#artist is james coleman

[diioonysus]

"purple is a color that sparks imagination and awakens the spirit."

[kairukreates]

Strived to faithfully replicate James Coleman’s study, yet the use of different materials led to unexpected variations. While it may not mirror the original exactly, this rendition pays homage to the artist’s technique and serves as a personal exploration of their work.

Once, in a quiet forest, young Ikaika stumbled upon a hidden pond that glistened with all the colors of the spectrum. Mesmerized, he watched as koi fish gracefully danced beneath the iridescent surface, creating a magical symphony of hues that captivated his heart. From that day forward, the pond became his secret refuge, where dreams swirled like the colors reflected in its waters.

[dickfuckk]

A list of season 2 cast and crew members, confirmed and speculated

I will try and keep this updated

Not counting the obvious ones

Please note that this is a list of both cast and crew members, so PAs and such are also included and not just actors

Also if you're interested: on my bts instagram I only follow people who have worked on season 1, and people I suspect worked on season 2. So feel free to go through the list of people I follow if you're into that

A

Aaron Morton (Camera) - he’s listed on the very last picture as the camera-man

Adam Stein(Writer)

Alan F. (English solider)

Alexandria S.

Alison Telford (Casting)

Alistair Gregory - from this tweet so uncertain, but followed me back on my bts instagram account so seems to have some interest in ofmd

Amy Barber (Sound department)

Amy Tunnicliffe

Amanda Grace Leo

Amanda M. (Wedding guest)

Andrea Basile (Costume)

Andres Gomez Zamora (Visual effects)

Andrew DeYoung (Director) - I don’t remember if there was any other reason than the fact that he was in Aotearoa during filming

Andy McLaren (senior art director)

Andy Rydzewksi (Cinematographer)

Angelina Faulkner (Sound department)

B

Blair Nicholson (Camera)

Blair Teesdale (Camera)

Brad Coleman (Visual effects)

Brad McLeod (Special effects)

Brian Badie (Hairstylist)

Bronson Pinchot (“Torturer”)

Bryn Seager - I don’t remember why but I follow him

Bryony Matthew (Food stylist)

C

Caleb Staines (Camera)

Chantel Partamian (Visual effects)

Colin Elms (Art department)

Colin Rogers (Sound department)

Cora Montalban (Makeup and/or hairstylist) - I believe she was tagged in an instagram story once, and she’s followed by a ton of cast and crew members

Corrin Ellingford (Sound department)

Corey Moana (Camera)

Corry Greig (Art department)

Coti Herrera (Prosthetics/Makeup)

D

Damian Del Borrello (Sound department)

Daniel Fernandez (Spanish priest)

Danica Duan (Assistan accountant)

David Boden (production manager)

David G. (Stand in)

David Rowell (Financial controller)

David Van Dyke (Visual effects)

Dennis Bailey (Hairstylist)- Leslie revealed that he’s there.

Dion Anderson (Rescue diver)

Don A. (Swampy Town folk)

Donna Pearman (Assistant accountant)

Donna Marinkovich (set decorator)

Doug McFarlene (Pirate)

Duncan Nairn (Visual effects)

E

Eliza Cossio (Writer)

Erroll Shand (Prince Ricky)

Esther Mitchell (Camera)

F

Fernando Frias (Director)

G

Gareth Van Niekerk (Sound department)

Gary Archer (dental prosthetics)

Gemma Campbell (Visual effects)

Grant Lobban

Greg Sager (Safety manager)

Gregor Harris (Camera)

Gregory J. Pawlik Jr. (AD)

Gypsy Taylor (Costume designer)

H

Haroun Barazanchi (Set designer)

Harry Ashby (AD)

Helene Wong (Voice work)

I-J

Jacob Tomuri (Stunts)

Jaden McLeod

James Crosthwaite (Set decorator)

Jamie Couper (Camera)

Jason Samoa, possibly spotted on location

Jemaine Clement, pretty sure this is only based on his friendship with Rhys and Taika tbh

Jes Tom (Writer)

Jessica Lee Hunt (Makeup artist) - followed by a ton of crew and cast members and I believe she’s been tagged in instagram stories and such

John Mahone (Writer)

Jonathan Bruce (Sound department)

Jono Capel-Baker (Groom)

Jonno Roberts didn’t get the role from his audition, but could still have gotten a different role - hung out with Ruibo

Judah Getz (Sound department)

Julia Huberman (Sound department)

Julia Thompson (Costume)

Justin Benn (Republic of Pirates Town)

K

Karl L. (Action extra)

Kate Fu

Kate Leonard (Casting)

Kathleen Zyka Smith (“Red Flag”)

Kosuke Iijima (Fabricator/Sculptor?) - due to interaction on this post

Kris Gillan (Fabricator/Sculptor)

Kura Forrester - followed by quite a few cast and crew members, but I don’t remember if there was anything else to it

L

Laura Stables (SFX makeup artist)

Leanne Evans (Art department)

Lee Tuson

Leslie Jones (Spanish Jackie) - she’s spoiled this so many times, but gjfhdks

Leyla - followed by a lot of cast and crew members, don’t remember if there was more to it than that

Lindsey Cantrell (Set decorator)

Louis Flavell Birch (Blue coat)

Luke V. (Stand in)

[favescandis]

NEW interview with Alexander Skarsgård and Sharp Magazine!

(photos from Corey Nickols/IMDb at Sundance and by George Pimental at the Canadian premiere of INFINITY POOL in January 2023)

Alexander Skarsgård Admits He’s ‘Quite Boring’

by Marriska Fernandes, February 22, 2023

Alexander Skarsgård is mostly a private person who prefers to use his craft as a platform to tame his wild, primal side — and he’s certainly one who opts to wear his Chuck Taylors to a snowy Toronto red carpet premiere of his latest film, Infinity Pool.

The Swedish actor has been digging his teeth into darker roles that are far removed from himself, and roles he finds thrilling. From the abusive husband in Big Little Lies that earned him an Emmy, to the testosterone-fuelled Viking in The Northman, Skarsgård likes tapping into the primal nature demanded of these roles. In Toronto filmmaker Brandon Cronenberg’s horror “Infinity Pool,” he certainly taps into a violent and visceral portrayal of an unsuccessful writer.

The film, which is now playing in theatres, follows James (Alexander Skarsgård) and Em (Cleopatra Coleman), who are on an all-inclusive resort in a fictional country. When Gabi (Mia Goth) and her friends take them outside the resort grounds, James accidentally runs over and kills a local. The punishment is either be executed, or if you can afford it, allow yourself to be cloned and watch the clone killed instead.

