#when will they release the filmed version of this production again it was amazing
Text
2024.03.01 Nishikido Ryo & Lily Franky interviewed by Oricon
—
video version: here
My translation of the interview below. Any corrections are welcomed!
Cottontail, an Anglo-Japanese co-production project by a Japanese cast and up-and-coming British director Patrick Dickinson, will be released in cinemas from 1 January today. This road movie spins a tale of family love and rebirth, moving the stage from Tokyo to the UK. Lily Franky (60) plays a clumsy father who has kept his heart closed, and Ryo Nishikido (39) plays his long neglected son. Although they had known each other privately, this is the first time they have worked together as actors. They praised each other's work.
How did you come to know each other?
Lily: We had a mutual acquaintance and got together at a bar.
Nishikido: Yes, we did. After our mutual acquaintance left first, we continued drinking together. Even though we hadn't met each other before (laughs).
Lily: Then it took more than 10 years until we worked together on Cottontail, didn't it?
Nishikido: I was around 24 when we first met.
Lily: Has it been that long?
Have you talked about working together one day?
Lily: Not at all (laughs). We talk about instruments and music all the time, don't we, Nishikido-kun?
Nishikido: Yes, that's true.
Lily: It's not like we contact each other and go out drinking. But we just met each other naturally, somehow.
How did you feel when this collaboration was decided?
Lily: It was a no-brainer, right? (laughs).
Nishikido: Yes, it was.
Lily: The script reading was done remotely because of the pandemic. Even right before I left for London for the shoot, we were talking about something completely different, like, "I heard you recently bought a guitar." I guess he is not the type of person who talks passionately about his work. He never talked about his enthusiasm. He never shakes hands and says, "I'm looking forward to working with you” on the shoot (laughs).
Nishikido: It's a little embarrassing to express your feelings in that way (laughs). However, I have also seen the movie "Gururi no Koto/ All Around Us," in which you co-starred with Tae Kimura, who also appears in this film, and “The Devil's Path/Kyoakuu” with Takayuki Yamada, I have always watched the films in which you have appeared, thinking, "How nice" or "That is such a sneaky thing to do!”. There is a unique atmosphere that only Lily has. I was genuinely happy to work with such a wonderful actor.
Lily: I've seen the films that Nishikido-kun has been in too, but when I saw this finished film, I thought again, 'Wow, he's amazing'. I wasn't really aware of it when we were filming, but Toshi (Nishikido's character's name) explained to me what kind of family the Oshima family was and the relationship between the father, the deceased mother and the son. Without relying on dialogue or narrative devices, he made us understand his feelings towards his mother and his feelings towards his father by the way Toshi acted. It was amazing.
Nishikido: It was all directed by Patrick.
Lily: Toshi is Patrick, isn't he? He has a lot of thoughts about his father, and I think he really wanted Nishikido-kun to play out his thoughts.
I share the feeling that you mentioned earlier, when I see Lily's films and think “That is such a sneaky thing to do!”. How do you always prepare for your roles?
Lily: If the director tells me to, I do. If I'm not told otherwise, I don't. I was in Daihachi Yoshida's The Beautiful Star (2017), and his next film was The Scythian Lamb (2006), starring Nishikido-kun, and did Daihachi-san ask you, “please do XXX”?
Nishikido: As in preparation for the role? No, he didn't tell me to do anything.
Lily: I was told by Daihachi-san to lose weight. Well, if you're told to do that, you do it. I try not to do anything unnecessary as much as possible, because the worst thing that can happen when you create a role for yourself is that it doesn't match the director's image of you. Besides, and this is serious, I've almost never played a role where I have to wear a tie to work. Maybe the directors and producers don't have that kind of image for me anymore.
Nishikido: I have a stronger image of him in roles where he looks like a nice guy but is actually very bad, or where he smiles in a nihilistic way.
Lily: In a film called Analog (2011), I played the role of a coffee shop master who just quietly brewed coffee, and I heard that many people were misled into thinking that he was going to do something someday, probably because he hardly had any dialogue (laughs).
Nishikido: In the first place, when you offer the role to Lily, you don't need to ask him to prepare for the role, do you? I think it works just by having Lily do it. When Daihachi was directing, I think he thought it would be nice if you looked a little thinner.
Did you have received (any preparation instructions) from the director, Patrick?
Lily: There was nothing from Patrick. He said that the script was just a blueprint and that the script wasn't everything, and it was like he was waiting for what came out of the actors themselves playing their respective roles. I think that's exactly what Nishikido-kun's Toshi is about.
What was the director like?
Lily: Very calm.
Nishikido: He's so gentle.
Lily: Really sweet and very polite. Now that I think about it, director Patrick and cameraman Mark (cinematographer Mark Wolfe) were definitely wearing collared clothes to the set every day. We were shooting in England in the middle of summer (in 2021).
Nishikido: Yes, that's true.
Lily: England has a gentleman image, right? There is something old-fashioned about Patrick. He has a sense of politeness that Japanese people have forgotten. Nishikido-kun is old-fashioned too, but in a slightly different way.
When you say Nishikido-san is old-fashioned, what do you mean?
Nishikido: Am I old-fashioned? I don't know...
Lily: When you went to England, you cooked your own rice.
Nishikido: I did cook for myself.
Lily: Even when I told him that the food catered on the set was "delicious," he would say something like, " I'm fine with this," and eat onigiri (rice balls) that he made himself. Sometimes he even made one for Director Patrick. It was a bit samurai-like in that way.
Do you always bring Japanese food when you go abroad for work?
Nishikido: I do some research before I go, and if there is a Japanese restaurant near the hotel where I will be staying, I don't bring Japanese food with me, but this time I had a quarantine period (5 days) due to the pandemic, and I knew I would definitely want to eat some rice, so I brought some.
Lily: You were trying to eat up all the rice before you returned to Japan.
Nishikido: I ate it all up (laughs).
Would you like to work together again?
Nishikido: Of course! I'd like to play a role that isn't father and son next time, and I'd also like to play father and son again.
Lily: I would love to make a film together. This time we played a very serious father and son, so maybe next time playing a foolish father and son would be good.
8 notes
·
View notes
Text
Movie Recs In Honor of Kingdom of the Planet of the Apes
I decided to write out a list of movies to watch in honor of Kingdom of the Planet of the Apes coming out very soon. This list will feature movies with apes besides the POTA movies, or movies with weird and bizarre friendships/found families.
The Original Planet of the Apes Franchise (1968-1973, Amazon Prime)
Honestly, I've only watched the 1968 movie a handful of times. I decided to watch all of the original franchise leading up to the release of Kingdom. They're all a lot of fun, with social/political commentaries at the time of each film. If you're a movie collector, or like behind-the-scenes/director's commentaries, I highly recommend buying the Blu Ray compilation pack.
2. Tim Burton's Planet of the Apes (2001, Disney+ or Amazon Prime)
I know, hear me out. Yes, it's over-hated, and yes, there was A LOT of potential for this movie. There were definitely too many "cooks in the kitchen" when drafting this movie. Imho, I think it's a guilty pleasure, popcorn movie. If you're a fan of makeup effects, Rick Baker (THE modern makeup effects master) does an absolutely phenomenal job with the designs of the apes in this movie (and check out his Instagram too). I do like the production and the ape costume designs for this film as well.
Tim Roth and Paul Giamatti are such a blast in this movie, too!
And the posters for this movie look so cool.
3. Planet of the Apes Reboot Trilogy (2011-2017, Amazon Prime)
I think this is what the 2001 movie should have been, and was trying to go for. While the three movies did make their money back at the box office, I have two theories why they almost went under everyone's radar (again, this is my opinion):
A. Because of the mixed reception from the 2001 movie.
B. Because of the abundance of comic book & remake movies coming out during the 2011-2017 years.
I put this trilogy right up with the Lord of the Rings and Star Wars. The storytelling is great, the special effects hold up well, and this reboot's version of Caesar has became one of my favorite main characters in modern film.
4. Mighty Joe Young (1998 remake, Disney+)
I don't know why this movie doesn't get talked about that much. Rick Baker, once again, does incredible work on the special effects for Joe. There's also a great musical score by James Horner. And Bill Paxton and Charlize Theron give amazing acting performances. And I think it's actually one of the better remakes that came out from the late 1990s.
In fact, the team that worked on the 1933 King Kong also made the 1949 film. Even Robert Armstrong (Carl Denham) came back for the '49 film. Ray Harryhausen worked under the supervision of Willis O'Brien for the special effects for the original movie. He also has a cameo appearance alongside Terry Moore (Jill Young) in a party scene.
Aaaaand I just found out the writers, Mark Rosenthal and Lawrence Konner, also did an uncredited rewrite for the 2001 POTA movie.
5. Tarzan (1999, Disney+)
Of course, who doesn't love Tarzan??? And Phil Collins's A.M.A.Z.I.N.G soundtrack???!!!
6. King Kong (1933, 2005, Amazon Prime/MAX)
Okay, technically it's a giant monster movie and the OG prior to Godzilla. And it also set the standard of film making overall. However, it is also a bit of a Beauty and the Beast story, hence the lines: "It was Beauty killed the Beast" and the "And the prophet said: And lo, the Beast looked upon the face of Beauty. And it stayed its hand from killing. And from that day forward, he was as one dead." I also recommend watching the extended cut of the 2005 remake.
7. Lilo & Stitch (2002, Disney+)
Again, who doesn't love Lilo and Stitch???
8. How to Train Your Dragon Trilogy (2010-2019, Amazon Prime/Peacock App)
Once again, who doesn’t love HTTYD (and why are they remaking it as a live action movie????)???
9. Gorillas in the Mist (1988, Amazon Prime)
This movie is about Dian Fossey (played by Sigourney Weaver), a primatologist who studied mountain gorillas and she was part of a trio of women who studied great apes; the amazing Jane Goodall and her study of chimpanzees, and Birute Galdikas who studies orangutans. The movie is also based on her book of the same name.
I use past tense for Dian, because she met a tragic and horrific death while she was conducting her research on gorillas. I have in-lined a link to Dian Fossey's Wikipedia article for further reading.
Rick Baker, once again, does some amazing practical creature effects work for the gorillas.
10. George of the Jungle (1997, Disney+)
One of my favorite Brendan Fraser movies, and such a fun, and a bit of a campy movie based on the cartoon series (which is also a spoof of Tarzan). I quote this movie every so often. Unfortunately, Rick Baker did not do the ape designs for this movie. The creature effects this time around was done by none other than the Jim Henson Creature Workshop!
#movies#sci fi#planet of the apes#movie recs#tarzan#mighty joe young#king kong#planet of the apes 2001#tim burton#the iron giant#how to train your dragon#lilo and stitch#gorillas in the mist#george of the jungle#movie recommendations#science fiction
3 notes
·
View notes
Note
Since Ramin and Sierra are no longer in the production (I say this loosely, ofc, since Ramin's back w/ the show), who do you think will be the new Christine/Phantom that they try and shove down everyone's throats LOL I don't think there's been a pair since them that has garnered so much popularity or favoritism, but I could be mistaken! No shade to them whatsoever, though, I think they're both amazing (and feel like they performed better w/ other people, but that’s a convo for another time!!)
Well, it's not really accurate to say Ramin Karimloo and Sierra Boggess are "no longer in the production". That kind of makes it sound like they left Phantom quite recently, when neither have actually been in any Phantom production at all for almost a decade (Karimloo last played the Phantom in the 25th anniversary concert in 2011, Boggess was last Christine on Broadway in 2014, not counting the canceled Paris production). Yet they are still talked about and lauded as the best Phantom and Christine, at least going off YouTube comments.
And there's a reason for such favoritism: they were filmed in a lavish, professional production easily available for audiences to watch. That means they are the pair that most casual, mainstream audience members will see and can see over and over again, as most might only see the live show once or twice and won't seek out shaky, blurry bootleg videos. That gives them huge staying power in the collective memory of the fandom, though it doesn't hurt that both have decent singing skills (well, maybe more Boggess than Karimloo on that count), sympathetic acting and interpretations, great chemistry with each other, and are also quite good-looking.
The only pairs that would rival them, in my opinion, would be: Michael Crawford and Sarah Brightman, Gerard Butler and Emmy Rossum, and Ben Lewis and Anna O'Byrne. And what is the commonality between all of them? They have all been professionally recorded on easily accessible media (a cast recording for Crawford and Brightman, the 2004 film for Butler and Rossum, the filmed version of Love Never Dies for Lewis and O'Byrne) and are often an audience member's first introduction to the show (or for LND, a Phantom-adjacent show). It's like an equation: accessibility + introductory power = popularity.
So unless another filmed version comes out (people are hoping the last show on Broadway will be recorded and released, but I'll believe it when I see it), there probably won't be another pair to rival them, or the other three pairings that I gave, for a while.
10 notes
·
View notes
Text
FOREFRONT 8 : SPIDERMAN - ACROSS THE SPIDERVERSE (2023)
This movie came out last month and I can say with full confidence that this movie has been the best thing to have ever happened to the animation industry in recent times. out of all the films i have spoken about in my forefront posts, I would say this one has been the most influential for my career. the first film came out in 2018 and that was one of the many things that made me want to explore and master the 2.5D art style. now the sequel has impressed me way more than the first one did and has also influenced me in a lot of new ways. once again this film opened a door for me to explore new art and animation styles. for instance, there is a supervillain called the vulture who comes from an ancient universe, and the art style they used to show he's from that universe, is fantastic. he looked as if you sketched a character onto a dry brown paper with feathers and ink and that was very impressive and I will definitely try something like that one day. another instance was when the main villain of the movie "The Spot" was basically designed like he was some kind of a blockout character but that still worked very well for the movie. This movie doesn't just open a portal to endless universes but also endless art styles.
youtube
I also came across this video where we get to see behind-the-scenes footage and I was amazed at how they were discussing massive elements of a scene through just a Zoom call. when they showed the unfinished footage of this one scene where Miguel and Gwen battle the vulture, I realized how much compositing and shading can influence a film and just completely change how it looks. which is also one of the reasons why I will be focusing a lot more on the post-production process of my project since I intend to bring a similar look as well but my own spin on that version.
