#filmmaker🎥

[dogma85]

"I need to have faith in the idea that I had originally"

[savage-kult-of-gorthaur]

QUIET ON THE SET -- HELMING ONE OF THE GREAT ANTI-WAR FILMS OF THE 20TH CENTURY.

PIC INFO: Spotlight on a production phoGlo of film director Stanley Kubrick (at right, seated) on the set of the 1957 American anti-war/drama film "Paths of Glory," directed & co-written by Stanley Kubrick. © United Artists Corporation.

KUBRICKIAN FACT: Stanley notably kept his film crews small, with a number of key members working with him across many of his films.

Source: https://academic-accelerator.com/encyclopedia/paths-of-glory.

[pangarina-angelin-a]

[rolandojherrera]

“Best use of Character” for our film “The Adventures of Michael Ronco: Time Traveling Assassin Extraordinaire” in the IE 48hour Film Festival competition. Congratulations to the cast and crew on again! 🍿🍿🍿🍻🍻🍻 #48hourfilmproject #revenge #scifi #shortfilm #onset #moviemaking #filmproduction #bts #onlocation #videography #setlife🎥 #filmmakers #filmmaking #cinematicphotography #producer #behindthescene #filmcrewlife #actorslife #screenwriter #funny #fun #stress #crew-life https://www.instagram.com/p/Cku1lSZOrmp/?igshid=NGJjMDIxMWI=

[cyrilthroughthelens]

Written Feb 18, 2020 - Reaction Paper "How did cinematography create the persona of Citizen Kane?" Cinematography's Influence on the Persona of Citizen Kane

"Citizen Kane," a 1941 film written and directed by Orson Welles, holds a special place in my heart. Having watched it for the first time in 2019, between April and July, I found myself perplexed by its early exploration of unconventional endings. The unexpected nature of the conclusion, or perhaps my own conflicting expectations, left me with a profound emotional response.

Upon revisiting the film later that year, just before December, I discovered a deep sense of sadness for the challenges Charles Kane endured throughout his life. The ending resonated with me, as I initially anticipated Charles calmly accepting Susan's departure, only to witness his outburst, which included the destruction of his surroundings, despite his advanced age. I also experienced a touch of anger towards Susan for her constant shouting, complaints, and ultimate abandonment of Charles. My heart went out to his character, who repeatedly faced failure in love, even until the film's conclusion.

The cinematographer, Gregg Toland, made a significant contribution to the film's impact. I noticed how Toland skillfully manipulated light in every shot, effectively creating a visual separation between the foreground and background, resulting in captivating and dramatic imagery. Through cinematography, the film employed various perspectives and metaphors to surprise the audience. Additionally, the camera movements and set tricks greatly enhanced the overall quality of the movie. For instance, the inclusion of ceilings in low-angle shots, a departure from the usual practice of placing microphones and equipment above the actors' heads, added an unusual but striking visual element.

The character of Charles Kane has left an indelible mark on me. Despite his negative traits, he is a hardworking, kind-hearted individual with strong principles. His indifference towards wealth, despite becoming a billionaire through his association with the bank owners, distinguishes him. While he often makes imprudent decisions, it is perhaps his flawed nature that draws me closer to his character.

Throughout the film, Charles continually mentions the mysterious word "rosebud," even until his death. To me, this represents his longing for the life he had with his parents and the memories associated with the sleigh.

Overall, "Citizen Kane" remains an enduring masterpiece, made even more impactful by the skillful cinematography of Gregg Toland. Through his techniques, the film effectively captures the multifaceted persona of Charles Kane, leaving a lasting impression on the audience.

[robfinancialtip]

🎬🎥 Katrina Chiovon talks about her life and career in the entertainment industry. "The Glitch," a comedic science fiction short that Katrina produced and directed, was shown at the Chelsea Film Festival. She's a very talented person. Problems with sound quality and a sound guy contracting COVID during production weren't the only obstacles Katrina overcame; she showed remarkable perseverance and resolve to finish the project.

🛠️🔊Technical difficulties with the sound and the complete loss of all film progress because of an accident in the sound studio were among the many obstacles that the production of "The Glitch" had to overcome. Katrina had an unwavering commitment to her endeavor even though she had periods of frustration and wanted to quit. She stresses the significance of perseverance and creative problem-solving in hardship.

