#( visual; weisz. )

[ofcrossroads]

I still think about them often ( wistful )

[readtilyoudie]

EDENS ZERO Vol 3

[katiedrago]

[compneuropapers]

Interesting Papers for Week 16, 2025

Cortical VIP neurons as a critical node for dopamine actions. Bae, J. W., Yi, J. H., Choe, S. Y., Li, Y., & Jung, M. W. (2025). Science Advances, 11(1).

Confidence regulates feedback processing during human probabilistic learning. Ben Yehuda, M., Murphy, R. A., Le Pelley, M. E., Navarro, D. J., & Yeung, N. (2025). Journal of Experimental Psychology: General, 154(1), 80–95.

Neural Encoding of Direction and Distance across Reference Frames in Visually Guided Reaching. Caceres, A. H., Barany, D. A., Dundon, N. M., Smith, J., & Marneweck, M. (2024). eNeuro, 11(12), ENEURO.0405-24.2024.

Bifurcation Enhances Temporal Information Encoding in the Olfactory Periphery. Choi, K., Rosenbluth, W., Graf, I. R., Kadakia, N., & Emonet, T. (2024). PRX Life, 2(4), 043011.

The origin of color categories. Garside, D. J., Chang, A. L. Y., Selwyn, H. M., & Conway, B. R. (2025). Proceedings of the National Academy of Sciences, 122(1), e2400273121.

Oppositional and competitive instigation of hippocampal synaptic plasticity by the VTA and locus coeruleus. Hagena, H., & Manahan-Vaughan, D. (2025). Proceedings of the National Academy of Sciences, 122(1), e2402356122.

Dissociable Effects of Urgency and Evidence Accumulation during Reaching Revealed by Dynamic Multisensory Integration. Hoffmann, A. H., & Crevecoeur, F. (2024). eNeuro, 11(12), ENEURO.0262-24.2024.

Allocentric and egocentric spatial representations coexist in rodent medial entorhinal cortex. Long, X., Bush, D., Deng, B., Burgess, N., & Zhang, S.-J. (2025). Nature Communications, 16, 356.

Limitation of switching sensory information flow in flexible perceptual decision making. Luo, T., Xu, M., Zheng, Z., & Okazawa, G. (2025). Nature Communications, 16, 172.

Sparse high-dimensional decomposition of non-primary auditory cortical receptive fields. Mukherjee, S., Babadi, B., & Shamma, S. (2025). PLOS Computational Biology, 21(1), e1012721.

Memory-based predictions prime perceptual judgments across head turns in immersive, real-world scenes. Mynick, A., Steel, A., Jayaraman, A., Botch, T. L., Burrows, A., & Robertson, C. E. (2025). Current Biology, 35(1), 121-130.e6.

Multisensory integration of social signals by a pathway from the basal amygdala to the auditory cortex in maternal mice. Nowlan, A. C., Choe, J., Tromblee, H., Kelahan, C., Hellevik, K., & Shea, S. D. (2025). Current Biology, 35(1), 36-49.e4.

Exploration in 4‐year‐old children is guided by learning progress and novelty. Poli, F., Meyer, M., Mars, R. B., & Hunnius, S. (2025). Child Development, 96(1), 192–202.

Aberrant auditory prediction patterns robustly characterize tinnitus. Reisinger, L., Demarchi, G., Obleser, J., Sedley, W., Partyka, M., Schubert, J., Gehmacher, Q., Roesch, S., Suess, N., Trinka, E., Schlee, W., & Weisz, N. (2024). eLife, 13, e99757.4.

Retinal ganglion cells encode the direction of motion outside their classical receptive field. Riccitelli, S., Yaakov, H., Heukamp, A. S., Ankri, L., & Rivlin-Etzion, M. (2025). Proceedings of the National Academy of Sciences, 122(1), e2415223122.

Dynamics of visual object coding within and across the hemispheres: Objects in the periphery. Robinson, A. K., Grootswagers, T., Shatek, S. M., Behrmann, M., & Carlson, T. A. (2025). Science Advances, 11(1).

Single-neuron spiking variability in hippocampus dynamically tracks sensory content during memory formation in humans. Waschke, L., Kamp, F., van den Elzen, E., Krishna, S., Lindenberger, U., Rutishauser, U., & Garrett, D. D. (2025). Nature Communications, 16, 236.

Information sharing within a social network is key to behavioral flexibility—Lessons from mice tested under seminaturalistic conditions. Winiarski, M., Madecka, A., Yadav, A., Borowska, J., Wołyniak, M. R., Jędrzejewska-Szmek, J., Kondrakiewicz, L., Mankiewicz, L., Chaturvedi, M., Wójcik, D. K., Turzyński, K., Puścian, A., & Knapska, E. (2025). Science Advances, 11(1).