REFERENCES :
Santos,J. Thompson,J. Powers,K. (2023) Spider-Man: Across the Spider-Verse. United States: Sony Pictures Entertainment Motion Picture Group, Sony Pictures Releasing.
WARS, S. (2023) Making of spider-man: Across the spider-verse - best of behind the scenes & creating the animations, YouTube. Available at: https://youtu.be/PITNvuEV0Co (Accessed: 23 August 2023).
0 notes
Text
The real aquarium hd apk
#The real aquarium hd apk 1080p#
#The real aquarium hd apk apk#
#The real aquarium hd apk mp4#
#The real aquarium hd apk install#
#The real aquarium hd apk tv#
#The real aquarium hd apk tv#
This means your aquarium TV will always look amazing, even on the largest UHD TV, HDTV and 4K SMART TV screens.
#The real aquarium hd apk 1080p#
Our footage is shot in 4K Ultra HD and the oldest releases (without the yellow 4K logo) are filmed in 1080p Full HD (high definition). Not all old and/or cheap HDTVs are SMART TVs, but there are now awesome streaming devices and media boxes such as the Apple TV 4K, or Google Chromecast Ultra, or cheap media players off Amazon It is easiest to add the file to a USB flash drive on your computer, then plug that into your TV. The Full HD videos play on modern TVs in the same way. Its not free, so if youre looking for a free alternative, you could try Sim Aquarium or 3D Aquarium Live Wallpaper HD. Most UHD SMART TVs can play these files from a USB memory drive or SD card. Just press play then select repeat to have a continuous virtual aquarium, even on the biggest 4K screens.
#The real aquarium hd apk apk#
All 4K versions can be played on modern 4K Ultra HD SMART TVs through the internal media player. Download The real aquarium - LWP APK 2.35 (freeload) - The real aquarium - free APK - Mobile App for Android - .livewallpaper. They are around 3 minutes long and will loop continuously until you touch your mouse, trackpad or keyboard again. The latest 60 or so also give you the option to change the volume, mirror the video on multiple screens and set a screenshot as an aquarium desktop wallpaper. Then all you need to do is set how long you would like them to appear when not using your computer.
#The real aquarium hd apk install#
With just one click they install and take over from your computer or laptop's existing screensaver. The Windows "screen savers" are just like any other screensaver. When you buy any of our products you get instant access to your downloads. How does an HD or 4K aquarium screensaver download work?
#The real aquarium hd apk mp4#
Take a look at the Mega Deal if you plan on buying multiple MP4 videos as it gets very good value very fast. You get full long-term access to the downloads instantly. Files are stored on and downloaded from Amazon. All have HD screensavers and newer aquariums also have 4K screensavers - just look for the 4K logo.Įasy and secure payment with Paypal or PayTabs for credit cards. Plus the choice of a self-looping aquarium screensaver for Windows computers. If you want to change the way how your aquarium looks, apply the custom color effects that will change the entire aquarium or apply custom frames to enhance the beauty of your aquarium. All options on this improved platform can be seen by clicking here.Įach 4K aquarium video download features a 20 minute aquarium video in the universal MP4 format to loop on any big screen TV. To enhance the feel of your aquarium you can play the delightful music pre-loaded in the app. This is the same tank seen on our most popular video Coral Garden. Or click here for a 90 minute, higher quality video of the same fish tank. Plus it comes with unlimited 4K streaming. We now have 2 longer versions available: Click here for a 3 hour video of the popular Dory Loves Corals, which can be downloaded in 4K. You can turn any HD TV, 4K SMART TV, or standard television into an exotic TV fish tank for a very fair price. The real aquarium - free APK O aqurio real - livre APK El acuario real - free APK - APK HD - APK Gerek bir akvaryum - cretsiz APK Il vero acquario - gratis APK La vritable aquarium - gratuit APK Die echten Aquarium - kostenlos APK - APK - APK. Uscenes' downloads are all filmed and encoded in 4K Ultra HD, with our oldest 55 or so in Full HD. Also, I’m happy the queers are continuing to take over the world.Our Ultra HD 4K aquarium video collection will almost make it look like you have a real fish tank in your room. She doesn’t have to be the perfect representation of a spectrum - no single person can be - and her fans don’t need to have an identity crisis over whether they’re as ace as she is - everybody wins. Jaiden’s done a fantastic job of using her platform to increase aro/ace representation and visibility while also ensuring any fans discovering their own sexualities don’t feel the need to compare themselves to her too rigorously. Young queers have fewer people to look up to than their straight friends, so it’s tempting to latch on to queer creators in a very parasocial manner. It also emphasises that even on the aro/ace spectrums, people are different. Her video serves as a way to let her fans know where she’s at with her sexuality, but also as a friendly reminder that she values her privacy and isn’t going to be going into any further details on the more intimate aspects of her life - something that’s not always easy as a big creator.
0 notes
Text
more behind the scenes 1997
The caution tape has been removed, and it is safe to explore the uncharted territories of Site B. Learn how Steven Spielberg and the Academy Award®-winning visual effects team of Dennis Muren, Stan Winston and Michael Lantieri combined their skills to bring back to life the most amazing creatures to ever walk the earth. Join the cast and crew on location with an exclusive streaming video presentation on the making of THE LOST WORLD: JURASSIC PARK. Observe the filmmaking process in-depth through a multimedia tour - including script pages, story boards, stills, quicktime movies and more - behind-the-scenes of the creation of two scenes from the movie. Grab you mouse and enjoy. Then check out the Home Video site for information on the upcoming videocassette release of the year's most exciting film.
Back in the summer of 1995 when the word began to circulate that Steven Spielberg was considering directing The Lost World , some had predicted that the Digital Revolution would provide all the tools he needed to create the dinosaur effects for the much-anticipated follow-up to Jurassic Park, which had broken new ground with animated characters generated entirely through sophisticated high-end computer graphics by Industrial Light & Magic.
The mix and matching of ILM's computer animation with the Stan Winston Studio's animatronic dinosaurs had worked to great effect in the first film, but that didn't stop speculation that Spielberg would dispense with mechanical creatures altogether for the sequel, opting to computer generate all of The Lost World 's dinosaurs. "I was very concerned that Steven would go all CG with The Lost World ," Stan Winston admitted. "My thinking is that you have to create characters first and foremost; and then you use whatever technology is best suited to creating the most realistic illusion."
Shortly after initiating the Lost World project, Spielberg informed Winston of his intention to create the movie's dinosaurs in the same way he had for Jurassic Park - by artfully intercutting the mechanical versions with computer animated characters, using the latter for shots requiring multiple characters or more dynamic, full-body action. "Steven wanted to feature some dinosaur characters that were primarily practical," recalls producer Colin Wilson . "I think he felt that there is a rapport and intimacy that develops when they are right there on the set - something that is difficult to achieve when the actors are working against nothing but air or a measuring pole."
As they had for the first film, the designers at the Winston studio adhered closely to paleontological fact - or in the absence of fact, paleontological theory - in their dinosaur renderings and sculptures. Scientific accuracy was ensured for the entire production - as it had been in the original - by the commissioning of paleontologist Jack Horner to act as consultant to the film.
The execution of the computer generated dinosaurs would again be assigned to visual effects supervisor Dennis Muren and a team of artisans at Industrial Light & Magic.
"When we took on Jurassic Park ," Muren noted, "we didn't even know if we could do it; and, as a result, we didn't go into that show confidently or boldly. Going into The Lost World, we knew what was possible, and we were eager to test the limits of the technology and take it to a new level."
Several factors would make the computer animation assignment for The Lost World far more complex than it had been for its predecessor, one of which was the fact that a large percentage of the CG shots would feature not one or two animals, but large groups or even entire herds. Whereas Jurassic Park had only six or seven multiple creature shots, nearly 50% of the shots in The Lost World would feature multiple characters.
"The process begins with shooting live action backgrounds on set and taking precise measurements," explains visual effects producer Ned Gorman. "We bring the plates back to ILM, put them into the computer and create virtual environments into which the animators can place the CG characters. After it's all said and done, we have hopefully got a living, breathing creature looking as though it was actually on the set, responding to Steven's direction."
How successful was the process? "The mechanical dinosaurs are indistinguishable from the CG characters," according to Spielberg.
Special effects supervisor Michael Lantieri had been a key player in providing special effects gags for Jurassic Park as well as physical effects that created the illusion of on-set interaction with the computer animated characters. Ironically, some had seen the emerging computer graphics technologies as the future death knell for the field of mechanical and large-scale effects, since, hypothetically, CG would develop to a point that explosions, rainfall, flying cars and tumbling buildings - all standard effects gags - could be more easily and even more convincingly created digitally in postproduction than they could live on a set.
But Jurassic Park had proven that not only would CG not supplant physical effects work, it would actually engender a whole new effects discipline geared toward effectively placing computer animated characters into their surroundings. Lantieri defines this emerging aspect of his work as "puppeteering the environment."
As pivotal as Lantieri's contributions to Jurassic Park had been, however, they paled in comparison to what was asked of him for The Lost World . "Before we actually started and saw what this movie was going to be," Lantieri says, "I think many of us underestimated it. We'd done the first movie, so we all kind of thought, 'Been there, done that, no big deal.' But before too long we clearly saw that we'd be doing five times the amount of work in this picture than we had for the first one.
"The sequences in this movie were not only bigger," he concludes, "they were tougher and much more complicated."
Of the nine different dinosaur species featured in The Lost World: Jurassic Park, two characters in particular embody the artful combination of animatronic and computer generated technology that has dazzled audiences around the world: the compsognathus (shown below attacking hunter Dieter Stark) and the T-rex, the film's smallest and largest dinosaurs, respectively.
The compsognathus make their big screen debut in the opening encounter with the little girl, setting in motion a series of events that leads Ian Malcolm and the others to Site B. But later in the film there is a much more graphic depiction of the less than 3-feet long compy - with their long necks, flexible forearms and razor-sharp teeth - as the "land piranha" they really are: light, fast, deadly predators that take no prisoners.
In the scene, the compys attack Dieter Stark (Peter Stormare), a cold South African second-in-command big game hunter, who earlier in the film had chastised the chicken-size creatures with an electric prod. It begins with a few compys teasing Stark when he gets separated from the group. Frustrated and confused, Stark wanders further and further from his comrades as the compys follow him in increasing numbers. Soon, completely lost, Stark is surrounded by a swarm of the tiny creatures, observing him with their ritualistic head-bobbing. Rightfully fearing for his life, Stark panics and begins running. When he trips over a log in his path, he is attacked and killed by the dozens of tri-finger clawed hunters who have payback on their minds.
Stan Winston had concerns about the mechanization of the small, dynamic creatures. "It was so different than what was required for the large creatures that it was like going from building an 19,000-pound T-rex to building a watch," Winston recalls.
Winston's primary challenge was to capture movement of the lively creatures -especially the desired quick, birdlike, attack movement. Fortunately, mechanical designer Chris Cowan put Winston's concerns regarding the compys movement to rest when he devised a way to actuate the agile creatures through a combination of cable-controlled servo mechanisms and pneumatics.
To shoot the scene, the Stan Winston Studio's dozen mechanized compys were attached to actor Peter Stormare, then puppeteered from off camera. Full-motion versions of the compys would be inserted by the ILM team through computer animation.
Working with a large number of small, agile dinosaurs moving around each other within a live-action scene, the ILM team of animators essentially drew a path through the live-action scene on their monitors for each specific CG character, and that character would automatically move along that course. After reviewing the shot, the animator could then adjust the creature's course simply by redrawing the path.
Of the nine different dinosaur species featured in The Lost World: Jurassic Park, two characters in particular embody the artful combination of animatronic and computer generated technology that has dazzled audiences around the world: the compsognathus and the T-rex (shown below demolishing gatherer Eddie Carr's vehicle), the film's smallest and largest dinosaurs, respectively.
At the opposite end of the dinosaur evolutionary chain from the compy, the Tyrannosaurus Rex was among the most powerful and terrifying predators ever to walk the earth. Featured previously in Jurassic Park, the T-rex makes its return to the big screen in The Lost World.
The filmmakers always knew they would bring back the T-rex, only this time having a female and a male. (Therefore, new color schemes were devised, making the male hides more colorful than the those of the female and covering the male with battle scars). Together they star in one of the film's biggest and most complex special effects sequences - the pivotal T-rex-versus-the-trailer scene in which the dinosaurs push a conveyance trailer over a cliff and attack a Mercedes M Class all activities vehicle driven by field systems specialist Eddie Carr (Richard Schiff).
In this scene, Ian (Jeff Goldblum) and Sarah (Julianne Moore) are trapped in a communications trailer by two T-rexes - male and female parents looking for their baby, whose broken leg Sarah is attempting to mend. The enormous carnivores, with their powerful hind legs, three-taloned feet and mammoth tail, attempt to push the trailer over the side of a cliff. With Sarah slammed against a window and Ian braced inside, the trailer rolls toward the cliff and dangles over the edge. Eddie arrives on the scene in the nick of time to effect a rescue.