Skarsgård is not the classic industry nepo baby some imagine him to be (he’s the son of famed actor Stellan Skarsgård) — his insecurity runs deep; just like his onscreen character James, he too suffers from imposter syndrome. In fact, Skarsgård shared how he thought he was surely getting fired on Generation Kill, his first major role in the U.S. It was only until two months in that he calculated he was likely safe as it would have been too expensive for HBO to recast.

Skarsgård, 46, approaches his roles passionately, studying the ins and outs of his character as if they were his own. He thinks, plans and sleeps on it — structure, for him, is key, he says. So when it came to playing James and his many clones, the actor found himself mapping out the psychological journeys of each one – which he did for himself, really.

The jaw-dropping horror is one that will live rent-free in your mind as Skarsgård frightens, impresses and marvels in his haunting turn. We spoke with the actor about the film, his performance (he apologizes for the nightmares), his process, and his personal style.

I’ve been following your work having seen most of it, from Big LIttle Lies to True Blood to The Northman. So having the luxury to do any kind of role, what were you looking to do next as an artist when this one came your way?

I was sent the script when I was way deep in mud in the Irish soil, shooting The Northman. It was a very, very intense shoot; a tremendous experience and I loved it, but it was very physically and mentally exhausting. James (in this script) is so diametrically opposed to Amleth, my character in The Northman, who’s very much of a testosterone-filled berserker and James is definitely not that. So that was exciting and tonally, I was familiar with Brandon’s work; I had seen both Antiviral and Possessor and I thought they were terrific films and Andrea Riseborough is a dear friend of mine and so obviously, the star of Possessor had spoken so highly of Brandon, what it was like working with him and how he ironically, is the sweetest, most humble, lovely, gentleman which is strange, because the stuff that he comes up with is so dark and twisted. Maybe that’s his… I don’t know if it’s his therapy and he gets it out of his system by writing about it. I found him to be such an inspiring and singular and interesting filmmaker and it’s a gift as an actor to get to play a role like James because the journey he goes on; what he experiences is psychologically absolutely fascinating to me. So I was thrilled to jump on board.

You said that the sweet spot for you is when you’re intrigued by the character and you understand aspects of him, and he makes you curious to learn more. How did that apply to James and the different versions of his clones?

Because there’s so much to interpret, I’m still thinking about it (laughs). It’s such a rich character, and what a treat to get to play three, four versions of the same character and to play around with the juxtaposition between James the author and James the clone, and the different iterations of the clone and what happens to James after the first time he watches the execution of the clone, what happens after the second, third? How does that change him? What does it do to someone psychologically when you have to witness your own death in such a brutal way, where he can’t look away. It’s horrifying. But it’s also exhilarating in a weird way. I found that really interesting to play around with who is James? And also literally who is the character we’re watching? Because it could also be open to interpretation. Is this James or like Dr. Modan says in the movie, ‘Do you ever wonder whether you are the clone and they killed the real James?’ And that was fascinating to me and very interesting to play around with that notion when I was prepping the movie, and honestly shooting it I’d like to leave that open. This could be James but this could also be the clone.

And did you really map out the psychological journeys for all the clones?

I did for myself and then obviously tried to leave room for interpretation for the audience.

There seems to be a through-line with some of your roles because there’s always something primal whether it was the beast quality in The Northman or the wolf in Hold the Dark and now in this you’re wrestling with a naked version of yourself as a dog.

Yeah, I think I guess I’m quite drawn to the primal. The more people that revert back to something more atavistic and that friction that is being human in a modern day society, the friction between functioning in a civilized society. Right now, I’m in New York City, and I’m surrounded by millions and millions of people. But deep down, you also have the more atavistic equality and the more primal qualities and that animal within that we sometimes let out, most often try to suppress and that I find quite fascinating. I think that’s been the through-line in some of my films.

So when it comes to creating roles, you have often said that you like structure and you read the script once a day, every day until shooting. Was it any different with this one?

I do like structure, I compartmentalize so that helps me map out the character and the journey. I do find it very useful to read the script, go over it in prep once a day because it helps me trigger inspiration and discover new things. And even if it’s the 30th time I read the script I’ll notice something that I’ve not noticed before or makes me think about something in a different way. Most of those ideas, I just discard but occasionally you’ll find something that’s really fascinating and that might be even the foundation for the character and you start building off of that.

Did this structure help you process any scene in particular?

It helps me with everything; it helps me understand the character and map it out. The most obvious was the first transformation, the first execution. The first cloning is a pivotal moment because it is the first time James witnessed his own execution and so that was a very big moment and important to understand in deciding how James would react to it. James’ wife is looking away as she’s horrified by it but he is mesmerized by it, almost transfixed by it. And that was fascinating to me to try to kind of go in that direction and see what we discovered.

A few years ago in an interview you were asked what scares you and you said you have the tendency to scare yourself sometimes. So did that happen during the making of this horror when you’re in the process of trying to scare us?

(Laughs) I don’t know if I scared myself but it was definitely intense… (laughs) in a very primal way. I don’t know… working with Brandon was so wonderful and there was so much love and trust there and I really just genuinely believed in his vision for the film and for the role and that’s what it’s all about. Create that trust on a movie set and then you just let yourself go and I feel like most of the cerebral work is done in prep. That’s when you think about the character and you map it out and all this is interesting, but it’s very practical. And the goal is to once you show up on set, you can just hopefully that is somewhere in your systems you don’t overthink it, you don’t actually think about it at all, you can just throw yourself into the situation and where that takes you and on Infinity Pool, as you’ll see in the movie, it took us to some really weird, dark places.

So do you find it thrilling to deep dig into these darker roles that require you to tap into a different aspect of yourself as an artist?

Tremendously. I think I’m privately a very mellow human being. I’m quite content, probably quite boring and so it is thrilling to open up a channel that I never do in real life. It gives me an excuse to tap into that and explore that darkness or wild or more kind of eccentric or crazy or the more primal side of who I am.

James does tend to have this kind of imposter syndrome because when he’s trying to write. Have you ever felt that and when?

I quite often feel that. I’ve been working for quite a few years, but I still feel that. I definitely still struggle with insecurity or feeling that I’m not talented enough or that I’m miscast. The biggest one was probably on Generation Kill, which was my first major role in the U.S. and it was a project that I was incredibly excited about. It was an opportunity to work on it. It was an HBO miniseries about the invasion of Iraq, made by David Simon and Ed burns. They did The Wire show that I was a big, big fan of; It was such a terrific role and I was completely unknown. I hadn’t really worked. I’d done a couple of days on Zoolander, five, six years prior to this, but I definitely wasn’t… I felt that I couldn’t believe I was cast in this really great role in this really great HBO series. I had a very, very strong sense of imposter syndrome there. We were in Africa for seven months shooting it and I was so certain that they would recast and fire me that every day I would figure out how much time or how much money HBO had spent on shooting this and how expensive would it be for them to replace me? So it was like two, three months into production when I realized, well, if they fire me and recast the role, they have to reshoot 40% of the show when that would cost a lot of money. So maybe that won’t happen now. That’s when I first started feeling like I might actually get to finish this job. But up until that point, I was certain that we would get a phone call saying, ‘You were miscast; you’re out!.’

