrial design #research #photography #photography videography #Videography

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gemmasianpowellphotography · 3 years

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Winter Photo Fest 2021

22.01.2021

After attending all the guest talks over the last few weeks, I have enjoyed each one in different ways and taken different valued points from each. Here are a few of my favourites.

Frances Scott

Frances grew up in Orkney and moved to Glasgow to study for four years at The Art School. Her work is around landscapes and journeys of personal significance. With Frances's heart and mind back home and not in the city, she moved back home and worked as cabin crew with Loganair. Whilst working in the skies Frances had a lot of time to admire the aerial views, this was one of her inspirations for her project “Tidelines” where she recorded shots on her iphone and GPS on coastlines. It was important for her to leave her hometown and then comeback and told us that knowing a place and having a clear satisfaction was important. Frances would take her Mamiya 645 (ISO125) and one roll of film IlfordFP4. She enjoyed the element of surprise on her personal work when developing the film and while out walking did not want to get too carried away with shooting but rather take a smaller number of shots and spend more time enjoying her surroundings. Recommending to us the use of sketch books and physical edits. When doing a body of work it is key to show off one or two images but keep the rest close to yourself, do not put all the work out at once.

Her influences include Bernd and Hilla Becher and Mark Ruwedel. Speaking about the publication, Stone Built by Gunnie Moberg and quotes by poet Rosemary Sullivan.

Frances has won various awards and held solo and group exhibitions since 2008. She has grown from strength to strength with books and publications he most recent called “Undertow”.

https://frances-scott.co.uk/

Lesley MacGregor

Lesley's work includes seascapes, architecture, modern art and urban textures. There are various things I took from the work including the work of editing. Using Adobe Photoshop to change images from colour to black and white and the use of creating layer masks. Shapes, angles and contrasts within her work is a strong feature. The tilt shift lens are used when it comes to architectural shots and she sketches out a photograph to create different levels of contrast. She has won the IPA Gold award in 2020 for Buildings and told us her favourite place to shoot in the world is Iceland. After travelling there on three different occasions each time is different and she got totally different approaches with her work.

Lesley gave us a few very useful hints and tips:

When it comes to working conditions, work with what you have

Process your work in different stages, its ok to walk away from editing and come back to it after a short while, this helps view perspective.

Create a network and build relations, ensure you get your work out there.

Be patient, enjoy the process of being a photographer, do not be too focused on other markers on your progress.

Stay true to who you really are

I particularly liked her quote “photos are like a pieces of fabric, you need to be gentle with them as they are fragile little things”

https://www.lesleymacgregor.com/

Elaine Livingstone

Elaine is a well established portraiture, documentary and press photographer from Glasgow. As a 3/4 year student she got herself a job with The Sunday Times and in 1999 landed a job with The Sunday Herald. She has worked in papers industry for over 10 years. In the early years as a student she was drawn to telling a stories both within portraiture and documentary style work and this has not changed. Currently, for the past 5 years has worked full time basis Monday to Friday with Glasgow Lives on a portrait series of the people of Glasgow an insight into their lives. She also spoke to us about her time in the Congo shooting documentary work of female farm workers, her work in 2016 in America where she shoot people in New Orleans and Washington around the time in the days leading up to the presidential elections where Donald Trump was campaigning and had won as well as her commissioned work with Gandolfi Fish Café in Glasgow whereby she shot members of the staff in a series of work.

Elaine spoke of the Creative Entrepreneurs Club as a networking source. As a freelance photographer she spoke of the hard work and determination that is required to succeed in such a role as she does her own finances and accounts as well as taking the photographs. She holds strong importance to ethics and work ethics quoting “you have to fall asleep in your own head”.

Elaine is most as ease while with a camera in her hand and struck me as being very humble, down to earth and true to herself. I look forward to seeing more of her personal project work she had mentioned coming up in the future.

https://www.glasgowlive.co.uk/whats-on/glasgows-grit-influenced-me-snapper-12031880

https://www.instagram.com/elainelivphoto/?hl=en

One of my overall top picks from the series of talks the last few weeks was this mornings with British fine art photographer Julia Fullerton-Batten. I loved her style, work, attitude and down to earth character. She gave us a real insight into her work, her shoots, the commercial side of photography and her thinking behind the scenes with lighting and objects choices within her images.