Eddie manages to hook the trailer to the Mercedes, but just as he begins to pull Sarah and Ian from danger, he is viscously yanked from the vehicle by the enraged T-rexes and torn apart like a human wishbone.
The background plates were shot at Patrick's Point State Park, a California coastal wilderness area with bluffs overlooking the ocean and open fields. Because of its size and floor pit, Universal Studios' Stage 27 would serve as the stage match to what was shot at Patrick's Point to simulate the drop shots of the T-rex pushing the trailer toward the cliff's edge and house the giant hydraulic T-rexes.
For the close-ups, the animatronic T-rexes required up to nine operators each to control every inch of the massive beasts. For the facial movements alone, there was a puppeteer with a face gear on, moving his jaw, with someone else working the eyes and eyelids.
When the two T-rexes approach either side of actor Schiff's Mercedes AAV, they are actually doing so on 80-foot-long dolly tracks which runs along each side of the vehicle. These hydraulic mechanisms incorporated into a steel armature were engineered to drive the over 19,000-pound mechanical dinosaur.
These shots were then enhanced by ILM's computer generated images, which were blended in to create the final sequence.
1 note
·
View note
Text
Film School - Study And Enjoy Simultaneously!
A song is meant to invoke a mood, an emotion, an era or a logo. The right choice can leave an indelible image, the wrong choice can live on in infamy. Some soundtracks seem timeless, others aren't so lucky. One can be certain, the way music is commonly used in film goes a long distance in determining whether it's remembered for the right reasons or.
There are wide ranging the Jordan Retro IV's on method. More than one colorway of this shoe, including a Doernbecher edition, will release this upcoming year. The White/Black/Grey colorway of the Jordan IV was originally retroed in 1999 and was a huge success cracksum . Retailers saw this shoe sell out in a matter of hours. It has been making money appearance and again, will sell out in a a couple of hours. Mark your calendars now, because February 18, 2012 is the time when this legendary Jordan will drop.
Washington puts on will discover performance that expounds his on-screen charisma and acting talents. He's got the central character and is basically living line belonging to the film because interacts challenging important players and guides us through just about everything people need to learn. Throw in a confident and calm performance by Jodie Foster and you own a pretty nice trio of lead personalities.
In the '70's black audiences loved blaxploitation, to discover people who looked like them attacking The Man and sleeping with his women, and being the hero. But every movie was like this and soon the public got tired of it. Typical sense says blaxploitation was huge at one point that NAACP wanted to the medium / hot. Maybe they should have, the images of blacks might have gotten significantly better. moo0 voice recorder crack full version saved one studio---MGM!!
Spike Lee's response was fantastic. He interrupted details in the center of her rambling about how "she aren't able to find opportunity" anf the husband told her to "create opportunity". He mentioned that today you'll find video cameras for all over the $500 - $800 stain. All you need at this stage is associated with a computer and friends who don't mind earning a living for the sake of "creation" and using name out there.
For example, when you sign on for EC2 you finish a question and answer process in decide on things like memory, hard drive space and processor " pulse ". keepvid music editor crack full version choose your operating system too, like Windows, Linux or Solaris. I don't have to worry whether the server is running one of the most recent version of Computers. I don't have be concerned about if there is a mechanical disadvantage in the product. I don't have be concerned about if my data has been backed up - we can setup each of our services you can do this or use additional features from Amazon online. When all the smoke clears I have access using a server "in the cloud" just like it's in front of me.
The next movie worth mentioning from this list shouldn't ever come being a surprise; it is of course, Fight Nightclub. This movie is beyond cool, and the dialogue and overall writing in this film basically amazing. vso convertxtohd with crack download is well engineered.
1 note
·
View note
Photo
BANKS - Skinnydipped (2021, dir. BANKS)
The Tragedy of Macbeth (2021, dir. Yaël Farber)
#BANKS#The Tragedy of Macbeth#BANKSEdit#ShakespeareEdit#Macbeth#Saoirse Ronan#Jillian Banks#Yael Farber#William Shakespeare#edit2#when will they release the filmed version of this production again it was amazing
46 notes
·
View notes
Text
Mercury Roadrunner's Interview about Freddie Mercury with Peter Freestone – Part II
Thanks very much to Mercury Roadrunner (Pavel Strashnyy) for letting me share his amazing interviews! Originally shared here.
Check the tag "MR interview with Phoebe" to see the other parts. Here are the 3 main topics of this interview, beginning of each topic is written in bold:
1. Language skills
2. Music videos, Garden Lodge
3. Celebrity friends, leg damage story, Joe Fanelli, relationship between band members, Freddie's last days
PS: So here is our second part and the first topic is about Freddie’s language skills:
Did he actually know only the English language or did he also know the Gujarati language or any other languages?
PF: When his parents were in Garden Lodge or if he called his mother on the telephone, he only spoke English. I suppose, he must have understood Gujarati, because, okay, in the school he was taught English, but before the school, when he was in Zanzibar and he would have been with is parents, so I would have thought they would have been speaking in Gujarati.
He had about twenty words of German after living in Munich for so many years. He couldn’t speak German, but I think he understood the language, if he was paying attention, because most of the people around him were talking English, so he never really had the need to learn German. Although, saying that, one of his partners, Winnie, was German and did not speak a lot of English, but then he had Barbara to do the translating.
PS: The second topic is about a very special song “Mad The Swine”, which was recorded in 1972, but was released only in 1991 as a B side of “Headlong” single. Why, after so many years, Freddie decided to come back to it and release it?
PF: Freddie knew that “Innuendo” was going to be his last complete album and I think that this song had a special place in his heart, there were something about it, and as far as he was concerned, it never got an airing he felt it deserved and the rest of the band was happy to put it on.
PS: I mentioned the “Headlong” song and you can be seen in some archival footage of making of the “Headlong” video, you help to lay the Queen members on the shelves. What are your memories about that day?
PF: I was just there to help them. When they are making a video, they don’t need someone to take care of costumes, because there is a costume person, there is a makeup person, everybody is there to do something. And so I was there for Freddie, looking after him, and it just seemed natural to help out. And the band would feel more comfortable if that was someone that they know who would help to put them on the shelves rather than some technician turning up and trying to do it. And this moment with selves wasn’t’ planned. That wasn’t in the storyboard, it’s just that they saw it, there were four shelves so they just thought “Well, why not? Let’s do something crazy”. And the idea must have come from the band member, because Rudi would have seen all the possibilities when he was checking out where they were going to be doing the filming, and if he had thought of using the shelves, that would be one of the ideas put in the beginning.
PS: There are also some parts where we can see you in “The Great Pretender Extended Version” video - can you remember anything about it?
PF: It was just a big long laugh. There is not one part of the making of the actual scenes that they are not laughing and smiling. Roger, Peter and Freddie – they just clicked, it all worked. Nobody had to be bigger than the next one, nobody had to take the spotlight, and they just were there, having a good time.
PS: What is your personal favourite memory from that day?
PF: Personally, for me it is watching the recording of the six girls –you know, both of the backing group were girls, they were wearing two different outfits – and watching the recordings, when they were recording the one group of three and then the other group of three, the costumes they got in to and what they did – you couldn’t help but feel really-really happy. They were actually standing on the same platform when they were recorded. And then, of course, they used computer graphics to put two different groups on the screen at the same time. Just watching three of them there on the platform, waving their hands goodbye, it brings back the memories of those groups of backing singers in the sixties.
PS: What are your memories of making of the “Breakthru” video?
PF: I remember that it was probably the hottest night of the year, no sleep, because it was just so hot and humid. They had a huge problem with the opening scene, and they shot that last in fact. But they had a huge problem because when the engine went into the tunnel it caused air pressure so that that polystyrene wall burst out a long time before the engine arrived. So they tried it earlier on and that’s when they found that that’s what happened, and then they had to do playing around with it during the day, there was people doing that while the rest of the filming was going on, and then they had to sort of re-do it and it was the last shot. And the engine was actually already in the tunnel before it started getting up a bit of speed. And it wasn’t going as fast as people think it does, so that it looked right. It was a fun day. Only the band and the actual film crew were allowed on the flatbed, where the band were performing, because of the way it was being filmed, you could easily be in shot, so the less people that were there – the better. John was having a ball, I remember him laughing a lot, he was enjoying himself. And there was a normal carriage, like a dining car, but old, 1930-1940s, and that was where we would have food and drink. And it was wonderful. It’s a working old train line, it’s a tourist thing, but it’s great, it’s really-really nice and it’s not that far away from London. And Freddie was enjoying the shooting. I was surprised when I saw what he was doing on that flatbed, he was leaning over the edge as the train was going along, but again, it looks faster than it was. It really was only going at about 25-30 kilometers an hour. But it’s made to look as though they are speeding along.
PS: And what was the very first Queen video you were presented on?
PF: The very first video that I was involved with was “Save Me”, because it was shot during two shows of the “Crazy Tour”, I think it was at “The Rainbow” and it was shot at “Alexandra Palace”. Because it was the mix of the live action, the cartoon girl, the bird – and that was the hardest thing – to get Freddie to almost catch the bird, the pigeon. They had to re-film it for about 15 times. And it was where David Mallet, the director, fell of the stage into the orchestra pit. Everybody panicked for a few minutes, but then he stuck his head up “Oh, I’m alright”. It was about 2-3 meters he felled. And then followed all the post-production with the girl, with the cartoon, and how they blended the live pigeon to become the cartoon one and all that sort of work – all of it was done afterwards and it was done before Christmas 1979.
PS: And what was the very last Queen video you were presented on?
PF: “I’m Going Slightly Mad” video. I remember the penguin on the couch moment. Actually most of all I remember the way Diana was with Freddie, because she just took such a good care of him, she had special thermal underwear made for Freddie, because right from my meeting with Freddie in 1979 I remember the easiest thing for Freddie was to feel cold. And it only got worse the more sick he got. And she had special thermal underwear made for him that went underneath the shirt and the suit. She just was there for him all the time and it was just wonderful to see.
PS: And did Freddie usually have cold hands or he had normal temperature of hands?
PF: He could have normal warm hands, but often they would be cold. So maybe he could have a blood circulation problem.
PS: Can you remember something about the shooting of “I Want It All” video?
PF: I don’t think I was at that one, because that would have been Joe, Joe Fanelli would have been there, because we sort of took in turns – he would go to one, I would not, I’ll do all the stuff at home, then I would go to one and he would stay at home.
PS: And it was also the same for you take the turns in concerts?
PF: No, I was on tours with Freddie from 1979 till 1985 and then Joe took over from the last part of 1985 and 1986.
PS: And why you stopped going on tours and Joe took that part?
PF: Because Garden Lodge had been completed and to keep the insurance cover someone had to be living there, so I got to live there. I moved in six months before Freddie did. And Freddie moved in in the middle-end 1985. Because what we did was – Freddie was at Mary’s home and Terry and I took Oscar and Tiffany away from Stafford Terrace. Because Freddie was supposed to move in and he kept putting it off again and again, he said “I’ll do it tomorrow”, “I’ll do it at the weekend”, there was always a reason, an excuse, so what Terry and I did – we went and kidnapped Oscar and Tiffany and took them to Garden Lodge. And then, when Freddie went home and he was looking for the cats, Terry said: “No, they are not here, they are at your other home” – and Freddie moved within two days.
PS: And what was it like living with Freddie in Garden Lodge? What are your first memories of start of living there?
PF: At that point I was living above the kitchen. Joe and I had rooms that were above the kitchen, just up those stairs. And it just felt strange just to be living in that house. The thing is, I’ve been living with Freddie for years, because whenever we were in hotels it was always a two bedroom suit, so I knew how he was, what he would do, what he needed in the morning, how the moods could change, that was all standard, that was all normal. The difference was being in the luxury of Garden Lodge, knowing that it was a house, not the hotel, and the fact that he had made us promise, both Joe and myself, that we would treat this place as our home. It wasn’t just work and somewhere to stay because of work – it was our home.
Some houses have energy, they have a feeling, and while Freddie was in Garden Lodge it was a really warm, friendly house.
PS: And the atmosphere in the house changed almost at the moment Freddie passed away, right?
PF: Literally. For me, while he was still alive, even in those last minutes, it was still the same house, but literally within minutes, while we were waiting for the doctor, it just became bricks and mortar, it just became somewhere to sleep, somewhere to live.
PS: You mentioned living together with Freddie in hotels, but do you remember living with Freddie in some flats or houses before Garden Lodge?
PF: We were living in his apartment in New York. The way it was set up there were two bedrooms, sitting room, dining room, kitchen, a maid’s room and a sort of TV room.
And later we lived together for six months in Los Angeles. Recording “The Works”. They rented the big house for Freddie. A nice house, big-big house. It belonged to a doctor, who just constantly rented it out to stars, who needed somewhere to stay while they were filming. Elizabeth Taylor apparently stayed there, George Hamilton was there, lots of different film stars used it. It was a big house in nice big gardens, it had a swimming pool, had a tennis court, you know, it all the things you need.
PS: And it was actually two of you living there together?
PF: Yeah, Freddie and me. And Terry was there too, to drive.
PS: And speaking of Freddie’s New York Times, can you actually remember what was his the most favourite part of the city?
PF: Most evenings he would end up down on Christopher street, which is down near Greenwich Village. Because there were bars around there, clubs around there, restaurants around there, everything was there in that area, in the West Village.
