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denimbex1986 · 6 months

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'Some five years after it was announced, Andrew Scott’s take on infamously charming fictional sociopath Tom Ripley is finally coming to our screens.

Based loosely on the 1955 novel by Patricia Highsmith – which was also adapted into an acclaimed 1999 film – it tells the story of a con artist who swindles his way into the high life by befriending wealthy socialite Dickie Greenleaf.

The show boasts a star-studded cast and a plot with plenty of hairpin twists and turns – as well as being shot in classy black and white. Here’s our breakdown of who’s playing whom...

Andrew Scott as Thomas "Tom" Ripley

Andrew Scott plays the talented Mr Ripley of the show’s title. A small-time confidence trickster who’s struggling to make ends meet in New York City, Ripley’s luck turns when he’s approached by businessman Herbert Greenleaf.

Greenleaf’s son Dickie has fled to Italy to avoid joining the family business and Ripley (who says he’s an acquaintance of Dickie) is charged with bringing him back. This doesn’t go entirely to plan, and Ripley soon yearns for Dickie’s lifestyle.

Scott himself is an established star on both sides of the Atlantic. Born in Dublin in 1976, he balanced school with weekend acting classes, and appeared in his first time role – in the film Korea – at the age of 17. He moved to London five years later and from there worked his way through a variety of smaller roles.

His breakthrough into the mainstream was as the villainous, scenery-chewing Jim Moriarty in the BBC’s Sherlock, opposite Benedict Cumberbatch’s Sherlock Holmes in 2010. Ever since then he’s been a mainstay on our screens – as Fleabag’s Hot Priest, in Black Mirror, and most recently in romantic drama All Of Us Strangers opposite Paul Mescal.

Now, he’s in Ripley. "You don't play the opinions, the previous attitudes that people might have about Tom Ripley,” he’s said about the role. “I have to have the courage to create our own version and my own understanding of the character... It was a heavy part to play. I found it mentally and physically really hard.”

Johnny Flynn as Richard "Dickie" Greenleaf

The easy-going Dickie is the son of a shipping magnate and tremendously rich. He has also fled to Italy with the aim of avoiding family responsibilities – and Ripley is hired to bring him back home.

Flynn himself is both an actor and a singer-songwriter (he plays in a band, Johnny Flynn & The Sussex Wit). Born in 1983 in Johannesburg, he won a music scholarship first to Pilgrims School in Winchester and then to Bedales. He was one of Screen International’s Stars of Tomorrow in 2005, and broke through in Channel 4’s romcom series Love Sick as the main character, Dylan.

Since then, he’s appeared in films such as 2020’s Emma (in which he played Mr Knightley opposite Anya Taylor-Joy’s Emma) and as the young Nicholas Wynton in 2023 film One Life.

Dakota Fanning as Marge Sherwood

Marge is Dickie’s friend, who becomes romantically involved with him as their Italian holiday progresses. When Ripley appears on the scene, she quickly becomes suspicious of him.

Fanning has been acting since the age of five. Born in Georgia to a tennis player and a baseball player, she started off in small plays before appearing in NBC medical drama ER as a car accident victim with leukaemia. Two years later, she became the youngest ever person to be nominated for a SAG Award for her work in 2001 film I Am Sam.

Over the years, she’s appeared in films including The Secret Life of Bees, War of the Worlds and even in the Twilight saga as vampire Jane.

Eliot Sumner as Eddie Miles

Eddie is Dickie’s close friend, who arrives in Italy shortly after Ripley does and stays at his Italian villa. The pair rapidly develop a strong disliking of each other.

Sumner is an English songwriter and actor. Born in Italy in 1990, they are the child of Sting and Trudie Styler and grew up on the family’s estate near Stonehenge. The family gave Sumner their first guitar at four or five, and they wrote their first song at 13, before signing a record deal with Island Records at the age of 17.

Their first band, I Blame Coco, released their debut album in 2010 (Coco was Sumner’s nickname growing up). Since then, they’ve also ventured into acting, most recently appearing in Guy Ritchie’s Netflix series The Gentlemen.

Maurizio Lombardi as Inspector Pietro Ravini

Not much is known about Lombardi’s character, but given his title, we can assume he’s part of the Italian police squad who set about investigating Ripley’s actions as the drama unfolds. No spoilers here, but things are set to get messy.

Lombardi himself is an Italian acting legend. Born in 1973, he decided to become an actor after reading The Count of Monte Cristo aged 14. Since then, he’s appeared in 2016 show The Young Pope with Jude Law, 2020’s The New Pope opposite John Malkovich and Italian crime series Monterossi.

Francesca Romana Bergamo as Ermelinda

Ermelinda is Dickie Greenleaf’s housekeeper and cook at his private home. In the book, this is in Mongibello (a made up town on the coast); the TV series hints at Rome.

Neapolitan actress Francesca Bergamo has, up until now, mainly appeared in Italian language shows. Educated at the San Carlo di Napoli theatre, her main roles have included films such as Il ricordo di una lacrima (2015), Ivan e il suo strano tempo (2013) and Il ballo dei pomodori (2016).

John Malkovich as TBC

What role will the multi-talented John Malkovich be playing? So far, it has been kept under wraps, but the addition of Malkovich – who himself has played Ripley in 2002’s Ripley’s Game – is sure to spice up the show. He almost requires no introduction, but we’ll give him one anyway: born in Illinois in 1953, he made his start in 1976 when he joined the Steppenwolf Theatre Company in Chicago.

From there, he went on to appear in films such as Empire of the Sun (1987), Of Mice and Men (1992), Being John Malkovich (1999) and even the first Johnny English film in 2003. He’s dabbled in fashion (he set up his own fashion company, Mrs Mudd, in 2002) and has been an artistic muse (in 2014, photographer Sandro Muller released an exhibition of 35 iconic portraits of the actor).

Margherita Buy as TBC

Italian actress Margherita Buy has a career spanning decades. A native of Rome, she was born in 1962 and broke through in Duccio Tessari's Una grande storia d'amore (1986). She’s gone on to appear in numerous Italian-language films and TV shows – and is best known for Mia madre (2015), The Ignorant Fairies (2001) and Days and Clouds (2007).

Ripley airs on Netflix from April 4'

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ulkaralakbarova · 2 months

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In the wake of a freak accident, Lance suffers the worst tragedy and the greatest opportunity of his life. He is suddenly faced with the possibility of fame, fortune and popularity, if he can only live with the knowledge of how he got there. Credits: TheMovieDb. Film Cast: Lance Clayton: Robin Williams Claire Reed: Alexie Gilmore Kyle Clayton: Daryl Sabara Andrew Troutman: Evan Martin Principal Wyatt Anderson: Geoff Pierson Mike Lane: Henry Simmons Bonnie McBon: Mitzi McCall Jason: Jermaine Williams Heather Johnson: Lorraine Nicholson Morgan: Morgan Murphy Bert Green: Toby Huss Jerry Klein: Tom Kenny Make-Up Woman: Jill Talley Himself: Bruce Hornsby Newspaper Vendor: Krist Novoselic Limo Driver (uncredited): Bobcat Goldthwait Dr. Pentola: Tony V. Ginger: Naomi Glick Dan Spencer: Dan Spencer Peter (as Zach Sanchez): Zachary Vitale Jennifer: Ellie Jameson Chris: Michael Thomas Moore Metal Kid: Ray Buckley Nosy Neighbor: Rebecca Erwin Spencer Nosy Neighbor: Cheri Minns Nosy Neighbor: Zazu Mabel: Mable Mae Dr. Dana: Deborah Horne Bruce Hornsby’s Mic Stand: Riley Dean Stone The Fighting Pug: Zoe Film Crew: Screenplay: Bobcat Goldthwait Executive Producer: Edward H. Hamm Jr. Executive Producer: Jennifer Roth Producer: Richard Kelly Producer: Sean McKittrick Producer: Tim Perell Producer: Howard Gertler Director of Photography: Horacio Marquínez Editor: Jason Stewart Production Design: John Paino Set Decoration: Rachel M. Thompson Costume Designer: Sarah de Sa Rego Makeup Artist: Danyale Cook Makeup & Hair: Jennifer Popochock Makeup & Hair: Cheri Minns Makeup Department Head: Dawn Tunnell Key Hair Stylist: Akemi Hart Sound: Dan L. Brock Sound Designer: Lisa K. Fowle Dialogue Editor: Harrison Meyle Visual Effects Coordinator: Ian T. Barbella Visual Effects Editor: Dylan Highsmith Visual Effects Producer: Mark Kolpack Costumer: Teresa Purkiss Costumer: Nikki Paulson Costume Assistant: Katy McPhee Original Music Composer: Gerald Brunskill Movie Reviews:

#Adolescence #high school #lie #poetry #rejection #Teacher #Top Rated Movies #vulgarity

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confessionsofabingefreak · 3 years

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F9: The Fast Saga (2021)

Overall: ⭐️⭐️⭐️ish

Universal Studios

Action/Franchise

Recommend: … for fans of the series… yes… others… sure but you would not understand the significance of much of the story they are trying to tell.

My Collection: yes, have the whole franchise

Overview: We get to meet Dom and Mia’s estranged brother Jacob. We learn that family is complicated and the past isn’t always what we think it is. We get an action packed thrill ride while they try to tell the story of the Toretto family.

Impression: We get a lot of action amidst poor and choppy storytelling. In ways it is a fantastic ride. On the flip side of that it is a disappointment amidst amazing appearances from many from the fast and furious movies. And lets not forget just how far fetched some of those action sequences are. Just… ugh.

Story: ⭐️⭐️1/2ish

Concept: ⭐️⭐️⭐️1/2

Storytelling: ⭐️⭐️ish

Writing: ⭐️⭐️ish

Directing: ⭐️⭐️1/2ish

Editing: ⭐️⭐️

Cinematography: ⭐️⭐️⭐️⭐️

Production Design: ⭐️⭐️⭐️⭐️

Sound: ⭐️⭐️⭐️1/2

Score: ⭐️⭐️⭐️1/2

Casting: ⭐️⭐️⭐️⭐️

Characterization: ⭐️⭐️⭐️1/2

Special Effects: ⭐️⭐️⭐️⭐️

Entertainment: ⭐️⭐️⭐️1/2

Feel: roller coaster ride that both thrills and disappoints

Favourite: all the old cast members… especially Han and Sean.

