celticjade13

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shout out to all the bitches NOT having gay sex this pride month

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fuck hussle culture, the toad to success is to sleep well, eat well and have fun

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When it was discovered that Zalim (ironically meaning, cruel) was in the company of two very young cubs, those at Ranthambore feared the worst: that, as an adult male, he would kill them. Instead, he surprised naturalists with his “motherly” behavior when he took in his twin daughters following the death of their mother.

At this time, science stated that tigers were only as social as mothers and cubs could go and that tiger fathers rarely interacted with their offspring. Zalim changed that when he was witnessed, month after month, caring for his daughters and teaching them how to hunt. Their relationship eventually ceased when the two girls were shifted to Sariska Tiger Reserve and Zalim went on to father another litter with the then-dominant tigress Sundari, the so-called Lady of the Lakes. When she too mysteriously disappeared, Zalim unsurprisingly took care of their cubs as well.

Ranthambore National Park, India Photograph taken via camera trap

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okay now I'm curious and I dunno if this is really such an archaic foreign thing to young people today or if I'm just out of touch

Please reblog, I'd love to see a lot of responses!

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wait other post cancelled. mutuals. when r ur birthdays.

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Reblog to hug prev

Please

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"If it's amazing, they'll know."

When talking about "George Lucas' vision" and the original six Star Wars films, there's one thing to bear in mind and that's Lucas' style of filmmaking.

These are movies for kids, designed to emulate the Saturday matinee serial format from the '30s, à la Flash Gordon. You see this most of all in the dialog. But something else you notice is George Lucas' filmmaking style, particularly in how he films and edits.

Take Darth Vader's introduction, for example.

Look at the composition: Vader stands tall, in contrast to the - as the script puts it - "fascist white armored suits of the Imperial stormtroopers". They're all in white, he's all in black, he's bigger badder, emerging from a cloud of smoke. What an entrance.

But if you think about it, it's just a single full shot. Very basic.

Compare this to Kenobi, wherein Vader is treated like a monster out of a horror movie. First, you glimpse his shadow, people reacting...

... then ominous bits and pieces like his boots or his lightsaber...

... and finally Vader himself, in all his terrifying glory.

That's a modern way of shooting it and it admittedly makes ol' Darth seem that much more imposing and absolutely badass.

But Lucas comes from a background of editing, experimental filmmaking and used to work as a documentary cameraman.

So what he did is just put the camera down and have Vader walk in. It's a faster yet differently-efficient way to introduce the character. It's more about dynamic pacing and visuals.

And that is Lucas' style. In his words:

"The way these films were put together, they're shot very much like a documentary film and the action of stage, and then I shoot around it. I don't stage for the camera. And as a result, there are a lot of things that happen pretty much by accident. It lends an aura of authenticity to everything." - Star Wars - Episode I: Podracing Featurette, 1999

Another example: the introduction of General Grievous.

A door opens revealing his ugly mug and he walks in. Boom.

But in Star Wars Storyboards: The Prequel Trilogy, you find that - as envisioned by the storyboard artists - our introduction to Grievous would've been very different.

"We wanted to have the introduction to Grievous be a series of really close shots that would be a series of details: his creepy foot, his creepy hand...

... his scary alien eyes...

... but George brought up an interesting point. He didn't want the film to concentrate on one design detail or one element— but rather let the world be there and let the viewer find those things without necessarily having it shoved in their face." - Derek Thompson, SW Storyboards: The Prequel Trilogy, 2013

"George nixed the idea, saying: 'I don't want something to be special because of how it's filmed, but because of what it is. Just put the camera on it and let it play out in front of the audience. If it's amazing, they'll know.'" - Iain McCaig, SW Storyboards: The Prequel Trilogy, 2013

That's it in a nutshell. "If it's amazing, they'll know."

The above storyboards look awesome and seeing Grievous be introduced that way would be great... but it wouldn't be Lucas' Star Wars. It would be some other director taking a crack at it.

And this way of shooting can be weird, even boring, at times. I mean compare Mace leading his troops into battle...

... to Aragorn leading his, in Return of the King.

The latter is so much more emotionally impactful. For a number of reasons (eg: Aragorn is a deuteragonist, Mace is a secondary character with less development), but one of them is that the moment is just shot in a way that's more interesting.

First we have an angle on Aragorn as he smiles and charges. Then the rest of the other characters as they react and follow suit, then the troops do the same.

With Mace it's, uh, *checks notes* he flourishes his saber and charges, the clones follow. Hell, for half a second we're looking at just an empty screen.

But y'know what the shot does look like?

It looks like something out of a WW1 documentary.

It's that authenticity he was mentioning further up.

At the end of the day, you can call it campy or bad... it's Lucas' style. It's cinema. There's a logic to it.

"To me, the script is just a sketchbook, just a list of notes, and, sometimes, I prefer the documentary feel of free flow, so I let my instincts tell me where to go. I like to create cinematically; I don't like to have a plan. I like to have a rough idea of what I'm going to do-certain themes, certain issues I'm going to deal with-and then I try to do so." - The Making of Revenge of The Sith, page 116, 2005

He doesn't try to make a character look particularly badass with camera angles or make the shot too choreographed, he just goes with the flow, and makes the deliberate choice to shoot it that way, because for better or for worse... it's his movie.

So yeah, just a tidbit I thought would be interesting.

Edit:

@schilkeman added this very interesting point in the replies:

"He doesn’t stage for the camera, but he does compose for the camera. The documentary style, while somewhat detached, requires the filling of the screen with motion and light. The way things move through frame seem very important to him. These are things his films excel at."

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so a fun thing @relaxed-and-extremely-uneasy and i discovered is that if you don't like Luther's final message to Ethan you can go "he wasn't saying what he really wanted to because he knew Ethan wouldn't be able to handle the truth of what he believes in that moment" and it scans almost perfectly with similar interpretations of 1) what he says to Ethan in the bomb scene 2) what he says to Ilsa in FO 3) him asking pointed questions about Ethan's romantic habits in m:i3. it's a kindness. it's another page in the Ethan Hunt Tragedy.

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Oh boy!! It’s a fucking mystery?? A spooky scary mystery!! Better get fucking Sherlock Holmes on this one! It’s a big fucking mystery, with no obvious answer!

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While tantalizingly intelligible, there is sadly no way to know what en penischock translates to. I do not speak Swedish. No one does. Similarly, there is no way to know what the story is referring to further down where it says that "Robinsons penis hängd ute."

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I was looking at Leverage fic on AO3, read the tag "hand job" and thought "I don't remember that episode" in all seriousness before it hit me

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The Original Broadway Cast celebrate 10 years of Hamilton at the 2025 Tony Awards (full performance)

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*if you know/have confirmed from multiple sources, pick the first one you experienced

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hot girl summer but only in air conditioned spaces