PS: Our next topic is about Freddie Mercury and George Michael; we can see them together at “Barcelona” album launch party and Queen 20th anniversary party – do you remember the interaction between them?
PF: They actually met up at Live Aid, after it finished. We had to stay in the bar, because there were absolutely no way any cars were going to get out of the stadium area, because of the traffic and everything. And that was the very first time that they actually met. Freddie admired him, he thought George had a great talent both in writing and in singing, but there was no special friendship, because Freddie didn’t create big friendships with other musicians. He preferred, so to say, normal people. And also he enjoyed actors and actresses, their company, more than other musicians, because the way he felt, most musicians just wanted to talk about music and he had many more interests. So, yes, if Freddie and George were in the same place, then yes, they would meet up and they would chat about what was going on in their lives, but most of it was always about work. Their conversations would always be like “what was the tour like” and they would laugh, because they would make jokes about what they had been doing. Freddie could make a joke out of any situation. He didn’t tell anecdotes as such, but he could see something and he could make a joke out of it.
PS: As you mentioned Freddie having friends among actors and actresses, could you remember some of them?
PF: Anita Dobson, Debby Bishop, Carol Wood, Pam Ferris, Susannah York. One he would like to have met and she lived literally just across the road, but it never came, was Diana Rigg. And he was incredibly happy when I gave him an autograph from Honor Blackman. I met her and I said “Could I have an autograph, please”, she says “yes, of course, who’s it for?” and I said “it’s just for my friend, Freddie”. And he was overjoyed with it and he kept it in his bedside drawer.
PS: And who was his favourite actors?
PF: Franco Nero, James Mason, Laurence Olivier. And he got to meet him, so that was another of Freddie’s absolute joys. Dave Clark took Freddie to dinner at Laurence Olivier’s house. It was when they were working on “The Time” musical.
PS: And it was actually very last Freddie’s live performance, can you remember something special about it?
PF: Yes, April 1988. I just thought how amazing it sounded. We all heard “In my defence” before, but when he did “it’s in every one of us” as a duet with Cliff that was absolutely amazing. We had goose bumps. And then after the performance we went to Cliff Richard’s dressing room, sitting and talking there.
PS: And you said that Freddie didn’t have many friends amongst musicians, but could you remember something special about Freddie and Elton John’s friendship?
PF: They first met back in 74/75, when Queen were managed by John Reid and in those days both of them were constantly touring so they could rarely meet up. But every now and then Queen would have just done the show and Elton would be performing the next day, so he was already in the hotel and we would meet up and go round, sitting in Elton’s room talking. And then for about a couple of years after Freddie’s diagnosis they didn’t see each other, but then Freddie told Elton about his status and for the last year and a half Elton would regularly come to Garden Lodge. And in Freddie’s last two weeks Elton would ring us, say what time he would arrive, so that he wouldn’t be seen arriving, he wouldn’t come through the front door, and we would let him in through the Mews in his mini, so nobody knew he was there. He had to go to Paris to record, so he gave me all of the numbers: hotel number, the studio number, his mobile number, his assistance’s mobile number, all the numbers, just to let him know when it happen, because he knew it was going to happen. And at the very last time he came to Garden Lodge, he drove in one of his Bentleys and parked it right outside the front door and the press were running over to him asking “why are you here?” and Elton just turned around and said “I’ve come to see my friend”. And that was it, he just came in and they sat and talked. And when Elton came, it was really just Freddie and him in the room, just talking.
PS: And what was the story about Freddie getting his leg damaged in Munich?
PF: Freddie, when he had a few drinks, he would pick people up, just lift them off the floor, to show how strong he was. So Freddie had picked someone up and then someone next to him bumped into his knee and the ligaments tore, because instead of the way it was supposed to bend the knee bend the other way. Freddie then dropped the person he was carrying, he was screaming in pain and we had to go and get it set. When Queen filmed “It’s A Hard Life” in the end of the video, you can see him favouring the leg.
PS: And as you mention “It’s A Hard Life” video, Freddie’s friend Barbara Valentin stars in this video and she was a star in films of Rainer Werner Fassbinder – did Freddie ever discuss his films with her?
PF: Yeah, because she had videos of them. Freddie did meet Fassbinder once. They were in the “Deutsche Eiche”, which was Fassbinder’s favourite restaurant, he was always in it in Munich. And Barbara would take Freddie there every now and then. So Barbara introduced them to each other, they talked a bit, but they were there for lunch, it wasn’t a planned meeting or anything like this.
PS: And what film directors Freddie admired?
PF: Vincente Minnelli, George Cukor, the directors of the 40’s-50’s.
PS: What are your memories of Joe Fanelli?
PF: He was American. The first time I met him his relationship with Freddie was just finishing, this was in 1979. But he stayed in London and worked a lot in London. He was working in different restaurants. He was an amazing chef. And they kept in touch over the years and that’s why when Garden Lodge was finished and someone had to be there, that’s when Freddie thought to bring Joe back. And it worked, because Joe used to go to the gym all the time and he was taking care of himself, which he didn’t do so much when he was with Freddie. He was great. He was amazing on the computer. Computers were just starting, but Joe could write programs and things. Freddie’s favourite programme on television was “Countdown”, which is where they pick out seven letters and you have to make the longest word you possibly can out of those seven letters and then there’s also the numbers thing as well – and Joe created that on the computer for Freddie so that he didn’t wait for it just on the TV. He was fun, and he was good; it was good working with him and most of the time we just got on so well. Garden Lodge would not have been the same without him.
PS: And you mentioned Joe programming “Countdown” for Freddie so Freddie could actually play this game on computer?
PF: Well, no, he couldn’t, but he could sit there and Joe would do the computer. The computer was bought by Freddie for Garden Lodge and it was set upstairs on the musician’s gallery in the big sitting room.
PS: How would you describe the relationship between Freddie and other Queen members?
PF: They were all close to each other, but in a different ways.
Freddie was close with John. John was the new boy, he was the last one to join, he was the youngest, and Freddie just felt protective. He wanted to protect him a little bit for the dangers of rock’n’roll. But then John got married, had Veronica, so he had the security of home, and John was not around Freddie as much, but it didn’t stop the friendship because of what happened at the end. John just decided to finish because Freddie wasn’t there anymore.
With Roger it was a different friendship. And a very good friendship, because both of them had similar personality trait, they both enjoyed a good drink; they both enjoyed a good party.
And with Brian, of course, they were friends, but Brian was much more serious and Freddie was much more of a laughing person than Brian. Brian thought about things so much. But Freddie knew that he would never find anyone better than Brian to help him with the music.
PS: We know that Brian and Roger visited Freddie in his last days, but we never heard of John visiting Freddie.
PF: I don’t think John was prepared to see Freddie looking like he did in the last days, but John came and visited Freddie before those last two weeks. I know that he did come to the house, but I don’t think he could accept seeing Freddie the way he was in those last weeks.
PS: Freddie started to get a lot worse in those last two weeks?
PF: For the last two weeks Freddie hardly ate, he hardly drank. He was taking no drugs that were keeping him alive anymore, he was taking painkillers, and that was it.
PS: What was the reason of Freddie’s last visit to Montreux?
PF: He just wanted to get away from London. He wanted to have a little bit of peace and quiet away from all the press. He had that apartment in Montreux, so he went there.
For the last two-three years of his life he would be there every other month for a couple of weeks. There was no feeling of “this is the last time I’m going to Montreux”, that wasn’t part of his mentality, he only decided that this was the last visit when I called him, because I wasn’t with him, Jim, Joe and Terry were with him at that time, I was in Garden Lodge and I rang him and I said: “Look, just so that you are aware when you come home, that there are press outside the house 24 hours a day. In the nighttime it’s down to about four or five and in the daytime it’s up to about twenty”.
And that’s when he decided that when he went into Garden Lodge, coming back from Switzerland, it would be the last time, because he knew that he would never be able to get out again.
PS: And how long was he there for the last time?
PF: For about two weeks.
PS: And how do you remember him when he came back?
PF: He was sort of happy, but he was a bit withdrawn, because he had made the decision that when he came into Garden Lodge, it would be the last time, that he would never leave it again. He already had decided that, so, of course, he was a little bit more thoughtful, more inward thinking rather than being laughing and all that. But still, even in those two last two weeks there were still times when he would laugh, because he never wanted sad people around him.
PS: What are your last memories of Freddie?
PF: Since he got back from Switzerland on the 10th, he basically stopped eating and drinking. He would have a little bit, but that’s it. So, of course, he was tired, he had no energy. Most of the time he had short sleeps, short sleep –wake up, short sleep – wake up.
In those last two weeks, except for his needs, the only other time Freddie left his room, was when Terry carried him downstairs, on the Wednesday, 20th of November, because he just wanted to look around the main room, he just wanted to have a last look at paintings, at the crystal. He just wanted to spend some more time in that huge room where he felt most comfortable.
The last week of Freddie’s life he was actually never alone, because between Joe, Jim and myself, we would spend twelve hours with him and there was always one of us with him. We did the shifts from eight in the evening till eight in the morning. The last time that I was with him was on the Friday night. And on that Friday night I got there just before eight o’clock. And, you have to remember, that at eight o’clock the statement was released to the world that Freddie had AIDS. The thing is, those hours I was with him, he was the most relaxed I had seen him in years, because there was no secret anymore, the whole world knew. And he would just talk about anything, he would be in bed, I would be sitting on the bed next to him and I would be just holding his hand. The television was on, just for some noise, he would talk and he would go to sleep and talk and go to sleep. And we talked about silly little things, nothing really serious, and nothing like “we knew everything was coming to an end”, there was none of that. He could still talk fine, his mind was together, he just was very-very tired.
But, I think, because the statement had been done, I think Freddie felt that it was time for him to go. Because it was coming up for eight o’clock and I think it was Joe coming in at that point, Joe was coming at eight, and I said to Freddie something like “Look, okay, I’m going now, Joe is going to be here, but, of course, I’ll see you, I’ll see you soon”, he said something like “uhum, yeah, yeah”.
And then he just took my hand, looked me straight in the eye and just said “Thank you”.
And I will never know, whether he already decided that we would never meet again and was thanking me for the last twelve years, or if he was just thanking me for the last twelve hours.
But I have a feeling that he already knew that we would not see each other again.
PS: Do you remember when you for the very first time understood that you are not just working with Freddie, but you are becoming friends?
PF: That really started from the very-very beginning, because we didn’t have to always talk to each other to know what he wanted. I understood him. Because of our similar upbringing in boarding school in India I knew why he reacted in some ways, why he did things, I knew it, it was just instinctive and it made everything very-very easy for him and for me. Maybe it became more intense when Freddie started the time out of Britain, because we were going to be together 24 hours a day, so you have to be friends. And for me, it was the easiest thing on earth to be friends with Freddie. I never thought about Freddie, The Superstar. I was thinking about Freddie, my friend.
SPECIAL THANKS TO VALUREX FOR CONTRIBUTION AND ASSISTENCE
#MR interview with Phoebe#queen#queen band#freddie mercury#roger taylor#brian may#john deacon#peter freestone#joe fanelli
73 notes
·
View notes
Text
Rafe/Rosamund Q&A
Q: Will there be a second trailer?
Rafe: Yes! and longer! What’s the thing you’d like to see most in it?
--
Q: For both Rosamund and Rafe - How do the final visuals effects align with what you had in mind when reading the script/filming on location?
Rafe: Making a TV show at its best is about collaboration about seeing how your initial version for something is lifted and changed and made better by the people around you. So my favourite visuals in the show are the ones that are far better than I’d ever imagined writing the scripts.
Rosamund: It’s so important to have a living vivid world inside your imagination when you are shooting sequences that will be completed with CGI, and the production have always made sure that we had plenty of visual references for how things would look as we went along. We have never worked on a set on which at least part of the world is not built. We have always had elements of the texture and atmosphere of the finished world to work with.
--
Q: Can we get some information on the composer or the score for the show? SO excited for this! Thank you both so much for bringing this to life!
Rafe: If Amazon lets this answer go through, this is me proudly announcing that we have the most incredible composer working on the show by the name of Lorne Balfe. You’ve gotten a tiny hint of his music with the reveal of the Logo, and what he’s doing is really special.
--
Q: For Rosamund: how different is acting in a high-fantasy TV show from your previous work?
Rosamund: The biggest most important challenge with fantasy is making the stakes your own, making the concepts and ideas that are so outside our own experience feel real and immediate.
--
Q: How much of the myrddraal is practical effects?
Rafe: The Myddraal, like almost all elements in the show, is as much practical as we could manage, enhanced by VFX. I always think that gives a more disturbing and real-feeling quality than full VFX creatures.
--
Q: My question is – What do you think Moraine’s favourite food is? (2) Does she prefer coffee or tea?
Rosamund: I don’t think Moiraine cares too much about food. (Rafe thinks she likes buffalo wings). She eats to live. But don’t worry, you will only ever see her drink tea.
Rafe: Buffalo wings.
--
Q: For Rosamund: How did you feel seeing Moiraine’s powers visually for the 1st time?
Rosamund: I felt like a badass. I said to Rafe when I first saw it, “I need this video of me shooting fireballs to show to my sons again, and again.”
--
Q: What is the show going to be rated? Will people be able to watch it with their teenagers?
Rafe: People should certainly be able to watch with their teenagers.
--
Q: How have you kept this trailer under wraps so long? Omg – it is perfect.
Rosamund: Thank you. The only thing we wanted was that it made people feel.
--
Q: How were you able to come up with how the weaving of the One power looks?
Rafe: All of the VFX teams looking at the One Power were going off documents of descriptions of it pulled straight from the books, and using that as jumping off points.