Oh wow. Thank you for sharing that and I think you were well cast in Generation Kill. Before we wrap, I do want to ask you about your red carpet look in Toronto. I love the casual sneakers and T-shirt look in the midst of the snowstorm. Is that your personal sense of style?

Yeah, that was. (laughs). That’s kind of what I wear. I almost missed the red carpet or the Toronto trip didn’t happen because I was flying out from New York and because of the blizzard in Toronto, I was delayed by three or four hours. So that’s why unfortunately, you have to do this over the phone. I was supposed to come in to Toronto and do press in the afternoon and then have to relax a bit and maybe put on some real boots instead of my Chuck Taylors. But instead, I was so delayed that I came straight from the airport to the red carpet.

Is that the classic Alex look?

Yeah. I’m on the road so much that I love to travel with just carry on, which means I have to really plan what to pack. So I can only bring one pair of shoes, maybe two pairs of trousers and one or two sweaters. That even goes for when I’m home. Like I don’t have much clothes. And I prefer to have items that I really love to wear and I don’t really feel the need to have 45 different pairs of sneakers on. If I love my sneakers and have one of them for two years and when I need a new pair, I’ll buy a new pair. But that’s all I really need and the same goes for all my clothes.

That’s very minimal and I love to hear that. Glad you made it out to Toronto!

I’m really glad. It was important for me to come out there because again, Brandon’s hometown and most of the crew and even some of our producers are from there. So it was on this tour that we’ve been doing Sundance, New York and we’re going to the Berlin Film Festival next month. It was really not only because I love Toronto, it’s always fun to be there. But again, to come home to Brandon’s hometown and have a night of celebration together was really really important to me, even though I almost missed it.

Thank you and congratulations again on the film!

Thank you and I appreciate it.

We’re sure to see more of Skarsgård, who is currently filming season four of the HBO familial drama Succession. He was introduced in season three as tech mogul Lukas Matsson and we’ll be seeing a lot more of him in the new season.

Infinity Pool is now playing in theatres.

via sharpmagazine.com 

[brokehorrorfan]

Infinity Pool just hit Blu-rayin April, but it was the R-rated cut with no special features. The 2023 sci-fi horror film is getting an uncut release on Steelbook 4K Ultra HD on August 29 via Decal Releasing.

Brandon Cronenberg (Possessor, Antiviral) writes and directs. Alexander Skarsgård, Mia Goth, and Cleopatra Coleman star with Jalil Lespert, Amanda Brugel, and Thomas Kretschmann.

Infinity Pool is presented in 4K with HDR and DTS-HD Master Audio 5.1. Special features are listed listed below.

Special features:

Audio commentary by writer-director Brandon Cronenberg, cinematographer Karim Hussain, and producer Rob Cotterill

The Making of Inifitny Pool featurette

Camera Test/FX by Karim Hussain

Makeup & Figaritive FX reel with commentary by FX artist Dan Martin

Behind the scenes FX footage

Alexander Skarsgard and Mia Goth react to their clones

Photo gallery

Trailers and TV spots

While staying at an isolated island resort, James (Alexander Skarsgård) and Em (Cleopatra Coleman) are enjoying a perfect vacation of pristine beaches, exceptional staff, and soaking up the sun. But guided by the seductive and mysterious Gabi (Mia Goth), they venture outside the resort grounds and find themselves in a culture filled with violence, hedonism, and untold horror. A tragic accident leaves them facing a zero tolerance policy for crime: either you'll be executed, or, if you're rich enough to afford it, you can watch yourself die instead.

Pre-order Infinity Pool.

[castlesrp]

Face Claim List

Below the cut, you will find our list of face claims featured on our canon list. Enjoy this sneak peak at what is coming your way when the canon lists start being released this week!

FC List:

Abigail Cowen Aishwarya Rai Bachchan Amita Suman Amy Adams Ana de Armas André De Shields Andrew Garfield Angela Bassett Anna Kendrick Anne Hathaway Anthony Anderson Anthony Mackie Anya Chalotra Anya Taylor Joy Aja Naomi King Avan Jogia Avantika Audra McDonald Austin Butler Beanie Feldstein Ben Barnes Beyoncé BD Wong Bette Midler Caleb McLaughlin Camila Mendes Catherine O'Hara Charles Melton Chiwetel Ejiofor Chloe Bennet Chloe Bailey Christina Hendricks Christina Nadin Chrissy Metz Cody Christian Constance Wu Courtney Eaton Dakota Johnson Danai Gurira Daniel Ezra Daniel Wu Danny Trejo David Harbour Deepika Padukone Denzel Washington Dev Patel Diana Silvers Diane Keaton Dianna Agron Dove Cameron Dylan O'Brien Eddie Redmayne Eiza González Emily Alyn Lind Eva Longoria Ewan McGregor Fan Bingbing Felix Mallard Florence Pugh Froy Gutierrez Gabrielle Union Gemma Chan George Takei Gillian Anderson Gina Rodriguez Gina Torres Hailee Steinfeld Halle Bailey Harrison Ford Harry Shum JR Harry Styles Henry Cavill Hero Fiennes Tiffin Hunter Schafer Hugh Jackman Idris Elba J. Cameron-Smith Jacob Artist Jacob Elordi Jameela Jamil James McAvoy Jamie Chung Jamie Lee Curtis Jasmin Savoy Brown Jason Momoa Jason Sudekis Jean Smart Jeff Goldblum Jeffrey Wright Jenna Ortega Jensen Ackles Jesse Williams Jessica Chastain JK Simmons Joe Locke John Boyega John Cho John Krasinski Jon Hamm Jonathan Bailey Jordan Connor Jordan Peele Julianne Moore Justice Smith Kate Winslet Kathryn Hahn Kathryn Newton Keanu Reeves Keith Powers Keke Palmer Kerry Washington Kit Connor [1] Kit Connor [2] KJ Apa Kristen Bell Kumail Nanjiani Lana Condor Laura Harrier Lauren Ridloff Leonardo DiCaprio Letita Wright Lili Reinhart Liv Hewson Logan Browning Logan Lerman Loretta Devine Lupita Nyong'o Mädchen Amick Madelyn Cline Madison Bailey Mahershala Ali Manny Jacinto Manny Montana Margot Robbie Mark Consuelos Mark Hamill Mario Lopez Mason Gooding Maude Apatow Megan thee Stallion Melanie Lynskey Melissa Barrera Michael Cimino Michael Evans Behling Michael Fassbender Michael Peña Michael Shannon Michelle Yeoh Morgan Freeman Naomi Scott Natalia Dyer Natasha Liu Bordizzo Nina Dobrev Noah Centineo Normani Octavia Spencer Olivia Coleman Olivia Rodrigo Oscar Isaac Paul Rudd Pedro Pascal Phoebe Deynover Phoebe Tonkin Phylicia Rashad Priyanka Chopra Rachel Weisz Rachel Zegler Rahul Kohli Reese Witherspoon Regé-Jean Page Renee Rapp [1] Renee Rapp [2] Riz Ahmed Robert Pattinson Robert Downey JR Rome Flynn Rosamund Pike Rose Byrne Rudy Pankow Ryan Gosling Ryan Guzman Ryan Reynolds Sadie Sink Sam Claflin Samantha Logan Samara Weaving Sandra Bullock Sandra Oh Sara Ramirez Sarah Jeffrey Sarah Paulson Sebastian Stan Selena Gomez Sigourney Weaver Simu Liu Shawn Mendes Skeet Ulrich Sophia Ali Sophia Bush Sophie Turner Sonam Kapoor Sophie Thatcher Sterling K. Brown Steve Martin Steven Yeun Storm Reid Sydney Sweeney [1] Sydney Sweeney [2] Taika Waititi Tati Gabrielle Taraji P. Henson Taron Egerton Taye Diggs Taylor Zakhar Perez Ted Danson Timothée Chalamet Thomas Doherty Tom Blyth Tom Ellis Tom Hardy Tom Holland Tony Goldwyn Tyler James Williams Tyler Posey Uzo Adubo Victoria Pedretti Viola Davis Whoopi Goldberg Wolfgang Novogratz Will Smith Willem Dafoe William Jackson Harper Winona Ryder Winston Duke Yasmin Finney Zayn Malik Zendaya Zoey Deutch

