Viggo Mortensen dating

Viggo Mortensen' Past Relationship And Married Life. Well, this isn't the first time the actor is engaged with a beautiful lady. Before Viggo started dating the bashful actress, he previously exchanged vows with Exene Cervenka. The duo walked down the aisle on 8th July 1987. The duo shares a godly son Henry Mortensen, born on January 28, 1988. Who is Viggo Mortensen dating? Viggo Mortensen is currently dating Ariadna Gil. The couple started dating in 2009 and have been together for around 10 years, 8 months, and 12 days. The American Movie Actor was born in New York City, NY on October 20, 1958. Best known for his portrayal of Aragorn in Lord of the Rings. More about the Viggo Mortensen and Christina Rosenvinge dating / relationship. More about the Viggo Mortensen and Exene Cervenka dating / relationship. More about the Viggo Mortensen and Josie Bissett dating / relationship. More about the Viggo Mortensen and Donita Sparks dating / relationship. Viggo Mortensen is rumoured to have hooked up with Gwyneth Paltrow (1997).. About. Viggo Mortensen is a 61 year old American Actor. Born Viggo Peter Mortensen Jr. on 20th October, 1958 in Manhattan, New York City, New York, United States, he is famous for The Lord Of The Rings. Actor Viggo Mortensen Is Dating His Actress Girlfriend Ariadna Gil Since 2009. Viggo Mortensen and his longtime girlfriend, Ariadna Gil has been together for nine years now and they are still madly in love with each other. Reportedly, the couple first met on the sets of movie Alatriste in 2006. On 20-10-1958 Viggo Mortensen (nickname: Vig) was born in New York, United States. He made his 30 million dollar fortune with Lord Of The Rings. The actor is dating , his starsign is Libra and he is now 61 years of age. Viggo Mortensen and Liv Tyler were in an on-screen matchup.. They had a son named Eldarion. On Screen Matchups. Viggo Mortensen and Liv Tyler were in 3 on-screen matchups, notably The Lord of the Rings: The Fellowship of the Ring (2001), The Lord of the Rings: The Return of the King (2003) and The Lord of the Rings: The Two Towers (2002).. About. Viggo Mortensen is a 61 year old American Actor. Viggo Mortensen is a multi-talented person, especially as it concerns creative arts. Over his career that has crossed three decades, he has been featured in acclaimed works like The Lord of the Rings, Green Book, and Psycho.While what he does for a living is well recognized, his family and love life have a quieter media footprint.

[TOMT][Music][2000s?] Buckethead-esque bass-line track

2020.09.14 15:55 saucywaucy [TOMT][Music][2000s?] Buckethead-esque bass-line track

I have a song from Buckethead (or, at the very least, in his style) that has been stuck in my head for a while, but I cannot for the life of me remember what it's called, the album art, whether it's really by Buckethead, nothing. Sometimes I wonder if I just made it up in my head, lol. Anyway, I asked buckethead and they haven't been able to identify it so far, so I thought I'd ask here also.
It was basically this bass-line track with one, maybe two different instruments at most, I don't recall it having vocals or a drum line, just stringed instruments. It sounded a bit spacey, a delay pedal may have been in use at some point.
I remember the start being something like this: https://onlinesequencer.net/1613215
And I believe there was a part later on with something like this: https://onlinesequencer.net/1613221
I believe I used to listen to this song as a teenageyoung adult, which would put its release date somewhere before 2012-2013.
As far as it being related to Buckethead, I've listened to his discography on Spotify and the collabs that I used to listen to (for example, Thanatopsis, Praxis) and either didn't find it or glossed over it somehow. I don't remember ever listening to Buckethead's work with Viggo Mortensen and Les Claypool, so I don't expect it'd be there. I've tried to be thorough (such as listening to all the Buckethead pre-Pikes albums, his collabs, some demos/special releases like In Search of The), but I could have accidentally missed it anyway.
Thanks in advance for your help!
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2020.09.14 15:54 saucywaucy Help locating a Buckethead(-esque?) bass-line track

I have a song from Buckethead (or, at the very least, in his style) that has been stuck in my head for a while, but I cannot for the life of me remember what it's called, the album art, whether it's really by Buckethead, nothing. Sometimes I wonder if I just made it up in my head, lol. Anyway, I asked buckethead and they haven't been able to identify it so far, so I thought I'd ask here also.
It was basically this bass-line track with one, maybe two different instruments at most, I don't recall it having vocals or a drum line, just stringed instruments. It sounded a bit spacey, a delay pedal may have been in use at some point.
I remember the start being something like this: https://onlinesequencer.net/1613215
And I believe there was a part later on with something like this: https://onlinesequencer.net/1613221
I believe I used to listen to this song as a teenageyoung adult, which would put its release date somewhere before 2012-2013.
As far as it being related to Buckethead, I've listened to his discography on Spotify and the collabs that I used to listen to (for example, Thanatopsis, Praxis) and either didn't find it or glossed over it somehow. I don't remember ever listening to Buckethead's work with Viggo Mortensen and Les Claypool, so I don't expect it'd be there. I've tried to be thorough (such as listening to all the Buckethead pre-Pikes albums, his collabs, some demos/special releases like In Search of The), but I could have accidentally missed it anyway.
Thanks in advance for your help!
submitted by saucywaucy to NameThatSong [link] [comments]


2020.05.08 05:10 daturapiss The Reflecting Skin (1990) is a great, great movie, especially if you don't know anything going in.

Here's all you need to know: A young boy suspects his neighbor of being a vampire after a string of deaths in his community.
I saw this thing recommended in a horror thread and was expecting it to be a hammy 90's flick. But that never happened. Instead I got this beautifully shot depiction of Americana with some horror aspects.
But it's far from a horror movie.
It's a trip watching it today because it doesn't look like it was filmed thirty years ago. The only thing that really dates it is a young Viggo Mortensen.
And it starts off with a very interesting (and a bit gorey) scene. Then it just chugs along for the whole fuckin' movie. There's not really any slow parts. And when that first major plot point hits man, it really, really hits. And I highly recommend avoiding the trailer, and any review for it before you see it cause that thing hits hard. And beautifully.
The only down side is it ends abruptly. I don't think it really stuck the landing, and it could have been 20 minutes longer to tie things up but they way they do choose to end it, I think, mirrors your frustration as an audience member.
Highly, highly recommend seeing this thing.
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2020.04.16 06:50 4givem3 Bucketheadland Grand Opening!!!

Due to the ongoing pandemic the opening date is TBD, but construction of the park is complete. Opening weekend ceremonies will include nightly concerts by Buckethead and friends. Friday night will be in part a tribute to Shawn Lane, Saturday a remembrance of Bernie Worrell, and Sunday a celebration of family, mainly Mr. and Mrs. Carroll.
Lineups for shows:
Friday
Emcee- Les Claypool
8-8:40 That 1 Guy w/ Wolff + Tuba and Gabby Lala
8:40-9:15 Deli Creeps (BH, Maximum Bob, Pinchface w/ Dan Monti)
9:30-11 Giant Robot (BH,Brain, Les Claypool)
Saturday
Emcee- Bootsy Collins
8-8:30 Invisbl Skratch Piklz (DJ Disk, Mix Master Mike w/ Xtrakd)
8:30-9 Freekbass w/ BH (Performing Chameleon and Maggot Brain)
9:20-11Praxis (BH, Brain Bootsy Collins w/ Bernie Worell Hologram)
Sunday
Emcee- Viggo Mortenson
8-8:20 Oscar Lopez (Marlboro123456) -PRFM Worms for the Garden
8:20-8:40 Viggo Mortensen w/ BH, Travis Dickerson & Bill Laswell -PRFM Pike 13
8:40-10 Thanatopsis (BH,Travis Dickerson w/ Pinchface and Dan Monti)
10:15-11:30 Pikes Jam (polls open next Tuesday to vote on 1 full Pike, 1 track in 10-15 min. range,and 3 songs under 10 mins *Silver Shamrock Series not eligible)
11:30-11:58:37 Bucketheadland (BH, Dan Monti, feat. Brain & Oscar Lopez) -PRFM Hold Me Forever
Stay safe and healthy so we can all celebrate together.
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2020.04.14 15:50 aliengeranium Natalie's dad article

Does anyone have the article published by Natalie's dad in pdf or screenshots? The link I have is behind a paywall.
EDIT: Here's the full article:
"Randall Beach: Say what? My daughter’s a celebrity after writing about Caroline Calloway
Sep. 19, 2019 Updated: Sep. 19, 2019 5:55 p.m.

Natalie Beach, who grew up in New Haven, recently published an op-ed in The Cut, detailing her seven-year relationship of ghostwriting Instagramer Caroline Calloway’s account.
What’s it like when your daughter “goes viral”?
My wife and I — and our daughter, Natalie Beach — have been experiencing this over the last week and a half, ever since an essay by Natalie was posted online, then quickly exploded on the internet.
She had given us a heads up that she was writing a personal memoir-like account of her crazy seven-year experience with Caroline Calloway, a globe-trotting Instagram “influencer” who has about 800,000 followers. We knew the two of them had worked on a book deal several years ago, which they were to co-write, that Calloway had sold the proposal for nearly $400,000, that Natalie supposedly would get some limited portion of it, and that it had fallen through because Calloway proved unable to contribute to it in any substantive way.
Then, about six months ago, Natalie, who works at a film company in Los Angeles and does freelance writing in her “spare time,” began writing her essay about her time with Calloway and how the book project had crashed and burned. She decided to finally tell her side of the story because in January Calloway was exposed online for staging a “creativity workshop” tour for $165 a head but then not delivering on all she had promised.
The editors at The Cut, the online edition of New York magazine, agreed to pay Natalie for her story. She spent months writing it and undergoing editing and fact-checking.
My wife and I were on vacation in Maine Tuesday night of last week when we became aware that something really, really big was happening on the internet. Natalie’s essay had appeared and was an instant sensation. Our friends were excitedly calling and texting us.
At some point that day she sent us the link to the essay and attached this note: “I should give you a tiny warning that I talk briefly about a sort of violent sexual encounter I had once. It was a long time ago, I’m totally fine, but I don’t want you to be caught completely off guard by it.”
WHAT? A “violent sexual encounter”? This is something no parent wants to hear about.
We sat down and read her lengthy essay, which quickly had been read by more than 500,000 people. We loved and admired the way she wrote it but we were horrified and saddened to learn some of the details of her saga.
Natalie met Calloway in 2011 when they were students at N.Y.U., taking a creative nonfiction workshop together. As Natalie wrote, Calloway was “a girl who was everything I wasn’t.” She was “the most confident girl I’d ever known.” (Parental note: we had never known Natalie to be lacking in confidence.)
As Natalie wrote, Calloway took an interest in her after Natalie wrote an essay for that class about growing up in New Haven. “Yale was an obsession of hers; she’d been rejected and never got over it.”
Calloway invited Natalie to her West Village apartment and showed her “my Yale box.” It was a shoebox filled with Handsome Dan and Beinecke Library memorabilia. They became good friends.
For Calloway’s 21st birthday, Natalie presented her with three dinner plates stamped with the Yale crest; my wife had found them discarded outside a campus building. Natalie wrote an expletive on the back of the plates but when Calloway opened them, she burst into tears.
This reminded my wife and me of the bizarre weekend when Calloway came to our house with Natalie in order to roam around the Yale campus with which she was so obsessed. My wife had found some attractive wooden card catalog file cabinets disposed of outside Yale’s Sterling Memorial Library and brought one of them home. She decided to give one of the drawers to Calloway, who went nuts with gratitude.
Our impression of Calloway from that quick visit: she was a quirky oddball who probably was fun to be with but shouldn’t be trusted to tell the truth or act rationally. As Natalie wrote in her essay, my wife told her: “That Caroline girl is bad news.”
Natalie’s essay describes traveling with Calloway in Sicily, taking photos of the glamorous Instagram star and posting the captions about her. “I should have been having the time of my life in paradise, but Caroline had a way of making me feel small, as if I had folded myself up like a travel toothbrush so she could take me along for the trip.”
Natalie also recounted their ill-fated trip to Amsterdam, wherein Calloway ditched Natalie at a bar, leaving her without a key to the Airbnb where they were staying. Natalie was forced to spend the entire night roaming the streets of Amsterdam: “I was harassed by a group of drunk Irish teenagers, Dutch crust punks and a DJ. An old man grabbed my hand and kissed it and a chef with braces found me hiding in a stairwell and tried to take me home with him via ferry.”
She also tried in vain to sleep in a toilet stall. You can imagine how we felt when we read that part of her story.
But the worst of it was reading about that sexual assault, even though she had warned us it was in the essay. While she was back in New York and Calloway was “studying” at Cambridge University in England, Natalie went on “a date with an older man.”
Then she revealed: “He bought me a few drinks and took me to his place in Bay Ridge, where he called me a whore and hit and choked me in bed.”
Oh my God! Where is this jerk? Who is he? Why didn’t she press charges against him?
When I texted Natalie my congratulations for her great work, I also wrote: “I want to track down that guy who assaulted you and rip him a new one.”
She texted the perfect reply: “He’s just some loser somewhere, pay him no mind. I came out on top.”
But I followed up by telling her that a friend of mine and I have agreed to do a road trip to New York and “track down your strangler.” I told her Viggo Mortensen will play my buddy and my part will be played by Jeff Daniels in her movie.
Her movie? Oh yeah, there’s going to be a movie made from Natalie’s essay, or a TV series on Netflix or some other streaming outlet! She has already received some mind-boggling money offers, has quit her job at the film company and is now “taking meetings” in Los Angeles and New York, negotiating with some heavy honchos on the terms of the deal. She has been interviewed by the New York Times, she has “jumped the pond” with a write-up in The Guardian in England, Vanity Fair has written about her, etc., etc.
Natalie, who is only 27, of course sounds overwhelmed by it all when we talk with her these days. And she’s dealing with the downside of the internet, including nasty messages on Twitter (“Natalie Beach doesn’t exist. Caroline Calloway wrote the essay” and “Natalie Beach is into real-life shaming-writing.”) The New York Post ran a “gotcha” story claiming they had fact-checked the essay and it was full of lies; Natalie disproved each allegation.
We’re telling her to fasten her seatbelt and enjoy the ride. What else can we say? We’re so proud of her. But a little worried, too. Her life will never be the same."

