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Friends In Your Head | Forums → Posts by paulou
Great find, thanks for the link. As the DIF crew are fond of saying (and I can hear Brian speaking in my head), "the villain's the hero of his own story".
The key though is that an antagonists story has to be at least just as complicated and nuanced than the one we're watching from.
I think misguided enthusiasm is the better of two cultural evils between that and writ dismissal.
Made me wonder if iconography of the Twin Towers is similarly inappropriate when considering those thousands of murders. Its service as a national symbol and a real tangible thing complicates the matter quite a bit.
Stumbled across this, think it's really valuable stuff. And worth talking about.
http://terribleminds.com/ramble/2012/07 … tagonists/
Personal favorite:
12. Now Look To Your Own Life
Turn now from pop culture and instead look to your own life. Identify your own personal antagonists. Then realize that these are infinitely more complex and sympathetic than you find in a lot of fiction. Our parents are often our antagonists through our teenage years; but they don’t start that way and they often don’t end that way. And oh what a powerful and valuable lesson that is. Now, take it one step further: try to see if you’ve ever been somebody’s antagonist. Surely you have? Your parents probably saw you as one. A teacher, maybe. A forgotten friend. A bullied kid. A sibling. Bring what you discover there into your storytelling. Find the complexity within the antagonist; we don’t need sympathy for the antagonists necessarily, but we demand empathy. If we cannot understand them, then we will not believe in them. More on that soon.
These are the kinds of things that make movies not boring.
You are not wearing shoes, and whoever is walking the Target dog is probably cute.
Do go on.
Thusly, the Most Specific Fetish in the history of all Internet reveals itself.
How 'bout ret-conning the Oscars? For example, over time does Annie Hall still beat out Star Wars.
Yeah, I think it does.
But the only thing the Oscars are good for is showcasing the tastes of the predominately old, white, male membership of the Academy in a given year. It's not really a talk about movies, but politics.
More specifically, it was the only thing they could do really well.
Original track by:
Big Black DeltaRace Starter Girl: Kelli Samuelson
Riders: Jack Lindquist and Jon Budinoff
Executive Producer: Don Ward
Director: Warren Kommers
Concept by: Don Ward and Alex De La Hidalga
DP: Warren Kommers and Steve Smith
Editor: Warren Kommers
VFX : Paul Santagada
Promo for Wolfpack's annual drag race event. This year they're taking over the 2nd Street Tunnel (ref: EVERY MOVIE) for the biggest production they've ever undertaken.
If anyone cares, I'll see if I can get permission to post some of the elements and WIPs and the like.
I tried pretty hard, but that bourgeois charm was a little too discreet for me.
I'm sure they'd think it's cool that you directed it, but you probably aren't going in for a job as a director. You're looking to showcase vfx skills, so it should be almost exclusively about that.
The design is much better, I'd do a couple little artistic things differently like make that pair of lines at the top a little longer and have the bottom one break the margin and creep into the darker part a little. Move the software stuff all the way to the bottom of that column, it's distracting from your previous work, which should be the showcase here.
The descriptions are pretty good, but rewrite them pretending that each word you use would cost you a dollar.
I would change Elgo to just "Elgo - Digital Artist". Reference to religious anything is a liability.
Yeah but it's also weird as shit.
I have a few of them, just Ikea bracket things.
A friend of mine has a whole wall of his apartment covered in them - they scale really well.
More drama = better than.
Deal, duh.
Black frames or white?
Mentioned this to Brandon last night and he gave a hearty approval.
They're also less interesting. The quickest shot to the heart of any child is DEAD PARENT. It's all they know. So boom, engaged audience.
From a storytelling perspective, removing a parent makes drawing relationships easier. With one parent and a kid, that's a simple circuit. You can take that and build all kinds of thematic goodness from there. With two parents and a kid, you have to figure the relationship between the kid and one parent, the kid and the other, and the parents between each other. You now have three times the amount of relationships to uphold without sacrificing or muddying the thematic energy you had when your story was simpler.
Depends what you're doing it for. If you're working with a DP that's trying to emulate a specific film stock, you better have the right scan. If you're trying to do a less specific old-timey look, you can just use whatever.
The biggest issue with adding scanned grain is the method of application. People that do it in NLEs just drop it on top and change the blend mode, which doesn't look too hot. If you're sweating grain that much, you owe it to your project to apply it against a proper response curve compared to an actual plate shot with the stock.
Every episode you bite the head off a different small animal.
So far everyone* has District 9.
*Except possibly paulou. Way to break the pattern before it was formed, paulou.
We cool.
keeps me from biting the heads off small animals.
This would also make an interesting web series.
I have more, but most excited about having all of my favorite director's films. The top one has never had a Region 1 release.
Friends In Your Head | Forums → Posts by paulou
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