A language model of problem solving in humans and macaque monkeys. Yang, Q., Zhu, Z., Si, R., Li, Y., Zhang, J., & Yang, T. (2025). Current Biology, 35(1), 11-20.e10.

Offline ensemble co-reactivation links memories across days. Zaki, Y., Pennington, Z. T., Morales-Rodriguez, D., Bacon, M. E., Ko, B., Francisco, T. R., LaBanca, A. R., Sompolpong, P., Dong, Z., Lamsifer, S., Chen, H.-T., Carrillo Segura, S., Christenson Wick, Z., Silva, A. J., Rajan, K., van der Meer, M., Fenton, A., Shuman, T., & Cai, D. J. (2025). Nature, 637(8044), 145–155.

[youremyheaven]

Lisa: Kibbe Analysis

I had previously made a Kibbe analysis post for Jennie and now its Lisa's turn 😌 On Kibbe communities online, Lisa is often typed as a FN/Flamboyant Natural but she is in fact, imo, a Soft Dramatic.

People often don't type Lisa as an SD because she has a cute face and a very lean body and apparently does not look like a natural fit next to verified SDs like Sofia Vergara, Sophia Loren, Rachel Weisz etc. SD is a very womanly, sensual ID and Lisa "apparently" does not suit the Diva Chic essence and is not "womanly" looking.

I strongly disagree.

A Flamboyant Natural is described as straight, broad, and blunt. A lot of flamboyant naturals have a muscular quality to their bodies as well. Quite often the bust and hips tend to be straight or flat.

From these pictures, its obvious that while Lisa has broad shoulders, she has a very waspish waist and full hips. Although she's lean, she's not muscular. Her body is not straight or blunt.

A Soft Dramatic is described as

taller than 5'5 inches/165cm (Lisa is 5'6 or 168cms)

usually have long limbs (Lisa has very long legs and long arms)

Most fleshy through the hip and bust (although not always if you are extremely thin) 

Moderate fleshiness on upper arms and thighs

A defined waist that is moderate in width in comparison to the rest of your body 

As we can see from these pictures, Lisa is very long limbed, she's 5'6/168cms but she looks even taller. She has fleshy thighs and full rounded hips. If she weren't as underweight as she is now, she would also have a fuller bust. She also has a very well defined waist.

another very important SD determining factor is the T shape silhouette.

T shape silhouette refers to broad shoulders, small waist and proportionate hips. Lisa has a T shaped silhouette.

This is probably the only outfit of hers where she's dressed like an SD. She looks amazing as she honours her Diva Chic essence and looks very sexy, very womanly and bold. She does not look out of place in this look at all.

However she does look very out of place here. So much so that she's barely recognisable. On the left is verified FN Gwyneth Paltrow, who looks good in a white gown with zero draping because she has the frame to carry it. Lisa may have broad shoulders but she is not "wide" and does not possess the frame to pull off this look. She looks unlike herself because nothing about this looks screams "Diva".

However all these outfits truly bring out her Diva Chic essence and make her shine. Be it the makeup or the styling, the pattern/print heavy looks really make her pop.

An SD face is described as having:

Full features, exotic essence

Large eyes

Full lips

Fleshy Cheeks 

Prominent facial features 

Here is Lisa next to 3 verified SDs, (top right, Anita Ekberg, bottom L to R, Rachel Weisz & Sophia Loren)

All of them have full, lush features, an almost "exotic" appeal and are very visually striking. Lisa looks like she belongs to this ID along with the other woman.

Before you ask me, face matters A LOT when determining someone's ID. Don't believe people who say otherwise. You don't just dress for you body, you dress for your face as well.

Here's Lisa in a bunch of outfits that don't do anything for her. Stylists always seem to be so lost with regard to what to do with her and she often ends up with the most questionable-looking outfits. Due to her cutesy personality (never forget Mentor Lisa tho, she can be very serious when she needs to) I guess its hard to put her in ball gowns and ultra glamorous outfits but these are exactly the kind of looks she looks incredible in.

So much of her styling seems like a lost opportunity. Being tall and skinny does not make someone an FN and Lisa looks the most plain in denim looks. Since she's not particularly fashion-forward or experimental with her looks, we often see her in the same booty shorts and crop top outfit formula on stage and off stage, she's at the mercy of whatever her stylist puts her in. But bbg is an SD in disguise.

[thistlecatfics]

3 for andromeda & bella !!

I am extremely not visual (I don't picture anything in my head when I read) (and it's why I think description is the part of writing I'm weakest at) (and I'm also terrible about faces and celebrities in general) so I've never been terribly invested in fancasts BUT

I've been suckered into the common Kiera Knightly and Katie McGrath fancasts, and they have grown on me.

I also like Rachel Weisz especially as older Andromeda (she's about the right age for her too!).

I like Eva Green for Bellatrix. Alice Pagani is often fancast for Pansy but I like her as (young) Bellatrix too with her dark hair and light eyes.

