#richard laxton

[bestofsophieturner]

The director of Joan shared this picture of Sophie Turner as Joan Hannington in her upcoming project 'Joan' on instagram. Plus, see the comment of Joan Hannington. She had the occasion to watch all episodes of the show last week.

[moratoirenoir]

[erstwhile-punk-guerito]

[sturridges]

tom sturridge filmography

John Everett Millais in EFFIE GRAY (2014) dir. Richard Laxton

[kellyvela]

Did you see Deuxmoi's story? Perry went to the Joan premiere to support Sophie!!! ❤️ I just love how he supports her "quietly" i mean without trying to get any attention, we doesn't see him go on red carpets or in front of photographers, but he's always there with her.

Yes! I knew he was there, I posted about it on Twitter a couple of days ago:

He was talking with Joan's Director Richard Laxton, who is as tall as him, or even taller.

I was glad to know he was there, because Joan means a lot for Sophie and it's also nice to have reports from fans stating that he's very polite and nice.

[byaseashore]

Effie Gray (2014, dir. Richard Laxton)

[beatleswings]

When you got PO VAs like Juan Amador Pulido (Don Flamenco), Kenji Takahashi (Piston Hondo), Richard Newman (Bear Hugger) and Donny Lucas (Disco Kid) who still do voice work after Punch-Out!! and Riley Inge (Doc Louis/ Mr. Sandman) who releases bangers like “No Regrets” meanwhile you got VAs like Horst Laxton (Von Kaiser) and Stephen Webster (Aran Ryan) who voice in the game and then dip out after. 

[didanagy]

EFFIE GRAY (2014)

dir. richard laxton

[sronti]

Miért pont pedofilhálózat ne lenne a MET-ben, hát ezt te se gondolhattad, hogy pont ez kimarad?

[byneddiedingo]

Alex R. Hibbert and Mahershala Ali in Moonlight (Barry Jenkins, 2016) Cast: Trevante Rhodes, Ashton Sanders, Alex R. Hibbert, André Holland, Jharrel Jerome, Jaden Piner, Naomie Harris, Janell Monáe, Mahershala Ali, Patrick Decile. Screenplay: Barry Jenkins, based on a play by Tarell Alvin McCraney. Cinematography: James Laxton. Production design: Hannah Beachler. Film editing: Joi McMillon, Nat Sanders. Music: Nicholas Britell. Coming-of-age films are the cinematic equivalent of the Bildungsroman, the usually semi-autographical "novel of education" that tracks the formative childhood and adolescent experiences of the protagonist. Dickens, for example, wrote not one but two Bildungsromane: David Copperfield and Great Expectations. In the movies, the classic coming-of-age films include Satyajit Ray's Apu Trilogy (Pather Panchali, 1955; Aparajito, 1956; The World of Apu, 1959) and François Truffaut's The 400 Blows* (2017). Lately, Richard Linklater has added a distinguished entry to the genre, Boyhood (2014). And now Barry Jenkins adds to the genre with Moonlight, a fine film about growing up black and gay, while deftly avoiding the double pitfall of making his film about being black or gay. There have been plenty of films about growing up black and about growing up gay  and much commentary about possessing the dual stigma in a straight and/or white society. But what sets Jenkins's film apart is its avoidance of pop psychology and trite sociology: Moonlight is about being human. You don't need to have grown up in India or France to understand and sympathize with Apu or Antoine, and you don't need to have grown up in the Miami housing projects to sense why Chiron (rhymes with "Tyrone," but with a spelling that suggests the mythical centaur) is so blocked, so stubborn, so silent. Jenkins and Tarell Alvin McCraney, who wrote the play Jenkins adapted for the film, step carefully around the clichés of the genre, especially when it comes to ascribing blame. Juan (Mahershala Ali), the drug runner who finds the young Chiron (Alex R. Hibbert) hiding from bullies in an abandoned crack house and shows him kindness, isn't entirely the heroic figure he might be. Juan becomes the fatherless Chiron's first adult male role model, but he's a poor one even though he's generous and understanding, since Chiron grows up to follow Juan's profession and even imitate some of his showy mannerisms. Paula (Naomie Harris) is a terrible mother, but she doesn't want to be: It's the drugs that Juan sells her that send her skidding off the track she desperately wants to be on. Kevin (Jharrel Jerome), Chiron's first (and apparently only) sort-of boyfriend, isn't strong enough to stand up to the taunts of the bully Terrel (Patrick Decile), so he betrays the teenage Chiron (Ashton Sanders), provoking him to violence. So the film ends on an ambivalent note with the reunion of the adult Chiron (Trevante Rhodes) and Kevin (André Holland). Are they strong enough now to provide support to each other, or are their lives going to be haunted by the damaged child that was Chiron, seen in the film's final shot? There is something a little too formulaic about that ending, I think. I'm not entirely convinced, for example, that the handsome, bulked-up, successful drug runner that is the adult Chiron would have remained celibate for so long. But Jenkins has risked much and mostly succeeded -- after all, there's that Oscar -- in crafting a film that doesn't play the blame game or rely on pat explanations and outcomes. *I'm not including the other four Antoine Doinel films by Truffaut because, like many others, I don't sense a real continuity of character between the Antoine of The 400 Blows and the Antoine of the sequels.