[clonewarsarchives]

Clone Wars Features in Star Wars Insider

[see chronological list below cut]

Cast interview

#108 Double Trouble (Matt Lanter and Ashley Eckstein)

#110 Voice of the Force (Tom Kane)

#111 More than a Hobbie! (Corey Burton)

#112 The Voice Will Be With You, Always (James Arnold Taylor)

#115 The Journey of Barriss Offee (Meredith Salenger)

#116 Attack of the Clone (Dee Bradley Baker)

#116 The Perils of Padmé (Catherine Taber)

#117 The Duches and The Jedi (Anna Graves)

#117 Boba Fett is Back (Daniel Logan)

#122 The Sultry Sith (General + Nika Futterman)

#122 Master of Villaninous Voices (Corey Burton)

#123 Matt Lanter and the Rigors of Mortis!

#123 Coming of Age (Ashley Eckstein)

#123 It’s CAT versus JAT!

#125 Talking Tarkin (Stephen Stanton)

#129 Taylor Made (James Arnold Taylor)

#130 Super Trooper (Dee Bradley Baker)

#132 Back from the Depths! (Sam Witwer)

#199 Sam Witwer Unleashed!

#199 Ahsoka Lives! (Ashley Eckstein)

#201 The Animated Anakin (Matt Lanter)

Crew interview

Dave Filoni

#95 Fighting the Clone Wars (with Catherine Winder, producer)

#102 Directing the Troops & The Creator Strikes Back (George Lucas) 

#104 Send in the Clones

#114 Bringing Back the Bounty

#115 Ready for Battle

#116 The Art of Mandalore

#117 The Unusual Suspects

#120 Third Wave

#121 Mythmakers (with George Lucas)

#125 Clone Ranger

#134 Behind and Beyond the Battle Lines

#140 Unexpected Journeys

Guest director/Animation director

#107 Creating Clones (Rob Coleman, director for 1.06-7)

#130 Animated Discussion (Keith Kellog, animation director)

#132 Notes from the Frontline (Walter Murch, director for 4.08)

#133 In Pursuit of Perfection (Duwayne Dunham, director for 3.11 & 4.01)

Sound/Music

#107 Sounding Out the Troops (David Acord, sound designer)

#117 Sound Affects (David Acord)

#116 Tales of a Sound Droid (Matthew Wood)

#111 Score de Force (Kevin Kiner, composer)

#126 Score Wars (Kevin Kiner)

Writer

#103 Cloak of Darkness (Henry Gilroy, Season 1)

#125 A Writer’s Tale (Katie Lucas, Nightsisters arc)

#126 The Write Stuff (Christian Taylor, Mortis arc)

Others

#108 Final Cut (Jason Tucker, editor)

#113 Second Strike (Cary Silver, producer)

#129 Producing Magic (Cary Silver)

#120 Back with a Bang (Joel Aron, CG Lighting and Effects Supervisor)

#124 Making Maquettes (Darren Marshall, concept artist)

#134 Darth Maul Death Sentence comics interview

#137 Cast & Crew Q&A

Short Story

#136 Reputation (Cad Bane)

#139 Speaking SIlently (Captain Rex)

#144 Hondo Ohnaka’s Not-So-Big Score

#159 Kindred Spirits (Asajj Ventress, prequel to Dark Disciple)

General/Meta articles

#118 Rise of the Bounty Hunters (Season 2 trivia)

#132 Rogues Gallery - Bounty Hunters from 4.17 The Box

#139 Rogues Gallery - Ahsoka’s younglings

#142 The Show that Changed Star Wars

#159 Asajj Ventress: A-typical Anti-Hero

#160 Ahsoka Tano: A Hero of Our Time

#179 Mortis: Planet of the Force

#195 The Comeback Clones (character profiles)

Episode Guide

#106 Cover + S1.01-10 Episode Guide

#125 50 Great Reasons to Rewatch Season Three

#134 10 Amazing Moments from Season Four

#136 S4 DVD highlights

#139 100 and Counting!