My maybe unpopular opinion is that I hate Helena Bonham Carter as Bellatrix in the movies but I like young her as a Bellatrix fancast.

I also like fancasting them as the same actress - whoever you pick, because I just love thinking about them as creepily identical.

marauders character asks

[marcovaleyeah]

21.07.24

#Mira-Marathon | MCU

Film Name: Black Widow (2021); Production Studios: Marvel Studios; Director by: Cate Shortland; Screenwriter: Eric Pearson, Ned Benson, Jac Schaeffer; Starring: Scarlett Johansson, Florence Pugh, Rachel Weisz, David Harbour, Ray Winstone; Genres: Science Fiction, Action, Adventure; Running Time: 2 hour 14 minutes;

"Black Widow" is a superhero film in which Scarlett Johansson plays Natasha Romanoff. After the events of Captain America: Civil War, she is forced to face her past and a dangerous conspiracy. Pros: Exciting and dynamic battle scenes, Interesting and unpredictable plot, Florence Pugh plays Elena Belova perfectly, Expands the Marvel Cinematic Universe with new characters, Impressive visual effects. Cons: Scarlett Johansson doesn't get much chance to shine, Leaving after Avengers: Endgame makes the movie less intriguing, The movie doesn't have a clear purpose in the context of the Marvel Cinematic Universe. Overall, this is a dynamic and exciting film with an interesting plot and new characters, albeit without a clear goal.

My rating:

⭐⭐⭐

[makeitrealfromfictional]

On the Topic of Vehicles:

Louis Weisz made a boatmobile from SpongeBob

The Patty Wagon has also been made, most notably by President Chay, Matthew Beem, and Build Break Repeat.

Lois Weisz, from before, also made this rock car from another SpongeBob episode (not a rock, unfortunately.)

Wayne Fults made a version of the Reptar Wagon (Rugrats). (The visuals are a bit different, however.)

Links lead to—>supercarblondie.com, youtube.com, youtube.com, youtube.com, youtube.com, rugratonline.free.fr, and reddit.com, respectively.

[watchingalotofmovies]

The Fountain

The Fountain    [trailer]

As a modern-day scientist, Tommy is struggling with mortality, desperately searching for the medical breakthrough that will save the life of his cancer-stricken wife.

Still not convinced that the story makes a lot of sense. It feels like a somewhat random mash-up of different cultural and religious elements.

But the reasons to watch are Jackman and Weisz. And, of course, the visuals.

[ofcrossroads]

I forgot how much I love this series... this trio 🥰

[readtilyoudie]

EDENS ZERO Vol 3

[juliopison]

CINE El jardinero fiel (2005) Título original: The Constant Gardener País: Reino Unido Dirección: Fernando Meirelles Guión: Jeffrey Caine (basado en la novela de John le Carré) Género: Thriller dramático, Suspenso político

Reparto: Ralph Fiennes, Rachel Weisz, Danny Huston, Hubert Koundé, Bill Nighy

Idioma: Inglés con subtítulos en Español

VER EN: https://memoriasdelcafe.blogspot.com/2025/04/el-jardinero-fiel-2005.html

RESEÑA EN EL CAFÉ

En El jardinero fiel, Fernando Meirelles adapta con fuerza y sensibilidad la novela de John le Carré para exponer una historia de amor atravesada por la injusticia global. Ralph Fiennes interpreta a Justin Quayle, un diplomático británico que, tras el asesinato de su esposa Tessa (Rachel Weisz, en un papel que le valió el Óscar), emprende una investigación que destapa una red de experimentación farmacéutica en África, encubierta por intereses corporativos y diplomáticos.

La película denuncia las prácticas abusivas de ciertas multinacionales en países empobrecidos, y lo hace sin sacrificar el componente emocional. Justin, reservado y pasivo al inicio, se transforma al asumir la causa de su esposa, cuyo compromiso social lo interpela incluso después de muerta.

La dirección de Meirelles conjuga lo íntimo y lo político con un estilo visual semidocumental, reforzado por la fotografía vibrante de César Charlone. La banda sonora de Alberto Iglesias acompaña con delicadeza la tragedia personal y la denuncia global.

Más que un simple thriller, El jardinero fiel es un retrato conmovedor sobre la transformación ética y la responsabilidad individual ante la injusticia estructural. Una obra que, a veinte años de su estreno, sigue interpelando con fuerza.

