jodie foster 🐑

New Sunny podcast is out and, as teased, it's about the guys' upcoming films, Fool's Paradise and Blackberry, out on 12 May!

Meg showed up at 9:00 which some people might say is late.

Shopify ad is full of Succession references, "Glendall Roy!!!!" and Logan Roy-isms: "FUCK OFF!"

There are a few new clips for the creeps.

Fool's Paradise

Hollywood satire with a focus on persona, ego and stage names, hence why the main character is accidentally named "Latte Pronto" and a passive observer reflecting the surrounding characters' projections.

Explores different sides of the industry with the big cast and spirals into chaos by the end as the ppl behind the stars are revealed

Charlie started on the script during Sunny S10 (~2014) bc he felt certain '70s and '30s style comedies weren't being made anymore.

Felt he'd never be cast in them even if they were

Directed because he didn't want to give up control of his script especially if he was going to play the passive lead without a voice

Influences: Being There (1979) starring Peter Sellers and directed by Hal Ashby; also films by Woody Allen, Albert Brooks, Robert Altman, Coen Brothers, Paul Thomas Anderson, Buster Keaton, and Charlie Chaplin

Charlie plays the MC but Ken Jeong's character is the protagonist

Movie follows their journey together looking for real relationships in Hollywood.

Reshoots focused on making Ken the heart of the movie

Charlie worried that he was pushing Ken too much, but Ken was willing to do many takes to get to a non-sarcastic heartfelt place

Jon Brion's score is very classic old-fashioned Hollywood and used a lot of old recording techniques to add to the timeless fairytale feel of the movie

Glenn loved Charlie's script from the first draft and every revision

Charlie and Rob, the Original Glenn Girlies, found Glenn and his glacting choice to do a "vaguely European" accent (like Jan?) for his Business Manager character to be the funniest part of the film

Film contains Sunny easter eggs and actors like Peter McKenzie

Blackberry

Glenn was nervous about playing a character based on a real person, especially since he only had 3.5 weeks to prepare and couldn't do as much research as he would have liked.

IRL Jim met Glenn at the Toronto premiere and seemed to approve his onscreen portrayal.

Glenn felt like he lacked film experience where characters have arcs, so it was a challenge to keep track of Jim's anxiety levels through the story while shooting out of order.

Read the script many times and talked to director Matt Johnson about every scene because he didn't have the benefit of being a writer here like he does on Sunny

Worried about being too unlikeable but committed fully to the character because of his experience with Dennis

Glenn played Jim very earnest and sincere, and not at all for laughs — that's where the comedy comes from

Rob and Charlie found Jim to be nothing like Dennis or Glenn because even though they both experience rage, Jim is competent and has a cold killer look in his eyes -> DENNIS IS NOT A COLD CALCULATING KILLER.

Matt Johnson shot with long lenses on gimbals so that the cameras were far away enough for the actors not to know if they were being filmed and what was on screen — this adds to the handheld thriller but kinda comedic aesthetic of the whole film

Charlie was excited that a director finally let Glenn go full Glenn all over this movie and wished he was in every frame

Also wished he was the one directing the movie showing off Glenn

Rob, Charlie and Meg are annoyed that people are so surprised how good Glenn is in this role (we know and agree!) and predict that he will get more roles off this performance

Glenn has a theory on why he thinks things are shifting for the Sunny cast BUT HE DOESN'T GET INTO IT BECAUSE THERE'S NO TIME LEFT NOOOOOOOOOOOOOO

The girlies were all too happy and nice-looking today for me not to screenshot away.

I'm so excited to watch these movies... can't find any showings for Fool's Paradise yet, but Blackberry is playing at my local cinema later this week, and I will be there!

jodie foster as meg altman & kristen stewart as sarah altman panic room (2002) directed by david fincher

Egyszerű: politikai témában ne lehessen használni. Jó-jó, jön majd, hogy "minden politika", de nagyon szépen meg lehetne nehezíteni a tömeges tartalomgyártást.

Down below you'll find a list of all of our currently taken/reserved characters. Please note that if a character is on this list, you can no longer apply for them. Last updated: April 30th, 2024.