#200 Season 7 episode guide

in Chronological order

#95 Fighting the Clone Wars (Dave Filoni and Catherine Winder)

#102 The Creator Strikes Back (George Lucas) & Directing the Troops (Dave Filoni)

#103 Cloak of Darkness (Henry Gilroy, series writer)

#104 Send in the Clones (Dave Filoni)

#106 Cover + S1.01-10 Episode Guide

#107 Creating Clones (Rob Coleman, animation director)

#107 Sounding Out the Troops (David Acord, sound designer)

#108 Double Trouble (Matt Lanter and Ashley Eckstein)

#108 Final Cut (Jason Tucker, editor)

#110 Voice of the Force (Tom Kane)

#111 More than a Hobbie! (Corey Burton)

#111 Score de Force (Kevin Kiner, composer)

#112 The Force Will Be With You, Always (James Arnold Taylor)

#113 Second Strike (Cary Silver, producer)

#114 Bringing Back the Bounty (Dave Filoni)

#115 Ready for Battle (Dave Filoni)

#115 The Journey of Barriss Offee (Meredith Salenger)

#116 Attack of the Clone (Dee Bradley Baker)

#116 The Perils of Padmé (Catherine Taber)

#116 Tales of a Sound Droid (Matthew Wood)

#116 The Art of Mandalore (Dave Filoni)

#117 Sound Affects (David Acord, sound designer)

#117 The Duches and The Jedi (Anna Graves)

#117 Boba Fett is Back (Daniel Logan)

#117 The Unusual Suspects (bounty hunter lineup)

#118 Rise of the Bounty Hunters (Season 2 trivia)

#120 Third Wave (Dave Filoni)

#120 Back with a Bang (Joel Aron)

#121 Mythmakers (Dave Filoni and George Lucas)

#122 The Sultry Sith (General + Nika Futterman)

#122 Master of Villaninous Voices (Corey Burton)

#123 Matt Lanter and the Rigors of Mortis

#123 Coming of Age (Ashley Eckstein)

#123 It’s CAT versus JAT (Catherine Taber and James Arnold Taylor)

#124 Making Maquettes (Darren Marshall)

#125 Clone Ranger (Dave Filoni)

#125 A Writer’s Tale (Katie Lucas, screenwriter)

#125 Talking Tarkin (Stephen Stanton)

#125 50 Great Reasons to Rewatch Season Three (EPG)

#126 The Write Stuff (Christian Taylor, screenwriter)

#126 Score Wars (Kevin Kiner)

#129 Taylor Made (James Arnold Taylor)

#129 Producing Magic (Cary Silver)

#130 Super Trooper (Dee Bradley Baker)

#130 Animated Discussion (Keith Kellog, animation director)

#132 Back from the Depths! (Sam Witwer)

#132 Notes from the Frontline (Walter Murch, director for 4.08)

#132 Rogues Gallery - Bounty Hunters from 4.17 The Box

#133 In Pursuit of Perfection (Duwayne Dunham, director for 3.11 & 4.01)

#134 Behind and Beyond the Battle Lines (Dave Filoni)

#134 Darth Maul Death Sentence comics interview

#134 10 Amazing Moments from Season Four (EPG)

#136 S4 DVD highlights (EPG)

#136 Reputation (Cad Bane, short story)

#137 Cast & Crew Q&A

#139 Rogues Gallery - Ahsoka’s younglings

#139 100 and Counting! (EPG)

#139 Speaking SIlently (Captain Rex, short story)

#140 Unexpected Journeys (Dave Filoni)

#142 The Show that Changed Star Wars (General)

#144 Hondo Ohnaka’s Not-So-Big Score (short story)

#159 Asajj Ventress: A-typical Anti-Hero (General)

#159 Kindred Spirits (Asajj Ventress, short story prequel to Dark Disciple)

#160 Ahsoka Tano: A Hero of Our Time (General)

#179 Mortis: Planet of the Force (General)

#195 The Comeback Clones (General character profiles)

#199 Sam Witwer Unleashed!

#199 Ahsoka Lives! (Ashley Eckstein)

#200 Season 7 summary (EPG)

#201 The Animated Anakin (Matt Lanter)

[sunless-not-sinless]

For the music ask thing! 9, 16 and 28

yoo thank you for the ask thing!

9:A song that makes you happy

this is honestly a pretty tough one. songs that i enjoy listening to are like, each and every one of them. but songs that make me happy are few and far between, and are always always linked to very very personal reasons, so even if theyre songs that are meant to make you feel sad it reminds me of happy moments. and gods i dont listen to them often because i am bad(tm) with strong emotions. but i had to get that out the way because little pistol by Mother Mother is meant to be a sad song, but it makes me happy!

16:One of your favorite classical songs

(said it before. im a Jonathon Creek girlie so i have to mention the Danse Macabre, but!) i was gonna say music for a found harmonium by Penguin Cafe Orchestra, but i misclicked when i was gonna relisten to it, and listened to perpetuum mobile by them for the first time. and yes ikik the first time you hear a song itll sound fucking phenomenal but its a new favourite! (also Ever So Blue does great stuff to listen to while studying!)

28:A song by an artist with a voice that you love

god knows im bad at narrowing down lists, so ill just give you a ""short"" list with the song that made me put them on the list. Hayley Heynderickx (the bug collector), The Changing Room (roev sos roev), Odie Leigh (a month or two), Minami (honest diary), Hope Sandoval (paradise circus - Massive Attack), Paris Paloma (Notre Dame), Elizabeth Fraser (sea, swallow me - Cocteau Twins, teardrop - Massive Attack), Tracy Chapman (across the lines), Moses Sumney (bystanders), Gary B.B. Coleman (the sky is crying), Lau Noah (if a tree fell in love with a river), Liana Flores (recently,), Rush (tom sawyer), Beetlebug (hallow's eve masquerade), Johnny Cash (i walk the line, hurt), Poor Man's Poison (stronger than the whiskey), Gwenno (ardamm), Cab Calloway (minnie the moocher), Louis Armstrong (what a wonderful world, st. james infirmary), and this is all i can think of rn. i love love all of those voices for (mostly) different reasons.

but! the ultimate voice for me will always (i.e. right now) be Cy Grant. holy. fucking. shit. his voice is sososososo good. peak. absolute peak shit. its the sorta shit that just hhhhhhhhhhhhhhh is perfect perfect for me even if it isnt for others.

[ausetkmt]

Les McCann was already an established solo artist — a blues-forward jazz pianist in his 30s, with more than two dozen albums to his name — when he had a career-defining moment at the 1969 Montreux Jazz Festival. There, during an impromptu jam with the saxophonist Eddie Harris, he dug into a new song by his friend Gene McDaniels, which struck a cultural nerve.

The song was "Compared to What," an anguished yawp of disillusionment that Roberta Flack had recorded several months earlier for her debut album, First Take. McCann begins his version with a rollicking vamp, which he takes through a handful of escalating key modulations before a startling entry on vocals, two minutes in. With a soulful holler, he brings plainspoken fire to lyrics that skewer rampant greed, religious hypocrisy and the quagmire in Vietnam: "The president, he's got his war," McCann sings in the third verse. "Folks don't know just what it's for."

The song's temperament, outraged and despairing, captured something crucial about the era; so too did its rhythmic drive and righteous, consuming fervor. When Atlantic Records released "Compared to What" as a single, it spent four weeks on the Billboard Hot 100; Swiss Movement, the live album on which it appears, held a spot on the Billboard 200 for 38 weeks. The song remained a calling card for McCann for the rest of his musical career, which yielded many more successful albums — including a sequel with Harris, Second Movement, in 1971 — as well as samples by hip-hop artists like Massive Attack, Mobb Deep and The Notorious B.I.G.