Julio César Pisón Café Mientras Tanto

[marcmarcmomarc]

Miraculous 6: The Re-Verse

Written & Directed by

@jacquesthepigeon

@miraculouslbcnreactions

@red-balloon12

@zoe-oneesama

Produced by

TBA

Associate Producer

TBA

Based on the TV show created by

Thomas Astruc

Original Songs by

TBA

Music by

TBA

Original “Miraculous” Themes by

Alain Garcia

Noam Kaniel

Jeremy Zag

Original Crossover Media Themes by

Stephanie Economou, Ludwig Göransson

Harry Gregson-Williams, Henry Jackman

Ryan Lofty, Daniel Pemberton

Heitor Pereira, John Powell

Patrick Stump, & Jay Vincent

Story Supervisor(s)

TBA

Edited by

TBA

Production Designer(s)

TBA

Visual Effects Supervisor(s)

TBA

Production Manager(s)

TBA

Animation Supervisor(s)

TBA

Director(s) of Photography

TBA

Associate Visual Effects Supervisor(s)

TBA

Shading Supervisor(s)

TBA

Character Supervisor(s)

TBA

Sets Supervisor(s)

TBA

Tailoring & Simulation Supervisor(s)

TBA

Effects Supervisor(s)

TBA

Compositing Supervisor(s)

TBA

Crowds Animation Supervisor(s)

TBA

Crowds Technical Supervisor(s)

TBA

Global Technology Supervisor(s)

TBA

Dailies & Rendering Supervisor(s)

TBA

Character Art Director(s)

TBA

Sets Art Director(s)

TBA

Color & Shading Art Director(s)

TBA

Graphics Art Director(s)

TBA

Story Manager(s)

TBA

Editorial Manager(s)

TBA

Script Supervisor(s)

TBA

Art Manager(s)

TBA

Animation & Global Tech Manager(s)

TBA

Animation Pre-Production Manager(s)

TBA

Production Finance Manager(s)

TBA

Sets & Camera Staging Manager(s)

TBA

Character & Crowds Manager(s)

TBA

Shading Manager(s)

TBA

Tailoring & Simulation Manager(s)

TBA

Effects Manager(s)

TBA

Lighting Manager(s)

TBA

Dailies & Rendering Manager(s)

TBA

Post Production Producer(s)

TBA

Sound Designer(s)