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2020.02.07 15:52 LukeWilsonStupidNose ‘Do you want to do a superhero movie?’ - answers from directors, writers, actors and actresses (2020 update)

I did one of these a couple years ago and people seemed to like it, but I figured it could use an update.
Take these with a grain of salt, of course, this is more for fun than anything. It’s a pretty long post so I’d probably recommend just skimming through for any names you’re interested in.
Pedro Almodóvar
It’s too big for me! I like to see what I’m doing, to direct movies the same day. You have to wait too long to see the results. I like being able to impose my opinion as a director. I’ve made 21 movies. I’m used to doing it the way I like, not fitting with the Hollywood system. (Vulture, 2019)
Darren Aronofsky
You never know. I mean, Superman would always be interesting. But they’re already deep into reinventing him, so that’s not going to happen for a long time. I think with those films you have to be careful because they are about communicating with as big an audience as you possibly can. Audiences who go to see those films expect a certain type of movie. (CinePop, 2017)
Gemma Arterton
I’m not really into superheroes and stuff like that. But you never know. (HeyUGuys, 2015)
Olivier Assayas
I mean, I enjoy it as a viewer. I don’t think I would touch it as a filmmaker, but I can certainly understand the fun one has with that material, not to mention the admiration I’ve always had for the writers and artists of the comic books. Once in a while, I still do read X-Men comics. I’m just fascinated by the complexity of the narratives and the ambition of the storytelling, which is way beyond whatever they’re doing in the movies. (AV Club, 2015)
Ari Aster
I’ve received some really enticing and cool offers, and I certainly want to hear what the offers are, but I am self-generating. I have so many films I want to make that I’ve written that are so vivid in my head.... Never say never, I definitely want to look at everything that comes my way, but it’ll take a lot to pull me away from these projects that are sort of on the tip of my tongue and that I’m ready to make. (Happy Sad Confused, 2019)
Michael Bay
I wouldn’t want to, it’s not my thing, it’s just not my gig. (Collider, 2016)
Orlando Bloom
I do read [the Marvel comics] a little bit. Who’s the British one? Captain Britain! There you go. Terrible costume, though. (BBC Radio 2, 2018)
Emily Blunt
Not particularly. (Variety, 2018)
Bong Joon-ho
I don’t think Marvel would ever want a director like me. I don’t expect any offers from them anytime soon. Of their movies, I did enjoy the films by James Gunn and James Mangold’s Logan, and I think there are great directors who can handle great projects like that. (Variety, 2020)
John Boyega
I sat down with Marvel years ago, but that’s not the direction I want to go at all. (ComicBook, 2019)
Danny Boyle
I wouldn’t be very good at it. I saw the Spider-Man movie, the animation, and I thought it was wonderful, but out of my league. Normally when you see a movie like that, you think, “I could maybe do that.” I didn’t think “Maybe” with this. It had a sensibility that felt truthful to its origins. Whoever made this, it is part of their bloodstream. You’ve got to recognise that you have no idea how to get there. I don’t think you should attempt one unless it’s in your bloodstream... Comics really aren’t in my bloodstream. (Empire, 2019)
Alison Brie
I would love to. I think especially after working on GLOW, where we all felt like we were superheroes, in a way it has satisfied my desire to do something like that. But in some ways it’s only whet my appetite. (Business Insider, 2017)
James Cameron
I’m not the slightest bit interested in laboring in someone else’s house. (Daily Beast, 2017)
Timothée Chalamet
I want to work with good storytellers and good directors on projects that are fresh, and on roles that feel challenging. Like Heath Ledger in The Dark Knight, or Christian Bale in that film, or Tom Hardy and Anne Hathaway in The Dark Knight Rises. If it was something of that caliber, then that’s awesome. (Variety, 2018)
Toni Collette
It’d be super-fun to be a superhero. I’m not averse to any particular budget. I’m just averse to a shitty story. (Metro, 2015)
Olivia Colman
I’ve always wanted to play a Marvel baddie. I’m not sure I fit the mould, though. Like a powerful, extraordinary woman. Somebody with superpowers would be really fun, but I’m not sure how many middle-aged women they have in Marvel. (Vulture, 2016)
Sofia Coppola
I love making small low-budget films where I am really allowed to do it the way I want, and I think when you have those huge franchises there are a lot of cooks in the kitchen and meetings in conference rooms. But I’d never say never. (The Independent, 2017)
Bryan Cranston
I don’t want to do a character that has been done several times before. I don’t want to be compared, like, “Well, his Commissioner Gordon was yada yada yada.” I don’t want to do that. I want to take something that hasn’t been done. (ScreenGreek, 2018)
Tom Cruise
I’ll never say no if I find something that’s interesting, and I think an audience would like to see it, and they’re going to be entertained by it, and I feel like I can contribute something. (MTV, 2018)
Guillermo del Toro
Well, I co-wrote a whole screenplay on Justice League Dark for Warner Bros., so that’s your answer. I love Deadman, I love Demon, I love Swamp Thing, Zatanna. That’s a universe, is one thing. I’m very attracted to that side of the DC universe. But I’m not a superhero guy. For me to like a superhero, the superhero needs to be a monster. (ComicBook, 2019)
Leonardo DiCaprio
You never know. They’re getting better and better as far as complex characters in these movies. I haven’t yet. But no, I don’t rule out anything. (ShortList, 2015)
Zac Efron
I would do it in a second. I’m just waiting for the right opportunity. (Elle, 2017)
Taron Egerton
I love Marvel and I love the movies and I’d love the excuse to get in shape. (Variety, 2019)
Robert Eggers
Absolutely not. (Bloody Disgusting, 2019)
Cynthia Erivo
Yes. My body is suited to it. And I’d love to see what that experience is like. I think I could have a good time doing it. (Hollywood Reporter, 2020)
Giancarlo Esposito
I love those guys at Marvel. We’ve been trying to figure out how to collaborate on something. (ComicBook, 2016)
Rebecca Ferguson
I don’t think my goal is to throw myself into Marvel university. I love their stories, some of their characters are great, but I do it for the stories, for the people you work with, for the directors. We’ll see. (Metro, 2016)
David Fincher
Maybe. I was open to doing a zombie movie. I think in terms of stories — I don’t want to have to go and they say, “Okay, you have to dream up something for Meteor Man.” Or whatever. I don’t want to have to cobble together something around a pre-existing mask or uniform or cape or idea. (SXSW, 2019)
Jodie Foster
No, not interested in the franchise hero, superhero movie at all. It’s just not what I do. I’m glad other people do it and there’s always been those kinds of films, and there will always be those kinds of movies. It’s just now there’s been kind of, there’s a word for it in business where features as a business model have been more keen on, 95 percent of what they do is $200 million plus action films that appeal to all four quadrants that are these high-risk action films. It’s just not what I do. (ScreenCrush, 2018)
Cary Fukunaga
No, not really. I feel like they’ve all been taken... I do think there’s a place to make intelligent, big films. It depends on sensibility, too. I loved Guardians of the Galaxy. (Vulture, 2015)
Greta Gerwig
I would be open to doing a bigger film but at the same time I think, for me, one of the guiding principles of what I try to do to make my career as I have tried to make it, I always have a sense of what I would drop everything for and I think the thing that I would drop everything for is my own work that I write and that I make. It’s not that I’m not interested in those things, it’s just that they don’t come first. (Silver Screen Riot, 2015)
Hugh Grant
[I was recently offered one, but] there was a scheduling and family issue. Otherwise, I was absolutely up for it. It was a juicy role. It was a baddie. I love a good baddie. (Variety, 2019)
James Gray
I have no problem with Marvel. I’ve taken my children to Marvel movies and it’s a great experience — a bonding experience. It’s beautiful, and those films are brilliantly made. I loved the first Captain America. Terrific movie. So it’s not about shitting on them. The problem is not that — the problem is only that. It’s like if you went to the supermarket and you saw only one brand of cereal. Special K is all they had. Special K is not a bad-tasting cereal, but if that’s the only one you could get it would be awfully frustrating. If the movie business starts catering to smaller and smaller groups, it’s going to start hurting itself in a major way. I would argue that it already has. It’s my job as a director to try and push back against that a little bit. (IndieWire, 2019)
Eva Green
I really like physical stuff, actually. Even 300, I loved doing the training. It was thrilling to play that very strong woman. You get out of your head as an actor and you find the character through physical training. I’d love to do more of the superhero stuff. (ComingSoon, 2019)
Jon Hamm
It depends on the script, what the story is. I am a huge comic book fan, always have been. I have read comic books since I was nine or younger. And I am pretty knowledgeable about a lot of them. And I like the genre, and I like when they are done well. (Hollywood Reporter, 2018)
Armie Hammer
I haven’t seen a superhero movie in a long time where I thought, “Fuck, I wish I was in that.” You know? So for me there’s not, like, a huge rush. (Happy Sad Confused, 2017)
Neil Patrick Harris
I’d love to be some sort of villain in a big-budget action movie. Or a superhero franchise. That’d be rad. (Interview Magazine, 2015)
Ethan Hawke
I guess I’ve been offered things like that that didn’t appeal to me. You have to be careful about what you’re famous for. You don’t want to be famous for something you don’t love. It brings people a lot of pain when that happens. (ScreenCrush, 2018)
Lucas Hedges
I don’t see myself signing a long-term contract. That sounds frightening. Some of those actors who are in those movies really make challenging material work. That’s really impressive. I don’t see that as a challenge I’m dying to take on. (Hollywood Reporter, 2019)
Taraji P. Henson
I would love to be a Marvel superhero. (The New York Times, 2017)
Ron Howard
I’ve had opportunities over the years. I really feel like you shouldn’t make a movie as a kind of exercise. You have to be all the way in. I was never a comic book guy. I like the movies when I see them, especially the origin stories. I never felt like I could be on the set, at 3 o’clock in the morning, tired, with 10 important decisions to make, and know, intuitively, what the story needs. (Happy Sad Confused, 2015)
Glenn Howerton
If Marvel came along and wanted me to play a superhero, I probably would because I think that would be really, really fun. (GQ, 2018)
Charlie Hunnam
I didn’t grow up a comic book fan and I haven’t really seen any of those Marvel films or the Batman films. It’s just not really my taste.... It’s not part of my vision for my career or what I aspire to. (Yahoo, 2017) taste.
Peter Jackson
I’m not a superhero guy. (Empire, 2019)
Lily James
I want to do more action. I want to be a superhero. (Refinery29, 2016)
Barry Jenkins
I’m friends with Ryan Coogler, and just seeing his path from Fruitvale Station to Black Panther, and seeing that his voice has arrived at Black Panther intact and he’s creating on this scale that I think has far more reach than the scale I’m creating on right now. Yeah, if the right character presented itself — I can’t imagine Ryan directing Doctor Strange, I just can’t. But I think even superheroes are characters. And I think what Ryan did so well in Black Panther was showing the human being that T’Challa is. So, if something like that presented itself, yeah, I’d be interested. So long as I had the freedom to create the way I create. (Houston Chronicle, 2018)
Charlie Kaufman
Of course. But — no one wants me to do that. (IndieWire, 2016)
Jennifer Kent
The opportunity has been there if I really wanted to pursue that path and it still probably is to some extent. I am excited by this aboriginal Marvel character, Manifold. Aboriginal culture is the oldest culture in the earth; it’s so sophisticated and deep. It would interest me to take that out to the planet. There could be some amazing story there. (IndieWire, 2019)
John Krasinski
I would love to be in the Marvel universe. I love those movies because they’re fun, but I also think they’re really well done. And certainly a lot of my friends are in those movies. (Total Film, 2020)
Mila Kunis
No, that’s a lot of working out. Lots of those people are hungry, and you have to be because you have to be in shape and I don’t want to be hungry for 10 years. (MTV, 2018)
David Lowery
I grew up reading Marvel comic books and it’s a joy to see the aesthetic replicated on screen so thoroughly. Yet the aesthetic is so well-grounded at this point I don’t think there’s anything I could contribute to it. So the answer is likely no. But I do love superheroes, so there might be the right superhero movie out there I may want to delve in. (Maclean’s, 2017)
Rooney Mara
I don’t really get offered those parts, or maybe I do. I don’t even know. Maybe I do and I just don’t even realize it and just say no to them. For me it’s just all about the director and it’s all about the script and the story. (Deadline, 2016)
Matthew McConaughey
I did Sing, I did Kubo and the Two Strings. But other than that I’m like, what have I done that my kids can see? ... I’ll be there in a little while! I’ll do something. (Fandango, 2018)
Adam McKay
We’re always kind of talking. I think Feige is just the greatest, and what they’re doing is amazing. (Happy Sad Confused, 2018)
Christopher McQuarrie
I must tell you, the possibility of my doing a superhero movie is remote in the extreme. (Twitter, 2019)
Sam Mendes
The funniest letter I got — they were sending [a packet for] The Avengers, right? For directors to pitch — and I got a package, which was full of comic books, but no treatment; there was no script. But the cover letter said “Marvel’s Avengers will be released on May 3, 2012” or whatever it was. That was the first sentence of the cover letter. Not, “We have the pleasure of enclosing the materials…” or “Here is the script for…” But the release date.... I mean, that’s not my world particularly. I’ll go see it, particularly with my kids, but I didn’t want to make it. (Moviefone, 2012)
Sienna Miller
I feel quite content. It’s a huge commitment to have the ambition to be playing those parts and to be doing those roles. I don’t know that I have that, the ambition that it takes, the drive that it takes. Yes, I think I have subconsciously shied away from that, I think the idea of that is daunting. (The Guardian, 2017)
Helen Mirren
Oh yes! ... I’d probably have to be the baddie. You know, because I’m British. (CineMovie, 2013)
Viggo Mortensen
I’m just looking for good stories, and the ones I’ve happened to find and commit to have happened to be in other countries, or are independent films. I’m not trying to avoid any kind of budget or genre of movies. (LA Times, 2016)
Elisabeth Moss
I don’t think I’m good at the whole green screen thing, but I’m not averse to trying it out. I’m more into, like, a weird concentration camp miniseries [laughs]. That’s a sure path to my own Marvel movie. (MovieMaker Magazine, 2019)
Carey Mulligan
I don’t think I would be very good in something like that. (The Resident, 2018)
Eddie Murphy
No! I’m going to be 60 in a year. Who would I play? The old brotherman? I guess that’d be the character.... Man, fuck that. I can’t be standing around in a movie with a stick and shit, pointing and telling people, “Oh, you should do this or that.” I’m just not down with the whole superhero movie thing. But, if I had to, I guess I could play a villain or some shit like that. (IndieWire, 2019)
David Oyelowo
I tread with caution around the notion of those kinds of characters. Depending on which one of them you’re playing, there’s always a danger you’re going to get so identified with this larger than life character that it could become tougher for audiences to believe you in other roles. (The Wrap, 2015)
Al Pacino
I would do anything that I could understand in terms of how I fit in it. And you know, of course if I could fit in it. Anything’s possible. You know, I did Dick Tracy and I got an Oscar nomination, so come on. (Deadline, 2014)
Dev Patel
I had a wee bit of a scarring experience when I attempted to be a part of a franchise, and it didn’t quite hit the mark. It makes you evaluate what kind of mark you want to leave on the industry. (Esquire, 2016)
Jordan Peele
So many of those properties — it’s a childhood dream to be able to essentially see what you saw in your imagination as a child, watching or reading or whatever you were doing with that stuff. It’s a filmmaker’s dream. But you know, I feel like I only have so much time. I have a lot of stories to tell, and it just doesn’t feel right. It just doesn’t feel right. I’m a comic book and graphic novel appreciator, but I can’t call myself a true fan boy. (Rolling Stone, 2019)
Sean Penn
You asked me with a camera on this face and in this time of my life if I would be a superhero? (laughs) Maybe, if there’s a very funny one. (Reuters, 2015)
Brad Pitt
I don’t think so. I think there’s enough. I don’t think I have anything to add. (24 Oras, 2019)
Daniel Radcliffe
If it was good enough and something I was interested in. I’m not sure if I’d sign up for something that was another seven or eight films or ten years, but a shorter franchise, yeah. (Business Insider, 2016)
Lynne Ramsay
When I was 15 or 16, I had a boyfriend who was an obsessive fan [of comics]. His apartment was so full of comic-books he made a path through the boxes to get places.... My boyfriend at the time was always on about the psychology of the characters, the ones that he really liked tended to have these strange histories. A lot of them are quite Freudian and strange. I liked Bill Sienkiewicz’s work, and Alan Moore is so special.
The ones I liked were deeply, darkly screwed-up reflections of the world – where you can see how they became what they became and that past was super-psychological.... There’s some amazing things in graphic novels and comic-books, and they taught me a lot about filmmaking as well. Someone said to me that You Were Never Really Here’s like a graphic novel. I think I’ve learned a lot about filmmaking through comic-books, in terms of how to tell a story visually. That had an influence on me. If you’re able to do it without a committee, with a real set approach to it, where you have freedom and people trust you, that would be amazing. (Yahoo, 2018)
Eddie Redmayne
I love the films. You know how in summer, when studios compete for people to see their summer blockbusters, I am their dream. I see all of them. I would never rule out the opportunity to be in one. (The Sun, 2015)
Nicolas Winding Refn
I love Hollywood. I love glamour and glitz. I love camp. I love vanity, I love egos, I indulge in all that, but the bigger kind of approaches or the offers that have come my way or the interest, in the end, I’ve always just felt that I wasn’t the right person in the end for it. Doesn’t mean that it won’t happen. I mean I would love to do one of those comic book movies. (Collider, 2019)
Kelly Reichardt
There’s absolutely no danger of that happening [laughs]. But maybe there’s something for me somewhere in between that and my sort of films. I did really enjoy doing my little wagon crash in Meek’s Cutoff. It was one of the most fun things I ever did, and I suddenly realized, “Oh, this is why people love to smash things up. It’s so much fun!” (Variety, 2016)
Boots Riley
I have a problem with superheroes in general, because, politically, superheroes are cops. Superheroes work with the government to uphold the law. And who do the laws work for? Put it like this: We all love bank robbers, because we know that in the two sides of that equation, the robbers are the ones to root for, not the banks. Only in superhero movies and the news do they try to make us think we’re against the bank robbers. (The New York Times, 2018)
Guy Ritchie
I’m up for it.... I’m a guy that likes to work so I’m gonna work. And I’ll work with whatever I can to make it work. I’m not an absolutist about what a genre is so I’m not a no-man, I’m a yes-man when it comes to making something manifest. (Variety, 2017)
Gina Rodriguez
I would love to be a superhero—that’s all I want to do is play a superhero. (E! Online, 2015)
Saoirse Ronan
If a script came along that was strong, interesting, original, I would take it. A good script is a good script. (Vogue, 2018)
Winona Ryder
No one is banging my door down to be a superhero. I don’t know how good I would be. I have low bone density, so I don’t know if anyone really wants to put me in a cape and chuck me out a window. (Collider, 2016)
Josh Safdie
A studio offered us to do a sequel to this huge comic-book thing. We just said, “No, we don’t wanna do that!” But we are interested in working in the studio system. (The Independent, 2017)
Andrew Scott
Absolutely, I wouldn’t say no. But it very much depends on the character. And what exactly it is that you’re doing. I’ve definitely had conversations about that world before, but as yet, it hasn’t transpired. So for me, it just depends on the acting requirement. The films are definitely really cool. So, I don’t know. We’ll wait and see. (Digital Spy, 2019)
Amanda Seyfried
They’re highly enjoyable. I love being an audience member. I just don’t want to put on the suit. Nope, I’m not into [stunts]. That’s not where I see my career going. (Late Night with Seth Meyers, 2015)
Alexander Skarsgård
If you do it with the right tone, then sure. (The Guardian, 2015)
Steven Soderbergh
Well, look, those movies are bananas. I see some of them and I’m like, “I couldn’t direct 30 seconds of that.” Just because so much of my time would be spent on things I’m ultimately not interested in. You look at my career, and it’s mostly just two people in a room. Two people in a room to me is exciting. If you look at history, it's the way gigantic things happen; it’s the result of two people in a room. I’ve always felt that was the richest tapestry you could come up with. So anything that isn’t about that, I’m immediately kind of like, “Well, why isn’t it two people in a room?” So you’re just spending all this time having conversations with VFX people, instead of with actors about what the scene is. And that’s what I’m interested in. It’s not that I’m a snob. It’s just that I wasn’t into comic books as a kid, and I’m not interested in things that don’t have to do with performance. (W Magazine, 2017)
Aaron Sorkin
I happen to have meetings coming up with both DC and Marvel. I have to go into these meetings and tell them as respectfully as I can that I’ve never read a comic book. It’s not that I don’t like them. It’s just that I’ve never been exposed to one. So, I’m hoping that somewhere in their library is a comic book character that I’m gonna love and I’m gonna wanna go back and start reading from the first issue on. (ComicBook, 2017)
Lakeith Stanfield
I would love to play the Joker. That’d be beautiful. (Jimmy Kimmel Live, 2020)
Kristen Stewart
I think maybe what I’ve learned is that I don’t want to do another [big franchise] ever again [laughs] … No, I mean, sure. Maybe. I never really limit myself. (Konbini, 2019)
Justin Theroux
There are younger guys than me that are better at it than I am. I’ll leave it up to them. (Vulture, 2014)
Jean-Marc Vallée
If the script is great, yeah. But so far, it’s not my cup of tea. (Hollywood Reporter, 2016)
Paul Verhoeven
If I could add some other level to it, but if it's the same as whatever those other people are doing right now, then no. No! I'm not saying it's not possible, but, like, when they wanted to pit Batman against Superman [laughs, hands flailing] My God! (Metro, 2016)
Denis Villeneuve
No, because I’m not from that culture. I’m French-Canadian which means that my culture is European. I was influenced by authors from France and Belgium, and Europeans are graphic novelists. Honestly, I know very little about most of them. (Happy Sad Confused, 2017)
Mark Wahlberg
I’m not leaving my trailer in a cape. (American Film Market, 2016)
Lulu Wang
[Big movies like that are] really made by committee. And that’s one of the reasons I don’t want to do it right now. Because I haven’t figured out my voice yet as a filmmaker. (Hollywood Reporter, 2019)
Denzel Washington
I haven’t been approached. You know, we’ll see what happens. (Joe.ie, 2018)
Ben Wheatley
They usually take people after two films, and [Free Fire was] film six. So you can safely say they’ll not come fucking knocking on my door. (Q&A, 2017)
Olivia Wilde
Totally, yeah. Absolutely. (MTV, 2019)
Evan Rachel Wood
I would love to be a superhero or something. (Cinephiled, 2014)
Steven Yeun
I’d like to do anything, if it comes my way and moves me I’m into it. (South China Morning Post, 2020)
submitted by LukeWilsonStupidNose to movies [link] [comments]