Least favourite: they tried taking on too much and the storytelling imploded

Reception: Financial success as we’d expect. Though ratings seem to leave it on the positive side of average.

Final Impression: Over the top. Far fetched. Choppy storytelling. Amazing stunts. Great special effects. Seeing old cast members from the fast franchise …. more please! They tried so hard to put too much into 2 hour film, that it came apart at the seams. All I will say is that it is sentimental and entertaining in its own way.

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dk-thrive · 3 years

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10/ 12/ 57. This age is paralyzed by the great that have gone before, Eschylus, Shakespeare, Keats, Tolstoy, Dostoyevsky, even Hemingway. Only the poets seem to break through it, like Dylan Thomas. The people who don’t give a hang, the people who go on their own.

Patricia Highsmith, “Patricia Highsmith: Her Diaries and Notebooks: 1941-1995.″ Anna von Planta (Editor). (Liveright, November 16, 2021)

#greats #Shakespeare #Tolstoy #Keats #Dostoyevsky #Hemingway #Dylan Thomas #Patricia Highsmith #independent #alone #write #writer #poet #poetry

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harmcomforts · 4 years

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okay i got some new test muses and zero self control so here’s a list and a starter call, i’ll come to you for your pick!

alina mooney, 28, bisexual, elizabeth olsen fc, medium

asa moriyama, 19, straight, nico hiraga fc, skateboarder and stuntman

clair highsmith, 25, bisexual, olivia cooke fc, conwoman

clover davis, 26, bisexual, erinn westbrook fc, flight attendant

dylan mackenzie, 21, bisexual, josephine langford fc, s/ex shop assistant

harry pruitt, 31, straight, oliver jackson-cohen fc, script doctor

hudson gieger, 32, straight, tyler hoechlin fc, paramedic

nori sutherland, 21, bisexual, maya hawke fc, controversial artist

rhiannon yang, 26, bisexual, natasha liu bordizzo fc, antique store owner

salinger pruitt, 23, bisexual, ella purnell fc, phone s/ex operator

#indie rp #indie bi rp #indie smut rp #open rp #don't judge how long this list is okay I JUST HAD IDEASSSSSS

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wouldyouliketoseemymask · 6 years

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This is a compiled list of some of my favorite pieces of short horror fiction, ranging from classics to modern-day horror, and includes links to where the full story can be read for free. Please be aware that any of these stories may contain subject matter you find disturbing, offensive, or otherwise distressing. Exercise caution when reading. Image art is from Scarecrow: Year One.

PSYCHOLOGICAL: tense, dread-inducing horror that preys upon the human psyche and aims to frighten on a mental or emotional level.

“The Frolic” by Thomas Ligotti, 1989

“Button, Button” by Richard Matheson, 1970

“89.1 FM” by Jimmy Juliano, 2015

“The Yellow Wallpaper” by Charlotte Perkins Gilman, 1892

“Death at 421 Stockholm Street“ by C.K. Walker, 2016

“The Ones Who Walk Away from Omelas” by Ursula K. Le Guin, 1973

“An Empty Prison” by Matt Dymerski, 2018

“A Suspicious Gift” by Algernon Blackwood, 1906

CURSED: stories concerning characters afflicted with a curse, either by procuring a plagued object or as punishment for their own nefarious actions.

“How Spoilers Bleed” by Clive Barker, 1991

“A Warning to the Curious” by M.R. James, 1925

“each thing i show you is a piece of my death” by Stephen J. Barringer and Gemma Files, 2010

“The Road Virus Heads North” by Stephen King, 1999

“Ring Once for Death” by Robert Arthur, 1954

“The Mary Hillenbrand Cassette“ by Jimmy Juliano, 2016

“The Monkey’s Paw” by W.W. Jacobs, 1902

MONSTERS: tales of ghouls, creeps, and everything in between.

“The Curse of Yig” by H.P. Lovecraft and Zealia Bishop, 1929

“The Oddkids” by S.M. Piper, 2015

“Nightmare at 20,000 Feet” by Richard Matheson

“The Graveyard Rats” by Henry Kuttner, 1936

“Tall Man” by C.K. Walker, 2016

“The Quest for Blank Claveringi“ by Patricia Highsmith, 1967

“The Showers” by Dylan Sindelar, 2012

CLASSICS: terrifying fiction written by innovators of literary horror.

“The Tell-Tale Heart” by Edgar Allan Poe, 1843

“The Interlopers” by Saki, 1919

“The Statement of Randolph Carter“ by H.P. Lovecraft, 1920

“The Damned Thing” by Ambrose Pierce, 1893

“The Legend of Sleepy Hollow” by Washington Irving, 1820

“August Heat” by W.F. Harvey, 1910

“The Black Cat” by Edgar Allan Poe, 1843

SUPERNATURAL: stories varying from spooky to sober, featuring lurking specters, wandering souls, and those haunted by ghosts and grief.

“Nora’s Visitor” by Russell R. James, 2011

“The Pale Man” by Julius Long, 1934

“A Collapse of Horses” by Brian Evenson, 2013

“The Jigsaw Puzzle” by J.B. Stamper, 1977

“The Mayor Will Make A Brief Statement and then Take Questions” by David Nickle, 2013

“The Night Wire” by H.F. Arnold, 1926

“Postcards from Natalie” by Carrie Laben, 2016

UNSETTLING: fiction that explores particularly disturbing topics, such as mutilation, violence, and body horror. Not recommended for readers who may be offended or upset by graphic content.

“Survivor Type” by Stephen King, 1982

“I’m On My Deathbed So I’m Coming Clean...” by M.J. Pack, 2018

“In the Hills, the Cities” by Clive Barker, 1984

“The New Fish” by T.W. Grim, 2013

“The Screwfly Solution” by Racoona Sheldon, 1977

“In the Darkness of the Fields” by Ho_Jun, 2015

“The October Game” by Ray Bradbury, 1948

“I Have No Mouth, and I Must Scream” by Harlan Ellison, 1967

HAPPY READING, HORROR FANS!

#horror #horror fiction #horror literature #short stories #ash reads #recs

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zerogate · 4 years

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I wanted to know what made a person drink and what it did to them. More specifically I wanted to know why writers drink, and what effect this stew of spirits has had upon the body of literature itself. John Cheever and Raymond Carver are hardly the only writers whose lives were made desolate by alcohol. Alongside them come Ernest Hemingway, William Faulkner, Tennessee Williams, Jean Rhys, Patricia Highsmith, Truman Capote, Dylan Thomas, Marguerite Duras, Hart Crane, John Berryman, Jack London, Elizabeth Bishop, Raymond Chandler – the list staggers on. As Lewis Hyde observes in his essay ‘Alcohol and Poetry’, ‘four of the six Americans who have won the Nobel Prize for literature were alcoholic. About half of our alcoholic writers eventually killed themselves.’

Olivia Laing, The Trip to Echo Spring

#quotes

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athenamoreau-blog · 4 years

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𝖆𝖙𝖍𝖊𝖓𝖆 𝖒𝖔𝖗𝖊𝖆𝖚, 𝖙𝖍𝖎𝖗𝖙𝖞-𝖘𝖊𝖛𝖊𝖓, 𝖑𝖎𝖊𝖚𝖙𝖊𝖓𝖆𝖓𝖙 𝖔𝖋 𝖙𝖍𝖊 𝖗𝖇𝖕𝖉

❝ -- But listen carefully to the sound Of your loneliness like a heartbeat drives you mad In the stillness of remembering what you had And what you lost -- ❞

𝖇𝖆𝖘𝖎𝖈 𝖎𝖓𝖋𝖔𝖗𝖒𝖆𝖙𝖎𝖔𝖓

full name: athena ann moreau

birth date: april 20th, 1983

astrological sign: taurus

gender / pronouns: cis female / she, her, hers

sexual / romantic orientation: bisexual / biromantic

current location: redwood bay, oregon (2000-present)

𝖕𝖍𝖞𝖘𝖎𝖈𝖆𝖑 𝖆𝖕𝖕𝖊𝖆𝖗𝖆𝖓𝖈𝖊

height: 5 foot 4 inches

build: slim / athletic

skin tone: pale

hair color: red

eye color: green

notable features: cleft chin and her big bright (perfect) smile

marks / scars: barely visible scar on pelvis from a cesarean

usual expression: pensive

clothing style: silk blouses, pant suits, and blazers galore

𝖇𝖆𝖈𝖐𝖌𝖗𝖔𝖚𝖓𝖉

birth place: sedona, arizona (1983-2000)

father: andrew moreau (estranged)

mother: annette moreau (deceased)

sibling(s): andrew moreau (deceased)

children: unnamed baby girl (born october 17th, 2000)

pet(s): tango (lop eared rabbit)

𝖒𝖆𝖓𝖓𝖊𝖗𝖎𝖘𝖒𝖘

accent: typical pacific north american

hobbies: barely had any bc all she does it WORK but she does enjoy reading, meditating, yoga, gardening, and outdoor excursions

drives / motivations: justice, making her brother proud

fears: giving up one day, spending the rest of her life alone, work related casualties

positive traits: brave, diligent, calm, altruistic, wise, reliable, stable, devoted, passionate, kind, strong-willed, intuitive

negative traits: bossy, tense, obsessive, sensitive, skeptical, uncompromising, possessive, stubborn, workaholic, sarcastic, seemingly aloof, insecure

sense of humor: sarcastic but also a secret pun fanatic

𝖋𝖆𝖛𝖔𝖗𝖎𝖙𝖊𝖘

activity: hiking / nature walks / bike trails

animal: rabbits bc they are Good and mean no harm

beverage: herbal teas

book: the price of salt by patricia highsmith

celebrity: bob dylan

color: mint green or lavender

food: pasta

flower: sunflowers

gem: emerald

holiday: christmas (until her brother died now they all make her sad lol)

movie: tootsie

musical artist: stevie nicks

quote / saying: anything that comes out of bob dylan’s mouth

scenery: tall and thick forests, waterfalls, mountains

scent: patchouli, vanilla, sandalwood

television show: i love lucy

weather: thunderstorms and rain

𝖎𝖒𝖕𝖔𝖗𝖙𝖆𝖓𝖙 𝖉𝖊𝖙𝖆𝖎𝖑𝖘

okay so athena is a Sad Bitch but also a Bad Bitch, she doesn’t sit around feeling sorry for herself but she definitely hasn’t processed literally any of the trauma she has experienced in her life. queen of distractions and overworking herself!