TBA

Casting by

@marcmarcmomarc

———————————————————————————-

Cast

Marinette Dupain-Cheng: Cristina Vee

Adrien Agreste: Bryce Papenbrook

Tikki: Mela Lee

Plagg: Max Mittelman

Gabriel Agreste: Keith Silverstein

Alya Césaire: Carrie Keranen

Maxkov: Zeno Robinson

———————————————————————————-

Nino Lahiffe: Zeno Robinson

Trixx: Cherami Leigh

Wayzz: Christopher Corey Smith

Tom Dupain: Christopher Corey Smith

Sabine Cheng: Anne Yatco

Chloé Bourgeois: Selah Victor

Sabrina Raincomprix: Cassandra Lee Morris

Pollen: Cassandra Lee Morris

Alix Kubdel: Kira Buckland

Mylène Haprèle: Jessica Gee

Rose Lavillant: Reba Buhr

Juleka Couffaine: Reba Bubr

Lila Rossi: Lisa Kay Jennings

Ivan Bruel: Max Mittelman

Kim Chiến Lê-Ature: Grant George

Luka Couffaine: Andrew Russell

Nathaniel Kurtzberg: Michael Sinterniklaas

Kagami Tsurugi: Faye Mata

Nathalie Sancoeur: Sabrina Weisz

Max Kanté: Zeno Robinson

Wang Fu: Paul St. Peter

Nadja Chamack: Sabrina Weisz

Socqueline Wang: Ryan Bartley

Nora Césaire: Laila Berzins

Marianne Fu: Barbara Goodson

Nooroo: Ben Diskin

Duusu: Melissa Fahn

Ondine: Erika Harlacher

Félix Fathom: Bryce Papenbrook

Fei Wu: Xanthe Huynh

Marc Anciel: Alejandro Saab

Zoé Lee: Deneen Melody

Olympia Hill: Anairis Quiñones

Barbara Keynes: Anairis Quiñones

Jessica Keynes: Jaimi Grey

Aeon: Kimberly Woods

Markov: Grant George

Émilie Agreste: Colleen O’Shaughnessey

Delmar: Cedric Williams

Amelie Graham de Vanily: Laura Post

Su-Han: Kaiji Tang

Liiri: Cedric Williams

Manon Chamack: Stephanie Sheh

Chris Lahiffe: Alejandro Saab

Ella Césaire: Cherami Leigh

Etta Césaire: Cherami Leigh

———————————————————————————-

Barkk: Sabrina Glow

Fluff: Ryan Bartley

Mullo: Deneen Melody

Daizzi: Jessica Gee

Roaar: Sandy Fox

Stompp: Lauren Landa

Ziggy: Susannah Corrington

Xuppu: Sarah Weisz

Kaalki: Deneen Melody

Sass: Ben Diskin

Longg: Grant George

Orikko: Sabrina Weisz

Hou Hou: Brook Chalmers

Long Long: Christopher Corey Smith

She She: Carrie Keranen

Tang Tang: Mela Lee

Xiong Xiong: Sabrina Weisz

Ma Ma: Dave Trosko

Hu Hu: Yuri Lowenthal

Ying Ying: AmaLee

———————————————————————————-

Meilin Lee: Rosalie Chiang

Miriam Mendelsohn: Ava Morse

Abby Park: Hyein Park

Priya Mangal: Maitreyi Ramakrishnan

Tyler Nguyen-Baker: Tristan Allerick Chen

Ming Lee: Sandra Oh

Jin Lee: Orion Lee

Grandma Wu Lee: Wai Ching Ho

Auntie Chen: Lori Tan Chinn

Lily: Mia Tagano

Helen: Sherry Cola

Auntie Ping: Lillian Lim

Mr. Gao: James Hong

Stacy Frick: Lily Sanfelippo

Devon: Addie Chandler

Sammy: Lauren Tom

Lauren: Anna Brisbin

Kat: Madison Brunohler

Carter Murphy-Mayhew: Jackson Parfitt

Jaiden: Patricia Summersett

Robaire: Jordan Fisher

Jesse: Finneas O’Connell

Aaron T.: Topher Ngo

Tae Young: Grayson Villanueva

Aaron Z.: Josh Levi

Shrek: Mike Myers

Donkey: Eddie Murphy

Fiona: Cameron Diaz

Puss in Boots: Antonio Banderas

Kitty Softpaws: Salma Hayek

Perrito: Harvey Guillén

Gingy: Conrad Vernon

Pinocchio: Cody Cameron

Goldilocks: Florence Pugh

Papa Bear: Ray Winstone

Mama Bear: Olivia Colman

Baby Bear: Samson Kayo

Doris: Norm Macdonald

Queen Lillian: Julie Andrews

Artie Pendragon: Justin Timberlake

Heimlich: Cody Cameron

Horst: Cody Cameron

Dieter: Cody Cameron

Big Bad Wolf: Aron Warner

Blind Rat 1: Christopher Knights

Gordon: Mike Myers

Blind Rat 2: Simon J. Smith

Snow White: Amy Poehler

Sleeping Beauty: Cheri Oteri

Cinderella: Amy Sedaris

Rapunzel: Maya Rudolph

Farkle:

Fergus:

Felicia: Zendaya

Chloe: Becky G

Liam: Josh Peck

Catherine: Tara Strong

Zook: George Lopez

Zamfeer: David Koechner

Alpha: Patrick Stump

Charlie: Patrick Stump

Bravo: Patrick Stump

Quicksilver: Jeff Dunham

Mr. Wolf: Sam Rockwell

Mr. Snake: Marc Maron

Ms. Tarantula “Webs”: Awkwafina

Mr. Piranha: Anthony Ramos

Mr. Shark: Craig Robinson

Diane Foxington: Zazie Beetz

Misty Luggins: Alex Borstein

Tony Toretto: Tyler Posey

Echo Pearl: Charlet Chung

Frostee Benson: Luke Youngblood

Cisco Renaldo: Jorge Diaz

Layla Gray: Camille Ramsey

Ms. Nowhere: Renée Elise Goldsberry

Gary: Tru Valentino

Julius: Tru Valentino

Palindrome: Paul Wright

Sissy Benson: Similce Diesel

Wanda Benson: Kimberly Brooks

Tiffany Benson: Secunda Wood

Tuco: Danny Trejo

Ruby Gillman: Lana Condor

Agatha Gillman: Toni Collette

Granmama Gillman: Jane Fonda

Arthur Gillman: Colman Domingo

Uncle Brill: Sam Richardson

Sam Gillman: Blue Chapman

Connor: Jaboukie Young-White

Margot: Liza Koshy

Bliss: Ramona Young

Trevin: Eduardo Franco

———————————————————————————-

Rupert Marmalade: Richard Ayoade

Queen Narissa: Annie Murphy

———————————————————————————-

Aang: Justin Chon

Callum: Jack DeSena

Adora: Aimee Carrero

Blewis Clark “Blue”: Zack Keller

Redward “Red”: Ed Skudder

Vi: Hailee Steinfeld

Ruby Rose: Lindsay Jones

Weiss Schnee: Casey Lee Williams

Blake Belladonna: Arryn Zech

Yang Xiao Long: Barbara Dunkelman

Singing Voices

Adrien Agreste: Drew Ryan Scott

Félix Fathom: Drew Ryan Scott

Snow White: Megan Hilty

Story

Editorial

Art

Camera & Staging

Animation

Global Technology

Dailies & Sweatbox

Simulation & Crowds

Characters

Sets

Effects

Lighting

Rendering

Production

Creative Development

Post Production

Stereoscopic 3D

International Production

Post Production Sound

Additional Voices

Andrew Adamson, Guillaume Aretos, Preston Arsement

Nina Bakshi, Jacquie Barnbrook, Nina Barry, Sidney Bell, Wendy Bilanski, Sean Bishop, Suzanne Buirgy, Nicole Byer