McCann died on Dec. 29, 2023, at a hospital in Los Angeles, at 88, of pneumonia. Alan Abrahams, a veteran producer and record executive who served as his manager, confirmed his death, noting that McCann had lived at a nursing facility for the last four years.

With a ringing, percussive piano style and a rousing command of the beat, McCann always amounted to more than one breakout hit could encapsulate. The grit and grease in his playing, informed by his early experience in the gospel church, helped establish the subgenre known as soul jazz. That sound is already fully present on an album he recorded live in 1961, Les McCann Ltd. Plays the Shampoo at The Village Gate. (Along with "The Shampoo," an early hit, it includes McCann originals titled "Someone Stole My Chitlins" and "Filet of Soul.")

The urge to move his audiences extended to a new sonic palette when McCann embraced electric pianos and synthesizers — notably on the 1972 album Invitation to Openness, which features Yusef Lateef on assorted reeds and flutes, and Cornell Dupree on electric guitar. His subsequent albums with Atlantic, often incorporating synths and clavinet, formed the basis for his popularity as a sample source for hip-hop producers.

Leslie Coleman McCann was born on Sept. 23, 1935, in Lexington, Ky. His father, James, worked at the Lexington Water Company; his mother, Anna, was a homemaker who took occasional housekeeping jobs. He was one of six children, with four brothers and a sister. "​​Everybody was in a position of doing the best they could with whatever," he recalled in a 2015 interview with Red Bull Music Academy. "We never thought of ourselves as being poor."

Still, McCann grew up with limited resources, and was almost entirely self-taught as a pianist. He played sousaphone and drums in his high school marching band, and enlisted in the U.S. Navy at age 17. He often told a story about hearing Erroll Garner's recording of "Lullaby of Birdland" during his service, and having the sudden realization that the piano was his calling. But while stationed in the San Francisco Bay Area, he won a talent contest as a vocalist — an accolade that landed him an appearance on The Ed Sullivan Show in 1956.

After his discharge, he formed a piano trio, which found work backing Gene McDaniels at the Purple Onion jazz club in San Francisco. McDaniels took the trio on tour, after which McCann moved to Los Angeles, working at clubs like the Hillcrest and signing to the Pacific Jazz label. The band that he called Les McCann Ltd. recorded a string of surefooted albums, and also played on the debut album by the jazz-R&B singer Lou Rawls, in 1962.

McCann eventually left the Pacific Jazz roster for Limelight, a Mercury subsidiary overseen by Quincy Jones, before landing at Atlantic Records. There his partnership with the producer Joel Dorn yielded a number of successes, starting with the 1969 album Much Les. Featuring McCann's electric piano against a complement of strings, the album also spotlighted his vocals, notably on a ballad called "With These Hands," which became a hit.

Here and throughout his career, McCann faced enduring critiques of his piano playing, which lacked the outward sophistication and technical precision of some of his peers, especially those who'd mastered the lingua franca of bebop. "I think what Les did musically, for most of his career, was really brave," attests Joe Alterman, a pianist who regarded McCann as a mentor, and released an album in tribute last year. "He wasn't a bebop player. He appreciated it, but he really loved these joyful piano players. So I think Les was kind of going against the grain."

McCann's most recent release, just out on Resonance Records, bolsters the point. Titled Never a Dull Moment! Live From Coast to Coast 1966-67, it features a few effervescent trio dates from the same era, at the Penthouse in Seattle (1966) and the Village Vanguard in New York (1967). There are, in fact, some bebop tunes, like Dizzy Gillespie's "Blue 'n' Boogie," in the set list. But the spirit of the playing has little room for bebop's idiomatic concerns. It adheres instead to a characterization of McCann from Bob Porter's 2016 book Soul Jazz: Jazz in the Black Community, 1945-1975, as "a pianist of enormously contagious enthusiasm."

McCann was certainly that, and more besides. He had a good ear for talent: He was the one who brought Roberta Flack to Atlantic, and he is credited with discovering the soul-jazz organist Richard "Groove" Holmes. And he was a gifted photographer whose portraits were anthologized in the acclaimed 2015 collection Invitation To Openness: The Jazz & Soul Photography Of Les McCann 1960-1980.

At the same time, McCann held a steadfast devotion to certain core principles, in music as in life. "The blues is definitely one of my major religions," he affirmed in a 1986 interview with Ben Sidran. "I mean, I like to think of whatever we do as something that's uplifting and giving to the world so that it's on the positive side, that is saying that we are here for a purpose. We are a part of this. We do count."

[burlveneer-music]

Mendoza Hoff Revels - Echolocation - a blast of instrumental skronk rock

Ava Mendoza: electric guitar, compositions Devin Hoff: electric bass, compositions James Brandon Lewis: tenor saxophone Ches Smith: drums 'Echolocation' is the astonishing debut album from Mendoza Hoff Revels, a formidable new unit led by Ava Mendoza & Devin Hoff and featuring James Brandon Lewis & Ches Smith. While Mendoza and Hoff have floated around each other's musical orbits for decades, and have been friends for some time, this is their first work together on record. It is an electric & holy harmonic fusion of highly estimable musical forces; wholly rendered. The original impetus of this group was Mendoza’s, based on the love she and Hoff shared for aggressive and polyglot electric avant-garde ensembles – artists like mid-80's Black Flag (w/ Roessler & Stevenson) and Ornette Coleman's Prime Time bands revolutionized the way they heard music. As stated in their liner notes, "we shared the writing of these pieces, though without the sizable stamps of both James and Ches, they would sound nothing like they do here.” The result – 21st Century progressive rock played by punk rockers with serious improv skills and a deep jazz feel. And vitally – non-stop wicked catchy tunes, riffs & grooves. Strong sonic references on our initial hearing at AUM Fidelity were The Stooges’ Funhouse, rendered by an entire band readily adept at rapidly swinging rhythmic & harmonic shifts (plus tenor sax on every track!) -&- minutemen, both their entire body of music & their fundamental egalitarian punk ethos. A higher combo accolade to any "rock-adjacent" band playing with electricity we at AUM cannot bestow. Art & Design by William Mazza Studio

[tootern2345]

Fleischer Studios staff from 1930-1931

Vet Anderson, Andy Engman, and Ed Rehberg were formerly Fables/Van Beuren men who later moved to the west coast

Grim Natwick, James “Shamus” Culhane, Bernie Wolf, Al Eugster, & Art Turkisher all ended up going to Ub Iwerks before the other four men moved to other studios (mainly Disney)