Rosamund: I needed to feel that you would believe Moiraine had this power if there were no visual effects- the most important thing for me, was that I felt connected to something greater than myself. Robert Jordan is so eloquent about what it feels like to channel, the feeling of the one power filling your veins, the risk of it, the risk of drawing too much and the necessity of respecting it and being trained to use it.
--
Q: For Rosamund: What’s your favourite Moiraine speech?
Rosamund: Moiraine can be very silent so when she speaks, we listen. In the books it’s the “Weep for Manetheren speech”. The idea that in the people of the Two Rivers, the “old blood runs deep”.
--
Q: Can you bring the release date back a bit to like tomorrow or something?
Rosamund: Ask Rafe.
Rafe: Ask Amazon.
--
Q: How excited are you to see your audience responses after such a long wait?
Rafe: This is a complicated thing, because as a fan of many epic book series, seeing them brought to life is simultaneously thrilling and a little bit sad, as it changes forever a world that you saw in your own head while reading.
Rosamund: I love how warm and welcoming the Wheel of Time fan base have been. I hope we offer escape, excitement, mystery and something to keep people inspired through the end of the year.
--
Q: Which location was your favourite to film at? Specifically, in the show and in real life!
Rosamund: The world inside the walls of Shadar Logoth is particularly affecting and eerier. our production designer created a powerful, sinister set for the abandoned city. But for me as an actor: the city of Tar Valon was so rich: it was built from the ground up with the most intricate detail. It is stunning.
--
Q: Is the scene with Egwene in the water about her One-Power / Wisdom testing?
Rafe: I can answer that question at the end of the Season.
--
Q: What’s your favourite aspect of the WoT series?
Rosamund: My Warder. (awww!)
--
Q: How much will Season 1 cover? Book 1 or spread accross several? Looks amazing!!!
Rafe: Season One will cover Book One, plus some of Book Two and even Book Three. But also not all of Book One, as some of it is in Season Two. Cryptic enough?
--
Q: How may nightmares did that flaming Fade give you?
Rafe: Not many, as I will always remember him as Dan, who was spinning in circles on his horse on a Slovenian mountain doubling the Westwood.
Rosamund: His very feminine lips, concealing rows and rows or teeth give me nightmares… And don’t get me started on the skeleton mask his horse wears.
--
Q: What excited you the most about this series?
Rosamund: The amazing cast and the bond we all have!
--
Q: For Rosamund: Is this your first time acting with CGI effects? Is it harder than expected?
Rosamund: It was great. I did a full body scan on day one and then I never had to show up!
--
Q: For Rosamund: What was it about this story that spoke to you and made you want to play such an amazing female?
Rosamund: The way women of the Aes Sedai harness the elements of the universe to unleash incredible power: that interested me a lot. Playing an amazing female is always better than playing a mediocre female.
--
Q: Which parts of the trailer are you most excited for the fans to see the full version of in the show and why?
Rafe: I’m really thrilled for fans to see more of Winternight.
Rosamund: Shadar Logoth, the city where you really feel how the dark is a material substance that chases and consumes. The visual effects and the extremity of this sequence haunts me.
--
Q: How do you expect us to work today?
Rafe: Don’t! If I’m your boss, you have the day off.
Rosamund: I expect you to focus, and do your best as always. Sincerely, headmistress.
65 notes
·
View notes
Text
Snow White Winter: "Snow White and the Magic Mirror" (1994 UAV Entertainment animation)
While less prolific than Golden Films or Jetlag Productions, UAV Entertainment was also a prominent producer of direct-to-video animated "mockbusters" in the '90s. Their output includes the Secret of... series (The Secret of the Hunchback, ...of Anastasia and ...of Mulan), as well as Young Pocahontas, The Amazing Feats of Young Hercules, and Moses: Egypt's Greatest Prince. But before all of those came Snow White and the Magic Mirror, which was clearly produced to cash in on the first VHS release of Disney's Snow White and the Seven Dwarfs in 1994.
One thing I'll give this version credit for, though, is that it tries to be something different than a mere copy of Disney's Snow White. Instead it's a shameless comedy version of the tale; in tone, the Disney feature to which it owes the most is Aladdin. The wisecracking magic mirror, who speaks through a debonair-looking man's face with slicked black hair (voice of Doug Stone), is clearly inspired by Aladdin's Genie, constantly tossing around jokey modern references and doing spoofy impressions of different celebrities.
Nor is he the only source of this type of humor. As Snow White (Edie Mirman) searches for shelter in the forest, she first stops at the Hitchcockian "Ye Bates Inn," where an Anthony Perkins lookalike offers her a room with a private shower, and then wanders down a yellow brick road and tries to enter Dorothy's crashed house, only for the Munchkins to stop her. As for the seven dwarfs – whose names are Dickie, Danny, Dewey, Dougie, Dobie, Donny and Fred – one of them talks like Jimmy Durante, another like Rodney Dangerfield, and when they come home to find that someone has eaten their food and broken a chair, they exclaim "Not Goldilocks again!" Meanwhile, the wicked Queen (Susan Silo) owns a fast food chain called Burger Queen (where the customers can only order their burgers "our way" or face execution), disguises herself as an "Avon lady" type of saleswoman to give Snow White the poisoned comb, and later cackles "I'll get you, my pretty, and those little dwarfs too!" in her best Witch of the West voice.
The plot features some jokey twists unrelated to pop culture too. It's made emphatically clear that this version of the Queen isn't supposed to be beautiful. Despite the constant arduous beauty treatments she has her ladies-in-waiting put her through, nearly everyone else in the kingdom is better looking than she is, and the magic mirror tells her so. So she orders Lenny, the castle butcher, to kill them all. Secretly, of course, he lets them all go, and when she then orders him to kill Snow White, using her magic mirror to spy on them and make sure the deed is done, he and Snow White act out a fake murder scene together to trick her. (Note that it's only me using the words "kill" and "murder," though – as in other Snow Whites aimed at young children, this version avoids saying "kill," using terms like "get rid of" and "eliminate" instead.) After Snow White finds her new home with the dwarfs, as in most versions she takes over the cooking and housework, but because she's been raised as a princess with servants, she's terrible at it. Her cooking is especially bad, with the dwarfs making every possible excuse not to eat it, and when the Prince first sees her through the cottage window and is smitten by her beauty (this happens just before the poisoned comb incident), what captures his attention isn't her singing, but the horrible smell of her inedible homemade bread.
The ending is more-or-less straightforward and traditional, though. When the Prince comes across the "dead" Snow White, he asks to take her home to his castle, but when he lifts her out of the glass coffin, the piece of poisoned apple falls from her mouth. They then ride off to his kingdom, on the way picking up the magic mirror, which was earlier thrown into to a river by the Queen. As for the Queen, she isn't killed or actively punished in any way, but her deeds carry their own punishment, as eliminating every better looking person from the kingdom leaves her all alone. It's implied that she goes insane with loneliness, as her last line is the famous Sunset Blvd. quote "Alright, Mr. DeMille, I'm ready for my closeup!"
So, is this a good Snow White? Well, it's certainly no masterpiece. The constant barrage of pop culture references and brash comedy can be grating, and compared to more serious versions of the tale, this one has very little heart. But I'll confess that I like it better than I do some other cheaply animated Snow Whites. Its unabashedly comic tone sets it apart from mockbusters that just blandly tell the story; it doesn't feel like a cheap substitute for Disney's version, but can be enjoyed as a "fractured fairy tale" parody. The colorful animation also has charm, though its quality isn't high, and the same can be said for the three songs: "I Feel Like Being Beautiful" (sung by the Queen during her beauty treatments), "Somebody Has to Do the Housework" (effectively a spoof of "Whistle While You Work," as Snow White cheerfully sings about her chores while dropping dishes and burning laundry), and "We Will Rule Our Kingdom" (a love duet for Snow White and the Prince after she awakens).
All in all, this Snow White is far from anything definitive, but if you want a cheeky comedy version of the story, then it's worth seeing.
@superkingofpriderock, @ariel-seagull-wings
#snow white#snow white winter#fairy tale#snow white and the magic mirror#uav entertainment#1994#animation#animated film#mockbuster
12 notes
·
View notes
Text
[This interview contains spoilers for Loki‘s season finale.]
When Kate Herron joined Loki as director, she knew she had an ace or two up her sleeve that would forever alter the Marvel Cinematic Universe as we know it. And in “For All Time. Always.” — the now season finale — Loki showed all its cards by revealing Jonathan Majors’ He Who Remains, a variant of Marvel supervillain Kang the Conqueror, who set the events in motion that would open up the multiverse. Since the character of Kang is a key player throughout phase four of the MCU, Marvel Studios boss Kevin Feige and his team, along with Herron, knew exactly what was at stake with this particular casting.
“Casting was a very surreal experience. When I joined the project, we always knew that Loki and Sylvie were going to go to He Who Remains, and the multiverse would be released,” Herron tells The Hollywood Reporter. “So I already knew when I got the job that it was going to be a massive undertaking to do that and a big responsibility for Marvel to get it right. And Jonathan Majors is an actor that we were all just blown away by; I think everyone who knows his work is blown away by him. And when I knew we had Jonathan, he and I were solely focused on He Who Remains and this version of the character, this variant.”
At last December’s Disney Investor Day, Feige confirmed earlier reports that Majors would play Kang the Conqueror in Ant-Man and the Wasp: Quantumania. But since Majors ultimately appeared first in Loki, Herron further clarified the timing of his casting.
“[The Quantumania casting] happened at the same time,” Herron shares. “So basically, [Ant-Man director] Peyton [Reed] and I were in that discussion with Kevin Feige and the team at Marvel. We knew he was gonna be in [Quantumania], and we knew that a version of him was going to be in [Loki].”
As Loki (Tom Hiddleston) and Sylvie’s (Sophia Di Martino) doomed love story culminated in a passionate kiss, the latter repositioned Loki so she could grab He Who Remains’ futuristic TemPad and send the God of Mischief back to the TVA. Despite Sylvie’s guile, Herron still considers her side of the kiss to be authentic.
“Sylvie is sort of where our Loki was in Thor. She’s driven by revenge, pain and anger, and that’s what he’s saying to her,” Herron explains. “He’s like, ‘I’ve been where you are, and I just want you to be OK. You’re not going to get what you want.’ But on her journey of self-healing, she’s not where he is. So she’s not going to see it that way. So there was a sense that she was turning to get the TemPad, but I don’t think it meant the kiss wasn’t genuine. In my head, it was always a horrible goodbye, really, but the feelings were real.”
In a recent conversation with THR, Herron also discusses her own shocking goodbye to Loki following the surprise season-two announcement. She then offers her take on the final scene and the subsequent questions she hopes are answered in season two.
Brava, Kate. Loki season one was top-tier MCU as far as I’m concerned.
Thank you so much. I love Marvel, and I was just so excited to have a chance to direct for them. It’s been so nice to see everyone enjoying it.
In a complete tonal shift, Friday morning’s news about you not returning for season two makes this victory lap rather bittersweet. After one of Marvel Studios’ best pieces of storytelling, you’d think that getting the band back together would be automatic. So what else can you say about this?
I would say that when I joined Loki, it was always going to be those six episodes. We were treating it like a movie, and we were running it like a movie. We weren’t doing it in the showrunner system. So it was a lot to direct these six episodes, and I gave it all of my energy and everything I had in my soul and in my heart. I threw everything I loved about Marvel at it. So I always intended just to do these six. And it was such a massive compliment and a delight that as we got much later into production, Marvel and Disney were like, “Ah, man. This is excellent, and we want to keep going.” So I just feel like my part is done, but I’m really excited to see where it’s going to go next. So I gave it all that I have, and it came from a place of love. I really enjoyed working on it, and I hope to work with Marvel again in the future. They changed my life, and I just love Marvel as I’m sure people can tell from the amount of Easter eggs and references I did throughout it. But I just feel like I’ve done my part with Loki, at least for now, and I’m excited to see where it goes next as a fan.
Jonathan Majors’ He Who Remains. How did this go down from casting to filming?
Ah, so casting was a very surreal experience. When I joined the project, we always knew that Loki and Sylvie were going to go to He Who Remains, and the multiverse would be released. So I already knew when I got the job that it was going to be a massive undertaking to do that and a big responsibility for Marvel to get it right. So when we were casting, it was basically me, Kevin R. Wright, my co-executive producer, Kevin [Feige], Lou [D’Esposito], Victoria [Alonso] and Peyton [Reed]. So we were all just talking about actors, and the amazing thing about Kevin Feige is that he’s so collaborative. He wants everyone at the table to have a voice, and he wants to see what they think and how that fits into his plans for the character. And Jonathan Majors is an actor that we were all just blown away by; I think everyone who knows his work is blown away by him. He’s an amazing actor, and the thing that I love about him is that he’s this chameleon. He’s so different in everything he does, and that’s exciting, obviously, when you’re asking an actor to play a character who’s going to have a lot of different versions of himself. So for us, that was a thrill. And when I knew we had Jonathan, he and I were solely focused on He Who Remains and this version of the character, this variant. It was just fun digging into him. We have this character who’s so lonely and isolated, and the only character he probably interacted with is Miss Minutes, which is what we imply. At the beginning, you see that he’s surrounded by all this noise in the universe, but he’s quiet and he’s alone. So how introverted or extraverted is a character like that? What makes that personality? So it was really fun digging into it with him.
So even though Jonathan’s Ant-Man and the Wasp: Quantumania casting was announced first, your team technically cast him first, right?