[doitinanotherlanguage]

May 2023: 1940s

(You can read more about the Reading Through the Decades reading challenge on my post introducing the challenge. Basically, it’s a year-long reading challenge where we read books - and explore other media - from the 1900s to the 2020s, decade-by-decade.)

My Recommendations for May

🎬 Lupaus (2005; Promise), dir. Ilkka Vanne 📺 World on Fire (2019-), created by Peter Bowker 🎬 Summerland (2020), dir. Jessica Swale 📖 Tuntematon sotilas (1954; Unknown Soldiers), Väinö Linna 📖 The Night Watch (2006), Sarah Waters 🎬 The Night Watch (2011), dir. Richard Laxton 🎬 말모이 (2019; Mal-Mo-E: The Secret Mission), dir. Eom Yu-na 🎬 A Call to Spy (2019), dir. Sarah Megan Thomas 📺 Bomb Girls (2012-2013), created by Michael MacLennan & Adrienne Mitchell 🎬 El fotógrafo de Mauthausen (2018; The Photographer of Mauthausen), dir. Mar Targarona 🎬 It’s a Wonderful Life (1946), dir. Frank Capra 📺 Hollywood (2020), created by Ryan Murphy & Ian Brennan

[bestofsophieturner]

Sophie Turner talking about 'Joan'

She went on to talk about how that relationship between Joan and her daughter Kelly is the "crux of everything" in the drama.

"While we would be filming scenes that weren't involving Kelly, [director Richard Laxton] would always come up to me almost every scene and go, and where's Kelly?" Turner said.

"So it was always a constant, constant, constant reminder of, this is why she's doing it. Because I think sometimes when you're doing a show like this, and it's heist-y, and there's diamonds and glamour, you get swept away by it all.

"You have to remember that this is to provide a solid and stable life for her daughter, and so she can get her back. It's really a heartbreaking story, and so we had to constantly be reminding ourselves of that to keep it grounded and to not get too excited."

[moratoirenoir]

[ulkaralakbarova]