Emma Chamberlain, Kelly Cooney, Ryan Crego, Jim Cummings

Madison De La Garza, Bernardo De Paula, Guillermo del Toro, Rich B. Dietl, Walt Dohrn

Will Forte, Karen Foster

Juju Green, Nash Grier

Jeremy Hollingsworth, Olivia Holt, Brian Hopkins, Richard Horvitz, Ricardo Hurtado

Eric Idle, Phillip Ingram, Qalil Ismail

Bob Joles, Jessica Schulte Jones

Tom Kane, Echo Kellum, Christopher Knights, John Krasinski

Constance Marie, Miguel Matrai, Jordan Matter, Salish Matter, Anthony Mendez, Zeus Mendoza, Christopher Miller, Mike Mitchell, Kevin McCann, Tom McGrath, Mark Moseley

Merk Nguyen

Cheri Oteri, Latifa Ouaou

Alina Phelan, Regis Philbin, Caleb Pierce

Da’Vine Joy Randolph, Taylore Rayne, Al Rodrigo, Sasha Roiz, James Ryan

Atticus Shaindlin, David P. Smith

Ericka Thomas

Pilar Uribe

Mark Valley, Conrad Vernon

Kari Wahlgren, Tom Wheeler, Tiffany Wu

Music

Additional Vocalists

Rena Anakwe, Lauren Ash, Dante Basco

Krystal Joy Brown, Paula Burrows, Artt Butler

Benjamin Callins, Dana Davis, Antony Del Rio

Zelda Ehasz, Jordan Fisher, Julie Fowlis

Karen Fukuhara, Vincent Gale, Jonathan Holmes

Jesse Inocalla, Keston John, Daniel Dae Kim

Merit Leighton, Vella Lovell, Jessica Matten

A.J. Michalka, Omari Newton, Sandra Oh

Adrian Petriw, Dionne Quan, Adam Ray

Génesis Rodríguez, Sasha Rojen, Isabella Russo

Marcus Scribner, Jason Simpson, N.D. Stevenson

Thalia Tran, Vivian Vencer, Christine Woods

Suzie Yeung, Román Zaragoza

“Everybody Wants to Rule the World” (“Despicable Me 4” version)

Written by Roland Orzab, Ian Stanley, and Chris Hughes

Performed by Cristina Vee, Drew Ryan Scott, and Cast

Original Song Performed by Tears for Fears

“Despicable Me 4” version performed by Steve Carell, Will Ferrell, Joey King, and Cast

Property of Mercury Records Limited; Copyright ©1985

ZAG Entertainment Team

Production Babies

Special Thanks

@aliavian, @anthurak

@brynnsasha191, @capndragn94

@cosmicfanon89, @firelordslove

@foulfirerebel, @gazelles-gazelles

@hadesisqueer, @iamafanofcartoons

@kokorolinkrun, @m4rs-ex3

@mal3vol3nt, @mandaloriandragontrainer

@matrixdragon, @matt0044

@onceuponalegendbg-rwby, @otter-and-terrier

@rayllurn, @sapphiresaphics

@sevenofreds, @tategaminu

@tumblingxelian, @twillean-sparks

@urhandsmypockets, @zvtara-was-never-canon

“Turning Red” is property of Pixar Animation Studios; Copyright ©2022

“Shrek” is property of Dreamworks Animation SKG; Copyright ©2005

“Gnome Alone” is property of Vanguard Animation; Copyright ©2017

“The Bad Guys” is property of Dreamworks Animation SKG; Copyright ©2022

“Fast & Furious Spy Racers” is property of Dreamworks Animation Television; Copyright ©2019

“Ruby Gillman: Teenage Kraken” is property of Dreamworks Animation SKG; Copyright ©2023

“Avatar: The Last Airbender” is property of Nickelodeon Animation Studios; Copyright ©2005

“The Dragon Prince” is property of Wonderstorm/MWM Studios/Bardel Entertainment; Copyright ©2018

“She-Ra and the Princesses of Power” is property of Dreamworks Animation Television; Copyright ©2018

“Dick Figures” is property of Mondo Media; Copyright ©2010

“League of Legends” is property of Riot Games; Copyright ©2009

“Arcane” is property of Fortiche and Riot Games; Copyright ©2021

“RWBY” is property of Rooster Teeth Productions and VIZ Media; Copyright ©2013

All brands depicted in this film are protected by trademarks and copyrights owned by their respective owners.

©2029 ZAG Entertainment

All Rights Reserved

For the purposes of copyright law in the United Kingdom, ZAG Entertainment was the owner of copyright in this motion picture immediately after it was made.