[The Quantumania casting] happened at the same time. So basically, Peyton [Reed] and I were in that discussion with Kevin Feige and the team at Marvel. We knew he was gonna be in [Quantumania], and we knew that a version of him was going to be in [Loki].
So once a big movie or show is finally released, fans like to comb through trailers for any unused footage. So was that “King Loki” moment supposed to be a quick insert for when Loki is tempted with a throne by Miss Minutes (Tara Strong) and He Who Remains?
So that moment wasn’t actually King Loki. It was just meant to be a memory from our Loki’s past. It was basically going to be in episode one because we had a lot of memories in that episode. But it was honestly a tonal thing. The scene was actually quite a funny scene, and it was really beautifully written. But he was about to see his mother die, and it didn’t feel right to have something so comical next to a gut-wrenching moment like that. So it’s just the nature of making any film, really. Unfortunately, you sometimes have to kill your darlings. (Laughs.)
Did He Who Remains put a Time Twister on the edge of his desk, or a TemPad? Sylvie (Sophia Di Martino) called it a TemPad even though it looked like a Time Twister.
(Laughs.) I love weaponry and technology so I’m just like, “The fun thing with this is…” So basically, it’s meant to be a futuristic version of the TVA tech. So that was the fun idea of it. When He Who Remains tells his story about his other variants meeting, you see bits of the TVA technology. So our idea was that it does both things. With the TVA technology, you see that the Time Twister hooks into the TemPad, but it’s these two separate, clunky things. But whereas with He Who Remains, he has more advanced technology than the TVA So it has both functions, basically, which we see him use. The difference is that he’s in control of the twist; it’s twisting him. Whereas when we see the TVA use the Time Twister, it’s with a Time Collar as they’re controlling a prisoner.
As Loki and Sylvie kissed, she repositioned him so she could grab the futuristic TemPad and eject him back to the TVA. So do you consider the kiss to be genuine on Sylvie’s part despite her calculation during it?
Honestly, the way I always read that kiss is that her feelings were genuine and that it was a goodbye. Sylvie is sort of where our Loki was in Thor. She’s driven by revenge, pain and anger, and that’s what he’s saying to her. He’s like, “I’ve been where you are, and I just want you to be OK. You’re not going to get what you want.” But she’s not there yet. On her journey of self-healing, she’s not where he is. So she’s not going to see it that way. So there was a sense that she was turning to get the TemPad, but I don’t think it meant the kiss wasn’t genuine. In my head, it was always a horrible goodbye, really, but the feelings were real.
Since the TVA resides outside of time, what can you say about the mechanics of the final scene?
So the way I see it in my head is that the TVA exists outside of space and time, but reality and everything as we understood it has completely changed in the last few minutes. With the multiverse branching, how do we know the TVA still exists in that way? We don’t know, and I suppose that’s a big question that will be answered as the show goes on. But in my head, the intention is that Sylvie thinks she’s sending him back to the TVA, but because of the way time and branches are crossing each other outside the window, Loki has unfortunately been sent back somewhere very different. So reality has shifted just by the nature of what He Who Remains said, and the idea is that he’s in this alternate TVA now.
We have to wrap, but is Eugene Cordero’s Casey OK? He went missing after episode two.
(Laughs.) Yes, Casey is fine! I love Casey, and I hope there will be more Casey to be enjoyed.
Well, congratulations once again, Kate. And if you do return to the MCU someday, please make a Miss Minutes slasher movie since she’s utterly terrifying.
(Laughs.) I would love to! That would actually be my dream.
51 notes
·
View notes
Text
Taylor Swift and Joe Jonas Masterpost (Toe/Jaylor)
Before dating (May 2008)
We start with the Taylor lookalike
In May 2008 the Jonas Brothers are filming their music video for Burnin’ Up [x]. Joe’s love interest in it is played by a blonde girl who looks quite a bit (and she’s also styled) like Taylor Swift, for reference, this is the music video that has Selena Gomez as Nick Jonas’ love interest.
As far as we know they hadn’t even met so we don’t know exactly what this was supposed to mean, maybe Joe had a crush on Taylor or maybe it’s a coincidence.
We do know that Nick and Selena were dating when this was filmed and that by the time the MV was released (July 4th, 2008) Joe and Taylor were officially dating.
Toe is alive! (July 2008 – September 2008)
On Tour
Fans claim to have seen Taylor around the tour in early July, which matches with Taylor’s lyrics in "Last Kiss".
Last Kiss. Taylor Swift.
I do recall now the smell of the rain
Fresh on the pavement, I ran off the plane
That July 9th, the beat of your heart
It jumps through your shirt
On July 14th, Taylor and The Jonas Brothers perform “Should’ve Said No”[x] from her debut album, and this performance now forever exists in their 3D movie (a classic), a cute fact is that some fans have said that Taylor tripped when she first came out, so they had to repeat it for the movie.
On July 20th Joe flies to Wyoming to watch Taylor opening up for Rascal Flatts, and they flew back and she was spotted at the Omaha show.
She’s seen in a couple shows more and she joins the stage again for their Madison Square Garden shows in August [x]. They sing “Even now just looking at you feels wrong”.
They’re together but they’re not together.
For more context, we must remember that Taylor was a very new artist from a small label and The Jonas were pretty much at their peak and Disney’s biggest act, and they were managed like crazy and could never even think about being seen with someone in a romantic way. Any rumors were denied so fast, and Disney did the absolute most to keep it secret. So according to everyone they were just good friends, at the time both Taylor and Selena were annoyed by all the secrecy.
Now back to the timeline:
Taylor is backstage of the tour A LOT for the next couple of weeks right next to the other not-girlfriends Selena and Danielle.
She films a cameo for the “Love Is on Its Way” [x] video for the concert in New York. She was said to be only interested in hanging out with Joe and they were seen hugging *gasp* I know it doesn’t seem like much now but back then this was the hottest gossip and again the Jonas were not supposed to breathe near any human of the opposite gender.
Taylor and the Jonas were staying at the same hotel a bunch of rumors ensued, but I will not talk about the whole Olympics and Toe locking themselves in a room at midnight thing. If it’s real, we really needed to touch some grass and stop staying outside of people's rooms all night.
On August 17th Joe goes to Ryan Seacrest's show and denied that Taylor is his girlfriend in the best way a corporation like Disney can train you to deny something that’s true. Saying Taylor is “a great girl and I think anybody would be lucky to date her. I think anybody would love to go on a date with her.”
And Taylor tells People Magazine “He’s an amazing guy and anybody would be lucky to be dating him” Cinematic parallels.
Taylor is spotted in the back (in a mirror) of one of the Jonas youtube videos [x]. Basically, we all knew they were together.
The Central Park date (August 28th)
Now if you were a fan of either the Jonas Brothers, Selena, or Taylor you know this next part and it the iconic triple date of Central Park.
Again, this is kind of famous at this point and Selena has been quoted saying how awful it was because the boys were not allowed to be seen with them so they all went to Central Park (Selena’s first time in Central Park) and Taylor and Selena walked about 20 feet of distance from the guys so nobody would think they were together but we all already knew because it wasn’t like they were that good at hiding it and there are pictures of them together that night (the clownery of it all).
These backstage tour adventures are the reason Taylor and Selena are friends today and in Selena’s own words the best thing to come out of those relationships.
VMAs (September 2008)
With how many pictures of them together that night [x] [x] [x] exist you would think they had gone together as a couple but no just two besties! The 2008 VMAs are so the show where Russell Brand mocks the Jonas Brothers and their purity rings and Taylor publicly defends them.
Toe seems happy for the rest of September but as we know now the end is near.
The Break-Up (October 2008)
Social Media was different back then and Taylor did what every teen girl with a broken heart did in 2008 and she went to myspace with an edited post to make a statement about the Toe current situation.
Post-Breakup
The 27 seconds Joe Jonas will regret for the rest of his life.
Taylor went on Ellen and I don’t even think I need to say much this interview is THAT iconic she sat on that couch and told the world exactly how Joe had broken her heart in the following two quotes:
“There’s one that’s about that guy, but…that guy’s not in my life anymore unfortunately. That guy…that’s an ouch.”
“I’m not even gonna be able to remember the boy who broke up with me over the phone in 25 seconds when I was 18…it was like 27 seconds, that’s got to be a record.” [x]
She also went on Ryan Seacrest’s and when asked about the perfect guy she saw an opportunity and took it, saying “I used to always say sense of humor, but I think that it’s important to have the same kind of sense of humor. I have a really dry, sarcastic sense of humor and if somebody doesn’t think that my sense of humor is funny, then that’s not something that is good. Um, so sometimes you know, that can be a wrong match. If they’re not allowed to go in public with me, that’s sort of an issue too.” [x]
Bonus the amazing youtube video Taylor posted with Joe’s Camp Rock doll and how he comes with his own phone to break up with other dolls [x]. Taylor eventually went full out and cited Camilla Belle (then girlfriend of Joe) as the reason for the breakup. And you know someone at Disney’s PR office wanted to die when this was going down.
So finally, Joe was forced to acknowledge the whole situation with a Myspace post:
"I never cheated on a girlfriend. It might make someone feel better to assume or imply I have been unfaithful, but it is simply not true. Maybe there were reasons for a breakup. Maybe the heart moved on. Perhaps feelings changed. I am truly saddened that anything would potentially cause you to think less of me. For those who have expressed concern over the "27 second” phone call. I called to discuss feelings with the other person. Those feelings were obviously not well received. I did not end the conversation. Someone else did. Phone calls can only last as long as the person on the other end of the line is willing to talk. “
Forever & Always
Now this song is known as THE Toe song and it was born out of the end of the relationship when she felt Joe was getting distant, but she couldn’t do anything to help it, it was made really late into the production of Fearless so she had to rush to finish it in time (so no other breakup songs are about Joe in the original album).
Forever & Always
Was I out of line?
Did I say something way too honest, made you run and hide
Like a scared little boy
I looked into your eyes
Thought I knew you for a minute, now I’m not so sure
In the 2009 Grammy's Taylor and Miley (insert The Ex-Girlfriends Club Theory here) performed Fifteen (obviously not about Joe) and the Jonas were in the audience. I believe this is probably around the time Taylor writes Mr. Perfectly Fine and You All Over Me, which we know get to have thanks to Fearless (Taylor’s Version) 13 years later.
You All Over Me
The best and worst day of June
Was the one that I met you
With your hands in your pockets
And your 'don't you wish you had me' grin
But I did, so I smiled, and I melted like a child
Now every breath of air I breathe reminds me of then
Mr. Perfectly Fine
'Cause I hear he's got his arm 'round a brand-new girl
I've been pickin' up my heart, he's been pickin' up her
And I never got past what you put me through
But it's wonderful to see that it never phased you
In November of 2009, she also goes to SNL and mocks Joe in her monologue. "You might think I'd bring up Joe
That guy who broke up with me on the phone
But I'm not gonna mention him *rolls eyes* In my monologue [Spoken:]Hey Joe, I'm doing real well, tonight I'm hosting SNL [Sings:]But I'm not gonna brag about that In my monologue [x]"
To make things even more dramatic and very awkward The Jonas Brothers, Demi Lovato, and Taylor Swift spent NYE together watching the ball drop on TV and this was probably not how they wanted to start their years. [x] [x] [x] and a video [x]
Now let’s discussed some of the songs that came out at the time. The Jonas response to Forever & Always was Much Better. Nick described it as a song that was very personal to Joe and Joe went on to say that it was based on his very interesting year. They also at some point wanted to pretend the song was about their love for their fans but come on. Joe also changed the lyrics from ‘superstar’ to ‘country star’ and later changed it to ‘movie stars’ when he broke up with Camilla who is the ‘Much Better’ girl from the song.
Much Better - Jonas Brothers
I get a rep for breakin’ hearts
Now I’m done with superstars
And all the tears on her guitar
I’m not bitter
But now I see
Everything I’d ever need
Is the girl in front of me
She’s much better
Taylor’s iconic response in Better Than Revenge seems to be more of an attack on Camilla. She’s spoken about her regret for this song since then and hasn’t played it in years and Camilla seems to be ok we never forgiving her for it [x] [x]. Regardless this song remains a staple of the genre ‘Feminism OFF, Bops ON’.
“I was 18 when I wrote [“Better Than Revenge.”] That’s the age you are when you think someone can actually take your boyfriend. Then you grow up and realize no one can take someone from you if they don’t want to leave”. - Taylor 2014.
Better Than Revenge - Taylor Swift
Let's hear the applause (Come on, come on)
Come on, show me how much better you are
(So much better, yeah?)
See you deserve some applause
'Cause you're so much better
She also released "Last Kiss" about the nicer part of their relationship, and some believe other songs such as If This Was a Movie, Haunted (Speak Now) and Jump Then Fall (Fearless) are about Joe. From the Jonas, the other song believed to be about Taylor is Paranoid (Lines, Vines and Trying Times).
Jump Then Fall
Well, I like the way your hair falls in your face
You got the keys to me
I love each freckle on your face, oh
I've never been so wrapped up, honey
Probably a song was written about and in the early days of their romance and the long hair freckles [x] thing definitely fits 2008 Joe.
If This Was a Movie
Baby, what about the ending?
Oh, I thought you'd be here by now
Thought you'd be here by now
According to some this song is a sister song to "Last Kiss" in the same album and that is confirmed to be about Joe.
Haunted
Come on, come on, don't leave me like this
I thought I had you figured out
Something's gone terribly wrong
Won't finish what you started
This song would be a sister to Forever & Always since Taylor described both to be about a relationship that was fading in the end and that she was confused as to how they got there in the first place.