🏠💔As a young girl, Katrina dealt with a lot of upheaval and difficulty at home. Katrina was eventually placed in a foster home due to her family's situation. She loved her mother deeply, but their connection was strained because she couldn't understand her decisions in light of her life.

🎭🌆Katrina always felt a strong pull toward the arts, especially dancing and acting, even as a little girl. When Katrina recalls her love of acting from childhood, she remembers trying out for a role in a Brady Bunch movie. She arrived in New York City at seventeen and a half, seeking opportunities such as modeling for Ralph Lauren and Glamour magazine. Katrina overcame the dangers and difficulties of growing up street-smart and alone in the city.

🌟👼Despite Katrina’s many hardships and disturbing incidents while residing in Bed-Stuy, Brooklyn, she persevered and found solutions. Even though she was aware of the threats she faced, she attributes her survival to gut feelings and, maybe, a guardian angel. She exemplifies the strength and determination to follow one's passions despite challenges. Katrina also sought acting roles, landing parts in films including Vendetta Wounds and The City on the Edge. Her film debut was in Christopher Corulla's Old Secrets No Lies (2010). The picture had its world premiere that year at the Tribeca Film Festival, and it featured the late Vinnie Vella.

💪🙏 Katrina demonstrates the significance of self-belief and resilience in the face of adversity. Her unwavering dedication to filmmaking and the arts propelled her through challenges, culminating in a successful debut at the Chelsea Film Festival. Her inspiring message resonates with aspiring artists and entrepreneurs, urging them to embrace challenges as pathways to growth. Let your determination turn obstacles into stepping stones to realizing your dreams.

[silvyysthings]

🎥❤️🐶

After reading and listening to more interviews with Luca, I think I want to spend a weekend with him. I love the fact his puppy was in full puppy mode not wanting to listen and sit for a photo. 😂

This is a pre-‘Challengers’ interview but has another interesting insight into Luca. Google Translate was my friend with this.

https://elpais.com/icon/2024-05-04/luca-guadagnino-nada-es-mas-fascinante-que-el-poder-devastador-de-la-represion-especialmente-la-masculina.html

😍 thank you anon

Jonathan is one of the most intelligent people I know,” says the filmmaker. “He is a man of infinite wisdom and with an incredible sense of humor. He is a great artist, a great creative director and one of the most important people the world of fashion has produced in the last fifty years. And he is also my soul mate.

[spatialwave]

film school limoreau. 🎥🎞️

- marie and jordan would start in the same year together, but come from different levels of background knowledge. jordan would have gone to a secondary school where they had film programs and money to develop their own projects. marie would have all of her knowledge self-taught, from watching youtube videos and spending every night analyzing her favourite films — never really able to successfully film a solid project.

- they would have their differences, with jordan being a bit snobbier than marie would like. she’s a fan of b-roll films and cult classics, whereas jordan is a fan of big names and big pictures.

- they come together because of their obsession over one movie: everything everywhere all at once. it’s mentioned in class once and the two of them both interrupt the discussion at the same time, eyes locking — realizing that maybe they weren’t so annoying as they thought.

- marie is abundant in creativity, enjoying scribbling down story plots on random pieces of paper and sketching storyboards for hours. jordan is more meticulous with their planning, but still able to see the big picture of things and prefers to solidify scripts.

- marie likes to set up shots, light them and make them look pleasing to the eye. jordan likes to direct, get the actors into their headspace and nitpick when editing.

- they both fucking hate audio capture, but it’s where they bond. they realize it’s a weakness they both have and they partner up on certain assignments, finding themselves growing closer with each breakdown about how to compress audio or how to creatively capture foley.

- jordan realizes they’ve fallen hard for marie when she acts in a short film for them. they’re behind the camera, setting up a shot where marie’s character is sitting under a spotlight — a dramatic piece that’s set for an inner monologue. as she stares in the camera, popping her lips together and asking jordan how the framing looks… they’re rendered speechless.

- jordan spent a lot of time editing that project because they’d get lost staring at marie on screen.

- one of their classmates (emma) would ask marie and jordan to act in her short romance film. they’d have a kiss scene that they both act like they don’t care about, but the kiss looked so real and passionate that emma ‘forgot’ to record so they could do it a couple more times.