Created and Produced at ZAG Entertainment Paris, France

[katiedrago]

"It's a journey of being touched by different layers of your mind." - Paloma Varga Weisz

[ulkaralakbarova]

The Brothers Bloom are the best con men in the world, swindling millionaires with complex scenarios of lust and intrigue. Now they’ve decided to take on one last job – showing a beautiful and eccentric heiress the time of her life with a romantic adventure that takes them around the world. Credits: TheMovieDb. Film Cast: Penelope Stamp: Rachel Weisz Bloom: Adrien Brody Stephen: Mark Ruffalo Bang Bang: Rinko Kikuchi Curator: Robbie Coltrane Diamond Dog: Maximilian Schell Narrator (voice): Ricky Jay Rose: Nora Zehetner Young Bloom: Zachary Gordon Young Stephen: Max Records Charleston: Andy Nyman The Duke: Noah Segan Himself: Ram Bergman Apple Cart Vendor: Craig Johnson Albino: Dubravko Jovanović Young Girl: Esme Tyler Young Boy: Jovan Vitas Charleston’s Wife: Ana Sofrenović Chief of Police: Vladimír Kulhavý Snack Car Attendant: Alek Rodic Oafish Foster Father: Josif Tatić Foster Dad: Slobodan Ćustić Foster Mom: Branka Pujić Excited Boy: George Bocchetti Excited Boy: Elis Derham Bar Patron: Joseph Gordon-Levitt Bar Patron: Lukas Haas German Bar Owner (uncredited): Stefan Kapicic Film Crew: Casting: Mary Vernieu Costume Design: Beatrix Aruna Pasztor Writer: Rian Johnson Production Design: Jim Clay Original Music Composer: Nathan Johnson Director of Photography: Steve Yedlin Producer: Ram Bergman Casting: Shannon Makhanian Executive Producer: Wendy Japhet Producer: James D. Stern Editor: Gabriel Wrye Executive Producer: Douglas Hansen Music Supervisor: Brian Reitzell Music Editor: Drew DeAscentis Stunt Coordinator: Glenn Marks Set Decoration: Sophie Newman Script Supervisor: Nada Pinter Co-Producer: Tom Karnowski Co-Producer: Matthew J. Birch Unit Production Manager: Elena Zokas Unit Production Manager: Richard Sharkey First Assistant Director: Sean Guest Second Assistant Director: James Andrew Haven Hair Designer: Graham Johnston Supervising Art Director: Paul Kirby Art Direction: Jasna Dragović Assistant Art Director: Branislav ‘Bane’ Stevanović Assistant Art Director: Mladen Lisavac Assistant Set Decoration: Dejan Anđelković Property Master: Dave Fisher Unit Publicist: Alisa Buckley Still Photographer: Slobodan Pikula Transportation Coordinator: Nenad Kokot Post Production Supervisor: Philip Harrelson Visual Effects Supervisor: Ron Simonson Sound Designer: Jonathan Miller Sound Recordist: Jason Gaya ADR Mixer: Andrew Morgado ADR Mixer: Judah Getz Foley Mixer: Zach Michaelis Foley Mixer: John B. Cormier Driver: Aleksandar Ilić Movie Reviews:

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ON-SET PRODUCTION READING

American Cinematographer (July 2023)

Aspect Ratios for Home Exhibition - Shot Craft - Jay Holben

The composition is integral to the visual storytelling and aspect ratio is an intrinsic component of composition. 

After WW2 when home televisions became commonplace, screens were based on the cinema standard of the time - 1.33:1 or 4:3. By 1952, 30,000,000 US homes had a television and cinema goers declined, just as ‘This is Cinerama’ premiered - a documentary as well as a handful of Cinerama-photographed films shot with a 3-in-1 camera system onto 3 individual stripes of film, projected respectively from 3 projectors, overlapping slightly into a singe 2.59:1 imagine. 

To combat this, Hollywood studios began putting more widescreen movies into production to lure audiences back to theatres, thus sparking the 1950s format wars. Anamorphic which originated as 20th Century Fox’s CinemaScope process, emerged as the most commonly used, settling an aspect ratio of 2.35:1 (which became 2.39:1 in 1970). 1.85:1 was chosen for ‘flat’ non-anamorphic films. 1.33:1 practically died in cinemas. TV remained at 1.33:1 for almost 5 decades. In Europe however 1.66:1 became the dominant flatscreen theatrical standard and 2.35/2.39 for TV.

Theatrical releases then had to be squeezed into the 1.33:1 ratio when showing on TV. This was solved by either adding cuts from one side of the screen to the other or panning to show whichever side of the screen had the more crucial information. Movements or cuts like this could look awkward and compromise filmmakers’ creative intent.

