#typhoon quote

[d-i-x-i-t]

De echte strijd zit in ons hoofd.

Typhoon

[local-space-case]

imagining vash and nai as angels and meeting wolfwood like

vash: be not afraid!

wolfwood: damn didn’t know angels could be this hot

nai, about to smite him: be more afraid.

[liquidlightandrunningtrees]

Facing it, always facing it, that’s the way to get through. Face it.

Joseph Conrad, Typhoon

[monsterblogging]

Quotes from the Pacific Rim commentary re: Guillermo del Toro's aesthetic decisions

"You cannot do world creation without filling in with texture and detail."

...

"People think that world creation - movie, for example - is the big gestures. But it isn't. It's all this small details. Look at the markings. Look at the vehicles that open the doors. Look at the banners and the markings in the crawler that moves the robot. Everything is full of detail. We designed this."

....

"We going to what I call gothic tech, or goth tech. Which is to go right away into a world that is rusting, that is in decay, where you have the concrete is cheap, the paint is chipping off, the armors in the robots is dented, it's sort of pitted and they feel like knights, like these ancient knights, and we start accumulating, for example, atmosphere."

...

"I wanted the movie to be very romantic, but not romantic in the Harlequin novel sense or the romance novel sense of the word. I wanted it to be romantic in its epicness. You know, I wanted it to feel like an opera. I wanted it to feel dramatic. So instead of doing this in a well-lit street in New York I wanted this first fight to happen in an almost like, the middle of a romantic painting, like Caspar David Friedrich is a romantic painter I adore. And I wanted very much for it to happen in the rain in the middle of a tempest in an ocean where the waves are crashing into them. And the water throughout the movie becomes an incredibly complex expressive element."

...

"We're going to go from the biggest, the widest, to the little bug of a pilot crawling out of the helmet. Isolate Raleigh. You know, we isolate Raleigh. I'm telling the story: Look at the markings on his suit, the burn marks on his skin, those are going to become scars that he's going to carry for the rest of the movie. And I'm telling you this is when we started losing. This was the price for arrogance, this was the price for youth, and we're staining the white with red. I'm trying to build a character not just by the work of the actor, but by the storytelling with audiovisual elements."

...

"And look at this, Raleigh's all introduced in this one color, he'd golden, gold colors, and he's all coated in warm greens and earth tones and the light that is bathing him is always golden, and it's about that color coming together with Mako's dominant color, and Pentecost in this case, which is connected with Mako, which are blue."

...

"So this, we come to the scene where they meet for the first time. And I have color-coded this scene entirely in those two colors, in the blue and the ambers. You know, the bright ambers and the blue, the sort of cyan blue. And this is Mako meeting Raleigh, so the entire thing needs to be color-coded like that. And Mako's blue, because I'm making her origin to the kaiju, the kaiju blue, the blood of the kaiju - but also you will see in a few minutes a memory. A memory that is all color-coded in blue and splashes of red in her past as a child. And that blue has stained her hair. Even her hair has this strands of blue because she cannot get rid of that memory. She carries it in her."

...

"We color-coded, for example, the Chinese robot, we color-coded it red and gold and is patterned after medieval armor, and it needs to feel Chinese in essence, it needs to respond to martial arts movements; its musical theme is very strong."

...

"And here again we have now a robot, a Jaeger, that is designed, a mech that is designed to resemble a T-series Russian tank, color-coded like that, with like a cooling tower from a nuclear reactor on top."

...

"And we introduce Striker Eureka, the Australian Jaeger, which is designed a little bit like an all-terrain vehicle and color-coded with the outback camouflage colors and is the most masculine of the robots, of the Jaegers, of the mech, and is very much testosterone-driven."

...

"We talked about the color red; well, here it becomes very important. We have these characters fighting that is very very color-coded to be warm; we have a lot of reddish art direction here. We color-coded this arena in black and red. The stakes, the wood, the machines, the color of the light hitting the machines, the symbols on the wall, everything is permeated with red. Because again, I wanted red to symbolize sort of the heart. And Mako's going to find her heart and Raleigh's going to find his heart, or life, by connecting with Mako. We saw him bleeding - the last time we saw red with any importance other than the Chinese robot was when he was bleeding in the beach."

...