Julia was bold, open and honest with us about the highs and lows of the photography industry and her own journey as well as advice on how we can aim to stand out from the crowds and be unique. I admire her most recent projects - CONToRTION and The World Within.

https://www.juliafullerton-batten.com/info.php

#creative #creativeindustries #visitingphotographers #inspiration #research

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aion-rsa · 3 years

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Woodstock 99: Peace, Love, and Rage Review: Behind the Scenes of a Musical Disaster

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That ain’t teenage spirit you’re smelling. HBO’s Music Box documentary Woodstock 99: Peace, Love, and Rage reeks of righteous condemnation, judicial indiscretion, and conspiratorial obfuscation. But it’s okay. This is a disaster film masquerading as a documentary, and the found footage makes it all pay off. Director Garrett Price personally opens the film in the voiceover, explaining how the 1999 celebration itself was written to be a comedy, but “played out much more like a horror film.”

Music festivals have come to represent generations. The original Woodstock: an Aquarian Exposition: 3 Days of Peace & Music concert in the summer of 1969 brought half a million people together with the artists who spoke for and to them in a communal love bond. The organizers lost money, the capacity was underestimated, but the audience came together to share what they had to make the weekend legendary. In December that year, the Rolling Stones concert at Altamont was marred by the pool cues and knives of the security team, the Hells Angels. It was deemed the end of the ‘60s.

Woodstock ‘94 happened at the height of the Grunge Revolution, when Kurt Cobain wore a dress but didn’t shave his stubble, and Riot Grrrls blasted personal dissent with the passion of the punk elite and no one cared if they shaved their legs. The organizers lost money, but the fans and the bands were one unit who achieved the common goal of joy. Woodstock ‘99 happened five years later and enjoyed the accessibility of the mainstream’s greatest unifier: MTV. The organizers made money and 200,000 people attended, but the audience got such a raw deal, even the musicians who played got scared. It is remembered as “the day the ’90s died.”

Opening on the 22nd anniversary of the festival, the documentary deems Woodstock ’99 a disaster. They even call in a guy from FEMA, who says it was worse than Hurricane Katrina and the great flood. Told chronologically, Price, who previously directed Love, Antosha, the 2019 tribute to Anton Yelchin, begins with the excitement of a three-day festival. Held on a former military installation in Rome, New York, the Griffiss Air Base was set up to keep the grounds free of ticketless celebrants.

The security team is exposed as a bunch of amateurs specially trained on which boxes to check in a multiple-choice test, and how to find someone’s personal stash of bottled water in a backpack. “There’s a festival grounds in Germany that was literally built by Hitler,” The Offspring’s guitarist Noodles says in an interview. “It’s a great venue, a lot of fun. The air base was less hospitable than the venue built by Nazis.”

There were nonstop performances held a mile apart from each other on the grounds. One highlighted its mosh pits, the other the dance floor. The biggest electronic artist in the Rave Tent proves his genre’s atmosphere opens doorways to perception. “There is a sixth sense that you develop when you spend your life going to venues,” Moby says in an interview. “We got off the bus and I was like, ‘Something is not right.'”

The film is very generous with behind-the-scenes footage. We are treated to aerial shots of cramped campsites, long ATM lines, leaky Port-O-Potties oozing something that only looked like mud, and $4 water bottles, which sold as much as beer in temperatures over 100 degrees. We are told in advance three people died, 44 were arrested. There were 10 reported sexual assaults.

The lineup for the concert was a mix of hard rock bands, pop stars, and hip-hop acts like The Roots, and ICP. Rapper DMX’s epithetic call and response performance gets special notice. “The Black performer is essentially licensing the people in the crowd to say this word with him,” New York Times’ Wesley Morris says in an interview. “If you got each one of these guys after the show, and pulled them aside and said, ‘is it OK to say the N-word under any circumstances?’ They would, to a person, say, ‘I mean, the right answer is no, right?’”

For returning music aficionados with remnants of the first gathering still in their memories, organizers booked jam bands and a few older acts like Elvis Costello, Willie Nelson, and The Who’s John Entwistle. “The ’99 Woodstock seemed like it was trying to relive a nostalgic moment, along with commercialism and capitalism, but not having a real soulful purpose for the show,” singer-songwriter Jewel says in an interview.