2019.11.25 06:16 calebcold3 BLADE- Casting The Rest of the Characters, Release Date Prediction and Who Should Direct?

I'm pretty bored and I kept thinking of what characters could appear in Mahershala Ali's Blade, When could it be released, and who should direct the film?
Release Date: October 7th, 2022.
After Disney/Marvel announced a October 2022 release date, it would be a no brainier to release Blade in October, just in time for the Halloween season.
Director: I think Rick Famuyiwa (Dope, The Mandalorian Episode 2) would be the ideal choice to direct The MCU Blade film due to his work in The Mandalorian.
Casting:
Already Confirmed:
Mahershala Ali as Blade
My Fan Casting:
Danny Glover as Jamal Afari (Blade's mentor)
Zac Efron as Hannibal King
Isla Fisher as Elsa Bloodstone
Sam Elliot as Abraham Whistler
Viggo Mortensen as Dracula (the main villain)
I also think a cameo from Doctor Strange would be likely, as they both are on the supernatural side of Marvel.
submitted by calebcold3 to marvelstudios [link] [comments]


2019.11.22 03:52 FATE-XIII Fancasting for future mcu movies?

not sure if this counts as a "theory" but, who would you like to see play certain characters in the mcu? if you're up to date with the news you should be aware of rumored movies coming in the future, and its fun to use our imaginations a little bit right? i would like to hear your ideas. here are mine (not final, I'll be adding ones that i like)
Nova: Timothee Chalamet, Chandler Riggs, Finn Wolfhard
Ghost Rider: Norman Reedus
Moon Knight: Rami Malek, Oscar Issac, Adam Driver
She-Hulk: Charlize Theron, Jennifer Connely
Reed Richards: John Krasinski, Joseph Gordon-Levitt
Sue Storm: Emily Blount
Johnny Storm: Zac Efron/Dacre Montgomery/Drake Bell/Andrew Garfield (why not)
Thing: David Harbour, Vincent D'onofrio
Dr. Doom: Michael Fassbender
Wiccan: Logan Lerman, Chandler Riggs
Ironheart/Ironlad: Katherine Langford (as Morgan Stark)
Miles Morales: Chosen Jacobs, Lucas McLaughlin
Captain Britain: Cristian Bale
Adam Warlock: Keanu Reeves, Adam Driver
Sentry: Alexander Skarsgard, Aaron Eckhart
Wolverine: Tom Hardy, Joe Manganiello, Keanu Reeves, Daniel Radcliffe, Charlie Hunnam, Taron Eggerton
Beast: Ewan Mcgregor, Will Poulter
Nightcrawler: Ezra Miller, Radcliffe, Chalamet
Angel: Liam Hemsworth, Alexander Ludwig, K.J Apa
Storm: Rosario Dawson, Zoe Kravitz
Cyclops: Jansen Ackles, Armie Hammer, Matt Bomer
Jean Grey and/or Rogue: Alexandria Daddario, Mary Elizabeth Winstead
Iceman: Jamie Bell
Shadowcat: Haley Kuoko
Magneto: Ralph Fiennes, Viggo Mortensen
Professor X: Bryan Cranston, Mark Strong, Giancarlo Esposito
Thats all i can think of for now. let me know what you'd change or drop some of your own
submitted by FATE-XIII to MCUTheories [link] [comments]


2019.06.01 06:40 BeanieBreakdown Monthly Horror Journal: May 2019

Salem's Lot (1979)

IMDB: http://www.imdb.com/title/tt0079844 Trailer: https://www.youtube.com/watch?v=P43PvM5a8Is
Directed by: Tobe Hooper
Written by: Paul Monash
Starring: David Soul, James Mason, Lance Kerwin, Bonnie Bedelia, Lew Ayres, Julie Cobb, Elisha Cook, George Dzundza, Ed Flanders, Clarissa Kaye, Geoffrey Lewis, Barney McFadden, Kenneth McMillan, Fred Willard and Marie Windsor.
Distributed by: MGM
My Thoughts: This is one of the most respected King adaptations, the most popular of the King mini-series, and only the second of his novels to be adapted to the screen, by none other than Tobe Hooper. It's a decent film, but for one that lasts slightly over three hours, it's an incredibly shallow one. You might think that such a lengthy film would feature well-drawn characters and deep emotional investment, but not this one. The acting is good, and characters likeable, but all of them are drawn in stark black and white. The hero being the most underdeveloped of all. All we know of him is that he experienced a traumatic supernatural event as a child, he writes (we never even learn what kind of books), his wife died (we hardly hear anything about this) and that he has the moral compass of a boy scout. Not good, for a three hour long film, and odd for a King film, seeing as one can always count on complex characters and strong emotions in his works. The fright moments keep the film interesting, with some moments that are downright iconic, and a chilly atmosphere, as well as genuinely frightening effects. These ain't your daddy's vampires out of some Hammer film. There's some moments that are actually quite scary, and these are what make the film worth seeing, as well as steady direction from Hooper. I just feel that this could've been a much better film, that barely captures the essence of King's novel, and sometimes drags within it's lengthy runtime.