"And again, red coming in and linking these three characters; these three characters are the heart of the movie, you know. And blood for nobility and mortality is what makes us human. And Pentecost and Raleigh and Mako are the heart of the film."

...

"And now we start bringing, literally, bringing the crazy colors into the film. I wanted to color code this movie, bring it as close as possible to a living anime, or a living incarnation of a magazine that was very important for me growing up, which is Heavy Metal with Angus McKie, Richard Corben, Chris Foss, all these guys working with super primary colors, and I wanted to bring that saturation of colors to this, and for that I needed Hannibal Chau to meet Newt in Hong Kong."

...

"In shooting the film, we then came to the final moment and again, these three characters, Mako, Raleigh, and Pentecost, which have existed in a blue-amber world start to come to a red space, you know? This is the first time we used this red space properly in this film. Other than the Chinese robot, we were very careful with not coding anything in red. But now, at the end of the adventure, everybody's coming away. And at the end of the life, at the end of their life, that is Mako, Raleigh, everybody's gonna find this light is red. And now I can talk to you about the way I sort of organized the three fights for Raleigh. I wanted one fight with the kaiju to be the fight where he loses someone. He loses his brother in the beginning. That's where he bleeds red, you know? Then the second fight in Hong Kong is where he gains a partner. He loses a partner in the first fight, he gains a partner on the second fight. And in this final fight, he saves that partner. So, it's a full circle. I show him in the construction area in the beginning sitting in a sort of throne of concrete, if you remember, when he meets Pentecost; he made an incomplete circle. And here he completes that circle."

[feral-ballad]

Forugh Farrokhzad, tr. by Sholeh Wolpé, from Sin: Selected Poems of Forugh Farrokhzad; "On Loving"

[Text ID: "Concealed in me is a sea: / how could I hide it? / How could I describe / the typhoon inside?"]

[moodysnowflake]

Meryl: wow, looking fancy there, Nick. You got a hot date?

Nicholas: I wish I did, but at least the guy I'm dating definitely does.

Vash: *outraged noise*

[srivera4]

Vash: My life has many low moments but the high moments are rare and nice.

[incorrecttrigun]

[vampyreblogger]

The Magus - John Fowles || The Maze Runner (2014) || Should've Been Me - Mitski || Saltburn (2023) || Remember - Typhoon || Mosaic of the Cretan Labyrinth from the Villa of the Domitii Ahenobarbi || Should've Been Me - Mitski || Skyrim Labyrinthian (2011) || The Labyrinth - W H Auden || Labyrinth (1986)

a post about mazes and labyrinths

[sagessge]

A burning typhoon

A burning typhoon

A destruction

A scorching heat wave

A freezing night

Is my mind

It is rotten and wicked

It erodes my presence,my happiness

It is something I heartily despise

But I dearly love

It is my vice and my virtue

It is my only friend and my most hazardous foe

It makes me want to be alive

But sometimes pressurize me to want to die

It is familiar yet so strange

It is a blessing yet a curse

It drives me insane

But atleast it gives my pen,the fuel

Atleast it sets my tears onto paper

Atleast it keeps me alive

It comforts me

But it insults me like no one ever could

God forbid I would never say that to a friend

But I do to me,I am no friend,I am no lover

But to think,I am what matters the most

The soul that it owns

She wants to be free but it cages her

It poisons her

Like the others I see

Please let me go,please set me free

But also don't

[valenshawke]

Vash the Stampede: Killing isn't the answer. Nicholas D. Wolfwood: You’re right. Vash: *sighs in relief* Nicholas: Killing is the question. Vash: What? Nicholas, bolting away: And the answer is yes. Vash, running after him: NO-

[d-i-x-i-t]

Eerst geloven, dan zien we.

Typhoon

[bison2winquote]

Natasha, Eye of Typhoon: Tsunami Edition (Balek/ Viccom)

[symphonyoflovenet]

Facing it—always facing it—that’s the way to get through.

Joseph Conrad, Typhoon

[s4pphoiduser]

thinking about him again (crimson typhoon baby no one will ever be you)

[typhoonvash]

@apostacizing | ❛ is there a problem with that ? ❜

"P-problem? No. Yes? N-no. Maybe? No."

His eyes scan over Wolfwood's attire.

"That's uh... Really tight on you. Are you sure you got the right size...?"