As the documentary points out, a lot of the younger attendees had no idea what Wyclef Jean was referencing in his solo guitar performance of “The Star-Spangled Banner.” They ask one kid, who can’t remember who did it first even though he’s standing directly under a huge stencil of Jimi Hendrix’s name. When Bush’s Gavin Rossdale begins Country Joe & the Fish’s “Gimme an F,” the chanters only seek Amy.

Music is supposed to have charms which soothe the savage breast. Many people think the final word of the phrase is “beast,” and the documentary further blurs the line. The early ‘90s music artists were anti-misogynist, anti-racist, anti-homophobic and radically informed. Happening at the end of the Clinton era, when MTV pitted boy bands and pop girls against nü-metal rockers, a fur-coated Kid Rock could call Monica Lewinsky a ho and pass it off as a political statement.

Toxic masculinity’s dirty sister framed Britney Spears as a “Girls Gone Wild” extra, and magazines like Maxim and FHM encouraged the idea young men could shout “show your tits” to Rosie Perez without getting bitch-slapped, the documentary posits. Only three women were invited to perform at the weekend-long, two-stage festival: Jewel, Alanis Morrissette, and Sheryl Crow. “I’m baffled how it went from the progressive, enlightened values of Kurt Cobain and Michael Stipe to misogyny and homophobia and the rape-frat boy culture that was at Woodstock ‘99,” Moby ponders in the film.

Of course, none of wouldn’t have happened if it wasn’t all pre-staged. This is where Price dips into the era’s obsession with paranoia. It was the end of the millennium, the Columbine shootings had happened, and the Y2K bug was coming. It was finally time to party like it’s 1999. “Really, the biggest problem was that MTV set the tone,” organizer John Scher says in an interview.

But he downplays it, like he might have been warned by Cigarette Smoking Man from The X-Files. “There’s no question that a few incidents took place. But if you go back in the records of the police and state police and stuff, we’re not talking about 100. Or even 50. We’re talking about 10. I am critical of the hundreds of women that were walking around with no clothes on, and expecting not to be touched. They shouldn’t have been touched, and I condemn it. But you know, I think that women that were running around naked, you know, are at least partially to blame for that.”

Partial blame is all the rage in Woodstock 99: Peace, Love, and Rage. The documentary points out how history paints the original Woodstock like it really was a return to the garden, with peace and love and former flower children having babies to Santana’s “Soul Sacrifice.” But music journalist Steven Hyden reminds us about a group of disgruntled shoppers called “’The Up Against the Wall Motherfuckers,” who didn’t like food prices and burned dozens of stands down.

After Woodstock ’99 grounds started smoking when the candles handed out for a vigil for Columbine victims became torches to burn the place down, the documentary says Rome Mayor Joseph Griffo asked Anthony Kiedis to douse the crowd’s misplaced enthusiasm. The Red Hot Chili Peppers launched into a scorching rendition of Jimi Hendrix’s “Fire.” History blames bands like Limp Bizkit, Korn, and Rage Against the Machine for the destruction. But really, the artistic decision of that song to those circumstances is a no-brainer. “Smoke on the Water” would have been too easy. “Disco Inferno” would have been too obvious.

The documentary talks with the event’s organizers, as well as performers like Korn’s Jonathan Davis, The Offspring, Scott Stapp of Creed, The Roots’ Black Thought. Wesley Morris and Spin‘s Maureen Callahan put things into perspective. The only person the documentary doesn’t talk with is Fred Durst, the frontman for Limp Bizkit, who became the poster boy for the event’s bad behavior. Oh, they talk about him, though. They talk about him like he’s not there, and because he’s not there they must think he won’t see it. At the height of Limp Bizkit’s set, the singer encouraged the crowd to “Break Stuff.” But let’s be fair, it is the name of their song, and Durst is the guy who told the crowd to pick someone up if they fall, not to grope them.

This is what happens when the counterculture makes money. Everyone wants a piece. Woodstock 99: Love, Peace, and Rage is an even-handed dispenser of blame, and has slices for all. The first in a series of music-based documentaries from Bill Simmons’ Ringer Films, this immersive journey bodes well for upcoming tunes.

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Woodstock 99: Peace, Love, and Rage is available to stream on HBO Max now.

The post Woodstock 99: Peace, Love, and Rage Review: Behind the Scenes of a Musical Disaster appeared first on Den of Geek.

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