My Rating: 6/10

The Bad Seed (1956)

IMDB: http://www.imdb.com/title/tt0048977 Trailer: https://www.youtube.com/watch?v=ooy8HTb8izw
Directed by: Mervyn LeRoy
Written by: John Lee Mahin
Starring: Nancy Kelly, Patty McCormack, Henry Jones, Eileen Heckart, Evelyn Varden, William Hopper, Paul Fix, Jesse White, Gage Clark, Joan Croyden and Frank Cady.
Distributed by: Warner Bros.
My Thoughts: Here we have a true cinematic milestone. The first ever "killer kid" film, and still one of the best. It's based off a novel, that became a hit play, and then this film adaptation. It's roots as a play show, seeing as most of the film takes place within one apartment and a handful of other sets, but it never really brings the film down any. This is a picture that's all about emotion and acting, and the pitch-perfect cast couldn't be any better. Nancy Kelly is especially stunning, in a powerhouse performance that was worthy of an Academy Award, as the tortured mother, and young Patty McCormack is equally stunning as the murderous Rhoda, whose prim and proper exterior hides a conniving, conscienceless killer. Most of the film is centered on dialogue, and we hardly ever see any explicit action taking place. But the amazing cast make us feel as though we have seen what they've seen, been where they've been. Whereas other films like this would seem dated in comparison, this one holds up so well, simply because of the brilliant cast. It's only brought down by outdated notions of psychiatry, which seem downright ignorant today, but one must remember that these advances were being made right around the time this picture came out. It's a revolutionary film, even if a little dated, and one that all serious horror fanatics must see.

My Rating: 7/10

Bone Tomahawk (2015)

IMDB: http://www.imdb.com/title/tt2494362 Trailer: https://www.youtube.com/watch?v=0ZbwtHi-KSE
Directed by: S. Craig Zahler
Written by: S. Craig Zahler
Starring: Kurt Russell, Patrick Wilson, Matthew Fox, Richard Jenkins, Lili Simmons, Evan Jonigkeit, David Arquette, Fred Melamed and Sid Haig.
Distributed by: RLJ Entertainment
My Thoughts: Back when this one was first released, I found myself exasperated with the positive feedback, and quite loathsome of this film. I suppose it's because I was expecting, perhaps, a much faster-paced picture. But with director S. Craig Zahler continuing to carve a steadily more respected name for himself, inside and out of the genre, and the consensus on this one remaining the same, I decided I had to give it a fair chance. And going into the film, expecting it to be a combination of old-timey western and shockingly gruesome horror, in equal doses, allowed me to appreciate both forms much more. The cast is fantastic, with well written, fluid and witty dialogue and smooth, professional direction by Zahler. The film operates as a classic western for the majority of it's runtime, but it's a horror film at it's core, and the moments in which it focuses on the macabre are genuinely shocking and disturbing. Some of the gorier scenes in this film will go down in history, no doubt. The whole thing can drag on for a little too long, the film can be overly simplistic and the ending is quite stilted, but there's much to enjoy here. For fans of westerns, ballsy horror films or just plain, well-written cinema. It's a fantastic debut film, and Zahler certainly has the touch of a master hidden beneath the sometimes wobbly exterior of this particular film. I'm hoping his other films see him continue to hone his craft. This one remains a modern day cult classic, nonetheless.

My Rating: 7/10

Twice Told Tales (1963)

IMDB: http://www.imdb.com/title/tt0057608 Trailer: https://www.youtube.com/watch?v=6h_D39i6UQE
Directed by: Sidney Salkow
Written by: Robert E. Kent
Starring: Vincent Price, Sebastion Cabot, Brett Halsey, Beverly Garland, Richard Denning, Mari Blanchard, Abraham Sofaer, Jacqueline de Wit and Joyce Taylor.
Distributed by: MGM and United Artists.
My Thoughts: Contrary to most of the films of it's day, which focused on the writings of Poe, this is an anthology film based on tales by Nathaniel Hawthorne, which gives it some mild distinction. Best of all, all three stories star Vincent Price in different roles. Sadly, without Price, this would be an even more ordinary affair. His presence elevates these stories, the first of which is the best with a wicked sense of irony. The other two are decent, but extremely unoriginal, even for their time, with the last being nothing but a re-tooling of "House Of Usher". Still, they're decently directed little episodes, and the acting from most of the cast, besides Price, is also good. It's decent filler, but nothing you have to see. Only Price fans need apply.

My Rating: 6/10

Prison (1987)

IMDB: http://www.imdb.com/title/tt0095904 Trailer: https://www.youtube.com/watch?v=_DYMikNhSUU
Directed by: Renny Harlin
Written by: C. Courtney Joyner
Starring: Viggo Mortensen, Lane Smith, Chelsea Field, Lincoln Kilpatrick, Tom Everett, Ivan Kane, Andre De Shields, Tom "Tiny" Lister Jr., Stephen E. Little, Mickey Yablans, Larry Flash Jenkins, Arlen Dean Snyder, Hal Landon Jr., Matt Kanen and Rod Lockman.
Distributed by: MGM
My Thoughts: This is a fairly underrated little picture, notably directed by Renny Harlin, who would later become a prominent action filmmaker. It also stars Viggo Mortensen in one of his first roles. It's a fairly standard horror film for it's time, but even generic films like this were so much more fun, and so much more lovingly made, in the eighties. There's several standout horror sequences, displaying devilish imagination, some of them truly frightening. And the film's prison setting sets it apart, and offers some insight into prison life, without treating it's inmate characters as black and white heroes and villains. The characters themselves are sorely underdeveloped, however. Leaving the actors with nothing to chew on, despite most of them giving great performances. The story is also interchangeable with so many other films of it's day, just simply set in a prison, and doesn't make much effort to comment on the political aspects that such a film could've taken. It's flawed, but it's a lot of fun and just different enough that it stands out. If you love eighties horror, this is a little hidden gem that you cannot miss.

My Rating: 7/10

Maniac Cop 2 (1990)

IMDB: http://www.imdb.com/title/tt0100107 Trailer: https://www.youtube.com/watch?v=0QDIK6zkSTo
Directed by: William Lustig
Written by: Larry Cohen
Starring: Robert Davi, Claudia Christian, Michael Lerner, Bruce Campbell, Laurene Landon, Clarence Williams III, Leo Rossi and Robert Z'Dar as "Matt Cordell".
Distributed by: Trimark Pictures
My Thoughts: I found the first Maniac Cop to be an enjoyable B-movie, with some surprising social undercurrents, thanks to the screenplay by Larry Cohen. This sequel has a reputation of being even better with fans of the trilogy, so I decided to give it a try. The duo of William Lustig as director, and Cohen as writeproducer returns, along with some of the remaining cast from the original. But it's not long before these characters are predictably killed off to make room for a new cast. And while this picture has some clever moments to offer and some inventive twists on the genre, I didn't have as much fun with it as I did the first one. The film greatly suffers from the lack of a fantastic duo of actors, as the original had with Bruce Campbell and Tom Atkins. Robert Davi is great in the lead, but the poor guy just can't compare. The film also has a much more serious tone, and the Maniac Cop's own intentions become steadily more muddled. Wherein the original, he was a tragic anti-hero, here his motivations are a downright mess, and often questionable, but his character is still sold as a misunderstood hero. Sometimes Cohen's political and social themes can become rather jumbled, and this is one of those times. Still, there's plenty worth seeing here, if you enjoyed the first, and several intense scenes. I'm not sure if I'll be watching the third, as it's generally thought to be a disappointing conclusion to the trilogy.

My Rating: 6/10

The Island (1980)

IMDB: http://www.imdb.com/title/tt0080934 Trailer: https://www.youtube.com/watch?v=_ot9Y3VjJiI
Directed by: Michael Ritchie
Written by: Peter Benchley
Starring: Michael Caine, David Warner, Jeffrey Frank, Angela Punch McGregor, Frank Middlemass, Don Henderson, Dudley Sutton, Colin Jeavons, Zakes Mokae and Brad Sullivan.
Distributed by: Universal Pictures
My Thoughts: This film is a misfire on almost all accounts. Made to cash in on the popularity of "Jaws", by adapting another Peter Benchley novel to the screen, this one has no rampaging sea creature, as do most of Benchley's works. Instead, this film deals with the novel concept of modern day pirates, looting ships near a mysterious island. It's an idea ripe with potential, but the execution is quite dismal. The direction is the greatest culprit, with wonderful actors like Michael Caine and David Warner standing about as though they have no idea what to do with themselves. During most of the action scenes, the editing is so haphazard and sloppy that it all becomes rather laughable. And the tribe of pirates, instead of being frightening or compelling, come across as an island full of drunken hicks, whom never seem to stop loudly bellowing. Logical issues abound as well, such as an entire Coast Guard ship somehow being overtaken by about 30 skinny, inbred pirates in under five minutes. Horror films always require some level of suspension of disbelief, but this seems like asking too much, of even the most imaginative person. It's a shame, because the beginning of the film builds up some solid tension, and minor character development that seems as though it'll go somewhere. But then, once it reaches the island, the film falls apart, piece by piece. It's not an utterly horrible viewing experience, but it is far too lengthy, and very mediocre of one.

My Rating: 5/10

Two Evil Eyes (1990)

IMDB: http://www.imdb.com/title/tt0100827 Trailer: https://www.youtube.com/watch?v=sDC8Fzn0xFE
Directed by: George A. Romero & Dario Argento
Written by: George A. Romero, Dario Argento and Franco Ferrini.
Starring: Adrienne Barbeau, Ramy Zada, Bingo O'Malley, Jeff Howell, E.G. Marshall, Tom Atkins, Harvey Keitel, Madeleine Potter, John Amos, Sally Kirkland, Kim Hunter, Holter Ford Graham and Martin Balsam.
Distributed by: MGM
My Thoughts: One might think that a film which brings together the talents of directors George A. Romero and Dario Argento would be nothing short of a masterpiece. But, while this film is enjoyable, it's certainly not what it should've been. The film is an anthology of sorts, but one that features only two stories (hence it's name), both of them inspired by Poe stories. Romero's is the first, and the better of the two, in my opinion. It seems very cliched in it's setup, but then proceeds to veer in directions that you won't expect, and ends up being quite surprising, and blackly humorous. The second, directed by Argento is not at all bad, but it's nothing special. A very skewed take on Poe's "The Black Cat", that ebbs and flows in quality, anchored by a performance from Harvey Keitel. It's strange that Argento works with none of his trademark style here. No fancy cinematography, surreal logic, or multicolored lights are to be found in his segment, almost making it seem as though someone else directed it. It is, perhaps, his most conventional work. But his direction is still decent, and the segment also employs some dark irony. All together, I feel at least a third segment could have given this one the little push it needed towards greatness. As it stands, we have a great story and a decent one. Worth checking out for horror buffs, but not the cult classic it could've been.

My Rating: 6/10

The Fury (1978)

IMDB: http://www.imdb.com/title/tt0077588 Trailer: https://www.youtube.com/watch?v=bphHHR2aVM0
Directed by: Brian DePalma
Written by: John Farris
Starring: Amy Irving, Kirk Douglas, Charles Durning, John Cassavetes, Carrie Snodgress, Fiona Lewis, Andrew Stevens and Carol Rossen.
Distributed by: 20th Century Fox
My Thoughts: This is easily one of Brian DePalma's most underrated efforts. A film that combines elements of horror, action, comedy and adventure into one epic experience. Most films have a hard time being one thing, let alone excelling at four different genres at the same time. DePalma's direction is rounding out here, to the smoother style he would become known for. And the cast is simply magnificent, with Kirk Douglas giving one of the most badass performances a senior actor has ever given, and Amy Irving, whom starred in DePalma's "Carrie', this time playing a teen with telekinetic powers, herself. These two give it their best, at all times, and the supporting cast is mostly amazing as well. The film deftly juggles it's multiple genres, with the scenes in which Douglas steals the screen being a perfect mix of action and laughs, with witty dialogue. The closer the film gets to the end, however, the more the gory horror scenes begin to ratchet up, until the whole thing ends with an effects sequence that belongs in the annals of horror history. This film deserves to be held up with DePalma's classics, as it surely is one of his finest films. And a great film no matter what angle you look at it from.

My Rating: 9/10

Cat People (1982)

IMDB: http://www.imdb.com/title/tt0083722 Trailer: https://www.youtube.com/watch?v=lYqwuCC-N2k
Directed by: Paul Schrader
Written by: Alan Ormsby
Starring: Natassia Kinski, Malcolm McDowell, John Heard, Annette O'Toole, Ruby Dee, Ed Begley Jr. and Scott Paulin.
Distributed by: Universal Pictures and RKO Radio Pictures.
My Thoughts: I had put off watching this one for some time, seeing as I thought it would merely be a sleazy, erotic version of the original. Surprisingly, this is a pretty solid film, and fairly mature in the way that it deals with it's sexual themes. It's not degrading, although one could argue what it tries to say about sexuality in the end. But one can't deny that it's a well directed film, with great acting. Natassia Kinski isn't quite as captivating as the lovely Simone Simon was in the original, but she's still an alluring beauty, who effortlessly sells her innocence and ravenous sexuality at the same time. Malcom McDowell is also brilliant as her crazed brother, but no one would expect any different of a master like himself. The effects are also great, and don't shy away from some scenes of overt gore, without seeming tacky or campy. The film's themes do struggle to come together, and the concept is so ridiculous that the end simply stuns and makes one roll their eyes at the same time, but it's an effective effort. Neither better, nor worse than the classic. We need to go back to this manner of remaking films. Simply taking the theme and spinning it in an entirely new direction.