- the two of them would be dating by the end of their degree. they’d share a passion of making major production films together, starting with indie films they’d submit to festivals as a director (jordan) and cinematographer (marie).

- the two of them would become a powerhouse couple, eventually, making names for themselves as the unstoppable force behind filmmaking.

[tentative-wanderer]

Recently read these manga and manhwa with gay relationships:

☀️ The Summer Hikaru Died: liked it lots, wish it were complete. The creepy art style took some getting used to, I didn’t like how unnerving even normal people looked at first but I ended up loving how the art fits its genre. Mystery + horror + a sort of love I like, occupying the twilight zone between platonic, romantic and goodness knows what*. The theme of grief is executed well, very moving, and thumbs up for the other complicated feelings the characters wrestle with. From the Chinese words/kanji, I can tell that the title is “The Summer the Light Died”, which makes me go ahhhhh. I’d like to have the reassurance that there will be a happy ending, because I feel like there could be a melancholy one.

* I like amorphous kinds of love. Qijiu from the danmei book SVSSS has that too (don’t look this pair up if you haven’t read SVSSS, it’s spoilery). The phrase that comes to mind is 犹抱琵琶半遮面, ie, (a musician) “covering half their face with the pipa in their arms”. The beauty of things only semi-revealed.

🎥 Twilight Out of Focus and its sister series: enjoyed them. My favourite character is the film director with semi-long hair who’s capable, strong-willed, outspoken, and competitive, tempered by a softer side (the thing he’s loud and passionate about besides filmmaking is BL, of all things. But I didn’t know he swung that way until he got his own manga series. Should have seen that coming). That tends to be a winning combination of physical and personality attributes in my book, I always fall for this type of character, but I’d be on edge if I had to deal with such people in real life because their cut-throat attitude would be, well, cutting.

🧼 Ten Count: can relate to the mysophobia. Interesting premise! Enjoyed it. But I feel like it was dragged down a little by the smut. I have mixed feelings about saying that, because on one hand, smut is always welcome, but on the other hand, I wish there was a greater focus on the process of overcoming the ten mysophobic points beyond the romance and smut. Another downside is pretty-boy same-face syndrome.

🪞 The Black Mirror: there are a number of imperfections but I was hooked because I like mystery.

If anyone has recommendations, I’m all ears! BL manga is new to me (previously, I think I’ve only read the comedy about the guy who realised he’s stuck in a BL world, haha).

***

(Not BL)

Read a number of chapters of Liar Game. I don’t know why the author is drawing manga instead of messing with the stock market or committing fraud or financial world domination. Big-brained stuff. I tend to read comics fast/skim-read so I found it challenging to think deeply about the strategies; even following along is tough. (Edited to add: the ending was really, really bad.)

Caught up with the more recent chapters of Spy x Family and Life Lessons with Uramichi Oniisan. Loved both. Regarding Spy x Family, I thought I couldn’t love it more but it turns out I could; the recent arc about the old female soldier is wonderful, overturns some gender norms to an extent hardly seen in media. Also, I really like Yuri and Fiona; they’re both capable, good-looking, and—importantly—very funny. Fiona is amazing in the anime, her voice actress adds a special spark of life to the duality of her character.

[oswincoleman]

A new video from the Q&A session for The Jetty!

In it, Jenna Coleman talked about the mother-daughter relationship between her character of Ember Manning, and her on-screen daughter, played by Ruby Stokes.

[leonardcohenofficial]

tagged by @herbaklava @timrothencrantz and @wutheringdyke to post my top nine new-to-me watches of the year—thank you all! in no particular order (l-r, top row to bottom row):

skinamarink (kyle edward ball, 2023) great freedom (sebastian meise, 2021) earth mama (savanah leaf, 2023) nineteen eighty-four (michael radford, 1984) enys men (mark jenkin, 2022) marina abramović & ulay: no predicted end (kasper bech dyg, 2022) paris 5:59: théo & hugo (olivier ducastel and jacques martineau, 2016) nationtime (william greaves, 1972) giants and toys (yasuzo masumura, 1958)

while i hit my continual goal of half of the films by women and nonbinary filmmakers, i still definitely need to keep up with deliberately seeking out films by directors of color! tell me your faves if you’ve seen any of these; do we think i can hit 150 titles in 2024? 👀🎬🍿🎥

i'll tag @sightofsea / @lesbiancolumbo / @nelson-riddle-me-this / @draftdodgerag / @edwardalbee / @majorbaby / @radioprune / @glennmillerorchestra / @deadpanwalking and anyone else who'd like to do this!