"‘Haunted’ is about the moment that you realize the person you’re in love with is drifting and fading fast. And you don’t know what to do, but in that period of time, in that phase of love, where it’s fading out, time moves so slowly. Everything hinges on what that last text message said, and you’re realizing that he’s kind of falling out of love. That’s a really heartbreaking and tragic thing to go through because the whole time you’re trying to tell yourself it’s not happening. I went through this, and I ended up waking up in the middle of the night writing this song about it.” Taylor
Friendlier days are coming (2010- )
I guess time can heal a lot of wounds and Toe is seen hugging and on friendly terms at the Clive Davis party on January 31st of 2010 [x].
The world was so shocked when we realized that Joe went to see her perform in a couple of her shows in September 2011 [x] [x], and in here Holy Ground is born about her new evaluation of their former relationship rather than the bitterness of the breakup. The lyrics' secret message is “when you came to the show in SD” and the potential parallel to "Last Kiss".
Holy Ground - Taylor Swift
We blocked the noise with the sound of ‘I need you’
And for the first time I had something to lose
And I guess we fell apart in the usual way
And the story’s got dust on every page
But sometimes I wonder how you think about it now
And I see your face in every crowd…
… Tonight, I'm gonna dance
For all that we've been through
But I don't wanna dance
If I'm not dancing with you
Last Kiss - Taylor Swift
I do remember the swing of your step
The life of the party, you’re showing off again
And I roll my eyes and then
You pull me in
I’m not much for dancing
But for you I did
They're seen talking in the MTV's EMA's 2012 [x].
From here they seem to be friendly and in May of 2015 after the Billboards. They even go on a double date later that year with Gigi Hadid, Calvin Harris, and Karlie Kloss (this picture feels so cursed). Nick and Joe get invited to Taylor’s 4th of July party and they seem somewhat distant after his split from Gigi.
Present (2020- )
In 2020, we got the amazing surprise of folklore with the song ‘Invisible String’ that makes a reference to Taylor’s past songs about exes being harsh and how she sent Joe and his wife Sophie Turner a present for their baby girl’s birth. In 2021, she has now released the re-recordings of Fearless and we are all reliving the drama and enjoying the chaos of Taylor’s and Sophie’s friendship not letting Joe know peace for those 27 seconds over a decade ago.
Invisible String
Cold was the steel of my axe to grind
For the boys who broke my heart
Now I send their babies presents
#Taylor Swift#fearless#fearless (taylor's version)#forever & always#mr perfectly fine#you all over me#last kiss#toe#jaylor#joe jonas#jonas brothers#folklore#invisible string#paranoid#much better#lines#vines and trying times#better than revenge
63 notes
·
View notes
Link
Ben and Gabe Turner directed the videos for Harry Styles’ singles Golden and Treat People With Kindness, and the Fulwell 73 partners have opened up to Music Week about working on the blockbuster Fine Line campaign.
The video for Treat People With Kindness (TPWK) stars Fleabag creator Phoebe Waller-Bridge and was released on New Year’s Day 2021, more than a year after Fine Line came out. The Turner brothers were also behind the film for Golden, which dropped in October. TPWK has 18,019,468 views on YouTube, while Golden, which was filmed under Covid restrictions on Italy’s Amalfi coast last year when lockdowns eased, has racked up 81,373,613.
Ben and Gabe Turner have been working with former Music Week cover star Styles since One Direction emerged on The X Factor, making videos for Steal My Girl and Drag Me Down. Their Fulwell 73 partner Ben Winston has also worked extensively with the group.
The brothers told Music Week that their longstanding relationship with Styles leads to an easy working environment, and the idea behind the TPWK video – which features Styles and Waller-Bridge doing a choreographed dance routine and was filmed at East London’s Troxy early in 2020 – came about after Styles saw the actor’s Fleabag live show.
“It was always supposed to be the last thing on the album run as an ending beat, and the album did so well that it just carried on,” said Gabe Turner. “We just didn’t know when [it would drop]. New Year’s Day 2021 was the perfect release date for us in the end.”
The duo make documentaries, TV shows, music videos, promos and more and Ben Turner said that “hope, warmth, fun and emotional honesty” define their work, which includes 2019 documentary Hitsville: The Making Of Motown.
“Music videos are fun, they’re the most impressionistic of the things we do,” said Ben Turner. “When else are we going to shoot a black and white dance video? There probably isn’t another avenue for us to do that.”
Here, the brothers look back on shooting Golden and TPWK with Styles and his team, talk Fine Line and trace the history of their work with the singer.
What are your reflections on the Treat People With Kindness video now it’s out?
Gabe Turner: “There’s a tendency when you’re working and going from job to job, not to sit back and enjoy something when it comes out, because you’re in the middle of something else. This was really enjoyable, a piece of work that’s really expansive, joyous and has loads of people dancing and reminds you of a time where life was really fun felt really nice. Harry and all of One Direction have incredible fans and they obviously amplify your work and make it bigger and feel like more of an achievement, which is really nice because you’re like, ‘The whole world is talking about it’ [laughs]. When really, the whole world is talking about Harry, or the boys, but it feels very special to be a part of that.”
What do you like most about the video?
Ben Turner: “It was just an amazing opportunity to work on a song we loved with some people we loved. We’d never worked with Phoebe before, so that was really exciting. It just feels so different now because we’ve been stuck indoors for a year. This thing about treating people with kindness, it just feels more prescient even than it did then. It feels like a really important message. The world has changed since we made it, the video has stayed the same but the world has disappeared.”
Have the videos have been extra important to the campaign with touring postponed?
GT: Harry’s got an incredible team, his manager Jeff Azoff, Tommy Bruce, Molly Hawkins and Rob Stringer and the label, they’re just brilliant. They’ve been really impressive in how they view and plan stuff. The videos kind of replaced him touring, so they had to have an impact. His fanbase wanted something to feel positive about and joyous about. We just feel hugely privileged that we were able to collaborate on two of the songs. We love the album, it’s a real quality piece of work. With Harry, because the camera loves him so much, you really want to raise your game and make something really special because you’ve got such an incredible protagonist. And then with Phoebe involved too, me and Ben thought this might be the best it ever gets for us behind camera – two people completely in their prime. The last time Phoebe was photographed in a public place she was clutching three Emmys. And Harry, he’s getting bigger and bigger and is such a joyous presence to be around. Those two massive stars together, learning a dance routine, doing something they’d not done before, it felt like we were witnessing something really special and it just makes you want to shoot the best video you possibly can.”
How did you end up doing two videos for the record?
GT: “We see Harry outside of work, so we talk about things all the time in a slightly different way. The TPWK conversation came from meeting Phoebe and saying, ‘Wouldn’t it be great if you two danced together?’ Then after we did that, when Golden came up, there was a feeling that we could do something together in a similar vein.”
BT: “Golden came about as organically as TPWK. We all sit around mooching with our mates saying, ‘Wouldn’t it be great if this or that…’ When you’re mooching with your mates and it’s Harry or Phoebe, those ideas can become. And that’s how these videos really came about. Golden feels like a driving song. The initial idea was Harry driving around LA with different people getting in and out of the car, people who were significant to the album or his life. That came off the table with Covid, but it was the idea we fell in love with. The world changed and he couldn’t tour, so they wanted to make more videos. We couldn’t make that original version, but the thing of movement came out of it. When someone you feel close to does something you rate as highly as I rate Fine Line you feel lucky. When you’re listening to that kind of music you get ideas. We’ve been in the position where you’re racking your brains for the right idea, and that can also lead to brilliant work, but this album in particular, I’d listen to it, walk along and think about it, before pitching anything.”
Harry’s vision for the album was so strong, what was that like to work with?
GT: “You just don’t want to drop the ball for him. It’s so important and the album’s so good, plus we’re fans of his as well as contemporaries. When he drafts you in to work on a video, you’re like, ‘OK, I just want to make sure you’re happy with it, if you are then it’s job done’.
BT: “There’s just so much there to work with. There’s so much in there. Why does TPWK work? What’s it really got to do with anything? Except somehow it does. There’s so much in that song and the feel of it that a slightly weird, leftfield idea makes perfect sense. I think that’s to do with how deep his creative thought and well of feeling [are], that allows it to go off. Not just our videos, but the ones everyone else made for the album, they’re widely varied but they work together. That’s got to be down to him, he’s the common thread. His creative team, too. They’re great sounding boards to work with, a guiding hand. It sounds like this massive love-in, but it really has been a very enjoyable, rewarding process.”
What was it like on set?
GT: “Harry doesn’t go off set. He does his bits and then when other stuff is going on he’s sitting next to you watching the monitor. He’s very, very involved in everything and he’ll push himself. At the end of TPWK he wanted to do a couple more takes at the end to make sure they’d nailed it. We said, ‘We think you’ve got it’, but he just said, ‘Let me go again a couple of times, I want to make sure it’s done to the best of my ability’. He works really hard, he’s great to collaborate with and he doesn’t let up. If it’s not good enough, he’ll carry on going.”
BT: “You’ve got a sense that it’s his video and he wants it to be the best. He takes ownership. He knows it’s his video and that how good and engaged he is will affect how good the product is. The length of the relationship we’ve had with him allows a kind of shorthand and a way of working to maximise that.”
GT: “He works to a really high standard but he’s unbelievably kind to literally everyone, all the time. Even if he’s under pressure, he never drops his standards of the right way to behave and being kind to people. It’s so impressive to work with someone like that. He’s never not a good bloke about whatever it is that he faces. You watch the way he is with the runners, producers, sound people, whoever… He’s treating them with so much love and respect that everyone works as hard as they possibly can to make his vision come true because he’s so joyful to be around. It does sound like a love-in, but that’s the most defining factor – he’s so talented and so nice about it.”
What do these videos say about where you are at right now as directors?
GT: “Our thinking is always about how we can be creative. We don’t really think about the space we’re going into as much as what the idea is. If you only do one thing it sometimes stilts your creativity because you get into a pattern, whereas if you’re constantly jumping between mediums it keeps you fresh. We like to be involved in lots of stuff. We try and surround ourselves with people like Harry, who operate in that way. Ben and I just try and push each other into trying to do the best we can. We feel massively lucky we get to work together, we’re brothers, best friends, it’s a dream.”
84 notes
·
View notes
Text
Influential Directors of the Silent Film Era
Upon hearing that I am a fan of silent era film, people will ask if I have a favorite actor or movie from the time period. However, when I am asked about my favorites from other fans of silent film, it tends to involve my favorite director. This is because silent film actors had to over gesticulate and performed in an unrealistic way and could not use their tone or words to convey emotion. The directors also did not have a way to review as they shot and would have to use editing skills and strategic cover shots to make sure that everything was done properly and come out the way they imagined it. It was up to the director to be creative and they were forced to be innovative and create ways to convey their vision. Luckily for many average or poor directors of the time, audiences were easily impressed. However, today's more demanding and sophisticated audiences can look back at some of the genius behind the films of silent era Hollywood.
Alice Guy-Blache: Matrimony's Speed Limit (1913) and The Fairy of the Cabbages (1896)
Art director of the film studio The Solax Company, the largest pre-Hollywood movie studio, and camera operator for the France based Gaumont Studio headed up by Louis Lemiere, this woman was a director before any kind of gender expectations were even established. She was a pioneer of the use of audio recordings in conjunction with images and the first filmmaker to systematically develop narrative filming. Guy-Blanche didn't just record an image but used editing and juxtaposition to reveal a story behind the moving pictures. In 1914, when Hollywood studios hired almost exclusively upper class white men as directors, she famously said that there was nothing involved in the staging of a movie that a woman could not do just as easily as a man.
Charlie Chaplin: The Kid (1921), The Gold Rush (1923), City Lights (1931), Modern Times (1936), and The Great Dictator (1940)
It is unfortunate that many people today think of Chaplin as silly or for screwball comedy when, in fact, he was a great satirist of the time. He created his comedy through the eyes of the lower economic class that suffered indignities over which they had no control. He traversed the world as his "Tramp" character who found his fortune by being amiable and lucky. The idea that a good attitude and a turn of luck could result in happiness was all that many Americans had during the World Wars and the Great Depression. He played the part of the sad clown and he was eventually kicked out of the country for poking fun at American society. Today he is beloved for his work, but he was more infamous than famous during a large part of his life.
Buster Keaton: Sherlock Jr. (1924), The General (1926), and The Cameraman (1928).
That man that performed the most dangerous of stunts with a deadpan expression, Buster Keaton was a great actor, athlete, stuntman, writer, producer, and director. It is amazing that you could get so much emotion out of a silent actor who does not emote, but Keaton managed to do it. He was also never afraid to go big, often putting his own well being at risk to capture a good shot. Not as well known for his cinematography or editing as many of the other directors of the time, he instead captured performances that were amazing no matter how they were filmed. Famous stunts include the side of a house falling down around him, standing on the front of a moving train, sitting on the side rail of a moving train, and grabbing on to a speeding car with one hand to hitch a ride. If you like films by Jackie Chan, know that he models his films after the work of Buster Keaton: high action and high comedy.
Cecil B. Demille: The Cheat (1915), Male and Female (1919), and The Ten Commandments (1923)
Known as the father of the Hollywood motion picture industry, Demille was the first director to make a real box office hit. He is likely best known for making The Ten Commandments in 1923 and then remaking it again in 1956. If not that, he was also known for his scandalous dramas that depicted women in the nude. This was pre-Code silent film so the rules about what could be shown had not been established. Demille made 30 large production successful films in the silent era and was the most famous director of the time which gave him a lot of freedom. His trademarks were Roman orgies, battles with large wild animals, and large bath scenes. His films are not what most modern film watchers think of when they are considering silent films. That famous quote from the movie Sunset Boulevard in 1950 in which the fading silent actress says "All right, Mr. Demille. I'm ready for my close-up," is referring to this director.