My Rating: 6/10

The Perfection (2018)

IMDB: http://www.imdb.com/title/tt7772580 Trailer: https://www.youtube.com/watch?v=q57D6kF5B1k
Directed by: Richard Shepard
Written by: Richard Shepard, Eric Charmelo and Nicole Snyder.
Starring: Allison Williams, Logan Browning, Steven Weber, Alaina Huffman, Mark Kandborg and Graeme Duffy. Distributed by: Netflix
My Thoughts: This one came out of nowhere, appeared on Netflix, and has been garnering quite a lot of attention. It seems to have divided viewers, so I had to give it a look. It's best to go in blind, though I watched a trailer, and it ruined nothing for me. Still, this film has so many twists and turns that it's difficult to even write about without spoiling. Suffice to say, that the film will go in a completely different direction than what one is expecting, halfway through the runtime. It was obvious to me, from the trailers and promotional material, that the film was trying to say more than it appears to be, and it certainly does. The themes that it does speak of, are timely and handled in an effective, matter of fact tone. Sometimes the swerving tone makes the film feel like a B-movie, in some respects, and it could've handled it's themes more maturely, but it's intended to make a statement, and one can't deny it does so effectively. Direction is brilliant from veteran Richard Shepard (who curiously, never directed anything close to a horror film before this), with well sustained suspense and artful cinematography. Acting is also good, from the two female leads. It's a disturbing film, and not an entirely successful one, but more than worth seeing. And quite possibly, one of the best in the sub-genre it unexpectedly ends up occupying.

My Rating: 6/10

Beyond The Black Rainbow (2010)

IMDB: http://www.imdb.com/title/tt1534085 Trailer: https://www.youtube.com/watch?v=nWF0bBKhe6o
Directed by: Panos Cosmatos
Written by: Panos Cosmatos
Starring: Eva Allan, Michael Rogers, Scott Hylands, Rondel Reynoldson and Marilyn Norry.
Distributed by: Magnet Films
My Thoughts: This one is directed by Panos Cosmatos, who gave us the cult-hit, "Mandy", last year. Strangely, this was Cosmatos's first , and only film up until "Mandy". Here is a man who has a clear and distinct directorial and visual style, and he only has two films to his name, made eight years apart from one and other. I wasn't a huge proponent of "Mandy", but I appreciated it's style and surrealism. Those are also prevalent in this film. It almost looks and feels like a lost 70's gem, and the film itself is set in 1983. It handles about typically 70's themes, like drug experimentation and even throws in some cosmic, multi-dimensional Lovecraftian bits. The whole film is designed to feel like a bad trip, with disorienting sound and psychedelic visuals. This also means the pace is incredibly slow. This may be the slowest film I've ever watched, and this is ultimately what keeps it from being as good as it would have been. Scenes drag on, with no apparent reason for them to linger so long. It's a stylistic choice, no doubt, but it doesn't make for enjoyable viewing at all times. Still, there's enough eye candy, utterly disturbing visual scenes and great acting to keep things moving. Michael Rogers is especially fantastic, and oozes creepy, venomous evil each time he speaks. The sound design is the real star though, with a phenomenal score. I haven't seen a film where the music alone, manages to unnerve me. Although, not perfect, and by no means appropriate for those who don't prefer surreal, artistic films, I actually enjoyed this one a little more than "Mandy". And all those who thoroughly enjoyed that film, should love this one as well.

My Rating: 6/10

The Cell (2000)

IMDB: http://www.imdb.com/title/tt0209958 Trailer: https://www.youtube.com/watch?v=RQUdbvUVfgE
Directed by: Tasem Singh
Written by: Mark Protosevich
Starring: Jennifer Lopez, Vince Vaughn, Vincent D'Onofrio, Marianne Jean-Baptiste, Dylan Baker, Jake Weber, James Gammon, Tara Subkoff and Jake Thomas.
Distributed by: New Line Cinema
My Thoughts: In all the annals of "serial killer cinema", there is no film more underrated than this one. It's not often that once comes across a film that successfully blends arthouse intelligence with popcorn entertainment, but here we have a prime example of how to do so correctly. The surreal visuals are the drawing card, as well as the ingenious (if far fetched) plot, but the human element of the story is also brought to life, by an incredible cast. Jennifer Lopez may not be Oscar worthy, but she gives yet another turn here, that proves that her acting ability is sorely underrated. Vince Vaughn also proves that he has the acting chops to handle serious roles, and the amazing Vincent D'Onofrio proves once again, that there is no one better to bring to life the vulnerable, human side of depraved characters. As said, the visuals are breathtaking as well, and full of metaphorical subtext, as opposed to just being eye candy, as so many "visual films" become. This is a film that deeply satisfies on both an artistic and consumer level, but perhaps one that in it's more thoughtful themes, was a bit ahead of it's time. If you enjoy artsy horror or serial killer thrillers, this one deserves to be seen, as well as remembered fondly alongside the likes of "The Silence Of The Lambs" and "Seven".

My Rating: 9/10

submitted by BeanieBreakdown to horror [link] [comments]


2019.01.26 23:03 OrzhovDunn Director's Cut: David Cronenberg

Links to Director's Cut: David Cronenberg Video: https://youtu.be/viedObI8CB0 Podcast: https://www.stitcher.com/s?eid=58398714&refid=asa
"The Baron of Blood."
A somewhat silly moniker. Other titles have been granted to other filmakers such as "The Horror Master" (John Carpenter) or "The King of Entertainment" (Steven Spielberg). Watching 30 seconds of the seventy five year old soft spoken Toronto native and you would assume they have miss labeled this sweet articulate gentleman. But looks and mannerisms can by deceiving.
Cronenberg's films, dating back to the early 70's have been anything but gentle. Not to say he lacks nuance. But from his opening act Shivers, Cronenberg has inserted his vision of a world were technology, sex, biology, & brutality have not only blurred lines, but are often all in the same grotesque vein.
As a child, he would frequent the Toronto cinema watching cartoons and westerns like other children. That was until his Canadian neighborhood saw an influx of Italian immigrants and became what is still known as "Little Italy". This was the first time he saw adults leaving a motion picture truly seeming moved and emotional.
David Cronenberg initially had very little interest in becoming a filmmaker. He figured he would become a novelist. In fact many times throughout his career he was ready to put down the camera for the written word. You see, he was annoyed with how slow technology was progressing as far as the process for making a film was. He has no love loss for the tactile feel of shooting on film.
Much like Stanely Kubrick, Cronenberg also had very little interest in shooting in Hollywood. The thought of making studio films didn't appeal to the Canadian. Even though the explotationesq film Shivers caused quite a ruckus with Parliment. The fact that very little of his films turned a profit is very telling of his letting studios get in the way of his creative message. This was never mire eveident then psychological-thriller Spider, netted zero profit for the filmaker or any of the cast or crew. This was a story he wanted to tell and would not be detered from sharing his message and vision.
"The Baron of Blood" isn't the only title associated with this director. Pop culture sensations like The Simpsons & even more recent Rick & Morty have coined the term "Cronenbergian" as a somewhat twisted adjective. To be discribed as such means to be cold, unnatural, deformed, and unfeeling.
There is nothing flash about his method of shot compositions. You are not watching his films for flashy jump cuts or detailed ultra closeups prevalent in a Edgar Wright or David Fincher film. Cronenberg's shots are in the room, wide, and personal at the same time. This intimate setting lends to the feeling of in ease when he so chooses to take you there. Jump scares are used rather sparingly. Almost giving the audiance the antithesis of a quick scare and then moving on, he lingers in the morbid of the Brundle Fly not only pulling of a fingernail but squeezing insect puss on the medicine cabinet mirror. At times you wish for the scene to end due to the nauseating content your forced to endure. With a director who longed for faster technology, the practical effects and makeup in a Cronenberg film are near flawless, revealing no seems to critique.
The heavy use of sex in almost every film is always present. His films are almost never sexy (although some might make the arguement for 1996's Crash). Everything is prominatly sexual to the anus-mouths of the bugs in Naked Lunch to the anus like ports in eXistenz. Due to what I believe is a major influance on his work being a staunch Atheist. Therebis a certain brutal detachment from the living. All his characters might aswell be insects with the characteristics of inhuman until feeling displayed throughout villains & some hero's alike. Many of his films to feature a more emotionally driven charecter like the hedonistic Max from Videodrome which is quickly and brutally deconstructed and absorbed in the violent atmosphere.
Not all films are "Cronenbergian". Viggo Mortensen lead A History of Violence & Eastern Promises, felt more at home sharing a filmography as Paul Verhoeven or Quinten Tarantino. In fact I never realized just how similar in tone and style Cronenberg & Verhoeven where aside from the obvious visceral displays of blood and guts. A major difference is satire, which personally I don't think Cronenberg attempted until his later works in Cosmopolis & A Map to the Stars. Having Pattinsons charecter potrayed as the living embodiment of Capitalism was as Verhoeven as it gets, which only makes me wish the the Canadian filmmaker had more time on his side to explore these themes and give more breadth to satirical commentary.
It would seem that David Cronenberg has come full circle and has found some succses as a novelist. Unfortunately for us, at seventy five and with Hollywood unwilling to fund projects, it might be the last time we've seen the "Baron of Blood" on the silver screen.
Thanks for reading.
-Jon
submitted by OrzhovDunn to TrueFilm [link] [comments]


2019.01.19 22:37 aplaym Evaluate My Date

So I went out with a woman from Bumble on a Tuesday night.
She said that she found me attractive and that we have similar interests. I responded in kind. She wasn't the super chatty type, so I ask her out pretty quickly and she agrees to coffee two days later. I gave her my phone number, but she ignored that and continued chatting on Bumble. I figured she wasn't ready to give out her number just yet.
6pm: Starbucks. She's really attractive but I wasn't getting the vibe that she was attracted to me in person. She was rather shy and seemingly nervous. We chit-chat for half an hour and the conversation is going well. We talk about things we have in common, exercise, travel, hiking, kids. We start talking about food since we both haven't had dinner. We find a lot in common with food. I tell her that I'd love to have dinner if she doesn't have plans for the night. She said she was up for it, so she follows me to one of my favorite sushi restaurants in town.
7pm: We order 4 giant sushi rolls to share and have more conversation. We're talking about movies and fun things we like to do. She mentions she saw a pool hall in the same plaza, and asked if I liked billiards. I said, "Yep! I'm no pro, but I enjoy the game." We keep chatting about random stuff. At the end of the meal, I suggest going to that pool hall, if she didn't have any further plans. She agreed and said she's having a good time.
8pm: It's cold out, so I ask if she wanted to ride with me to the pool hall. We warm up in my car and drive by the place. It looks like a dive bar with crappy tables, so we agree to skip it. I suggest an actual pool hall further into town, and I ask if she wanted to go, that I'd drive there and drive her back to her car. She agrees, "why not!"
8:30pm: We're shooting pool, having vodka tonics, having fun. After a few games of 9-ball, she says she wants to take a break since she's wearing 3-inch high heels that are killing her. Then she starts talking about movies again, and suggests looking up what's playing in the theaters. I pull out my phone, and I see "Glass" is playing but has bad reviews. We settle on "Green Book" but see that it's playing in only one theater 15 minutes away. My turn to say, "Why not!". Another chilly walk to my car and we're on our way.
9:30pm: We continue conversing about other topics, schooling, kids, siblings and family, and more. We arrive and she asks me to drop her off at the entrance to the theater, since her feet are killing her. I said, "Of course!" I park my car and meet her at the box office. We head into the theater and watch the movie in comfy recliners with only one other guy in the whole place. btw... "Green Book" was excellent. Viggo Mortensen gives an amazing performance!
12:00am: Walk out of the theater and I drive her the 20 minutes back to her car while chatting about the movie and everything else we did. She gives me a hug. I wish her a safe drive back home, and a good night sleep.
12:30am: I send her a thank you on Bumble. And she replies the next morning that "it was so fun!"