her older brother pretty much raised her bc their mother died when she was a toddler and their father is a no good pos. he was her real life superhero tbh. and GUESS WHAT he died in a motorcycle accident. it was a hit and run. she drives herself crazy over it.

she is very lonely in her personal life, probably doesn’t have a single friend. her brother was all she had in so many ways and the loss of him has literally left her empty.

during her leave of absence from work to deal with her debilitating grief, she realized that she had been living her life in the name of making SOMEONE proud of her. never really stopping to think about what she wants. she feels like she doesn’t know herself, she didn’t have much of a childhood or discovery phase so she is questioning literally everything right now.

when she returned to work, they threw her a welcome back party and basically told her that she was her brother’s replacement as lieutenant of the homicide department. literally right as she was thinking about starting her entire life over again.

she had a baby at 17 years old and put the baby up for adoption bc of her messed up family life. she still harbors a lot of guilt and pain from that, and because she has lost everyone she loved and she feels like she has no one, she wonders if that’s her karma bc she gave up her child.

she just wants to help other people bc she can’t help herself goddammit

athena prob hasn’t had a truly meaningful romantic relationship in her life bc of her obsession with work and her abandonment issues tbh. i’m still getting to know her myself but i can see her dating a few woman for a couple of months, maybe some men for a couple of weeks but she struggles when things get emotionally intimate.

anyway please love and care about her she will go out of her way to be good to you if you show her literally the most basic human decency

𝖕𝖔𝖘𝖘𝖎𝖇𝖑𝖊 𝖈𝖔𝖓𝖓𝖊𝖈𝖙𝖎𝖔𝖓𝖘

i am so open and down for most things, obv as long as it doesn’t feel super ooc for athena but like i said i’m still figuring her out!!!

anyone that works for law enforcement is an easily potential acquaintanceship

athena frequents a few of the downtown shops so if your character has ties to that, that could also call for a nice acquaintanceship turned eventual friendship or sumn.

i’d love to have a character that she is like...ALMOST comfortable with. send me your character intros/info and lets get to plotting baybee.

also THE SCANDAL if anyone would ever wanna bring her daughter into play

FULL BIOGRAPHY HERE

so yeah please hit me up if you have any questions or you wanna talk abt our muses bc i would love to plot and write with y’all and have our characters coexist ok love u bye

#intro #tw death and despair lol #about athena

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f9-teljes-film-indavideo · 3 years

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Nezd Halálosabb iramban 9 teljes film magyarul indavedo HD

Nézni Halálosabb iramban 9 2021 teljes film magyarul - az online filmek magyar felirattal ingyen és HD minőségben a regisztráció nélkül.

A filmet szeretném meg nézni teljes filmként magyarul de az indavideó és videa sincs fent, törölték.

Nézd ezeket az online filmek ingyen és regisztráció nélkül, Meg lehet nézni az teljes streaming indavideo.

Hogyan nézhetem meg a Halálosabb iramban 9 2021 az ingyenesen a neten regisztráció nélkül?

Nézd a legújabb és legjobb filmeket online! Teljesen ingyen, mobil telefonodon is. Itt töltheti ki szabadidejét, ha ellátogat hivatalos filmoldalunkra.

Itt az oldal, ahol online és természetesen ingyen nézheti a Halálosabb iramban 9 -ot:

ᐈᐈ✎ Kattintson ide nézni a Halálosabb iramban 9 ingyen

Nézd meg a Halálosabb iramban 9 2021 teljes filmet online ingyen magyar audió formátumban, felirattal és vágások nélkül HD minőségben │ Teljes HD – 460p – 720p – 1080p – BRRip – DvdRip

Hol Nézhetek teljes film magyarul ingyen es Halálosabb iramban 9 (2021) letöltés nélkül?

Az oldalon letöltés nélkül lehet filmeket néznia legtöbbször magyar felirattal

Ez az oldal a legjobb hely nézni Halálosabb iramban 9 teljes film magyarul

Íme a Halálosabb iramban 9 (2021) film teljes áttekintése

Halálosabb iramban 9 (2021) amerikai akciófilm, kalandfilm, krimi, 145 perc, 2021

Nem számít, milyen gyors vagy, a múltad elől nem tűnhetsz el. Dom Toretto visszahúzódva él egy félreeső helyen Lettyvel és fiával, a kis Briannel, de tudják, hogy a veszély állandóan ott les rájuk a békés horizonton. Ezúttal ez a veszély arra kényszeríti Domot, hogy szembenézzen múltbéli bűneivel, ha meg akarja menteni azokat, akiket a legjobban szeret. Összehozza csapatát, hogy megakadályozzanak egy olyan tervet, amely megrengeti a világot. A terv kiötlője a legképzettebb bérgyilkos és legprofibb sofőr, akivel valaha találkoztak – és aki történetesen Dom elveszett öccse, Jakob (John Cena)... 2020 nyarán jön a HALÁLOS IRAMBAN 9., a legújabb fejezet abból a filmsorozatból, amelynek részei közel két évtized alatt összesen több mint ötmilliárd dollár bevételt hoztak világszerte. A rendező a harmadik, negyedik, ötödik és hatodik részt is jegyző Justin Lin. Az akció világkörüli helyszíneken zajlik, Londontól Tokióig, Közép-Amerikától Edinburgh-ig, egy titkos adzerbajdzsáni bunkerben, vagy épp Tbiliszi nyüzsgő utcáin. A már ismerős arcokon kívül a filmben szerepel még a Grammy-díjas szupersztár, Cardi B is.

Bemutató dátuma: 2021. június 24. Forgalmazó: UIP-Duna Film

Halálosabb iramban 9 (2021) - Cselekmény

1989 nyarán Jack Toretto részt vesz egy autóversenyen két fiával, Dominikkal és Jakobbal a csapatában. Dom vitatkozni kezd Kenny Linder rivális versenyzővel, amiért trükkös taktikákat alkalmaz. Amikor a verseny folytatódik, Linder autója nekiütközik Jack lökhárítójának, amitől az autó a falnak csapódik és felrobban, a két fiú apja pedig meghal. A baleset után Dom összekap Linderrel, akit majdnem halálra ver. Tettéért letartóztatják, és miközben a büntetését tölti, eszébe jut, hogy Jakob dolgozott utoljára az autón, ekkor rájön, hogy öccse lehet felelős az apjuk haláláért. Szabadulása után Dom szembeszáll Jakobbal, és kihívja egy versenyre, a tét pedig az, hogy a vesztesnek el kell hagynia a várost. Jakob elveszíti a versenyt, így a megállapodás értelmében távozik.

Napjainkban a versenyzéstől visszavonult Dom feleségével, Letty-vel neveli Brian nevű kisfiát. Roman, Tej és Ramsey azzal a hírrel érkezik, hogy Mr. Senki elfogta Ciphert, a repülőgépét pedig korrupt ügynökök támadták meg. A gép a közép-amerikai Montecitóban zuhant le, a csapat az ő segítségét kéri a nyomozásban. A vészjelzést újrajátszva Dom rájön, hogy Jakob keze van a dologban. A gépet átkutatva megtalálják az Aries nevű eszköz egyik részét, amely képes feltörni bármilyen számítógépes-fegyverrendszert, azonban megtámadja őket egy magánhadsereg és Jakob, aki ellopja az eszközt. A csapat találkozik Stasiakkal útban a menedékházuk felé. Domhoz vonakodva csatlakozik a húga, Mia Toretto is, aki segíteni szeretne. A csapat megtudja, hogy Han életben van, és Mr. Senkivel dolgozik.

Közben Jakob találkozik Ottóval, a társával. Cipher a bázisukon van, és miután nem sikerül Jakobot meggyőznie, elmondja neki, hogy az Aries másik fele Edinburgh-ban van (Egyesült Királyság).

Dom találkozik Buddyval, aki befogadta Jakobot a száműzetése után, és megtudja tőle, hogy öccse Londonban tartózkodik. Letty és Mia Tokióban megkeresik Hant, találkoznak vele és pártfogoltjával, Elle-lel. Roman és Tej beszervezik Seant, Twinkie-t és Earl Hut, aki egy rakétaautón dolgozik. Londonban Dom találkozik Magdalena Shaw-val, aki megadja neki Jakob tartózkodási helyét. Dom szembeszáll Ottóval és öccsével, akik megkérik, hogy távozzon. Otto letartóztatja Domot, de Leysa, Dom régi barátja segít neki megszökni.

Tej, Roman és Ramsey csatlakozik Domhoz Edinburgh-ban, ahol Jakob mágneses mezőt használ, hogy ellopja az Aries-eszköz másik felét. Tej és Roman megtalálják az elektromágnest tartalmazó teherautót; miközben Otto embereivel harcolnak, Ramsey lefoglalja a teherautót, hogy Otto után eredjen. Dom elfogja Jakobot, és harcolni kezdenek egymással az egész városon keresztül. Mielőtt Otto kiszabadíthatná Jakobot, Ramsey lehajt az autójával az útról, Dom pedig az elektromágnessel elfogja öccsét.

Otto beszervezi Cipher-t. A menedékházban Han elárulja, hogy őt bízták meg Elle és az Aries védelmével, mivel Elle DNS-e az utolsó alkotóelem. Amikor Mr. Senki egyik ügynöke elszegődött, Deckard Shaw-t használták fel, hogy megrendezze Han halálát, hogy ő védhesse meg Elle-t. Otto megtámadja a menedékházat, és kiszabadítja Jakobot, aki Mr. Senki szélhámos ügynöke volt. Jakob elárulja, hogy az apjuk azt tervezte, hogy megrendezi a halálát, hogy megmeneküljön a hatalmas adósságától, ezért megbabráltatta vele az autóját, de a terv balul sült el, és a kocsi felrobbant, ami megölte őt. Jakob és Otto elrabolják Elle-t, és elviszik a második Aries-eszközt.