my full watchlist is included under the cut, favorites of the year are bolded in red:

The Final Exit of the Disciples of Ascensia (Jonni Phillips, 2019)

Nothing Bad Can Happen (Katrin Gebbe, 2013)

Dive (Lucía Puenzo, 2022)

The Menu (Mark Mylod, 2022)

The Wonder (Sebastián Lelio, 2022)

The Whale (Darren Aronofsky, 2022)

Shapeless (Samantha Aldana, 2021)

Skinamarink (Kyle Edward Ball, 2023)

Avatar: The Way of Water (James Cameron, 2022)

Actual People (Kit Zauhar, 2021)

Honeycomb (Avalon Fast 2022)

Warrendale (Allan King, 1967)

Women Talking (Sarah Polley, 2022)

This Place Rules (Andrew Callaghan, 2022)

Nationtime (William Greaves, 1972)

Deep End (Jerzy Skolimowski, 1970)

Incident in a Ghostland (Pascal Laugier, 2018)

Keane (Lodge Kerrigan, 2004)

I Start Counting (David Greene, 1970)

Bones and All (Luca Guadagnino, 2022)

Tár (Todd Field, 2022)

The Most Dangerous Game (Ernest B. Schoedsack and Irving Pichel, 1932)

These Three (William Wyler, 1936)

Dead End (William Wyler, 1937)

The Sport Parade (Dudley Murphy, 1932)

We're All Going to the World's Fair (Jane Schoenbrun, 2021)

Ratcatcher (Lynne Ramsay, 1995)

Smile (Parker Finn, 2022)

Holiday (Isabella Eklöf, 2018)

When Women Kill (Lee Grant, 1983)

Softie (Samuel Theis, 2021)

My Old School (Jono McLeod, 2022)

Beyond The Black Rainbow (Panos Cosmatos, 2010)

The Diary of a Teenage Girl (Marielle Heller, 2015)

Infinity Pool (Brandon Cronenberg, 2023)

Murina (Antoneta Alamat Kusijanovic, 2021)

The Banshees of Inisherin (Martin McDonagh, 2022)

Doubt (John Patrick Shanley, 2007)

Enys Men (Mark Jenkin, 2022)

Bully (Larry Clark, 2001)

My King (Maïwenn, 2015)

Festen (Thomas Vinterberg, 1998)

Marina Abramovic & Ulay: No Predicted End (Kasper Bech Dyg, 2022)

Elles (Małgośka Szumowska, 2011)

Poison Ivy (Katt Shea, 1992)

ear for eye (debbie tucker green, 2021)

Spring Blossom (Suzanne Lindon, 2020)

God's Creatures (Saela Davis and Anna Rose Holmer, 2023)

I Blame Society (Gillian Wallace Horvat, 2020)

Bama Rush (Rachel Fleit, 2023)

Is This Fate? (Helga Reidemeister, 1979)

Paris 5:59: Théo & Hugo (Olivier Ducastel and Jacques Martineau, 2016)

Madeline's Madeline (Josephine Decker, 2018)

The Strays (Nathaniel Martello-White, 2023)

Here Is Always Somewhere Else (René Daalder, 2007)

The Weather Underground (Sam Green and Bill Siegel, 2002)

American Revolution 2 (Mike Gray, 1969)

Judas and the Black Messiah (Shaka King, 2021)

Underground (Emile de Antonio, Mary Lampson, and Haskell Wexler, 1976)

Saint Omer (Alice Diop, 2022)

Baby Ruby (Bess Wohl, 2022)

Welcome to Me (Shira Piven, 2014)

Clock (Alexis Jacknow, 2023)

Knock at the Cabin (M. Night Shyamalan, 2023)

Blue Jean (Georgia Oakley, 2022)

Soft & Quiet (Beth de Araújo, 2022)

Jesus' Son (Alison Maclean, 1999)

The Rehearsal (Alison Maclean, 2016)

Violent Playground (Basil Dearden, 1958)