Now, I thought that was a lovely spontaneously extended date. Aside from her being objectively attractive, I didn't get the butterflies of mutual chemistry. I didn't feel that sensual energy that I've felt with other dates with women who are not nearly as attractive.
Neither of us have reached out after the thank yous. And I'm not sure I want a second date if she isn't showing any further enthusiasm. Do you think this is a game of chicken? Do I let it lie? Do I ask her out again? Do I ask what went wrong? (shudder)
Theory #1. Maybe it was a height thing. She was nearly as tall as me in heels.
Theory #2. She's really shy and has conservative values (she mentioned something about going to church), and expects me to lead the way.
Any other theories? Where did I go wrong?
p.s. I paid for everything: coffee, sushi, drinks, pool table, movie tickets. She didn't once offer to split or get any of it. I thought she would have at least surprised me with the tickets as I parked the car, but no, she was waiting for me at the box office, staring at the movie times. I don't regret the $100 night since I had a lovely time, but at least an offer to pitch in would have been nice. Another thing that makes me hesitate to ask her out again.
submitted by aplaym to datingoverthirty [link] [comments]


2018.11.29 21:19 I_Am_Sam13 IJW: Green Book (2018)

A story of race and friendship is not a foreign concept in filmmaking, specifically those that involve the relationship between an African American individual and a white individual in the face of glaring racism or danger of some sort. Set it in any time period you like, they’re still designed with a message in mind, to move the narrative forward and widen perspectives or make people feel better about themselves and their own prejudices. Green Book wants to be the former, but undercuts itself so much, it becomes the latter.
Dr. Don Shirley (Mahershala Ali) is a world-class African-American pianist who’s about to embark on a concert tour in the Deep South in 1962. In need of a driver and protection, Shirley recruits Tony Lip (Viggo Mortensen), a tough-talking bouncer from an Italian-American neighborhood in the Bronx. Despite their differences, the two men soon develop an unexpected bond while confronting racism and danger in an era of segregation.
For a film like Green Book to even remotely work, the performances from the two leads have to connect, and getting Mortensen and Ali is a good first step. Both men are some of the better actors working in Hollywood today and this film doesn’t change that in any way. They both bring emotional depth to their characters, a necessity for a film that relies so heavily on a lighter tone, preventing it from becoming a trite endeavor.
Mortensen gives a big, over the top performance complete with stereotypical Italian mannerisms. His knack for nuance elevates a character that lacks any self-reflection within the confines of the script. On the other side is Ali, a poised and dignified musician that strives to maintain a sense of order and self-control in a place that hates him makes for a truly fascinating performance. The few moments where the walls of Ali’s Doctor Shirley exterior break down make for some of the best parts of the film and will earn the actor a place in the awards conversation.
However, the outright praise for the film ends at the performances, as a shaky script bogs down what could’ve been a much better film. Choosing the topic of race relations or racism shouldn’t be done lightly, and in an age of turmoil such as 2018, it much be treated with subtlety and nuance that Green Book just can’t muster.
The film is Tony’s story, for better or worse, and uses the horrible actions towards Dr. Shirley as a tool to teach this particular New Yorker a lesson and allow for him to heroically step in time after time while his own racist views are never really addressed. For all intents and purposes, Tony is meant to be the savior of this film, a strong-armed protector in the deep south that’s never forced to examine his own beliefs, thus rendering the any moral intentions of the film irrelevant.
Green Book is a frustrating film more than anything else. The pieces are there for a great film, including two great performances with natural chemistry and some genuinely funny moments littered amongst the lesser than script. It is a well put together film from almost every angle, capturing the look and feel of the time period wonderfully, however, it stumbles where it needed to succeed the most, with a softened script designed for the masses. Green Book feels dated already despite being released publicly only a few short weeks ago, and lacks the real punch that such a story requires.
Review: http://www.iamsamreviews.com/2018/11/green-book-review.html
submitted by I_Am_Sam13 to Ijustwatched [link] [comments]


2018.11.18 05:23 Al1cat8 Lorelei wants a guy like Viggo

Has anyone ever noticed that early in the show during one of Lorelei’s break ups she says “why can’t I have a guy like Aragorn?” (Viggo Mortensen). Later, when Luke and Lorelei are dating they are discussing who would play Luke in a movie and he says “I was thinking that Viggo Mortensen guy”
She got her Aragorn!
submitted by Al1cat8 to GilmoreGirls [link] [comments]


2018.10.30 08:42 Last_Dragon89 Dark Universe Reboot Pt. 5

Dark Universe Reboot Pt. 5
\This one's long-winded FYI. It's the other half of the "Big Two" This movie is a major tipping point on the road to the "Crossover" film. From here on end after this story the franchise would (ideally and hypothetically) take on a whole other turn in terms of universe building. The hybrid horror-action aspects would start to be played up huge after this point, i.e. the first Blade movie. A mixture of characters from the novel, original characters, and historical figures, some characters being removed, with elements of historical fiction. I now present to you...\**


D R A C U L A

Narration....
"They've been here since the Flood. Not even God could kill them. Over time they've come in many forms. Damned. The other that drains the elixir of life we cling to. They look like us yet are so utterly \unlike* us. Walking death, reminders of a plague we can't escape...The Undying..."*

Inside of a small village in Romania, a father cries over the death of his daughter, glancing to an old picture of her he keeps in a small locket, which he rubs with his fingertips with a sorrowful look. He places it back into his pocket, and stands up, rubbing his tears away. He is in a room surrounded by candles, his wife approaching him tapping him on the shoulders alerting him that his friends are waiting for him outside. He nods, making a cross gesture in front of the altar of the Virgin Mary. He arms himself to the teeth, with the others armed with guns, blades and torches. They move further into the woods into a small, designated area. The father screams for the monster to reveal himself, that he's going to die horribly, etc, etc.

One by one, all of the members of the mob are violently picked off, dismembered, ripped to shreds viciously. The body of one of the men to die is tossed downward, his head bursted open like a crushed pumpkin. The father of the slain girl backs up, nervous, then turns from one direction to the next aiming his shotgun. "SHOW YOURSELF DEVIL!" he yells in Romanian only to hear a demonic other worldy shriek from behind, being grabbed around the throat and lifted up off the ground.

\CUT TO BLACK. HALF HISS/HALF SHRIEK/HALF ROAR HEARD IN THE BACKGROUND. CUT INTO SILENCE\**

London, England

1888

City of the Industrial Age: Rich separated from poor. Oppression, vice and misery sitting alongside progress, growth, innovation, urbanization and scientific advancement....

Abraham Van Helsing, a German immigrant born into a well to do family from Munich, left the Fatherland for Britain, settling in the capitol city of London years before. Despite being a proud German, London is still his adopted home. He is played by Viggo Mortensen
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Van Helsing's elite services are often used by local police, due to his knowledge of 'things unknown, psychology and abilities of deduction. Van Helsing is assisted in these and other daily tasks by his personal associate and occasional driver, Singh Patel, played by Naveen Andrews

Singh Patel
Singh, a sharp-minded, quick-tongued Hindu, was working as a travel guide with Van Helsing during a foreign expedition when Van Helsing was researching cases of demonic possession in a small town near Goa, India, when Singh saved his life. He served in the Bombay army of the British imperial forces in India, and knew army medicine as well. Where Abraham goes, Singh goes. Singh is something of a germophobe and perfectionist, and enjoys mentally stimulating conversation.
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He sticks out in Victorian high-society, being quite an oddball: he opposes Social Darwinism despite being known as a man of science, is extremely religious while also highly scientifically-inclined being a devout Catholic, opposes colonialism despite his social standing, seems to have an odd over-fondness for folklore, and seems strange for other reasons--he allegedly studied Judo in Japan, hand to hand combat in Indonesia, boxing in his native Germany and fencing as well among other things. Despite his age, his physicality matches that of a man in his 20's. He likes athletics, with one gentleman at a party quipping he's a "regular Oscar Wilde". The superstitious legends and myths of various lands, particularly those of the Carpathians, fascinate him bordering on obsession. He's a bachelor while doing all of these things which causes those to speak about him behind his back often. Add to the fact that he's a foreigner and it doesn't make things worse. Yet he knows how to, when push comes to shove, charm your pants off. Abraham had a son who died, something rarely spoke of. His wife went insane after their son's death, but as a Catholic, he refused to divorce her yet lives alone while she remains in Munich. Van Helsing is called in by his former student, Dr. John Seward--who studied abroad, hence meeting Abraham--to assist with the mysterious illness of Lucy Westenra, John's fiance.
Lucy is played by Isla Fisher.
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Van Helsing's friendship with Seward is based in part upon an unknown prior event in which Van Helsing suffered a grievous wound, and Seward saved his life by sucking out the gangrene.
Dr. John Seward is played by James McAvoy
Seward is the administrator of an insane asylum near the quaint English township of Carfax. Throughout the past several months, Seward has conducted ambitious interviews with one of his patients, R. M. Renfield, in order to understand better the nature of life-consuming psychosis. As a psychiatrist, Seward enjoys using the most up-to-date equipment, including using a recording phonograph to record his interviews with his patients and his own notes
Both men are fascinated by the dark side of the mind, particularly the criminal mind. The difference being: Van Helsing believes in the supernatural, and thinks that London is itself a breeding ground for occult and other-worldly activity. This are his hidden thoughts, of course. Helping Lucy Wasterna proves confusing, as Van Helsing is somewhat confused but worried about Lucy's condition. She exhibits erratic behavior, receiving hallucinations and dreams of a 'dark prince in the shadows', and finds herself constantly waking up in hot sweats filled with panic. Chemical narcotic injections are all that keeps her calm at this point. Van Helsing suspsects something darker...but it's too early to make a diagnosis yet. The worlds of both men are turned upside down when tragedy strikes.....With a blade.

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A series of grizzly murders have popped up like a random storm out of the sky in the gritty back-alleys of London, centered around the grimy Whitechapel district. Most of the victims have been 'unfortunates'--prostitutes, the struggling unseen faces of society. Jack the Ripper is what they call him***,*** the one who kills. The one who cuts.
Fear runs rampant through the streets. The cops scramble, the surgical killing method has the aristocratic physicians nervous that it might be 'one of their own' despite their publicly constantly denying it and making sure the cops aren't looking in their direction. The poor and working classes are terrified, left vulnerable to death, specifically the women-folk...
Van Helsing is approached by Chief inspector Frederick Abberline--the lead investigator of the Ripper killings--to help him bring the case to a steady close given his 'knowledgeable' reputation. Abberline is played by Hugo Weaving
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Abberline, the son of a shoemaker-turned-officer of the law, has a strong sense of justice despite the rampant injustice of his era. He wants the cases solved not just for the city but in particular, due to his working class roots, for the people of Whitechapel. The "unfortunates". As the killings grow more gruesome, Van Helsing starts to notice a pattern: puncture marks on the necks of the victims, along with the fact that--despite the splashes of blood littering every crime scene--the blood of each victim has been drained from their body. The police department is full of corruption at this point, high ranking officials being 'abliged' by certain wealthy aristocrats, especially rich physicians, to not pressure any suspects who may be of the upper-class. What Van Helsing and Abberline realize is that . Despite these hurdles, Abberline constantly fights to keep the case going in the right direction with Van Helsing's unorthodox but effective talents coming in handy along the way.

Van Helsing keeps having memories of his son dying, occasionally having breakdowns. Singh constantly urges him to fight the pain, to push through it, that the past can't be undone. Van Helsing forces himself to go forward each time he wakes up, in spite of his many 'attacks'. All while Dr. John Seward copes with Lucy's condition the best way he can. Van Helsing alternates time between helping solve the case and tending to Lucy. John repots Lucy sleepwalking and attempting to leave the house at night, which worries Abraham. Things only get crazier however when a new stranger arrives in London, a fellow foreigner...

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His name is Damien Tepsi (Tom Hardy). Tepsi is originally a folklorist from Bucharest, Romania who, like Abraham, is fascinated with superstitious folk tales. He also has a fondness for psychology thoguh no formal occupation, living off the vast multi-generational wealth of his family, supposedly using all his time learning about life's "grand curiosities". He seeks to enjoy the splendor and cutting edge technological wonders London has to offer and asks that, though he is busy, Abraham show him around here or there. Throughout different passages of the film, he and Van Helsing sit down to have deep philosophical discussions about the nature of God, faith and morality as well as whether or not myths do have some level of truth to them. Van Helsing finds Damien a strange character, perhaps stranger than him, though with a difference in age and, also, suaveness: Damien seems to have a natural charm with the women, and has an ability of captivating a whole room with even very few words. But more murders happen. More bodies stack in the streets, as Van Helsing and Abberline race against time to stop the Ripper. Things only get worse when Lucy vanishes. A search party moves through the countryside and even the city in search of Lucy.
Things only get worse when John returns home. He closes the door behind him only to turn around and see his wife, her mouth covered in blood, starring at him, butt naked, crimson blood staining her entire body. "Hello darling" she says. "Come to me, John" she talks in a hypnotic voice, creeping ever closer. John panics, and then violence strikes when Van Helsing steps in, throwing holy water on her, letting her skin boil slightly. She screams and hisses stepping back, going on the attack, displaying superhuman agility, large fangs, and a monstrous demeanor as well as strength, picking up large furniture and hurling it at the men.

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Van Helsing viciously murders Lucy by putting a silver stake through her heart, revealing his true nature and that of Lucy. John panics, screaming in anger, going into a state of shock. Van Helsing explains the truth: Lucy was turned into a vampire, an undead blood-sucking demonic beast. She was hypnotically lured, and her mind being controlled was the reason she appeared 'sick' for several prior days. All so she could be easy bait for whoever turned her, a sick mid game for whoever that certain someone was. Abraham states he's been hunting these beasts off and on in different continents, as well as other creatures, for some time now but has only recently stepped into a place so ripe with supernatural energy: London. Singh steps in and decapitated Lucy's head quickly, causing John to throw up. Van Helsing berates John for his weakness, and demands he assist them which he does. They dispose of and burn Lucy's body. John is now sworn to secrecy and officially 'apart' of Van Helsing's little campaign. Van Helsing suspects one of the undead has been killing the prostitutes of White Chapel lately. He believes Jack the Ripper is a vampire.

A woman is walking down an alleyway when a hand is shoved through her stomach from behind, her head literally being ripped off, the blood in it squirting out falling into the exposed mouth of the culprit who remains in the shadows behind her, dragging the torn up body away into the shadows, clearly possessing inhuman strength. The next day the body is uncovered, causing everyone to vomit in the area. The word "Jews" is written on the wall, a week later this prompts anti-semitic riots. Several Hasidic Jewish stores among the Russian Jewish immigrant population are vandalized and attacked by angry mobs before the police eventually manage to break it up, attention going back to the grizzly killings.

Detective Abberline turns to opium just to deal with the frustration of not being able to properly solve the case. He and Van Helsing get slightly drunk. Abraham, beaten and bruised, tired and frustrated from lack of results, appears in a pub to speak with Damien. The two share another long conversation, with Damien expressing concern. "Do you believe you can catch him, my friend?" Damien inquires. "Perhaps some demons are meant to remain unexorcised..." he adds. Van Helsing shrugs, drinks, and goes on, saying "Perhaps...or maybe they need to feel what they inflict.on a man's soul..."
The two part ways. Damien is seen walking into his private estate, looking somewhat depressed, pulling a large cloth over an old painting (which the audience does not see). We see Damien starring at it and slowly but surely shedding tears: tears of blood.