A young woman joins the military to be part of something bigger than herself and her small-town roots. Instead, she ends up as a new guard at Guantanamo Bay, where her mission is far from black and white. Surrounded by hostile jihadists and aggressive squadmates, she strikes up an unusual friendship with one of the detainees. Credits: TheMovieDb. Film Cast: Amy Cole: Kristen Stewart Ali: Payman Maadi Randy: Lane Garrison Rico: J. J. Soria Col. Drummond: John Carroll Lynch Betty: Julia Duffy Bergen: Cory Michael Smith Newscaster: Nawal Bengholam Mary: Tara Holt Ehan: Yousuf Azami Mahmoud: Marco Khan Detainee #3: Robert Tarpinian Night Shift C.O.: Kyle Bornheimer Army Private (uncredited): Holli Dean Waitress (uncredited): Jennae Hoving IRF #1: Ladell Preston IRF #2: Daniel Leavitt Film Crew: Producer: Gina Kwon Casting: Richard Hicks Second Unit Director of Photography: Adam Stone Gaffer: Mike Gioulakis Director of Photography: James Laxton Editor: Geraud Brisson Art Direction: Joshua Locy Set Decoration: Adam Willis Steadicam Operator: Michael J. Wilson Production Design: Richard A. Wright Sound Re-Recording Mixer: Michael Perricone Director: Peter Sattler Original Music Composer: Jess Stroup Sound Effects Editor: Jeffrey A. Pitts Script Supervisor: Cristina Fanti Visual Effects Supervisor: Tim Carras Visual Effects Producer: Joshua D. Comen Sound Re-Recording Mixer: Will Files Foley: Dave DeCoster Foley: Sanaa Kelley Gaffer: Cooper Donaldson Camera Operator: Alex Kornreich Costume Design: Christie Wittenborn Dialogue Editor: James Gallivan Hair Department Head: Jessica Lou Allen Key Hair Stylist: Henry Sanchez Makeup Department Head: Lorraine Martin Makeup Artist: Jeremy Bramer Assistant Art Director: Tom Obed Camera Operator: Eric W. Smith Still Photographer: Beth Dubber Still Photographer: Prashant Gupta Movie Reviews: Reno: > Right from the beginning events of the scenes are poorly intensified. It was a one sided narration, that is really a very bad for this kind of sensitive theme. But the prime intention was to bring the Guantanamo Bay detention camp’s atrocity on the detainees by the US military. Well, it actually avoids those strong cruelties, and focuses the unusual relationship between a detainee and a woman guard. Limited cast, shot mostly in a single location with the budget of just one million USD, and an ordinary opening, but ended strong. I assumed a lot of things likely to happen while I was watching. Like Amy Cole (Kristen Stewart) was in undercover, to make detainees talk and collect the information. Because she was the only woman around, but as usual like most of the time I was wrong. It was so plain and filled with human emotions. I was strong and confident that they were just torturing the terrorists who deserved it. If you see it from the human perspective that was slightly a over-limit, only if you exclude their crimes. I just felt it was a propaganda to show US in a bad light. That is the reason it will not show terror strikes in the movie that committed by any of the detainee characters, but only the consequences they face. A Hollywood movie specially made to make feel good for the terrorists and those who support it. Okay, I agree, some were innocents. While fishing, a few other marine animals also gets trapped in the net as well, for that I feel sorry what happened to them. But 95% of them were heartless monsters. Everyone will have their own opinion on this film based on their religion, nationality or sympathetic for simply being a human, and everything are fair. 6/10

[sturridges]

EFFIE GRAY (2014) dir. Richard Laxton

[thewritermuses]

Mrs. Wilson

Mrs. Wilson - Richard Laxton

This is part of my unedited thoughts series.  5/10 This story falls foul of the biopic trap - it fails to tell a good story. There are all the things required to make a great story but it just misses the mark and that's because they stick to the facts. The death of Mr. Wilson unravels all the lives of what we quickly learn are his many wives. None of them knew of the others. The lead Mrs. Wilson then decides to investigate her past with him. This quickly leads him to go from being a saint to the opposite. The truth is hard to see and as soon as she grabs hold of something firm it vanishes.  Ultimately, he is a scoundrel with no real answers or closure. Throughout the series we go on the journey with Mrs. Wilson believing him to have been some sort of spy.

In the end, it does seem like this was correct and the impersonation of an officer also appears correct. How much of the rest of his, and everyone else, story is true or not is hard to unravel.

Each answer that we were given opened up more questions.  There was a nice shot of all the family members at the end. Read the full article