Grizzly Man (Werner Herzog, 2005)

A Banquet (Ruth Paxton, 2021)

Jagged Mind (Kelley Kali, 2023)

The Night Porter (Liliana Cavani, 1974)

Good Boy (Viljar Bøe, 2023)

Sanctuary (Zachary Wigon, 2022)

Little Girl (Sébastien Lifshitz, 2020)

Séance on a Wet Afternoon (Bryan Forbes, 1964)

Massacre at Central High (Rene Daalder, 1976)

Summer of Soul (Amir "Questlove" Thompson, 2021)

Bad Things (Stewart Thorndike, 2023)

Still (Takashi Doscher , 2018)

Lake Mungo (Joel Anderson, 2008)

The Vanishing (George Sluizer, 1988)

The Ringleader: The Case of the Bling Ring (Erin Lee Carr, 2023)

Giants and Toys (Yasuzo Masumura, 1958)

Spoonful of Sugar (Mercedes Bryce Morgan, 2022)

Double Lover (François Ozon , 2017)

Hereditary (Ari Aster, 2018)

Bodies Bodies Bodies (Halina Reijn, 2022)

Don't Call Me Son (Anna Muylaert, 2016)

Great Freedom (Sebastian Meise, 2021)

Mother! (Darren Aronofsky, 2017)

The Mind of Mr. Soames (Alan Cooke, 1970)

The Bloody Child (Nina Menkes, 1996)

Bunker (Jenny Perlin, 2021)

Polytechnique (Denis Villeneuve, 2009)

Scouts Honor: The Secret Files of the Boy Scouts of America (Brian Knappenberger, 2023)

The Woodsman (Nicole Kassell, 2004)

Giant Little Ones (Keith Behrman, 2018)

The Killing of a Sacred Deer(Yorgos Lanthimos, 2017)

Nineteen Eighty-Four (Michael Radford, 1984)

Saltburn (Emerald Fennell, 2023)

Renaissance: A Film by Beyoncé (Beyoncé Knowles-Carter, 2023)

May December (Todd Haynes, 2023)

Free Chol Soo Lee (Julie Ha and Eugene Yi, 2022)

Girl (Lukas Dhont, 2018)

Queen of Hearts (May el-Toukhy, 2019)

Streetwise (Martin Bell, 1984)

System Crasher (Nora Fingscheidt, 2019)

Burden (Richard Dewey and Timothy Marrinan, 2016)

As Above, So Below (Larry Clark, 1973)

The Captive (Chantal Akerman, 2000)

Run Rabbit Run (Daina Reid, 2023)

Subject  (Jennifer Tiexiera and Camilla Hall, 2022)

Earth Mama (Savanah Leaf, 2023)

Woodshock (Kate Mulleavy and Laura Mulleavy, 2017)

Swept Away (Lina Wertmüller, 1974)

Meadowland (Reed Morano, 2015)

Brainwashed: Sex-Camera-Power (Nina Menkes, 2022)

La Ciénaga (Lucrecia Martel, 2001)

Zola (Janicza Bravo, 2021)

The Starling Girl (Laurel Parmet, 2023)

Night Comes On (Jordana Spiro, 2018)

Dance, Girl, Dance (Dorothy Arzner, 1940)

[happyzyx]

231115 layzhang: It was an honor to attend The China Golden Rooster & Hundred Flowers Film Festival and receive the title as “Golden Rooster Chinese Film Youth Promoter.” The festival recognizes the top Chinese filmmakers and promotes global film exchange. In the future, I hope there will be greater opportunities for the youth to be involved in large scale film projects and conquer global markets 🏆🎥

[charcubed]

Do you like Lovecraftian horror? Cthulhu? Libraries??

Better yet: do you like supporting indie filmmakers?

My friend Avery is crowdfunding to make THE PATRON with his production company VI Arts Co.

And it's cool as hell.

"Imagined by a lifelong librarian and Cthulhu aficionado, THE PATRON tells the mysterious and grotesque story of a strange patron and the librarian whose curiousity gets the better of him. Fans of creature features and cosmic horror will find this an eldritch delight."

🎥 Help This Movie Get Made!

Campaign ends on December 10th!

---

Every little bit helps! You can pledge literally any amount (even $1), and the first official "tier" is $5.