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Over the next few weeks several people disappear. Large swaths of people. Three women who are the wives of prominent husbands. Several orphans. Several young working men who stopped coming to the workhouses and the docks. Street thugs, wanderers, gypsies. Homeless vagrants. People are simply vanishing from the deepest, darkest, dankest streets of London. The "silence" is interrupted by more murder, no more stabbings, no, just more blood being drained, more people with bite marks all over their bodies, seemingly torn to bits.

This is when things shift dramatically: Van Helsing, Singh and Dt. Abberline are walking home from a pub after a long day of investigating when they hear a loud scream. They head into the alleyway, finding a gang of vampires ready to pray upon a group of young women in the dark. A fight breaks out, Abberline and Singh getting mildly injured with the group finally managing to draw away the beasts. Abberline is unable to believe what he's seeing but Van Helsing tells him not to tell anyone if he doesn't want to look like a madman and says to keep the secret until he "touches the grave". They understand they must find the beast responsible and kill it, not legally solve the case.
Abberline is murdered by the Ripper inside of a Chinese opium den, made to look like a suicide from depression and drug addiction knowing Abberline's opium use.
Van Helsing and Singh vow to fix things. Reinfeld sings in his cell in the asylum, angering and irritating John. Reinfeld starts speaking of his "Master" coming to finish things, and take over London with his 'army of lost children'. John begins questioning him further for more answers, even bringing in Van Helsing suggesting his lunatic patient may know something. The two soon discover he's an underling for the creature-killer, and after intense interrogation Van Helsing discovers his next target is an old church. The night-church has its doors closed as a colony of vampires descends inside for a massacre. John stays behind with Reinfeld, when a dark shadow looms over the room. There's a riot, with the various asylum patients going crazy and breaking out fighting with the guards. Infiltrating the madness in a gentleman in a top hat. The cell opens up. John tries to respond with his pistol given to him by Van Helsing but is quickly disarmed and knocked down. The darkness reveals the Beast....
The monster looms in revealing his face, gripping onto Reinfeld, who is excited to be turned until his heart is literally ripped out then bitten into, before being dropped to the ground. The blood-soaked face is revealed to be that of Damien Tepsi's!

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The Ripper. The Vampire. The Master. Finally arrived.
John blinks. He remembers being introduced to Damien in passing at a gathering weeks prior by Van Helsing. He's having a hard time describing his shock. "N-no...y-you....?" he mutters before being GRABBED BY DAMIEN!

Meanwhile, Van Helsing and Singh fight their way into the church to take on the vampires before setting the place ablaze, much to Van Helsing's shame, killing the undead inside. Van Helsing and Singh race back to the asylum to find another scene of a bloody massacre, nearly the entire asylum full of dead bodies with guards and the police and medics still cleaning up the mess. They rush to Reinfeld's cell to find Dr. John Seward with his intestines hanging out and torn out, being lynched from the ceiling of the room. Bite marks all over him. Van Helsing SCREAMS AND CURSES GOD*.*
Singh snaps Van Helsing out of his near-breakdown, and reminds him of the urgency of finding the killer. Van Helsing nearly tears his books apart in his library, searching through extra bits of information of vampires, in case he missed something. Anything. Frustrated, unable to strictly rely on his own intelligence, he rips several pages of a book open, including his mundane world history book, when he notices an image of Vlad The Impaler. He starts to piece two and two together, noticing his old notes how in Romania Castle Dracul is considered "Cursed by a Vampire Lord". He thinks of the names "Dracul", "Dracula", the both correct and incorrect translations of "Dragon", "Son of the Dragon", "Son of the devil", etc, etc. "Da"...."Damien". Vlad Tepes. Tepes. "Tepsi..." Bucharest. Romania. Transylvania. Family crest. Family pendant. He remembers a family pendant around Damien's neck, or sometimes worn like a bracelet around his wrist. The shape of the Dragon. The Order of the Dragon. Wallachia. Transylvania. Romania.
The Undying.
He blinks, looking upward. Shocked. "NO!" he yells out flipping over his own table within his study angrily. He takes a deep breath, Singh rushing to his side worried. All is made clear. Helsing and Singh flee.
Damien is the ripper. Damien is D R A C U L A

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Damien is seen inside of an upscale private social club in the lobby. Van Helsing arrives there, sitting down across from him easing in closer. Damien smirks, taking a sip of his (red-colored) wine. "So you've figured it out?" he asked. Abraham tells Vlad, aka "Damien", that he will not win, he will not create a colony of the undead, and that Abraham will kill him before he does. Dracula smirks, going on about how long he's been threatened, how long he's lived and how many people have stepped before him. Holy men, men of god, warriors, strong killers who deemed themselves worthy but were turned to twisted flesh and splattered blood. "I will take your world by the throat, and make her bleed like a whore" says Dracula. "You think because you killed my children in that church that I can't make anymore? You're pathetic, German. Stay out of my way, Abraham. Go back to Munich" The Count stands up and walks out of the social club

Singh and Abraham stand alone against the Dark Prince. The film concludes in a showdown in the now burned down abandoned church where the two previously killed Dracula's "brood":

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Singh narrows his eyes at the count, asking him why innocents have to suffer. Why so many women have to be stripped of life. Why the massacre? Why the bloodshed? Why the hunger?
Dracula explains that his 'hunger' is 'calling to him', and is more powerful than any form of creation from any single 'God' that could ever exist. He says that humanity had its time in the son, and must now surrender and bow down to their genetic betters: to the nosferatu. Singh calls him a liar. He sees someting in his eyes, deception: something boils inside of The Count. Singh accuses him of only doing this because of something deeper, something personal. Dracula's cold face finally cracks slightly....impressed yet disappointed at the Indian's observation.

Dracula speaks..."I knew your God very well once..."

\Flashback\**
We cut a vast battlefield, the skies painted a crimson red, scores of bodies littering every fabric of the dirt. Vlad The Impaler has just emerged victorious in battle...
Kissing the crucifix slung around his neck, he thanks God for gifting him with the strength to eliminate his enemies with righteous fury. On the long march back home, the group once returning to Castle Dracula are greeted with an entire town and castle full of dismembered, drained corpses....
A massacre ensues. Vlad only sees red. He remembers nothing, sees nothing, smells nothing. Everything is numb, until the faint sense of smell returns to him. When he awakens and closes his eyes, sniffing the stench of death, he sees his men vanquished around him. Hung from ropes, impaled on pikes, decapitated, mutilated, their insides and genitals spilled over. And much worse. Different manners of slaughter dot the landscape. Vlad, for the first time ever, recoils in horror, seeing his young son and his wife, Elisabeta, being grabbed by and set upon by blood-drinking fiends. The monsters murder them brutally and drain them dry. Dracula screams and cries, tired of living, demanding to be murdered. Forsaking God completely. He welcomes death gladly. He pauses to see a naked female with vampiric fangs grinning down at him with a monstrous, clown-like visage in her grin. "Where's your God now, Impaler? WHERE!?!?!?" she mocks, her knife-like teeth tearing into Vlad's neck. The King is dead. The King. is. Dead.
\Cut back to present. Dracula standing and facing everyone Abraham and Singh as he speaks\**
"...Your God is nothing. Your God is weak. And heartless. With not a single ounce of love in his heart. And to think I thought him my gatekeeper, my savior, my heart. To me, he is but an ant...My kind? My people? We are the New Gods. The Undying" Dracula grins. A small but deadly group of men dressed like "Dear Old Jack"--gentlemen in black coats and top hats, emerge, removing their hats to reveal pale, contorted, nearly demonic faces, their fangs exposed. His vampire goons.
"Did you really think it was only me?...These women were sacrifices. No one cared about them. Your precious 'Christian' society had long since forsaken them. I gave them freedom, peace, an escape from this cruel, harsh world"
Abraham retorts "IS THAT WHAT YOU CALL THIS!?!? FREEDOM!?!? You've given them, you've given us ALL nothing but HELL!"
They engage in a vicious fight. Dracula changes his appearance after being seemingly left for dead, his TRUE appearance: a demonic man-bat creature

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Pulling out his book, Abraham begins to recite an old incantation with the intention of killing Vlad once and for all. Reciting it in Latin, he immobilizes and sends the flying winged Dracula crashing down. The Vampire master is writhing in agony his bones twisting up in time for Singh to set him on fire. With enough strength, Dracula forces himself painfully to his feet back-handing Singh sending him CRASHING INTO THE WALL! Van Helsing pushes himself forward,his heart puming too hard, knowing he's close to another panic attack, holding himself together intensely. He keeps visualizing his boy, his dead little boy. Tears of blood begin to pour out of his eyes, the supernatural energy effecting him in the room. Dracula screams, cursing Abraham in his native Romanian tongue in a monstrouly deep, demonic gravely vocal tone. He yells out a blood-curling half-hiss, half-roar and lunges hard towards Van Helsing, who holds up his silver crucifix to stakb Dracula in the heart as the Count falls on top of him, bruising Van Helsing. He goes from his demonic bat form back to a fleshly human form, twitching, coughing up, as blood pours out of his mouth, looking down to see his stab wound edged in deep. Van Helsing kicks him off, and rises slowly to his feet watching the Count fade away.
Angelic light shines outside into the church briefly, as if divine, before vanishing. Singh slowly gets back up, still banged up but alive. Abraham crashes to his knees, crying, holding onto Singh tight. "...Father forgive me..." he utters. Singh pats his head. "Forgive yourself, Abraham. Forgive yourself..."

*Cut to black\*

Abraham and Singh, a month later, try to rebuild their lives from the ground up. Abraham starts his own private investigator's agency--a cover for his paranormal detective activities--with Singh making sure the office is kept up properly. Suddenly Abraham is approached by a gentleman in the streets while the two are walking in the park. He is told to get inside of a small carriage, which they do, taking off. They arrive at Buckingham Palace, and are brought into a lavishly-decorated room, to be greeted by none other than Queen Victoria:
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She looks to the men and, after proper introductions, utters "The Crown needs men like you, Mr. Van Helsing. As does Europe...and perhaps the rest of this ugly world. Please have a seat, gentlemen. I would very much like to have....a chat"

*Fade to black\*

*Fast-forward to modern day London\*

Dr. Henry Jekyll walks slowly into the an office with the Prodigium logo emblazoned on the door. Dressed nice, he looks over to the woman who's back is facing him, who is also dressed formally. "Things are moving faster than we thought. It's time to act" Jekyll says. "Yes" responds the woman in a soft English accent, who turns around in her chair to reveal herself. At her desk is the last name of "Van Helsing", played by actress Eva Green
\"I agree\" she says in response. \"Let's proceed\"

*Film ends\*

\So this is I believe the first 100% period piece i've done thus far. There's no post-credits scene since the rest of the serious world building happens after all thiis. And this sets things up simply, in a way that cuts straight to the point. The film told a complete story with a beginning and an end, self-contained, stand-alone, yet still had a small tie in to connect it to everything. But anyway, this probably has problems i'm not even aware of! I admit I was stuck on a few things. But time wasn't on my side, i timed myself while writing this. All feedback is appreciated\**
submitted by Last_Dragon89 to DarkUniverse [link] [comments]