Otto útnak indít egy műholdat, Jakob pedig Elle-lel aktiváltatja az Aries-t. Elkezdik feltölteni a műholdra, és egy páncélozott teherautóval végigjárják Tbiliszit. Dom, Letty, Mia, Ramsey és Han üldözőbe veszik, hogy megmentsék Elle-t és megállítsák a feltöltést. Miközben Mia és Han megpróbálja áttörni a teherautót, Jakobot elárulja Otto, aki ledobja őt a teherautóról. Dom és Mia azonban megmentik Jakobot, aki a lány kocsiját használja a meneküléshez, de visszafordul, hogy segítsen Domnak bejutni a teherautóba. A rakétaautó segítségével Tej és Roman elindulnak felfelé az égbe, és elpusztítják a műholdat, megállítva a feltöltést. Cipher távirányítású repülőgéppel bombázza a teherautót és megpróbálja megölni Domot. Helyette azonban Ottót öli meg, a lezuhanó teherautó pedig elpusztítja Cipher gépét, de a nőnek sikerül elmenekülnie. Dom és Mia kibékül Jakobbal, és lehetővé teszik számára, hogy Dom autójával elmeneküljön. Egy űrhajó visszahozza Tej-t és Romant a Földre.

A csapat grillezéssel ünnepli sikerét. Miközben az asztali áldásra készülnek, Brian O'Conner autója megérkezik a kocsibejáróhoz. A stáblista utáni jelenetben Deckard Shaw meglepődik, amikor Han megjelenik az ajtajában.

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pangeanews · 6 years

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“Un libraio mi ha detto, usa poche virgole, la gente le odia”: intervista a Chuck Palahniuk (con nuovo romanzo vent’anni dopo “Fight Club”)

Letteralmente, letterariamente. Fu uno dei successi letterari più clamorosi. Vent’anni fa. Lui ha poco meno di 35 anni. Ha fatto il giornalista – ha lasciato il giornalismo – s’è messo ad aggiustare auto – fa il volontario tra barboni e case di riposo. Fight Club esce nel 1996, un paio di anni dopo David Fincher lo esalta nel film omonimo, di culto, con Brad Pitt ed Edward Norton, dove gli esiliati dalla società, i rifiuti, si pigliano a pugni per trovare l’estasi, la vita, sangue e gioia. Chuck Palahniuk, insomma, diventa uno degli scrittori più noti al mondo di chi legge – i suoi libri, Survivor, Invisible Monsters, Soffocare, Rabbia, Dannazione, Sventura, sono editi in Italia da Mondadori. L’ultimo libro, pubblicato da Jonathan Cape, s’intitola Adjustment Day, è uscito un paio di mesi fa. “In questo libro comico e geniale Palahniuk fa quello che sa fare meglio: stigmatizzare le assurdità del nostro mondo. Politici vecchi e compiaciuti preparano un brutto destino a una fiorente popolazione di giovani maschi; la classe operaia sogna di seppellire le élite; professori propongono teorie che offrono ai propri studenti il futuro più tetro”, dice la ‘quarta’. Alexander Larman, sul Guardian, ha scritto che questo “non è un buon libro”, è “una provocazione swiftiana malriuscita”: leggeremo quando il romanzo sbarcherà in Italia. Intanto, l’intervista concessa da Palahniuk al TLS mi pare spassosa, un virtuoso incontro di boxe. Il giornalista domanda e Chuck, sprezzante, risponde come vuole lui, elevando Ira Levin – quello di Rosemary’s Baby – a grande scrittore e preferendo Gli effetti dei raggi gamma sui fiori di Matilda a Re Lear. Il suo consiglio letterario? Usare poche virgole. I lettori le odiano. E scrivere dove nessuno parla la vostra lingua – riesce meglio.

Il tuo libro preferito degli ultimi 12 mesi.

Nessuno. Ho letto pochissimi libri.

La cosa più difficile che hai scritto.

Donne malvagie.

L’autore – vivo o morto – più sottovalutato.

Ira Levin.

L’autore – vivo o morto – più sopravvalutato.

V. C. Andrews.

Il miglior consiglio che hai ricevuto.

Un libraio mi ha detto di non usare troppe virgole. “La gente odia le virgole”, mi ha detto.

In che senso la scrittura è un atto politico?

La buona scrittura trascende la politica.

Hai qualche ossessione quando scrivi?

Brucio ogni nota, bozza, frammento, studio dopo che il libro è stato pubblicato.

La prima cosa che hai scritto.

Un saggio per la festa del papà, in cui esaltavo mio padre. Avevo dieci anni. Mi fece ottenere 50 dollari.

Come si misura il successo di un libro?

Dal numero di generazioni che si divertono a leggerlo.

Cosa leggi durante le vacanze?

Non leggo. Scrivo. Il posto migliore per scrivere è ovunque non si parli la propria lingua.

Domande rapide. Toni Morrison o Philip Roth?

Nora Ephron.

Ursula K. Le Guin o Philip K. Dick?

Ira Levin.

“Re Lear” o “La tempesta”?

Gli effetti dei raggi gamma sui fiori di Matilda di Paul Zindel.

Jack Kerouac o James Baldwin?

Ken Kesey.

Virginia Woolf o Emily Dickinson?

Patricia Highsmith.

“Hamilton” o “West Side Story”?

L’assassinio di Sister George.

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Feud su FX.

Gabriel García Márquez o Angela Carter?

Nami Mun.

Agatha Christie o Arthur Conan Doyle?

Tutto quello che ha scritto Ellery Queen.

Beyoncé o Bob Dylan?

Mike Oldfield.

L'articolo “Un libraio mi ha detto, usa poche virgole, la gente le odia”: intervista a Chuck Palahniuk (con nuovo romanzo vent’anni dopo “Fight Club”) proviene da Pangea.

from pangea.news https://ift.tt/2vvo83p

#Letteratura #news #Bob Dylan #Chuck Palahniuk #Cult #destino #Emily Dickinson #García Márquez #giorn

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denimbex1986 · 6 months

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'There are some familiar faces in the cast of the 2024 Netflix limited series Ripley. Created by Oscar-winning screenwriter Steven Zaillian, Ripley is a psychological thriller miniseries based on Patricia Highsmith's 1955 crime novel The Talented Mr. Ripley and subsequent book series. Though set in the 1960s, Ripley will still follow the same story of the career criminal, Tom Ripley (Andrew Scott), who is hired by a wealthy man to retrieve his spoiled and freewheeling son, Dickie Greenleaf (Johnny Flynn), from Italy, a task that quickly turns dark as Tom becomes more and more obsessed with Dickie.

Originally set to air on Showtime, Ripley will instead premiere on Netflix on April 4, 2024. Zaillian, who wrote the Oscar-winning screenplay for Schindler's List, also wrote and directed all eight episodes of Ripley, which appear to have been shot entirely in black-and-white. Ripley marks the first full-length TV series based on Highsmith's books, but there are a number of The Talented Mr. Ripley film adaptations, including the 1999 film starring Matt Damon, Jude Law, Gwyneth Paltrow, and Philip Seymour Hoffman. It will be tough to beat that lineup, but the cast of 2024's Ripley definitely looks promising...

Andrew Scott As Tom Ripley

Andrew Scott Is 47 Years Old

Actor: Andrew Scott was born on October 21, 1976, in Dublin, Ireland. A prolific theater actor to this day, Scott first broke big onscreen as Moriarty in the BBC's Sherlock series (2010-2017).Scott's performance in Sherlock as the titular detective's nemesis earned him a BAFTA TV Award for Best Supporting Actor. He gained further prominence as The Priest (often called "The Hot Priest") in season 2 of Fleabag in 2019. Most recently, Scott played the lead role of Adam in the 2023 romantic drama All Of Us Strangers, for which he received a Golden Globe nomination for Best Actor...

Character: In Ripley, Scott plays the titular murderous con artist, Tom Ripley. Scott is the latest in a string of talented actors to take on the role of the mysterious grifter. Most notably, Matt Damon played Tom in The Talented Mr. Ripley (1999).

Johnny Flynn As Dickie Greenleaf

Johnny Flynn Is 41 Years Old

Actor: Johnny Flynn was born on March 14, 1983, in Johannesburg, South Africa. During his tenure as Dylan Witter in the Netflix sitcom Lovesick (2014-2018), Flynn gained prominence for playing a young Albert Einstein in season 1 of the biographical anthology series Genius in 2017. He went on to play Mr. Knightley in the 2020 film adaptation of Jane Austen's novel Emma and David Bowie in the 2020 biopic Stardust about the music legend. Flynn also starred in The Outfit (2022) and One Life (2023). He is also the frontman of his eponymous band, Johnny Flynn & The Sussex Wit...

Character: In Ripley, Flynn plays Dickie Greenleaf, the handsome and affluent object of Tom Ripley's twisted affection. Flynn will be following in the footsteps of Jude Law, who portrayed Dickie in 1999's The Talented Mr. Ripley.

Dakota Fanning As Marge Sherwood

Dakota Fanning Is 30 Years Old

Actor: Dakota Fanning was born on February 23, 1994, in Conyers, Georgia. Fanning's breakout role was playing Sean Penn's daughter Lucy in the 2001 film I Am Sam, just one year after her acting debut. Fanning went on to become a prominent child star in 2000s, starring in films like Uptown Girls, The Cat in the Hat, and War of the Worlds. From 2009-2012, Fanning played Voluri member Jane in The Twilight Saga. She also voiced the titular role in Coraline and played Cherie Currie in the music biopic The Runaways. In 2023, Fanning reunited with Man on Fire co-star Denzel Washington in Equalizer 3...

Character: In Ripley, Fanning plays Dickie's friend and on-and-off love interest, Marge Sherwood. As shown in Netflix's Ripley trailer, Marge becomes Tom's rival as she grows more and more suspicious of his intentions. In the 1999 film adaptation of Highsmith's novel, the role of Marge was played by Gwyneth Paltrow.