William Henning was the inbetweening supervisor before Edith Vernick replaced him

Sam Stimson worked for Bill Nolan’s studio in New Jersey during the silent ages

Al Windley was a Harrison-Gould camera operator

Nick Tafuri, Bill Turner, Joe Stultz, Seymour Kneitel, Isadore Sparber, and Myron Waldman became Famous Studios regulars (with Seymour and Izzy also being supervisors for the studio as well)

H. Ritterband and Louis McCormick were camera operators who later moved to famous studios

Charles Schettler. Vera Coleman, Ruth Fleischer, and Edith Vernick were Inkwell studio veterans

Frank Paiker would later do camerawork for Hanna Barbera

Ted Sears later became a driving force in Disney’s story department

Sadie Friedlander later married and became Sadie Bodin, she got fired from Van Beuren during the time Burt Gillett reigned on the studio

George Cannata and Reuben Timmins (R. Timinsky here) worked in different studios Coast to Coast

Nelly Sanborn was the head of the timing department and later move on to famous studios somewhere into the ink & paint department under the name of Nelly Sanborn-Greene

Ben Shenkman would later become a prolific caricaturist/character designer for cartoons as well as assistant animator & animator

Harvey Eisenberg, Saul Kessler, & Al Geiss later became associated with TerryToons before moving to other studios (Eisenberg becoming a prominent layout artist/character designer for MGM’s Tom & Jerry and Al Geiss was involved with the Screen Gems Studio during the 40’s)

Milt Platkin would change his name to Kin Platt and become a noted story artist/scriptwriter. He’s noted for writing almost all of the Top Cat episodes for Hanna-Barbera

and Mae Schwartz was Dave Fleischer’s secretary

[krispyweiss]

Album Review: Various Artists - Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971

Next time someone says, “Thank a taper,” mention Mack McCormick by name.

An untrained, Texas-based blues aficionado and curator, McCormick recorded nearly 600 reels of tape over the decades, three-and-one-half hours of which make up Smithsonian Folkways’ Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971, which represents the first compilation from this storied archive.

Think of it as an historical text. And this black-history book would doubtless be banned in modern Florida as the performers sing of sex, war, segregation, drugs, murder, prison and other popular subjects of the folk and blues traditions.

Across 66 tracks, listeners are treated to names both familiar - Lightnin’ Hopkins (“Mojo Hand,” “Blues Jumped a Rabbit”) and Mance Lipscomb (“God Moves on the Water”) - and previously unknown, as when George “Bongo Joe” Coleman stands on a street corner banging his drum and barking about the end on “This Old World’s in a Sad Condition” and a new beginning on “George Coleman for President.”

“Matchbox Blues.” “Rollin’ and Tumblin’.” “Deep Elum Blues.” “Little Red Rooster.” “St. James Infirmary.” “Corinne, Corrina.” These are among the titles that draw a straight line from Robert Johnson to Son House to Buddy Guy to Eric Clapton to the Grateful Dead and on to Dom Flemons. Any fan of any of these genres, titles and/or artists will want to listen to these musicians Playing for the Man at the Door and hope fervently this is not the last of the Field Recordings from the Collection of Mack McCormick to emerge.

Grade card: Various Artists - Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971 - A

9/27/23

[thechanelmuse]

My Top Albums/EPs of 2022

So I bet you thought I forgot to post my end-of-the-year music list 😏

Chile, I did 🙃. Better late than never tho, right? 

Enjoy!

JAZZ

The Baylor Project - The Evening: Live at APPARATUS

Billy Drummond & Freedom of Ideas - Valse Sinistre

Brandon Coleman - Interstellar Black Space

Cécile McLorin Salvant - Ghost Song

Charlie Gabriel - Eighty Nine

Jeremy Pelt - Soundtrack

Joshua Redman Quartet (Redman, Brad Mehldau, Christian McBride, Brian Blade) - LongGone

Makaya McCraven - In These Times

Marquis Hill - New Gospel Revisited

Ron Carter - Finding the Right Notes

Samara Joy - Linger Awhile

COUNTRY

Abbey Cone - Hate Me EP

Carrie Underwood - Denim & Rhinestones

Luke Combs - Growin Up

Madeline Edwards - Crashlanded + Madeline Edwards EP (two projects)

Maren Morris - Humble Quest

Mickey Guyton - I Am Woman EP

FOLK

Brandi Carlile - In These Silent Days (Deluxe Edition) - In the Canyon Haze

Kina Grannis - It's Hard to Be Human — (2021 album)

Valerie June - The Moon and the Stars: Prescriptions for Dreamers + Under Cover (two projects)

GOSPEL

DOE - Clarity

Kirk Franklin & Maverick City Music - Kingdom Come One (Deluxe)

Ricky Dillard - Breakthrough: The Exodus (Live)

Tasha Cobbs Leonard - Hymns (Live)

Tye Tribbett - All Things New

BLENDED GENRES

Gabriels - Angels & Queens – Part I

Janet Jackson - The Velvet Rope (Deluxe Edition) — 25th anniversary

Moonchild - Starfruit

PJ Morton - Watch the Sun (Deluxe)

Robert Glasper - Black Radio III (Supreme Edition)

SZA - SOS

Tank and the Bangas - Red Balloon

Various Artists - Stranger Things: Soundtrack from the Netflix Series, Season 4

YEBBA - Live at Electric Lady

SOUL/BLUES (ROCK*)

Jamison Ross - JAMO

Lady Wray - Piece of Me

Lee Fields - Sentimental Fool

Liv Warfield - Live at Cafe Wha? *

Lizz Wright - Holding Space: Live In Berlin

Miko Marks and The Resurrectors - Feel Like Going Home

Various Artists - Summer of Soul Original Motion Picture Soundtrack

R&B

Alex Isley & Jack Dine - Marigold

Ari Lennox - age/sex/location

Arin Ray - Hello Poison

Coco Jones - What I Didn't Tell You

Durand Bernarr - Wanderlust

India Shawn - BEFORE WE GO (DEEPER)

Kenyon Dixon - Closer

Lucky Daye - Candydrip

Mariah Carey - Butterfly: 25th Anniversary Expanded Edition

Mary J. Blige - Good Morning Gorgeous

Ravyn Lenae - HYPNOS

Sevyn Streeter - Drunken Wordz Sober Thoughtz

Siergio - BEFORE IT'S TOO LATE

POP/ALTERNATIVE (ROCK)

The 1975 - Being Funny In a Foreign Language

Aurora - The Gods We Can Touch

Avril Lavigne - Let Go (20th Anniversary Edition)

James Bay - Leap

LÉON - Circles

Lissie - Carving Canyons

Sigrid - High Note

RAP

Danger Mouse & Black Thought - Cheat Codes

Denzel Curry - Melt My Eyez See Your Future

Elzhi & Georgia Anne Muldrow - Zhigeist

JID - The Forever Story

Leikeli47 - Shape Up

Mozzy - Survivor's Guilt

Nas - King's Disease III

Saba - Few Good Things

Smino - Luv 4 Rent

EXPERIMENTAL

Niia - OFFAIR: Mouthful of Salt

Sault - Air + Aiir (2 projects)

HONORABLE MENTION

Beyoncé - RENAISSANCE

I know it’s coming... *hands on hips* “Honorable mention?!?”