D.W. Griffith: Birth of a Nation (1915) and Intolerance (1916)
Griffith started making films in 1908 and put out just about everything that he recorded. He made 482 films between 1908 and 1914, although most of these were shorts. His most famous film today is absolutely Birth of a Nation and it is one of the most outlandishly racist films of the time. The depiction of black Americans as evil and the Klu Klux Klan as heroes who are protecting the nation didn't even really go over well at that time. Some believe that his follow up the next year called Intolerance was an apology, but the film actually addresses religious and class intolerance and avoids the topic of racism. At the time, Griffith films were known for the massive sets and casts of thousands of extras, but today he is known for his racist social commentary.
Sergei Eisenstein: Battleship Potemkin (1925)
This eccentric Russian director was a pioneer of film theory and the use of montage to show the passage of time. His reputation at the time would probably be similar to Tim Burton or maybe David Lynch. He had a very specific strange style that made his films different from any others. The film Battleship Potemkin is considered to be one of the best movies of all time as rated by Sight and Sound, and generally considered as a great experimental film that found fame in Hollywood as well as Russia.
F.W. Murnau: Nosferatu (1922), Faust (1926), and Sunrise: A Song of Two Humans (1927)
I think that most people would know the bald-headed long-nailed vampire Nosferatu that was a silent era phenomena. It was so iconic that the German film studio that produced the movie was sued by the estate of Bram Stoker and had to close. Faust was his last big budget German film and has an iconic shot of the demon Mephisto raining plague down on a town that was the inspiration for the Demon Mountain in Fantasia (1940). Also, Sunrise is considered one of the best movies of all time by the AFI and by Sight and Sound as well as my favorite silent film. Fun facts: 1) more of Murnau's films have been lost then are still watchable and 2) he died in a car wreck at only 40 when he hired a car to drive up the California coast and the driver was only 14.
Erich von Stroheim: Greed (1924)
Maker of very strange German Expressionist films, Stroheim films are often listed as Horror or Mystery even though he considered himself a dramatic film maker. His most famous movie Greed was supposed to be amazing with an 8 hour run time but it was cut drastically to the point that it makes no sense and was both critically and publicly panned when an extremely abridged version was released in the U.S. Over half the film was lost and a complete version no longer exists. Besides this film, Stroheim was even better known for being the butler in the film Sunset Boulevard as a former director who retired to be with an aging silent film star. He also made a movie called Between Two Women (1937) that told the story of a female burn victim that was inspired by the story of his wife being burned in an explosion in a shop on the actual Sunset Boulevard.
Victor Fleming: The Wizard of Oz (1939) and Gone With the Wind (1939)
Although not known for his silent films, Fleming did get his start during the silent era. He was a cinematographer for D.W. Griffith and then Fleming directed his first film in 1919. Most of his silent films were swashbuckling action movies with Douglas Fairbanks or formulaic westerns. He is the only director to have two films on the AFI top 10 and they happened to have come out the same year.
Hal Roach: Lonesome Luke films starring Harold Lloyd, Our Gang shorts, Laurel and Hardy shorts, and Of Mice and Men (1939)
It is not really fair to put Hal Roach in the silent era directors because he was influential at the time but he had a 75 year career. He was a producer and film studio head and even had a studio named after himself. His biggest contribution to the silent era was his production of Harold Lloyd short comedies and he continued to produce films in the early talkies including Laurel and Hardy shorts, Our Gang shorts, and Wil Rogers films. Roach was the inspiration for the film Sullivan's Travels, in which a famous director who only did frivolous comedies goes out into the world to find inspiration to find a serious drama. Roach did direct a single serious drama, Of Mice and Men, but it came out in 1939 and was buried underneath the works of Victor Fleming. The wealthy cigar smoking studio head that many people think of when they picture a film studio suit is based on this guy. The man would not quit and stayed in the business into his 90s and lived to the ripe old age of 100.
21 notes
·
View notes
Text
BTS at Golden Disc Awards 2021
by Admin 1
On the 9th and 10th of January 2021 BTS attended the Golden Disc Awards, and performed on the second day as well. Being there they won the Digital Bonsang for Dynamite on the 9th and the Bonsang, as well as the Album Daesang for Map of the Soul : 7, on the 10th. Amazing achievements which I sincerely congratulate them on.
When it comes to the performance, it was, most certainly, another amazing collection of stages bringing something new once more, even if they presented songs we’ve already seen at previous award shows this season. The opening came in form of Black Swan, though they didn’t sing any of it. It was more an intro showcasing the entrance of the members and highlighted Yoongi’s return to the stage, at least partially.
The stage featured big metal winds, low lighting, and the members clad in black and white clothing including leather elbow length gloves for Namjoon and Yoongi, and pretty chockers for Taehyung and Jimin. The highlight though was Jungkook’s hair which isn’t dark anymore, but instead has been bleached and dyed a pretty blond. Personally I think it suits him pretty well.
More below the cut since this is shaping up to be pretty long:
Next up was ON, which was powerful and fierce, though still missing Yoongi, which is all too understandable. Even though he can stand on stage again and hold his mic in his left hand (his surgery was on the left shoulder), it will still be a while until he’ll be able to dance with the members. ON has certainly grown a lot on me and I enjoy their performances of it immensely, and it was much the case this time as well.
The transition from ON to Life Goes On came in form of the stage being made to look like their individual rooms from BE which appeared on the digital walls around them. Their clothes were mostly comfy, though Jimin’s resembled their outfits from all the way back during I NEED U/RUN era. The transition/VCR like moment ended with the instrumental to We Are Bulletproof : The Eternal and the stage looking much the way the MV did with the whale swimming around them in an ocean of shades of purple, blue and pink.
For Life Goes On they had miniature versions of some of their most iconic MV sets on pedestals. It was a really cute idea and I enjoyed the execution a lot. The members seemed relaxed and enjoying themselves, Jimin and Taehyung even having their little moment of looking at each other twice, these moments certainly having become something I always kind of look forward to when it comes to LGO stages.
Another tiny Jimin and Taehyung detail was Jimin sending a brief, barely noticeable (by the viewer) finger heart which I hadn’t even noticed until my fourth rewatch. It definitely fits with all these other small gestures we’ve seen from these two in recent months, like the finger hearts and kissy faces during their Lotte Family Concert performance of Boy with Luv or hugging each other on day 1 and doing a fun handshake and dance on day 2 during Dionysus at the MOTS ON:E concert visible only on one of the side cameras, not the main one.
The grand finale was the Slow Jam remix of Dynamite which worked perfectly with the chill out lounge/bar atmosphere created on stage fitting with the Great Gatsby theme. The members wore mostly suits in white, blue in Namjoon’s case, and a bright yellow when it comes to Taehyung, as well as Hoseok who had a white button down which Tae did not. While a normal person would look ridiculous in it, Taehyung looked absolutely stunning and made it more than work. After so many energetic performances of Dynamite since its release, seeing such a calm version was really nice and refreshing, showing how versatile BTS and their music are, how they can captivate an audience with fast songs made for big choreographies and stage productions, but also these slow, more chill types of tracks. A marvelous idea, truly.
There was also an encore stage where they sang ON again but this time along with Yoongi on stage which had some hilarious moments, especially Namjoon and Seokjin being silly waving their arms around while kneeling opposite each other on stage during Jungkook’s bridge. Cute.
Afterward the members were at something like a red carpet after interview where they took pictures with their awards (Jungkook and Taehyung even making their Bonsang and Daesang awards kiss much the way film director Bong Joon Ho made his two Oscars kiss last year) and were asked to do a relay of saying something to each other.
All translations of their words are taken from Vernal_Bom on twitter.
J-hope to Jimin
“I didn’t feel lonely in 2020 thanks to Jimin. Thank you for making me laugh. Give me happiness and laugh in 2021 as well.”
Jimin (turning to Namjoon): “It seems he can never live without me”
Honestly the bond between Jimin and Hoseok is so cute and wonderful and you can see, and hear in their words, how important they are to each other, and how grateful Hobi is. We know the members were having a really hard time in 2020 so it doesn’t surprise me that Hobi would highlight the other members, or in this case Jimin, as one of the main reasons why he made it through it. After all we also know that those two made a song together which unfortunately didn’t make it onto BE. Hopefully we might get it one day at least as SoundCloud release, or perhaps on the next album instead.
Jimin to RM
It was you who made us pull ourselves together to go through 2020. I am always grateful, and it’d be nice if you share you height a little with me in 2021, be healthy and happy.
RM: Okay thank you
I love how Jimin used this (public) opportunity to tell/remind Namjoon of how important he was for them especially in 2020, as leader and surely also as friend, yet still also made a little joke to still keep the atmosphere light. After he was done speaking Jimin also hugged Namjoon, which showed once more how tiny he is in comparison.
RM to JK
It’s finally today, Jungkook-si, in 10 years! You are Golden Maknae! The day that you will prove your nickname! You are proving it right now with your hair color, but in 2021, I hope the year will be filled with gold, like your nickname. Stay healthy. Let’s ‘Jje-kkit-up’ together this year too!
(check it up.. the usual Namjoon saying lol)
It’s quite something to think about and realize, isn’t it, this year 10 years pass since Jungkook became a BigHit trainee and moved into their first dorm with Namjoon, Hoseok, Yoongi and Seokjin. I’m curious if Bangtan, as well as BigHit, have some kind of plan for JK specifically for this year that Namjoon chose to highlight his Golden Maknae nickname in such a way, or if it was more of a reminder to JK, that he’s so worthy despite how he doubts himself, and despite how he himself said he’s been going through tough times in 2020.
JK to V
V hyung, when we were trainees we were getting along so well, (V: We are not now???) No!!! i didn’t mean it. You are becoming so much of an stand-up (reliable, I assume in this context) guy. Thank you for doing all the schedules with us.
jhope: who’s hyung here?
The bond these two share might just be one of the biggest mysteries and causes for conflicts and fights within the fandom, or particular parts of it. After their conversation In The SOOP, I’d like to believe they’ve figured out whatever issue might've arisen between them in the past, found a way to solve and move past it slowly, and rekindled their friendship once more. Seeing at how well they’ve been getting along (on camera) these past few months, I think it might've been so. It’s curious to me though that JK chose to say this instead of something more akin to what Jimin said to Namjoon, or Hoseok to Jimin.
V to Jin
V: (turns to Jin)
Jin: This is too close
V: I listened to Abyss and that makes my heart ache too...
Jin: Thank you
V: hyung, your song is so good. Make more songs in 2021, let Army and us listen to your song more.
Jin: Okayokay
V: and I play game with you to relieve stress.... sorry for talking in ban-mal (informal form). —(also speaking in informal way)
Jin: No no it was so fun
V: I love you
Jin: I love you too
I absolutely adore the bond these two share and I love that Tae chose to say what he did. We know Seokjin has been going through a hard time in 2020, that he dealt with something I’d call imposter syndrome, so I’m glad we got to know even more about how Tae was there for him, something we otherwise would’ve never known. Certain people try to portray Tae as the one member that is almost estranged from his other members, who barely has anything to do with the group outside of schedules, and yet it’s moments like this--as well as Seokjin telling us in his birthday vlive that Tae organized for everyone including his non-BTS friends to send Seokjin birthday wishes in video form to show him how loved and appreciated he is--are the proof that those people are wrong. Tae is very close with his members, and he’s the ambassador of OT7 or nothing, the members his closest friends and brothers, his found and chosen family.
Jin to Suga
Jin: Yoongi ya, do it well.
Suga: Okay....
Jin: Do well on your rehab, and...uh... let’s do well going forward.
Suga: Okay.. I will...
These two are so close yet due to their introverted nature their interactions such as this one are just so hilarious and adorable at the same time. Their dynamic is wonderful and this just seems like peak Yoongi-Jin behavior.
Suga to j-hope
SG: (unable to look into hobi’s eyes) Our hobi
JH: Suga!
SG: You did work hard in 2020 (evading eye contact)
JH: hahhahahah and?
SG: Let’s not fall sick in 2021, and hwaiting...
JH: “Hwaiting hyung, and take good care of your health!”
The saga of Yoongi being unable to look Hoseok in the eye continues and it’s just as precious as ever. They stood so close, and while Yoongi wasn’t able to look into Hoseok’s eyes, it’s funny how he was the one who initiated the whole “them standing so close together” thing. I love the difference between how Seokjin didn’t even try to make eye-contact while Hoseok playfully challenged Yoongi and tried to coax him into it anyway knowing it’ll make Yoongi laugh and smile. It’s such a Yoongi-Hoseok thing, I love it.
And with that, the award was over and now also my post. I hope you enjoyed reading it! :3
#bts#bangtan seonyandan#golden disk awards#golden disc awards 2021#jimin#taehyung#jungkook#namjoon#seokjin#yoongi#hoseok#vmin#namjin#life goes on#performance commentary#Vmin cute moments#Namjin being silly together#Yoongi is back!#bts gif
69 notes
·
View notes
Last Seen Blogs
thefaggotryalex
Non-Binary Slut
xploshi
Girls ONLY!!!
thischristianguy
thischristianguy
didugosep
Untitled
absolutecookie-blog1
Doodle Dumping Grounds