Ripley Supporting Cast & Characters

Eliot Sumner as Freddie Miles: Best known as a musician, Eliot Sumner plays Dickie's school friend Freddie Miles in Ripley. Sumner has also appeared in films like The Gentleman (2020), No Time to Die (2020), and Infinite Storm (2022). Sumner is following in the footsteps of the late Philip Seymour Hoffman, who played Freddie in The Talented Mr. Ripley (1999).

Maurizio Lombardi as Inspector Pietro Ravini: Italian actor Maurizio Lombardi plays Inspector Pietro Ravini in Ripley. Lombardi has starred in a number of Italian films, including Tutta Un'altra Vita (2019) and Amusia (2022). Lombardi is also known for his work in 2019's Pinocchio and the HBO miniseries The New Pope (2019-2020), which also stars The Talented Mr. Ripley star Jude Law and Lombardi's Ripley co-star John Malkovich.

Margherita Buy: Though her role has not yet been identified, Italian actress Margherita Buy is set to appear in Ripley. Buy has primarily starred in Italian films, including La stazione (1990), Le fate ignoranti (2001), Giorni e nuvole (2007), Mia madre (2015), Il sol dell'avvenire (2023), and Volare (2023). She also starred in Romeo è Giuletta, a 2024 Italian film adaptation of Romeo and Juliet, with Ripley co-star Maurizio Lombardi.

John Malkovich: John Malkovich briefly appears in the Ripley trailer in an unidisclosed role, in which he can be heard telling Tom, "I like the name." Malkovich's presence in Ripley is notable as he played Tom Ripley in the 2002 film adaptation of Ripley's Game, the third book in Highsmith's Ripley series. Malkovich is also known for starring in Places in the Heart (1984), Dangerous Liaisons (1988), In the Line of Fire (1993), and Burn After Reading (2008), and for playing a satirical version of himself in 1999's Being John Malkovich.'

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packernet · 5 years

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New Post has been published on https://www.packernet.com/blog/2019/12/31/2020-nfl-draft-big-board-2/

2020 NFL Draft Big Board

My consensus big board for the 2020 NFL Draft is currently comprised of 20 big boards that have been updated in the last 30 days to create one giant big board that gives a big picture view of where each player is currently being ranked around the web.