In 1984, RCA introduced letterboxing - reducing a film in side to fit the frame and filling the empty space with black bars. Spielberg was a real critic of the crop and pan techniques, pushing for letterboxing. The difficulty came with loss in resolution. VHS only had 240 horizontal resolution lines so losing almost 100 of them to the 2.35:1 ration made the quality intolerable for some. With the use of LaserDiscs in the early 1990s letterboxing became commonplace and to fulfil the needs of those that were and weren’t fans of it, studios released two versions of hundreds of titles. 

In 2003 BlockBuster video announced it would give preference to letterboxed DVDs and a new era came. On DVD, the format evolved into a modified anamorphic image scene where meant that viewers were only limited by their own TVs pixel count as resolution was not lost. Even so, it was rare to see letterboxing on air as cable channels did not warm up to it. 

With the introduction of HDTV in the late 1990s, new aspect ratios emerged - 16:09 or 1.78:1. the wider HDTV screen made the black bars easier to accept but TVs would also build in the option for viewers to expand the image and crop the sides to remove the black bars. Home-video released in 1.66:1 and 1.85:1 just about died out.

In 2013 Netflix released House of Cards in a native letterboxed format of 1.0:1 - a compromise that became popular outside of the broadcast networks. 

Letterboxing eventually spread to cable TV to shows like Fargo (2.0:1 since season 3. For decades HBO maintained a ‘no black bars policy’ (Sopranos and GOT were 1.78:1) broken only in 2019 with Chernobyl (2.0:1). Viewers complained of being distracted by them.

Netflix and Amazon leave the decision to filmmakers (and viewer).

Seeing Double for Dead Ringers - Mark Dillon

Amazon Prime limited series based on 1988 Cronenberg classic, about ‘a pair of pathologically codependent identical-twin gynaecologists who steadily make their way toward psychosis and self-destruction’.

CAMERA

Jody Lee Lipes (DOP) commented on how Sean Durkin (Director) would begin unsure, open to input, needing to talk and things things out before making a clear decision - able to share insecurities then commit to a strong viewpoint when needed.

Capturing Rachel Weisz as both twins called for similar slow-motion shots to the 1988 film, made possible by the crew experienced in twinning actors. On a Sony Venice camera on an Arrowhead repeatable remote-head system run by operator from Super Controls computer, they filmed the scenes with a stand-in for the other twin, meaning every scene was shot with Weisz as one twin then the other. The performances were then composited in post though AI deepfake technology was sometimes applied in aftereffects where the stand-ins performance was kept but her features replaces with Weisz’s.

Lighting continuity between side A and B was the largest challenge especially in direct natural light with the moving sun, this was overseen by key grip Erbes-Chan. For example, side A was shot in the shade of a building and side B’s sunlight blocked with Ultrabounce Magic Cloths and nets. Because of the location, they used stands instead of cranes

The hardest scenes where those where the twins touched. Weisz would rehearse both sides and the stand-in would memorise them, listening to dialogue played out on an earpiece. On the video assist, they would split screen side B with A to make sure they matched.

SET PRODUCTION

The birthing centre’s atrium filmed in an underground recreation centre, Elliot’s lab at the TWA Hotel at JFK Airport and the birthing rooms were staged at Silvercup Studios. 

The vision was ‘demystifying childbirth and people being able to watch and interact with loved ones’ by shooting though windows and obstructions to create layers in relation to lenses and aspect ratio. 

LIGHTING

The blur between real events and those through Elliot’s drug-fuelled imagination were conveyed through camera and lighting. DMG LEDs used for light-colour flexibility on the actors. Titan Tubes in the soffits lit the perimeter walls.

A 5 foot fixture was rigged with hybrid LED tape of the kitchen island below a built skylight and DMG Maxi panels provided soft ambience. DMG Minis plus Magic Cloth - sometimes up to 4 layers - sometimes used for almost shadowless, super soft light. Minis sometimes mounted on boom poles.

The lights could be running at only 25-percent output, which is all they needed shooting with the Venice at an exposure index of 6,400 ISO in the 2,500 ISO base mode. This is why Lipes chose the camera, after having experimented with it on the Netflix movie The Good Nurse.

COLOUR

A LUT was used that Lipes has been developing over the years (also used with adjustments for the Good Nurse). “The idea is to help stuff in the lower luminance range go slightly cooler, and stuff in the higher luminance range go warmer — [while adding] low-contrast, milky blacks,” Lipes explains. “It’s a gentle image — not too saturated, but pushing the color contrast.

LENSES

Lipes paired the Venice Camera with Panavision G Series anamorphic lenses - stylised and pushing reality, aided by the 2.39:1 aspect ratio. Most shots were done 75-100mm, with a few 50-60mm for wide shots, also often using the ATZ 70-200mm T3.5 and a 50-500mm. Zooms used for unsettling effect.

A couple of H Series spherical primes used - they matched the Gs and gave more detail. Primo Artiste spherical lenses were used for some senes too - warmer and faster than the Gs.