+ Anna-Marie (fc : Ayça Aysin Turan) + Billy Kaplan (fc : Louis Partridge) + Bucky Barnes (fc : Sebastian Stan) + Cassie Lang (fc : Thalia Crawford) + Carol Danvers (fc : Gemma Chua-Tran) + Charles Xavier (fc : Joe Keery) + Cindy Moon (fc : Momo Hirai) + Clint Barton (fc : TBD!) + Emma Frost (fc : Sydney Sweeney) + Evan Sabahnur (fc : Timothee Chalamet) + Gwen Stacy (fc : Meg Donnelly) + Harry Osborne (fc : Karolis Inokaitis) + Helmut Zemo (fc : Aaron Taylor Johnson) + Hope Van Dyne (fc : Christina Nadin) + Ikaris (fc : Richard Madden) + Johnny Storm (fc : Ross Lynch) + Kate Bishop (fc : Hailee Steinfield) + Makkari (fc : Nathalie Emmanuel) + Matt Murdock (fc : Louis Hoffman) + Miles Morales (fc : Nadji Jeter) + Morgana Le Fay (fc : Katie Mcgrath) + Natasha Romanoff (fc : Scarlett Johansson) + Pepper Potts (fc : Lucas Hollestelle) + Peter Parker (fc : Tom Holland) + Pietro Maximoff (fc : Vinnie Hacker) + Quentin Quire (fc : Thomas O'Doherty) + Remy LeBeau (fc : Lucas Bravo) + Roberto Da Costa (fc : Reece King) + Rocket Raccoon (fc : //) + Scott Summers (fc : Jamie Dornan) + Sersi (fc : Gemma Chan) + Steve Rogers (fc : Chris Evans) + Sue Storm (fc : Jessica Alba) + Teddy Altman (fc : Nicholas Galitzine) + Thena (fc : Angelina Jolie) + Tommy Shepherd (fc : Lucky Blue Smith) + Tony Stark (fc : Jacob Elordi) + Wanda Maximoff (fc : Gratiela Brancusi) + Warren Worthington iii (fc : Ben Hardy) + Yelena Belova (fc : Florence Pugh)

Barbara Harris and Bruce Dern in Family Plot (Alfred Hitchcock, 1976)

Cast: Karen Black, Bruce Dern, Barbara Harris, William Devane, Ed Lauter, Cathleen Nesbitt, Katherine Helmond, Warren J. Kemmerling, Edith Atwater, William Prince. Screenplay: Ernest Lehman, based on a novel by Victor Canning. Cinematography: Leonard J. South. Production design: Henry Bumstead. Film editing: J. Terry Williams. Music: John Williams. 

Barbara Harris, as the "spiritualist" Blanche Tyler, is the best thing about Alfred Hitchcock's last movie. According to Stephen Whitty's  The Alfred Hitchcock Encyclopedia, Hitchcock wanted Harris for the role, but he met resistance from the studio, which wanted a bigger name, so he cast Karen Black in the slightly lesser role of Fran to please the higher-ups, who gave Black higher billing than Harris. Which brings up an old question: Why did Harris never become a major star? She made an impressive movie debut in A Thousand Clowns (Fred Coe, 1965), was a standout in Robert Altman's Nashville (1975), and received an Oscar nomination for Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (Ulu Grosbard, 1971), but is pretty much forgotten today. She may just be a case of the right talent having been born at the wrong time: Harris had just turned 40 when she made Family Plot. If she had been born a decade later, she might have given Goldie Hawn or, even later, Meg Ryan competition for the romantic comedy roles they became famous for. Family Plot is feather-light lesser Hitchcock, though on the whole it's a return to form for the director after the rather grim Frenzy (1972) and the late misfires Topaz (1969) and Torn Curtain (1967). There are some touches of the master director to be seen in it. The film makes us think that its main story is that of Blanche and her boyfriend George Lumley (Bruce Dern) as they try to track down the missing heir to a fortune, but as Blanche and George are riding in his cab arguing, he suddenly slams on the brakes to avoid hitting a woman crossing the street. The camera takes a sharp left turn and follows the woman instead, taking us into a plot about jewel thieves. The setup is in Ernest Lehman's screenplay, but Hitchcock is classically artful in the way he keeps both plots dangling until we can see how they intersect. There's another glimpse of the master at work in the way he films George trying to meet up with a woman he's trying to question. The scene takes place in a cemetery, and Hitchcock films it with an overhead camera so that we can see the crossing paths among the graves as George maneuvers his way toward the woman. I doubt that Hitchcock ever played one, but the sequence reminds me of a video game maze. Harris, Black, and Dern are all good in their roles, and William Devane is a fine villain. (Though have there ever been toothier leading men than Dern and Devane?) John Williams adds a touch of Bernard Herrmann in some parts of his score, the only one he did for Hitchcock.