Rank Player Position Type School AVG 1 Chase Young EDGE DE Ohio State 1.12 2 Joe Burrow QB Pro LSU 4.06 3 Jerry Jeudy WR WR Alabama 4.65 4 Jeffrey Okudah CB CB Ohio State 6.24 5 Tua Tagovailoa QB Dual Alabama 6.53 6 Derrick Brown DL 3 Tech Auburn 6.76 7 Andrew Thomas OT LT Georgia 6.82 8 Isaiah Simmons LB SLB Clemson 9.06 9 Ceedee Lamb WR WR Oklahoma 9.24 10 A.J. Epenesa EDGE DE Iowa 11.06 11 Tristan Wirfs OT RT Iowa 13.00 12 Henry Ruggs WR WR Alabama 13.75 13 Grant Delpit S SS LSU 14.00 14 Javon Kinlaw DL 3 Tech South Carolina 14.81 15 Kristian Fulton CB CB LSU 18.35 16 Justin Herbert QB Dual Oregon 19.41 17 D’Andre Swift RB RB Georgia 19.88 18 Laviska Shenault WR WR Colorado 23.29 19 Jedrick Wills OT RT Alabama 23.53 20 Trevon Diggs CB CB Alabama 24.18 21 Jonathan Taylor RB RB Wisconsin 24.53 22 Tyler Biadasz IOL OC Wisconsin 24.75 23 Xavier McKinney S SS Alabama 26.13 24 Dylan Moses LB WLB Alabama 28.15 25 Yetur Gross-Matos EDGE DE Penn State 29.29 26 Creed Humphrey IOL OC Oklahoma 30.80 27 Kenneth Murray LB MLB Oklahoma 31.38 28 Raekwon Davis DL 3 Tech Alabama 31.47 29 Tee Higgins WR WR Clemson 31.94 30 Paulson Adebo CB CB Stanford 32.88 31 Travis Etienne RB RB Clemson 33.63 32 Curtis Weaver EDGE OLB Auburn 34.60 33 K’Lavon Chaisson EDGE OLB LSU 35.13 34 Marvin Wilson DL NT Florida State 36.17 35 C.J. Henderson CB CB Florida 36.47 36 Shaun Wade CB Ohio State 36.93 37 Terrell Lewis LB SLB Alabama 37.75 38 Julian Okwara EDGE DE Notre Dame 38.69 39 Alex Leatherwood OT LT Alabama 39.18 40 Jalen Reagor WR WR TCU 40.27 41 J.K. Dobbins RB RB Ohio State 42.81 42 Neville Gallimore DL Oklahoma 43.57 43 DeVonta Smith WR WR Alabama 44.15 44 Bryce Hall CB CB Virginia 44.21 45 Prince Tega Wanogho OT LT Auburn 46.67 46 Jacob Eason QB Pro Washington 47.93 47 Austin Jackson OT USC 48.93 48 Hamsah Nasirildeen S Florida State 51.64 49 A.J. Terrell CB CB Clemson 52.33 50 K.J. Hamler WR Penn State 53.85 51 Nick Harris IOL Washington 55.00 52 Jake Fromm QB Pro Georgia 55.19 53 Tyler Johnson WR SWR Minnesota 59.50 54 Trey Adams OT LT Washington 60.47 55 Jeff Gladney CB CB TCU 60.50 56 Chuba Hubbard RB Oklahoma State 62.00 57 Ashtyn Davis S California 63.07 58 Jordan Love QB Pro Utah State 63.57 59 Justin Jefferson WR WR LSU 64.40 60 Jalen Hurts QB Dual Oklahoma 64.71 61 Jaylon Johnson CB CB Utah 65.43 62 Lucas Niang OT RT TCU 65.57 63 Brandon Aiyuk WR WR Arizona State 69.27 64 Brycen Hopkins TE TE Purdue 69.86 65 Tylan Wallace WR WR Oklahoma State 69.86 66 Carlos Basham EDGE DE Wake Forest 71.38 67 Leki Fotu DL Utah 71.40 68 Josh Jones OT Houston 72.18 69 Jabari Zuniga EDGE Florida 73.62 70 Sage Surratt WR WR Wake Forest 74.44 71 Mekhi Becton OT LT Louisville 76.23 72 Cameron Dantzler CB CB Mississippi State 76.53 73 Cam Akers RB RB Florida State 77.15 74 Alton Robinson EDGE DE Syracuse 77.33 75 Brandon Jones S FS Texas 77.38 76 Darryl Williams IOL OG Mississippi State 77.58 77 Netane Muti DL Fresno State 77.90 78 Zack Moss RB RB Utah 78.91 79 Jonathan Greenard EDGE Florida 80.55 80 Anfernee Jennings EDGE DE Alabama 81.00 81 Samuel Cosmi OT Texas 82.00 82 Hunter Bryant TE Washington 83.57 83 Kenny Willekes EDGE DE Michigan State 83.85 84 Jack Driscoll OT RT Auburn 85.33 85 Troy Dye LB ILB Oregon 87.77 86 Justin Madubuike DL 3 Tech Texas A&M 88.30 87 Trey Smith IOL OG Tennessee 89.55 88 Najee Harris RB RB Alabama 89.62 89 Bradlee Anae EDGE DE Utah 89.89 90 Antoine Winfield S Minneosta 90.11 91 Darrell Taylor LB SLB Tennessee 90.36 92 Deommodore Lenoir CB Oregon 91.13 93 Michael Pittman WR Southern California 91.33 94 Malik Harrison LB OLB Ohio State 91.38 95 Richard LeCounte S Georgia 93.30 96 Collin Johnson WR WR Texas 93.42 97 Josh Uche LB SLB Michigan 94.67 98 Clyde Edwards-Helaire RB LSU 95.38 99 Jared Pinkney TE TE Vanderbilt 95.54 100 Shane Lemieux IOL OG Oregon 96.09 101 Rashard Lawrence DL 5 Tech LSU 96.09 102 Solomon Kindley IOL OG Georgia 97.09 103 Devin Duvernay WR Texas 97.80 104 Monty Rice LB Georgia 99.86 105 Jacob Phillips LB MLB LSU 100.44 106 Denzel Mims WR WR Baylor 101.22 107 Jake Hanson IOL OC Oregon 101.25 108 Albert Okwuegbunam TE TE Missouri 102.07 109 Zack Baun EDGE OLB Wisconsin 102.67 110 Donovan Peoples-Jones WR WR Michigan 103.20 111 Alaric Jackson OT LT Iowa 107.11 112 Walker Little OT LT Stanford 107.80 113 Khalid Kareem EDGE DE Notre Dame 108.00 114 Logan Stenberg IOL LG Kentucky 108.83 115 Markus Bailey LB Purdue 108.83 116 Shyheim Carter CB CB Alabama 109.50 117 Larrell Murchison DL NC State 110.29 118 Lloyd Cushenberry IOL LSU 110.88 119 Jordan Elliott DL Missouri 111.67 120 Kyle Dugger S Lenoir-Rhyne 112.57 121 Marlon Davidson EDGE DE Auburn 113.70 122 Eric Stokes CB CB Georgia 116.75 123 Ke’Shawn Vaughn RB RB Vanderbilt 117.88 124 Ben Bredeson IOL OG Michigan 120.00 125 Eno Benjamin RB RB Arizona State 120.38 126 Nick Coe EDGE OLB Auburn 120.88 127 Hakeem Adeniji OT LT Kansas 121.29 128 Calvin Throckmorton OT RT Oregon 122.00 129 Chazz Surratt LB ILB North Carolina 122.86 130 Zach Shackelford IOL OC Texas 123.17 131 Jordyn Brooks LB Texas Tech 123.83 132 Lamar Jackson CB CB Nebraska 124.73 133 Bryan Edwards WR WR South Carolina 125.00 134 Raequan Williams DL NT Michigan State 125.75 135 Damon Arnette CB CB Ohio State 126.22 136 Antoine Brooks CB SCB Maryland 127.89 137 Isaiah Hodgins WR Oregon State 130.75 138 K.J. Hill WR SWR Ohio State 132.89 139 Antonio Gandy-Golden WR WR Liberty 133.78 140 Jacob Breeland TE TE Oregon 135.10 141 David Woodward LB ILB Utah State 136.43 142 Lamical Perine RB Florida 136.63 143 Joe Bachie LB MLB Michigan State 137.00 144 Anthony McFarland RB Maryland 137.88 145 J.R. Reed S S Georgia 138.89 146 Alex Highsmith DL UNC Charlotte 139.50 147 Darnay Holmes CB CB UCLA 139.75 148 Ross Blacklock DL DT TCU 139.83 149 Robert Hunt OT Louisiana-Lafayette 140.00 150 Nico Collins WR Michigan 140.50 151 Kylin Hill RB 0 Mississippi State 140.63 152 Tommy Kraemer IOL RG Notre Dame 141.14 153 Julian Blackmon S Utah 141.29 154 A.J. Dillon RB RB Boston College 142.00 155 Trevon Hill EDGE Miami 142.00 156 Paddy Fisher LB MLB Northwestern 142.43 157 Justin Strnad LB Wake Forest 142.86 158 Anthony Gordon QB QB Washington State 143.57 159 Colby Parkinson TE TE Stanford 144.38 160 Davon Hamilton DL Ohio State 145.17 161 Gabriel Davis WR WR UCF 145.89 162 Jonathan Garvin EDGE Miami 150.14 163 K’Von Wallace S Clemson 152.20 164 Charlie Heck OT North Carolina 152.50 165 Harrison Bryant TE Florida Atlantic 153.63 166 Aaron Fuller WR Washington 155.25 167 Essang Bassey CB CB Wake Forest 155.63 168 D.J. Wonnum EDGE DE South Carolina 156.00 169 Justin Herron OT Wake Forest 158.20 170 Richie Grant S FS UCF 159.43 171 Evan Weaver LB ILB California 159.50 172 John Simpson IOL OG Clemson 160.40 173 Jamie Newman QB Wake Forest 160.60 174 Shaquille Quarterman LB MLB Miami 161.25 175 Myles Bryant S SS Washington 162.00 176 Isaiah Wilson OT RT Georgia 163.33 177 Tyler Huntley QB Utah 163.67 178 Myles Dorn S North Carolina 164.71 179 McTelvin Agim DL 3 Tech Arkansas 164.75 180 Lavert Hill CB CB Michigan 165.75 181 Kwity Paye EDGE DE Michigan 167.33 182 Jaron Bryant CB Fresno State 168.67 183 Jordan Mack LB Virginia 169.00 184 Levonta Taylor CB CB Florida State 169.00 185 Thomas Graham CB 0 Oregon 169.50 186 Terrell Burgess S Utah 171.00 187 Alohi Gilman S FS Notre Dame 171.67 188 K.J. Costello QB Pro Stanford 171.83 189 Benito Jones DL Ole Miss 172.25 190 Reggie Floyd S SS Virginia Tech 173.71 191 Nate Landman LB Colorado 173.80 192 Akeem Davis-Gaither LB Appalachian State 173.80 193 Kamal Martin LB Minnesota 175.25 194 Kendall Coleman EDGE DE Syracuse 175.25 195 Troy Pride CB Notre Dame 177.20 196 Jordon Scott DL Oregon 177.38 197 Patrick Jones EDGE Pittsburgh 179.33 198 Michael Divinity EDGE OLB LSU 179.67 199 Jason Strowbridge DL DT North Carolina 180.43 200 Charles Snowden LB Virginia 180.67 201 Tipa Galeai EDGE Utah State 180.71 202 John Hightower WR Boise State 181.00 203 Chase Claypool WR Notre Dame 181.43 204 Mohamed Barry LB Nebraska 182.67 205 Baron Browning LB Ohio State 182.75 206 T.J. Brunson LB MLB South Carolina 184.50 207 Joe Gaziano EDGE DE Northwestern 184.67 208 Quartney Davis WR WR Texas A&M 184.71 209 Jalen Elliott S Notre Dame 185.17 210 Carter Coughlin EDGE DE Minnesota 188.14 211 Kendrick Rogers WR WR Texas A&M 188.40 212 Tyler Clark DL 5 Tech Georgia 189.00 213 Cole Van Lanen OT Wisconsin 189.60 214 Jaylinn Hawkins S California 189.67 215 James Proche WR WR Southern Methodist 190.00 216 Cheyenne O’Grady TE Arkansas 190.00 217 Scott Frantz OT LT Kansas State 191.33 218 Yasir Durant OT Missouri 191.75 219 Robert Landers DL Ohio State 192.33 220 Kalija Lipscomb WR WR Vanderbilt 192.75 221 Jauan Jennings 193.00 222 Josiah Deguara TE Cincinnati 196.86 223 Nate Stanley QB Pro Iowa 198.67 224 Mitchell Wilcox TE TE South Florida 199.75 225 Cesar Ruiz IOL OC Michigan 200.67 226 A.J. Green CB Oklahoma State 201.20 227 Trey Sermon RB 0 Oklahoma 201.60 228 Trajan Bandy CB Miami 202.50 229 LaBryan Ray EDGE DE Alabama 202.67 230 Chase Lucas CB CB Arizona State 204.50 231 Jordan Fuller S SS Ohio State 205.40 232 Patrick Queen LB LSU 207.00 233 Matt Hennessy IOL OC Temple 207.33 234 Bryce Perkins QB Dual Virginia 207.40 235 Sam Ehlinger QB Dual Texas 207.50 236 Quintez Cephus WR WR Wisconsin 207.86 237 Brad Stewart S Florida 208.67 238 Jared Mayden S Alabama 209.00 239 Van Jefferson WR Florida 210.67 240 Cam Brown LB Penn State 212.00 241 J.J. Taylor RB Arizona 212.60 242 Ezra Cleveland OT LT Boise State 214.40 243 Jake Luton QB Oregon State 215.00 244 Daniel Bituli LB Tennessee 215.00 245 Sadarius Hutcherson OT LT South Carolina 216.50 246 Charlie Taumoepeau TE Portland State 217.50 247 Khaleke Hudson LB SLB Michigan 218.50 248 Glen Logan DL 5 Tech LSU 219.50 249 Tremayne Anchrum OT Clemson 220.00 250 Adam Trautman TE Dayton 220.00 251 Jeremy Chinn S Southern Illinois 221.00 252 Francis Bernard LB Utah 223.00 253 Matt Peart OT UConn 223.00 254 Colton McKivitz OT LT West Virginia 224.86 255 Reggie Corbin RB Illinois 226.50 256 Terence Steele OT LT Texas Tech 227.50 257 Levi Onwuzurike DL Washington 229.33 258 Kellen Mond QB Texas A&M 229.50 259 Michael Pinckney LB WLB Miami 229.50 260 Patrick Taylor RB RB Memphis 230.00 261 Stephen Sullivan TE LSU 232.00 262 Geno Stone S SS Iowa 234.00 263 Joe Reed WR WR Virginia 234.25 264 Nigel Warrior CB Tennessee 234.40 265 Shane Buechele QB SMU 241.00 266 Saahdiq Charles OT LT LSU 241.00 267 Stanford Samuels CB CB Florida State 241.00 268 Khyiris Tonga DL NT BYU 244.50 269 Chris Orr LB ILB Wisconsin 244.50 270 David Dowell S FS Michigan State 244.67 271 J.D. Spielman WR Nebraska 245.25 272 Erroll Thompson LB MLB Mississippi State 246.33 273 Lynn Bowden WR Kentucky 247.00 274 Dane Jackson CB CB Pittsburgh 250.00 275 T.J. Vasher WR Texas Tech 250.00 276 Lawrence Cager WR Miami 252.00 277 Michael Onwenu IOL OG Michigan 252.50 278 Stephen Carr RB USC 255.00 279 Rayshard Ashby LB MLB Virginia Tech 255.50 280 Gage Cervenka IOL Clemson 257.00 281 Alex Taylor OT South Carolina State 258.00 282 Robert Windsor DL Penn State 259.67 283 Khalil Davis DL Nebraska 261.00 284 DeeJay Dallas RB Miami 261.33 285 Salvon Ahmed RB Washington 262.50 286 Kyahva Tezino DL San Diego State 266.50 287 Cole McDonald QB Hawaii 269.00 288 James Smith-Williams EDGE NC State 271.25 289 Steven Montez QB Pro Colorado 271.33 290 Naquan Jones DL Michigan State 274.67 291 Tyler Vaughns WR WR USC 275.00 292 Charleston Rambo WR WR Oklahoma 279.67 293 Jeff Thomas WR Miami 280.00 294 David Reese LB MLB Florida 281.50 295 Joshua Kelley RB UCLA 282.00 296 Marquez Callaway WR WR Tennessee 284.33 297 Darius Anderson RB TCU 285.00 298 Carlos Davis DL Nebraska 286.50 299 Brendon Hayes DL UCF 291.00 300 Logan Wilson LB Wyoming 296.00 301 Damar Hamlin S FS Pittsburgh 296.33 302 Joey Magnifico TE TE Memphis 297.67 303 Asmar Bilal LB Notre Dame 298.00 304 Davion Taylor LB Colorado 304.00 305 Trystan Colon-Castillo IOL Missouri 304.00 306 Jaquarius Landrews S Mississippi State 305.00 307 Brian Lewerke QB Pro Michigan State 305.00 308 Ty Chandler RB RB Tennessee 308.50 309 Larry Rountree RB Missouri 312.00 310 Jay Tufele DL USC 314.50 311 Luke Farrell TE TE Ohio State 315.50 312 John Penisini DL Utah 316.50 313 Sean McKeon TE Michigan 325.67 314 Nyles Pinckney DL Clemson 328.00 315 Kindle Vildor CB 0 Georgia Southern 329.33 316 Shea Patterson QB Pro Michigan 330.00 317 John Reid S Penn State 334.50 318 Easop Winston WR Washington State 337.50 319 Tarik Black WR WR Michigan 351.50 320 Keith Taylor CB Washington 351.50 321 Mike Panasiuk IDL Michigan State 352.50 322 Christian Rector EDGE OLB USC 356.50 323 Moe Neal RB Syracuse 365.00 324 Jon Runyan OT LT Michigan 366.00 325 Emeka Emezie WR WR North Carolina 370.00 326 Steven Gonzalez IOL Penn State 370.50 327 Mason Fine QB North Texas 376.00 328 Juwan Johnson WR Oregon 378.00 329 Marcel Spears 378.50 330 Marco Wilson CB Florida 389.00 331 Greg Eisworth S SS Iowa State 390.00 332 Ray Lima 393.00 333 Juju Hughes S SS Fresno State 397.00 334 Tamorrion Terry WR WR Florida State 397.00 335 Tanner Muse S Clemson 406.00 336 Noah Togiai TE Oregon State 414.50