Even if horror isn’t your thing or you don’t have money to spare for this right now, reblogs are very appreciated to reach those who can chip in! :)

Support a team of queer independent artists with immense talent!!! 🏳️‍🌈

[rolandojherrera]

Coffee chat with the writing partner and good friend. Finally! Lets gooooo! #screenwritingsquad #goals ☕️☕️🤗🤗👍🏽👍🏽 #christmas #christmastree #comedy #onset #moviemaking #filmproduction #bts #onlocation #videography #setlife🎥 #filmmakers #filmmaking #christmas #santa #producer #behindthescene #filmcrewlife #actorslife #happy #screenwriter #shortfilms #funny #short https://www.instagram.com/p/Clm56DxLdgX/?igshid=NGJjMDIxMWI=

[mayamidnightmelody]

The Dynamic Duo: Bud Spencer and Terence Hill

Bud Spencer and Terence Hill: a legendary partnership 🎬 that has enthralled audiences for decades, leaving an indelible mark on Italian cinema 🇮🇹 and beyond. Their dynamic blend of action, humor, and camaraderie has cemented their status as icons of the silver screen, captivating viewers with their infectious energy and timeless appeal.

The story of Bud Spencer and Terence Hill begins in the early 1960s, amidst the rise of the Spaghetti Western genre. 🤠 Born Carlo Pedersoli and Mario Girotti, the duo's paths converged, sparking a partnership that would redefine cinematic entertainment. Spencer's towering physique and Hill's suave charm formed the perfect complement, igniting an on-screen chemistry that was nothing short of magical.

What sets Bud Spencer and Terence Hill films apart is their seamless integration of action and comedy, creating a recipe for cinematic success. 🎥 Their movies are a rollercoaster of laughter and adrenaline, with larger-than-life characters engaging in absurd yet entertaining escapades. From epic brawls to witty banter, each scene is infused with their trademark humor, leaving audiences in stitches.

But beneath the laughter lies a deeper theme of friendship and loyalty that resonates with viewers on a profound level. 🤝 Spencer and Hill's characters, often portrayed as misfits or underdogs, forge unbreakable bonds in the face of adversity. It's this heartfelt portrayal of camaraderie that elevates their films beyond mere entertainment, touching the hearts of audiences worldwide.

Off-screen, Bud Spencer and Terence Hill shared a genuine friendship that transcended their professional collaboration. Their camaraderie extended into their personal lives, adding an extra layer of authenticity to their performances. This bond, palpable both on and off the screen, undoubtedly contributed to the enduring popularity of their films.

From "They Call Me Trinity" to "My Name is Nobody," Bud Spencer and Terence Hill have left an indelible legacy that continues to captivate audiences of all ages. Their influence reverberates through the halls of cinema, inspiring generations of filmmakers and entertainers to come.

In conclusion, the dynamic duo of Bud Spencer and Terence Hill has left an indelible mark on Italian cinema and the hearts of audiences worldwide. 🌟 Their unique blend of action, comedy, and camaraderie has stood the test of time, solidifying their status as legends of the silver screen. As we continue to enjoy their timeless classics, we celebrate the magic they brought to the world of cinema and the enduring legacy they leave behind.

Filmography:

"God Forgives… I Don't!" (1967)

"Ace High" (1968)

"Boot Hill" (1969)

"They Call Me Trinity" (1970)

"Trinity Is Still My Name" (1971)

"Man of the East" (1972)

"All the Way, Boys" (1972)

"Even Angels Eat Beans" (1973)

"…All the Way, Boys!" (1973)

"Watch Out, We're Mad" (1974)

"Two Missionaries" (1974)

"Crime Busters" (1977)

"Flatfoot in Africa" (1978)

"Odds and Evens" (1978)

"Double Trouble" (1984)

"Go for It" (1983)

"Who Finds a Friend Finds a Treasure" (1981)

"Super Fuzz" (1980)

"Everything Happens to Me" (1980)

"Banana Joe" (1982)

"Trinity: Good Guys and Bad Guys" (1985)

"Miami Supercops" (1985)

"Troublemakers" (1994)

[maximumwobblerbanditdonut]

@nesrinaa.a

🎥 filmmaker

Siobhan’s face 🫢 SH doesn't impress her.

Posted 8th August 2024