A féltudású magyar elit esete a MI-vel

jotunder >Tavaly november elején rendezték meg az AI Safety Summit-et az angliai Milton Keynesben. Elon Musk és Sam Altman, Károly király és Ursula von der Leyen, Rishi Sunak és Giorgia Meloni, ahogy kell. A brit kormány a csúcstalálkozó idején hozta nyilvánosságra azt, hogy 12 új Artificial Intelligence- Ph.D képzési centrumot hoznak létre 117 millió fontból, miután 2018-ban már elkezdték az…

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Il grande attore, sceneggiatore, regista e scrittore americano, interprete di film quali I giorni del cielo di Terrence Malick, Baby Boom di Charles Shyer, Fiori d’acciaio di Herbert Ross, Il rapporto Pelican di Alan J. Pakula, La promessa di Sean Penn e molti altri, avrebbe ottant’anni. Nato a Fort Sheridan - Illinois - nel 1943 (è morto a Midway - nel Kentucky - nel luglio 2017 a settantatré anni), Sam Rogers Shepard - meglio noto come Sam Shepard -, è stato un attore, commediografo, scrittore, sceneggiatore e regista. Alla fine degli anni Sessanta è batterista del gruppo rock Holy Modal Rounders. Nel 1979 ha vinto il premio Pulitzer per la commedia Il bambino sepolto. Aveva esordito come sceneggiatore alle fine degli anni Sessanta ottenendo ben presto importanti collaborazioni. Dopo aver lavorato con Robert Frank ed Allen Ginsberg per Me and My Brother (1969), collabora alle sceneggiature di Zabriskie Point (1970) di Michelangelo Antonioni, Renaldo e Clara (1978) di Bob Dylan, Paris, Texas (1984) di Wim Wenders, Follia d’amore (1985) di Robert Altman, Inganni pericolosi (1998) di Matthew Warchus, See You in My Dreams (2004) di Graeme Clifford, Non bussare alla mia porta (2005) di W. Wenders, ed altri film. Continuando a scrivere anche per il teatro, dopo aver interpretato da attore il drammatico I giorni del cielo (1978) di Terrence Malick - con un giovane Richard Gere ad inizio carriera e Brooke Adams - intraprende una lunga carriera cinematografica, alternando ruoli da protagonista e da comprimario. Fra i film da lui interpretati ricordiamo Frances (1982) di Graeme Clifford, con Jessica Lange, Uomini veri (1983) di Philip Kaufman, - con cui ottiene una nomination all’Oscar come Attore non Protagonista -, con Ed Harris e Dennis Quaid, Country (1984) di Richard Pearce, Crimini del cuore (1986) di Bruce Beresford, con Diane Keaton, J. Lange e Sissy Spacek e la commedia Baby Boom (1987) di Charles Shyer, ancora con D. Keaton, Fiori d’acciaio (1989) di Herbert Ross, con Shirley MacLaine, una giovane Julia Roberts, Olympia Dukakis, Cuore di tuono (1992) di Michael Apted, Il rapporto Pelican (1993), tratto dall’omonimo libro di John Grisham e con J. Roberts e Denzel Washington, La neve cade sui cedri (1998) di Scott Hicks, Passione ribelle (2000) di Billy Bob Thornton, La promessa (2001) di Sean Penn, con Jack Nicholson e Robin Wright, Black Hawk Down (2001) di Ridley Scott, Le pagine della nostra vita (2004) di Nick Cassavetes, tratto dal romanzo omonimo di Nicholas Sparks, L’assassinio di Jesse James per mano del codardo Robert Ford (2007) di Andrew Dominik, con Brad Pitt, Brothers (2009) di Jim Sheridan, Darling Companion di Lawrence Kasdan, con D. Keaton e Kevin Kline, Ithaca (2015) di Meg Ryan, In Dubious Battle - Il coraggio degli ultimi (2016) James Franco, Never Here (2017) di Camille Thorman. Ha scritto e diretto Far North- Estremo Nord (1988), con Jessica Lange e Silent Tongue (1993), con Richard Harris e Alan Bates. Come scrittore ha pubblicato vari libri, fra cui ricordiamo Hawk moon (1983) - La luna del falco, Feltrinelli, 1987-, Motel Cronicles (1983) - Feltrinelli, 1985 -, Attraverso il paradiso (Cruising Paradise, 1996) - Feltrinelli 1998 -, Il grande sogno (Great Dream of Heaven, 2003) - Feltrinelli, 2005 -, Diario del rolling thunder. Dylan e la tournée del 1975 (Rolling Thunder Logbook, 2004) - Cooper,2005 -, Diario di lavorazione (Day out of Days: Stories, 2004) - Playground, 2016 -, Quello di dentro (The One Inside, 2017), con prefazione di Patti Smith - La nave di Teseo, 2018 -. Spiare la prima persona (Spy of the First Person, 2017) - La nave di Teseo, 2020. Nel 2016 il Saggiatore (Milano) ha pubblicato il suo Motel Chronicles e, l’anno seguente, Il grande sogno, (2017), nella collana “La Cultura”.