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itsalycenotalice · 8 years

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Hawaii Five-0 - Episode 7.22 - Waimaka 'Ele'ele - Press Release

WHILE WORKING THE MURDER CASE OF ONE OF THE LAST SURVIVORS OF THE USS ARIZONA, MCGARRETT LEARNS ABOUT HIS GRANDFATHER’S ROLE AT PEARL HARBOR, ON “HAWAII FIVE-0,” FRIDAY, APRIL 14 “Waimaka 'ele'ele” – While working the murder case of one of the last survivors of the USS Arizona, McGarrett learns about his grandfather’s important role at Pearl Harbor. Also, Adam uncovers bone fragments at his new construction job and asks Jerry to help him discreetly investigate, on HAWAII FIVE-0, Friday, April 14 (9:00-10:00 PM, ET/PT) on the CBS Television Network. (“Waimaka 'ele'ele” is Hawaiian for “Black Tears”) CHEAT TWEET: #H50 fans, McG learns about his grandfather’s role @PearlHarbor. Heroism runs in the family… @HawaiiFive0CBS 4/14 9pm http://bit.ly/2mVyXVZ REGULAR CAST: Alex O’Loughlin (Steve McGarrett) Scott Caan (Danny “Danno” Williams) Daniel Dae Kim (Chin Ho Kelly) Grace Park (Kono Kalakaua) Chi McBride (Lou Grover) Jorge Garcia (Jerry Ortega) GUEST CAST: Ian Anthony Dale (Adam) Dylan Bruno (Lee Campbell) Hal Holbrook (Leonard Patterson) Lexi Atkins (Amanda Patterson) Matthew Pederson (Daniel Nesmith) Matthew Taylor (Chris Davis) Paul Gutierrez (Bobby Mullin) Brian McNamara (Foreman) Austin Highsmith (Kiana Warren) Christian Malalis (Noah Warren) Jack Knight (Lieutenant Michael Murphy) Nick Dang (Store Manager) WRITTEN BY: David Wolkove DIRECTED BY: Bryan Spicer

SOURCE - http://www.spoilertv.com/2017/03/hawaii-five-0-episode-722-waimaka.html

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lorrainecparker · 7 years

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ART OF THE CUT – PIRATES edition

Art of the Cut delivered several interviews – per our readers’ requests on docs, trailers and indies) but we’re back to discussing major studio tent-pole features with Pirates of the Caribbean: Dead Men Tell No Tales.

The feature was cut by two big-budget action editors: Roger Barton (Transformers: The Last Knight, World War Z, Star Wars: Revenge of the Sith, Pearl Harbor, Armageddon) and Leigh Folsom Boyd (Fast and Furious, Battle Los Angeles, Fast Five, Total Recall, Ant Man). We talked to Folsom Boyd about her work on this incredibly complex project.

HULLFISH: You worked a lot with people that I’ve interviewed before. Dylan Highsmith, Kelly Motsomoto and Christian Wagner. You’ve done a lot of movies where you’ve got enough size and scope where they require multiple editors, which I’m finding happens more and more. Is it enjoyable for you to be around other editors and be able to bounce ideas?

BOYD: I have no problem with it, I think it works well and especially when the schedule is tight. It allows the director to jump around as well. I like the camaraderie and the collaboration aspect of it. In all of the situations that I’ve been in, it really helps to facilitate making the best movie possible. That creative process works off of that collaboration to help present the most cohesive story possible in the most creative way.

HULLFISH: You had such a long relationship with Christian Wagner. What were some of the things you learned as you watched him work that you felt like, “I have got to adopt that style”?

BOYD: As part of the job of being an editor, you have to comb through footage, but many times as you’re combing through, you stumble onto a hidden gem. Chris is an incredibly talented editor. He’s great about finding the best moment in the most unlikely footage and is a big proponent of pulling selects. As an editor, you have to be mindful of the looks and the expressions that you don’t think you’re going to need in one moment but you end up using in another moment. Pulling selects certainly helps to find those moments.

HULLFISH: Do you do any other method other than selects that allows you to find and recall those little moments?

BOYD: Personally, I like to make little notes as I’m doing the selects. I’ll put little locators on really good footage.

HULLFISH: Are you doing those with color locators?

BOYD: Sometimes, I color code them. For an action moment or an emotional beat, you have that expression that you don’t think you’re going to use, so I might mark that a different colored locator. Color coding comes in handy.

HULLFISH: Do you do your select reels differently between those two types of scenes?

BOYD: If it’s a good juicy moment, then I mark it and put it in the selects reel. I may leave a gap in the selects sequence to make the distinction of emotional beats. I also like to use the Script Integration feature (manually ScriptSyncing in Avid) because I feel that it helps directors to go back and find those moments as well. I’m taking little snippets out and building a select reel so Script Integration helpful to jump to the line readings when the director says, “I know we had it. There was a take where the actor/s did this one thing after using this one line.”

HULLFISH: And do your assistants set that up? I know there’s a bunch of different ways that people like their assistants to use ScriptSync. The difference is that Script Integration requires you to manually sync whatever lines you want with the script and ScriptSync does it automatically using phonetics in the audio file. Do you find that you prefer to sync every line? Do you actually cut using ScriptSync or do you only use for interacting with directors?

BOYD: Both actually. I will use it when I’m cutting initially and then I’ll use when I’m going through working with directors as well. I find it’s a helpful tool that’s really evolved. I think initially it was used primarily in more comedy projects, but it used more widely now. I don’t find it as useful with a huge action sequence, but for actors who do a lot of improv, I think it’s very helpful.

HULLFISH: I want to talk a little bit more about this idea of using selects reels as a way to approach a scene. How do you organize the selects reel? Are you just doing it in A, B, C, D setup order? Or are you creating a selects reel that’s more based on beats?

BOYD: I’ve done both before. If it’s something that I feel like is particular to a certain scene, I’ll do it by beats. The assistant will have built a dailies roll or KEM Roll and then, as I’m watching through that, I’ll put my locators on things that I feel like “that’s a moment, that’s a moment, that’s a moment,” and then I’ll go back and dissect that KEM Roll and build it into my selects roll. It’s also helpful too when you have the take. I just go through and sometimes I’ll do a breakdown of each moment into a selects reel. Like you were suggesting, the A-camera, B-camera, C-camera of each take, so take 1 camera A, B, and C all of that moment and then take 2 A, B, C all of that moment, and go that way. I guess it really just depends on the scene for me. I don’t always do it for every scene because some scenes aren’t as involved and if they’re not as involved then I just go through and I watch the dailies and that’s how the scene starts taking shape.

HULLFISH: I have a similar feeling about it. There are scenes where you’ve got multiple hours of dailies on a single scene and you just can’t wrap your head around that much material. But on a shorter scene you can just say, “I’ve got three takes and four setups and I can remember that much.”

BOYD: Right. Exactly. For some smaller scenes it’s not necessary and then – the bigger scenes that are much more involved and have multiple actors and multiple cameras, and more setups – it does seem like you need to break it down by beat as the most effective way to pull the selects because it’s more manageable. It’s also a benefit to having the selects reels organized when working with directors.

HULLFISH: On the scenes where you’re not using selects, how do you have your assistants set up your bin?

BOYD: Generally, in script line order. It may not be exactly as it was shot, as far as camera set ups. Sometimes the later set ups are the stuff that get you into the scene better. That’s how it’s been lined by the script supervisor and so those setups would be earlier in the bin.The other stuff would fall later in the bin.

HULLFISH: Sure. Many editors I’ve talked to have different takes on how to watch dailies. Are you a front to back person? Watching it in the order it was shot? Or some people like to go backwards, or some start with circled takes. What’s your methodology?

BOYD: I guess my methodology is more the way it was shot, in the order that was shot. I don’t watch circled takes first, but I do ask for the assistant to please represent the circled take, for example, giving it an asterisk, or something to make it stand out. So obviously the circled takes are represented clearly in the bin so when I’m cutting and putting the scene together I can go to those as I’m watching it and then say okay, “why was this more prominent for the director? Why did they pick this shot?” So when I’m putting the scene together I’m able to focus a little more on that take than something else. Sometimes when you’re putting the scene together a preferred take doesn’t always fit in with how you’ve started to cut the scene or other more preferred takes overall.

HULLFISH: How did you and Roger Barton collaborate on scenes in this movie and who did what?

BOYD: It just worked out that Roger started from the beginning of the film and I started from the end, and we kind of met in the middle. There where a few exceptions, a few scenes that I had already been working on that were early in the timeline, but it primarily stayed that way.

HULLFISH: And did you guys ever trade scenes after starting them? Or did the director ever ask you to trade scenes?

BOYD: Roger is such a collaborative force and incredibly creative person. I really enjoyed working with him. We had fun talking things out as we went. We posed questions to each other in an effort to craft the best story possible. We asked each other if there was another way that a story point should be explored, or if it made more sense to intercut more or move things around. I find that’s what happens when you have multiple editors, again that’s that camaraderie. Just being able to set egos aside, and just say “hey, do you think I should try something else, is this moment working well?” Or “can you come look at this scene and tell me what you think, I just need a fresh perspective.”