I just can't listen to Renaissance straight through. I’ve tried and tried and tried. When it comes to my listening experience, I approach music sonically first, following the story and arrangement of the music instruments, and how the timbre of one's singing or rapping meets and interweaves between those elements. Give me an audio painting with a tapestry of enthralling colors and textures that I can feel. Then I'll invite in the lyrics.

It's like cinema. The average person most likely follows the eyes of the camera as it relates to the dialogue for the cinematic story. The way my brain is wired 🤖 I have to separate a number of other elements into parts as the story moves along — from the color grading and lighting to the sound design and mise-en-scène — to fully understand the director's vision and grasp the actual tale.

The thing about Renaissance as a whole is that it doesn't breathe enough for me. It feels chaotic like a tide than a flow if I let it run straight through. Give me spatial, darling! But that's the intentional, heavy-handed part about Renaissance, especially on the heels of a post-pandemic world: "Get tf up, dance and feel good." I don't wanna dance; I just wanna listen 😩 lol

Side note: 

We all have a specific musical palette as to why we fully gravitate to some songs/albums and not to others. I posted my review of Susan Roger’s book, This Is What It Sounds Like: What the Music You Love Says About You, a few months ago. (She was Prince's sound engineer from 1983 to 1988.) If you’re curious about why you like the music you like, I recommend for you to read it.

[carterreviewsmovies]

Infinity Pool (2023) Review

Infinity Pool

Directed by Brandon Cronenberg

Year Released: 2023

Duration: 118 Minutes

Aspect Ratio: 1.78:1

Brandon Cronenberg’s third feature film, Infinity Pool is a macabre orgy of gore, lust, psychedelics, and Freudian psychology. James (Alexander Skarsgard), a failed author and narcissist, and his wife Em (Cleopatra Coleman) are on vacation on a remote island, in a country with a zero-tolerance policy on crime. Their trip is quickly turned on its head after meeting Gabi (Mia Goth) and her husband Alban (Jalil Lespert). The couples take a forbidden trip outside of the resort compound, and after a day of drinking and a case of vehicular manslaughter, James finds himself in jail. He is sentenced to death but presented with an alternative available to only the wealthy, a doppelganger will be created to carry out the sentence in your place. This experience opens James’ eyes to a world of sadomasochistic pleasures and a release from the banalities of his repetitive life.

While Mia Goth and Alexandar Skarsgard give outstanding performances, and Karim Hussain’s beautifully fluid cinematography creates a surreal dreamscape, Infinity Pool leaves something to be desired. While it seems, Brandon has refined his skills as a visual artist since his debut with Antiviral, his story writing seems to have remained stagnant. Infinity Pool relies on its fast cuts and sensually lit drug sequences to keep the viewer invested. At times this works, there are brilliant moments of gross-out body horror, relying on the natural discomfort with prolonged on-screen nudity (akin to David Cronenberg’s bathhouse scene in Eastern Promises). However, it feels as though Brandon Cronenberg overestimates how much those scenes add to the story. The themes presented end up underdeveloped, merely planting the seed in the viewer’s mind, then leaving it to dry and wither into nothing.

Whatever Cronenberg was trying to convey was certainly lost on me. This does not, however, take away from what an enjoyable film this was to watch. The human body is put on display in both a sensual and disgusting fashion, entertaining in killing oneself, and devoting oneself solely to pleasure. Infinity Pool is erotic, disturbing, and beautiful to watch.

-- Carter

[brokehorrorfan]

The Night of the Hunter will be released on 4K Ultra HD + Blu-ray on May 30 via Kino Lorber. The influential 1955 film marks the lone directorial effort of actor Charles Laughton (Witness for the Prosecution).

James Agee (The African Queen) wrote the noir thriller based on Davis Grubb's 1953 novel. Robert Mitchum, Shelley Winters, Lillian Gish, Billy Chapin, and Peter Graves star.

The Night of the Hunter has been newly restored in 4K from the original camera negative with Dolby Vision/HDR. Special features are listed below.

Disc 1 - 4K Ultra HD:

Audio commentary by film historian Tim Lucas

Isolated music and effects soundtrack

Disc 2 - Blu-ray:

Interview with filmmaker Ernest Dickerson

Interview with actress Kathy Garver

Interview with artist Joe Coleman

Theatrical trailer

A tall, handsome "preacher"—his knuckles eerily tattooed with "love" and "hate"—roams the countryside, spreading the gospel…and leaving a trail of murdered women in his wake. To Reverend Harry Powell, the work of the Lord has more to do with condemning souls than saving them, especially when his own interests are involved. Now his sights are set on $10,000—and two little children are the only ones who know where it is. "Chill…dren!" the preacher croons to the terrified boy and girl hiding in the cold, dark cellar…innocent young lambs who refuse to be led astray.

Pre-order The Night of the Hunter.

[infinitebutterlogjam]

James Neil Hamilton (1899-1984)

Handsome Neil Hamilton started his professional career as a model, occasionally posing for illustrator J.C. Leyendecker as an “Arrow Collar Man,” along with Charles Beach, the artist’s lover. He made his first of over 260 films in 1918, and was signed to a contract by Paramount in the mid-1920’s, where Hamilton soon attained leading-man status. In 1926 Hamilton played Nick Caraway in the first filmed version of “The Great Gatsby,” now considered a lost film, and appeared as Ronald Coleman’s brother in the original “Beau Geste.” He starred with Joan Crawford in 1931’s “Laughing Sinners” (billed above Clark Gable), and as Jane’s fiancée in “Tarzan the Ape Man,” and again in “Tarzan and His Mate.” Despite his good looks and versatility, Hamilton’s starring-role status had ended by the early 1940’s, however, and film roles subsequently dried up. In David O. Selznick’s 1944 hit film “Since You Went Away,” Hamilton was reduced to merely appearing in photographs as the absent husband of Claudette Colbert’s character. With the advent of series television, Hamilton began to find steady work once again and was regarded as a steady, highly professional performer. Today Neil Hamilton is probably best remembered as police commissioner Gordon in the high-camp “Batman” television series, 1966-68, reliably appearing in every episode.