RESERVED

RULES

You can reserve up to 4 characters and each reservation expires within 48 hours. - You can choose to extend this reservation if necessary 

To reserve a character you can either:  - Message an admin in the server who will update the list for you (1st time pre-acceptance into server.) - Message the Tumblr with the character, fc and your name.   Once you have officially joined the server, you can post reservations in the reserves channel.

We do not accept reservations for face claims without a character attached to them.

DC

Cassie Sandsmark - Meg Donelly

Jonathan Crane - Cillian Murphy

MARVEL

Jean Grey - Alina Kovalenko

Karolina Dean - Kennedy Walsh

Peter Quill - Glenn Powell

Teddy Altman - Tba

Warren Worthington III

Panic Room (2002)

Some of the most vital dialogue in David Fincher’s tension piece comes up front in the most mundane way: a Manhattan real estate broker rattling off the layout of the Upper West Side brownstone Meg Altman is buying.  Little does anyone involved realize just how vital this knowledge will prove.  Every split second counts once the robbers have invaded the home, each moment scrabbling for a cell phone or sneaking down a hall precious.  Fincher’s camera is acutely aware of that, gliding about the space in a series of bravura one-shots which both make the brownstone into a piece of ballet choreography and date the film in its early 2000s sensibilities.  Split-screens feature throughout, whether in the form of hallway versus elevator shaft or by proxy as a floor is rendered semitransparent.  The camera is an ultimate exercise in omnipresence, free to explore wherever it likes, uninhibited by the laws of physics.  This would be more effective but for the fact that things start to look plasticky every now and again.  Still, an impressive gesture.

Flashy shot planning melds well with the perfectly calibrated plotting, the film oscillating between moments of tension and a slow simmer of anxiety.  Sometimes characters are presented with immediate dangers for which they must find solutions, such as the thieves piping propane into the panic room or the sudden appearance of cops on the doorstep.  Others are more ongoing, the tension between Raoul, Burnham, and Junior threatening the stability of the operation even from its initial moments.  Sarah Altman’s glucometer presents a constant ticking time-bomb, calling into question what Meg will prioritize and which decisions she will make in order to ensure her daughter’s and her own survival.  Jodie Foster’s performance captures well a woman coming into her own as she is forced to make a series of difficult choices of which nothing can be certain.  Simply a perfect snapshot of a pivotal few hours unfolding over one night.

THE RULES

SIP

Someone says ‘brownstone’ or ‘panic room’.

The panic room door starts to open or close.

A wine glass appears onscreen.

The camera pushes through a wall or does something equally impossible.

BIG DRINK

MacGyver moment.

Someone checks the glucometer.

Evian water bottle moment.

Panic Room: Meg Altman [ISTJ 1w2]

Panic Room: Meg Altman [ISTJ 1w2]

Function Order: Si-Te-Fi-Ne Meg is struggling to cope with her husband’s adultery and their divorce when she moves her daughter into a large apartment on the east side, with a full-blown panic room and more rooms than they need. She isn’t big on change, but is willing to embrace it for her daughter’s sake. Once men break into her house, forcing her and Sarah to take refuge in the panic room,…

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What are the top FIVE Jodie Foster roles? Check out which made our list!

Over the years, Grey’s Anatomy has hurled at its couples everything from heart attacks to brain tumors, from adultery to amputation. So we’ll forgive you if you’re surprised to learn what the show has in store for newlyweds Maggie and Winston and newly re-engaged Teddy and Owen in Season 18: joy.

When the long-running ABC drama returns on Thursday, Sept. 30, at 9/8c, Maggie and Winston will be “coming back from their honeymoon very much in love and happy to be together and working together,” executive producer Meg Marinis tells TVLine. “We’re definitely celebrating the couple.”

As well as getting to know them as they get to know each other in new ways. Keep in mind, a good deal of their courtship was conducted long-distance due to the pandemic. But “even if you’re a newlywed and you had been living together [for a long time],” Marinis suggests, “you still discover little things, living habits, all the fun stuff.”

If any duo is going to be sunnier than Maggie and Winston, it’s likely to be Teddy and Owen. “They’re starting the season stronger than ever,” Marinis says. “They’ve both grown a lot from her breakthrough about her past last season and from Owen seeing that they’ve both struggled with PTSD — in different ways, but they’ve both struggled.

“They’ll still face challenges as a couple,” she goes on, “but we took them a long way last season, so we’re happy where they are.”

More of the Chemical Hearts cast

I nostri cuori chimici

I nostri cuori chimici

Henry è in cerca dell’Amore romantico ma finirà per innamorarsi di una ragazza che non corrisponde alla perfetta versione che lui ha di una sua probabile fidanzata: Grace, una ragazza appena trasferitasi nel suo liceo che cammina con un bastone, si veste con abiti da ragazzo e lavora con lui al giornalino scolastico. Titolo originale Chemical Hearts Regia Richard…

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