It’s amazing when you show someone else a scene, just having that person in the room, you start seeing things that you didn’t notice before, or that never bothered you before but because someone’s sitting in the room with you, you’re like, “oh, hmm, I better go back and look at that. I think that’s what forces you to think outside the box sometimes and get more focus, being able to get that different perspective. I think we were able to do work very well together. It was nice to go in and pick each other’s brains and say, “This scene still doesn’t work. Why do you think it doesn’t work? Is it working? Am I just overthinking it?”

HULLFISH: It’s been a very common thread in a lot of these interviews that it doesn’t have to be another professional. One editor said, “I just need to play it for the janitor and I can feel it.”

BOYD: Yeah, it just hits you! Whether it be a comedy or an emotional beat or action moment because whoever you call in to sit ,with you may cross their legs, and you’re like “ugh, you’re right. You’re totally right. It’s too long there.” And they haven’t said a thing! But they just shifted in their seat, and all of a sudden it was something that you were feeling that you might not have put your finger on exactly in that moment, but when you brought someone else in, you think, “Yes that was it.” Okay, thanks!”

HULLFISH: So with a lot of the movies you’ve worked on, especially the Fast movies (Fast and Furious, Fast Five, Fast and Furious 6, Furious 7) you’ve done a lot with VFX and Pirates is, of course, heavy on VFX in it. Tell me a little bit about the difficulties of working with VFX, how you organize… how you keep track, or is your assistant or the VFX editor doing more of that organization?

BOYD: Yes as you said, Pirates has quite a few visual effects in it. In fact, that’s an understatement. We have some really incredible sequences that are really VFX involved. Initially it comes down to the organization that the assistants do. I should say that all the assistants on Pirates were just amazing. Just an incredible support system: Tommy Aagaard, and Kenny Krauss, Johnny Winograd, and Dillon Thomas. Then as the shot becomes more visual effects-centric, our top notch visual effects editors, Catherine Chase and George McCarthy, were there to help out and say, “This footage, is supposed to have X,Y, or Z happen in it.” But as far as the organization to get to Roger and myself, it started with the assistants.

HULLFISH: Talk to me a little bit about visual effects as a creative challenge. Because especially with a movie where the body of it is so reliant on visual effects shots, it would change your pacing or your timing. Talk to me about previz, or are you having to imagine, “Okay there’s supposed to be a monster behind him but it doesn’t exist right now.” How do you judge the pacing of a scene if you don’t have the visual effects.

BOYD: I feel that more and more movies are taking advantage of the previz factor. We used previz in the Fast movies, as well as on this Pirates movie. Most of the bigger sequences were previzzed out. There were just a handful that weren’t previzzed. Speaking with Pirates in mind, I know directors, Joachim and Espen, really worked with the previz department and with our visual effects supervisor Gary Brozenich to create these sequences prior to filming and certainly some key shots. So that when they started principal photography, they knew exactly what they needed to help design, budget, and build to set up and film the sequence. Previz was a very important element that can then be used as reference when they were filming. It’s a helpful roadmap to be mindful of when cutting the sequences. Safe to say, it’s valuable tool for many departments.

HULLFISH: Is there a time in the edit where you’re switching from previz to what was shot to starting to get in first versions of effects that make editing tricky?

BOYD: Yes. When something doesn’t work right in previz/ post viz, the artist can change the camera and do the shot again. It gets re-rendered and all is well. When you have a practical matter of a set that doesn’t want to cooperate as easily or as quickly or in some respects, it just physically wasn’t possible for the actors or the stunt professionals to do the action as quickly as it was demonstrated in the pre-vis, the editing can get tricky. HULLFISH: Talk to me a little about sound design and how much it helps you sell your cuts. How much sound design do you try to do yourself, or are you passing that along to assistants?

BOYD: I think sound design is an incredibly intricate element. It’s important to be able to give people a sense of how the movie is playing early in the process. Roger and I are huge believers that the sequences should be flushed out with sound for any and all screenings. We both cut sound as we edit. I think most editors would rather present sequences with as much sound/ music as possible. It may not be the direction that it tonally takes in the final theatrical release, but just something to kind of give that impression that, “Hey, you’re watching a movie.”

I think it’s a good opportunity for assistants to help in the creative process with sound work. Some editors will sketch in some of the design and then as they continue cutting, they may turn the sequence over to their assistant and ask, “Can you clean this up?” or “Can you look this and track in some sound work?” Again, I had an amazing assistant, Tommy, that I could turn sequences over to and ask him to clean up and track. Kenny Krauss, the other first assistant on Pirates, was also really great at helping in that creative process.

HULLFISH: Sound design effects pacing too. There’s a rhythm to the sound design.

BOYD: Absolutely. Sound design should support the film and in some instances it becomes another character in the film. There are times I watch a scene without sound/ music to see if the organic pacing of the scene is working. Then watch it again, with sound to see if each are supporting one another. It’s a good exercise to see what’s working.

HULLFISH: Absolutely. The other thing I was going to ask about sound design is: I’ve talked to more and more people that are actually editing in 5.1 or LCR. Were you guys editing in stereo, or surround?

BOYD: We did LCR. We had a great setup.

HULLFISH: Let’s talk about structure a little bit. Were there any structural changes to the film that were different than the script? Did you find scenes had to get moved or switched around or large chunks had to go? Or was it fairly close to the script?

BOYD: We had trims of course, and we tried a couple of things here and there. We really didn’t have large chunks that we didn’t use, but the deleted material can be found in the DVD bonus content.

We had a structural change. There was a scene that just wasn’t working in the original construct of the script because we had changed tone slightly for another scene. That scene had to be re-tooled and re-shaped to accommodate the changes that had been done after they wrote/shot the script.

HULLFISH: The tone is an interesting point and it kind of gets me to performance because a lot of times the editor really needs to help the actor along because sometimes the performance isn’t quite what the actor thinks it is because, 1) they’re performing out of sequence, even if they read the script the editor might move a couple of scenes around or a decision gets made to remove a scene and there’s not that bridge in tone between an actor’s performance from scene A to scene C because B is now missing. So then you’ve got to adjust the performance in C because you’re missing kind of the arc of the character changing.

BOYD: Absolutely, that’s happened to me in other projects as well. Exactly like you’re saying, because the actor thought the scene played one way when it was shot, but we shifted tone or scene order in post, we had to go back and re-tool so the performance didn’t come across incongruent. So, yeah that definitely happens.

HULLFISH: You can have the greatest actor in the world, right? And if they think there’s some scene that’s supposed to take place before the scene they’re acting and that scene gets taken out, that changes the performance and now it’s up to the editor to create a performance that’s just as honest.

BOYD: Yes. Definitely, and that’s really where it gets exciting in the editing room. That again goes back to what you were asking about selects as well. Because you’re bending your selects now for something that you didn’t initially pull them for. I think that’s exciting and presents a good challenge. The last thing you want to go to a producer or director and say is, “It won’t work. You’re going to have to re-shoot.“ It doesn’t always work, but it’s really gratifying when you’re able to make that tonal shift work and salvage the footage.

HULLFISH: You mentioned dailies again, so let’s jump back to that for a moment. Can you tell me a little bit, 1) about the schedule for the movie. How long you did principal photography, and then how long you had before you locked picture?

BOYD: When Roger and I began on Pirates, we knew the release date was set and that the studio wanted to finish and shelve the movie in advance of the release. However, it became evident that the the Studio, and Jerry Bruckheimer, really wanted to give the directors, Roger and myself the support and leeway we needed to tell the story and allow for the complex visual effects to bake. I would say that this was an unusual project, in that we did have so much time. Generally, filmmakers don’t get that opportunity. Besides Fast 7, where we had the unfortunate accidental death of Paul Walker, I’ve never been on a movie that had such a long schedule as what Pirates did. We had an amazing experience. It was just really important to let the VFX vendors have enough time to tell the story through the complex imagery.

HULLFISH: Did you guys temp from the previous universe of the film, or was this a new composer and you tried to temp from the composer, or did you go anywhere you could go?

BOYD: The music of Pirates is very iconic to the franchise, and so, of course we pulled from other Pirates movies. Geoff Zanelli is a composer that has worked on the other Pirates movies as well, so he was very much in-tune with what Jerry Bruckheimer wanted, and with Joachim and Espen, our directors, he quickly found out what they liked from the Pirates franchise and wanted to do new, for our movie. There was a real collection for Roger and me to pull from, however, we also tried to infuse with new music that were from other scores that we had explored. It wasn’t just Pirates because it was necessary to explore new themes and we found other scores that helped with that. So we did vary a little bit as well.

HULLFISH: Is there anything else you want to tell me about the movie, or that you’re passionate about editing that you want to discuss?

BOYD: I’m incredibly proud, and really excited for everyone to be able to see the movie. We think that the audience is going to love it.

HULLFISH: That’s great. In any of the earlier test screenings, were there changes made where you were sitting with an audience and it’s like that same feeling of watching a scene with another person in the room? Were you like, I can feel either that something didn’t land correctly, or we sat here too long?

BOYD: A little bit, but at that point it was just the comfort of knowing that the jokes were landing and that it had a comfortable pace, and that things were playing well. There were a couple of moments maybe that we’re like, “oh, well maybe lets go back and look at that,” but it was evident and just fun to see the audience having a great time.

HULLFISH: That’s very interesting. I really want to thank you for your time today.

BOYD: You’re welcome. Goodbye.

To read more interviews in the Art of the Cut series, check out THIS LINK and follow me on Twitter @stevehullfish

The first 50 Art of the Cut interviews have been curated into a book, “Art of the Cut: Conversations with Film and TV editors.” The book is not merely a collection of interviews, but was edited into topics that read like a massive, virtual roundtable discussion of some of the most important topics to editors everywhere: storytelling, pacing, rhythm, collaboration with directors, approach to a scene and more. Oscar nominee, Dody Dorn, ACE, said of the book: “Congratulations on putting together such a wonderful book. I can see why so many editors enjoy talking with you. The depth and insightfulness of your questions makes the answers so much more interesting than the garden variety interview. It is truly a wonderful resource for anyone who is in love with or fascinated by the alchemy of editing.”

My thanks to Evan O’Connor, Ramin Taheri, Todd Peterson, Ramin Taheri, and Hajar Elfared for transcribing this interview.

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