2018.09.07 22:01 vainercupid Infected Town Case Files 2: Rural Monsters

Part 1
Part 3
Part 4
Part 5
I have a couple weird stories for you tonight.
Something started happening to me after Case #4. I’m not sure it has to do with the hole. I’m not sure it has to do with anything. But the first time was shortly after leaving Seattle, fleeing from the darkness lurking in the basement of that apartment building. I was on I-90 around sunset, going about 70 through the central Washington desert, when I happened to glance in my rearview mirror. And there was a goddamn guy sitting at the little table in the RV’s kitchenette.
I swerved in shock, then righted myself and yelled something like, “What the fuck? Who the fuck are you?
No response. But when I glanced back in the mirror, he was still there. Motionless, completely ensconced in shadows. I just saw his form—tall, thin, and he seemed to be wearing a wide-brimmed hat, maybe a fedora. He was sitting at my table. Looked to me like he was facing the back window, gazing out. Solid. Real. Not a hallucination or a mirage.
I yelled at him again, then I quickly pulled over and put on my hazards. But by the time I undid my seatbelt, stood and turned around, he was gone. I thoroughly checked the RV. Nada. No plausible way for him to hide or escape. He was just gone.
I decided maybe he wasn’t a person. Actually, he looked a lot like one of those shadow people you hear about—all black, like a walking silhouette, but a three-dimensional one. And I don’t know how common this is, but this one seemed to have a few more real-life details. There was the suggestion of color in his skin and clothes when he shifted. Very corporeal. It just looked like a human dude was sitting behind me in the dark. But that clearly wasn’t the case.
I doubted he was a ghost, but you never knew. I brushed it off as maybe an overactive imagination, still spooked by my encounter with the hole. I didn’t think he would appear again.
I was wrong.
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A few months went by. I continued interviewing people with stories to tell. Most of them were run-of-the-mill haunted houses and UFO sightings. The kind of shit that gives you a few goosebumps, but nothing I hadn’t heard before. Nothing like the hole. I traveled constantly, ghosting in and out of people’s lives. I was never lonely—I met new people almost every day—but nothing ever got complicated. I preferred it that way.
Early that spring, I was contacted by a woman in a small town in Louisiana who said she had a story for me, “like nuttin’ ya eva heard.” She also said she had proof she hadn’t dreamt it, but she wouldn’t say much more. Intrigued, I headed south to see what I could find.
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CASE # 9 - Handprints
LOCATION: St Martinville, LA
DATE: 3/31/17
WITNESS NAME: Lydia T.
RELATIONSHIP TO CASE: Family.
[St. Martinville is a small, picturesque town in southern Louisiana about 60 miles southwest of Baton Rouge. I am told by my host, Miss Lydia (pronounced Lay-ja) that we are in the heart of Cajun Country. It’s gorgeous here—green bayous and lush forests—and holy shit the food is good.
Lydia is a sweet, bubbly woman in her 50’s with an energetic air and a musical Cajun accent. She greets me at her home, an old 2-story plantation style house, and ushers me inside as soon as I arrive. I am surprised by how welcoming she is—people get a little wary about meeting strangers—but she says she saw right away I’m a good guy. I start recording immediately. There’s something about this house that feels promising.
Lydia shares the home with her husband and his 98-year-old grandmother, Maw Maw Delphine. Her husband is away on business, but I meet Delphine as Lydia leads me to the kitchen for iced tea. We pass through the parlor, which is darker than the rest of the house—heavy brocade curtains are drawn over the window. Lydia, talking and gesticulating, doesn’t even pause to point out the frail old lady sitting in the rocker by the corner. I almost pass her by without noticing her. I would have, actually, had she not shifted a little and set the chair rocking. For a second, out of the corner of my eye in the dark room, I think it is a shadow figure in that chair.]
Blake E.: [Startled.] Holy—! [Turning toward the old lady, recovering.] Oh, God, sorry, ma’am!
Lydia T.: That’s Maw Maw. She don’t talk much. [Loudly at the old woman.] Maw Maw! Why don’t you get yourself some light in here? You scare the poor child half to death, you! [Quieter, back to me.] Mais la. I tell you. Sensitive eyes, she says.
BE: No, no, it’s okay. My bad. Nice to meet you, Maw Maw!
[Maw Maw raises a withered arm and gestures vaguely at me. Opening her mouth, she croaks something I can’t make out, a slurred mix of French and English. Her eyes are squinted, glaring, her mouth turned down in a scowl. She looks pissed.]
LT: Ooh, boy, she likes you, I think.
BE: [Quietly.] What’d she say?
LT: Haven’t the slightest, me. Come on. Let’s get us to the kitchen.
[We leave the dark parlor. Maw Maw snarls something as we leave, her voice rising into a screech. But Lydia ignores it, and I follow her lead.]
LT: [Closing the door on Delphine.] Old crotte. It’s nicer in here, yeah.
BE: She your mom?
LT: Bon dieu, no! My husband’s. Lived here 4 year now, gettin’ meaner and weirder by the day. Not that she was ever sweet-sweet to start with, no. But you gotta be there for family.
BE: Sure.
LT: Ah, well. Have some tea, cher. Food, too. Mange. Me, I got a story to tell. You ready?
BE: Absolutely.
LT: Okay. Now, this happened last winter, bit before Christmas. My husband, he was gone out of state on business, so it was just me and Maw Maw here. She wasn’t so out of her head then, no. Bit more lucid. And she was lookin’ forward to the big fais-do-do with family, so she was in a pretty good mood that week, her. We passed us a good time, gettin’ the house ready for guests.
Well, the night before the cousins are supposed to be here, we get a knock at the door. Maw Maw answers it. And out there in the dark is our neighbor, Miss Lola Savoy, who lives just up the hill back there.
[Lydia points out the kitchen window, toward the thick green expanse of trees beyond their backyard.]
LT: Well, you wouldn’t know, cher, but Miss Lola is no bit of good news around here. The kids call her a witch, they’re all scared of her to death. Won’t go near her place. Me, I think she’s just a poor old lady, likes to keep to herself.
Mais when I saw her at my door, I caught a frisson, you know. Miss Lola is too old to be walking alone at night through them woods and anyway, why would she? Did she need help? I tried to ask, me, but as soon as Maw Maw saw her, she cursed at Miss Lola there. And she just slammed the door in her face.
I heard Miss Lola curse her right on back, through that door, and she kept on knockin’, but Maw Maw refused to let her in. Wouldn’t let me near the door, neither. Miss Lola stayed out there a while. Then she left. I still don’t know what she come here for.
Well, I ask Maw Maw about it, and Maw Maw tells me she hates ol’ Miss Lola, and they have hated each other since they was kids. Something about an old beau of Maw Maw’s who Miss Lola stole from her. She won’t do nothin’ for that lady to this day. Won’t even talk to her.
Me, I’m worried Miss Lola might be hurt or sick. Why else would she come on down here? Mais when I finally get past Maw Maw, Miss Lola’s already gone into the night.
Maw Maw, she falls asleep early, just as peaceful as you please. I go upstairs to lay down too, and I can’t sleep at all, no. I just keep fretting on about Miss Lola, and I hope she’s okay.
I guess I did doze off after a while, though, because the next thing I remember is, I open my eyes and how dark it is. And I lay there for a second, wondering what coulda woke me. And I listen...And then I hear a sound! And I say, “What is that, now?” And there it is again, I hear it—it’s something goin’ thump thump thump thump! It ain’t outside, no, it sounds like it’s somewhere off in the house. And me, I think, now that’s a strange thing to hear...
And then I hear it again...Thump-thump-thump-thump! And I can tell now, it’s coming from upstairs, up in the attic but on the other end of the house. And, well, cher, it sounds like someone’s running around up there, back and forth across the floor. Thump-thump-thump-thump! And that really scares me. My husband’s gone away that week, remember, and I’m all alone here with Maw Maw. She can barely climb the stairs—she couldn’t never reach the attic door to get up there.
I hope it’s just a raccoon or something, or a possum. But this sounds bigger than that. Sounds like a kid is racing around up there, thump-thump-thump-thump!
Well, I don’t know what possessed me, but I decided I needed to take a look. So I got a flashlight, and I went out in the hall. The attic door wasn’t pulled down none, which was a comfort, and so I went up there.
And you know what? I didn’t find nothing. It was just empty, no animals...no people. No footprints in the dust. I wondered if maybe acorns were falling down on my roof and giving me a scare. Decided that must be it. So I went back to bed.
I started to doze off, and just as I really start to fall asleep, I hear it again—thump-thump-thump-thump. And it sounded closer, like someone was running around right above me. Right above me, up in the attic. But that area...My bedroom is right near the side of the house. And I know well as anyone, that’s where the roof comes down and meets the attic floor—it’s too low for someone to be walkin’ around up there! And that, I tell you, that gives me the heebie-jeebies!
But I can still hear it, thump-thump-thump-thump...and it pauses...and thump-thump-thump-thump. And I say to myself, what is that? And it comes to the area of the attic that’s right above my bed. Right above me. Thump-thump-thump-thump. And I finally get too scared. I grab my flashlight, and I turn it on, just so I have some light. And I...
[Lydia pauses here, looking worried.]
LT: Allons, cher. Maybe you should see for yourself, so you believe me.
[She leads me out of the kitchen and upstairs, down a long hallway. Assuming we are headed to the end, where a trapdoor to the attic is cut into the ceiling, I beeline for it. But Lydia stops me halfway there and opens a door into the master bedroom.]
LT: This is where I was.
BE: Okay...
LT: I turn on my flashlight, and I look up to the ceiling…
[She points up, and I follow her gaze.]
BE: What the fuck?
LT: Up there, crawling around on her hands and knees, up on the ceiling like a giant insect...there’s an old lady in a dirty nightgown.
[I study the ceiling as she speaks. There are handprints up there. Dozens of them, crisscrossing every which way. Dark black stains, and you can clearly make out the fingers and prints of the palms.
I turn to Lydia, confused.]
BE: Crawling on the ceiling?
LT: Sho ‘nuff. Made those noises I was hearing when she used her 2 hands and 2 knees to move around. Thump-thump-thump-thump! She was fast, too. Sounded like running, sorta...skitterin’ around.
It took me a lot of staring to realize...It was Maw Maw! But something had happened to her. Something bad. She was crawling around up there, and she was giggling, all crazy. Her hair was flying everywhere—she looked like she was the witch.
She stopped moving when I put the light on her and covered her face and screeched at me. I didn’t know what to do, me. I just stared, I couldn’t even scream. But when I finally found my voice, I said, “Mon Dieu!” And, cher, I know you’re not Cajun, but that means—
BE: “My God.” Yeah, I know.
LT: You have your faith, Blake?
BE: No, ma’am. Well, not much.
LT: That’s sad news, cher, really. Maybe someday you’ll find it. Me, I have mine since I was just a peeshwank. So when I said the name of God, I meant it, and it had power behind it.
Maw Maw screamed when she heard it, like “Eeeeeee!” Then she fell down off the ceiling. She landed on the bed, thank Jesus. Didn’t break nothin’.
Her hands were filthy with something—that’s how come she left all those handprints up there. I found a weird old bag on the kitchen table next morning, maybe a hex bag, some kind of cunja. Maw Maw had ripped into it. I think she was tryin’ to destroy it. But it was full of ashes or dirt, and maybe that was what got all over her hands.
Well, Maw Maw never recovered from it, whatever it was. You saw her today, yeah. The light blinds her, she can’t speak so well no more. She’s always so angry. Was like she had a stroke or something. That’s what the doctors say.
Me, I think she was witched. I think old Miss Lola made a gris-gris on her when she didn’t let her in that night. And maybe when Maw Maw found that hex bag and destroyed it, maybe she made it even worse on her own self.
BE: Can we talk to Lola? Get her insight?
LT: I’d love to, cher. I really would. And the next morning, I went out to do just that. I followed the trail up into the woods, towards her house. But I only got to the top of that first hill...And I found her body there.
BE: Oh, no…
LT: Uh huh. Miss Lola was lyin’ face down in the middle of the trail. Looked like she’d been there all night. She met her demise out in the dark and cold. I think she really was askin’ for help from us. Such a cruel thing for Maw Maw to do, throwing her out like that.
BE: It’s hard to blame her for making the...gris-gris.
LT: Oh, it sure is, yeah. And it’s hard to blame Maw Maw for throwin’ out a witch. But they coulda talked, them. Coulda had forgiveness, some compassion. And they didn’t, neither of ‘em.
Me, I think we get what’s comin’ to us. And maybe that night, both of those old ladies, with so much hate in their shriveled little hearts…maybe they got exactly that.
---------
Now, admittedly, I left that one skeptical. Lydia seemed like a nice lady, but the handprints on the ceiling weren’t exactly the proof she had promised. She could have used a stool, put them there herself—though, granted, that would have taken a lot of effort. Maw Maw was a mean old thing, sure, but lots of old ladies were like that. This very well could be a hoax.
That night, Lydia’s family let me park the RV on their land and sleep there. As I lay in the dark and silence, drifting off, I heard something from beyond the curtains between the bed and the kitchenette. It was a footstep, someone treading on the creaky bit of floor right next to the sink. With a lurch, I thought of Maw Maw, her withered old limbs taking her back and forth across the ceiling. But I immediately disregarded that. The atmosphere in here was completely different from that house
Then I heard the creak of a cabinet door opening in the kitchen, and the distinct sound of someone taking a glass or bowl from it. I sat up, completely alert and more than pissed. Who the fuck was in my RV?
I climbed off the bed, grabbing the baseball bat I kept next to it in case of this very occurrence. I’m a big guy, and I knew I could swing that thing with deadly force. Palming it, I quietly slid back the curtain and peered into the rest of the RV.
An empty room. Blue moonlight streamed through the windows, illuminating the table, the kitchenette, and further up the driver and passenger seats. But no interloper. I quickly checked the tiny bathroom and the storage space, opened up the door to peer out into the darkness. Nothing moved. The door had been locked. It’s not exactly easy to hide in an RV, so I was satisfied after only a couple minutes that no one else was there.
I rubbed my face and told myself I was being an idiot. You submerge yourself in the weird and haunted for months, of course you’re gonna hear some bumps in the night. Sighing I headed back to bed.
But as I passed the kitchen, I noticed that a cabinet door was wide open, and a plastic glass sat on the counter next to the sink. I was fairly sure that hadn’t been me, but I might have simply forgotten. Shit, though. If my RV turned out to be haunted, I was officially the unluckiest guy in existence.
There were no more signs of a ghost, though. Not for a few months, anyway.
---------
---------
CASE # 12 - The Shape in the Lake
LOCATION: Sandpoint, ID
DATE: 7/24/17
WITNESS NAMES: Kendall and Dan H.
RELATIONSHIP TO CASE: Owners of the lake cabin.
This one came in from good old Facebook. Kendall and Dan are family friends, and Kendall got in touch after they had dinner with my dad. I’m not very close with my parents, but after the three-year Infected Town debacle, my dad made a conscious effort not to let me disappear from his life again. Which I guess is a nice sentiment. We talk on the phone occasionally.
Anyway, he told Kendall and Dan what I’m doing—made it out to be some kind of journalism project. The next day, Kendall messaged me. I drove up to their vacation place to see what it was all about.
[Lake Pend Oreille is the largest body of water in Idaho and the fifth-deepest lake in the nation. Surrounded by lush forest, it offers beauty and recreation of all kinds. Obviously, this has made it into a bit of a destination for rich retirees. I hear Viggo Mortensen has a cabin up here.
Kendall and Dan fit in perfectly. They’re only in their fifties, but they’ve got the kind of set up you dream about. Dan’s a pediatrician planning an early retirement up here, and his wife, Kendall, works as a therapist in a city a few hours away. They own a quaint little cottage right on the water, surrounded by trees. It’s a quiet part of the lake, a few miles from the nearby tourist town and relatively secluded from neighbors. Really pretty, really peaceful.
I am welcomed into their airy and richly furnished lake home with hugs and a glass of whiskey. After a little catching up—they’ve known me since I was a kid—Dan wants to know if I’ll smoke a cigar with him. I follow him upstairs to a wide balcony that looks out onto a picture-perfect view of the lake. The shoreline is only about 30 yards from the house. Kendall joins us, and we sit and drink and reminisce for a few hours, basking in the warmth of early summer.
When the sun begins to set behind distant mountains, however, suddenly Dan wants to go inside. I’m lounging with my feet propped up, picking at the cheese plate beside me and very reluctant to move. Kendall shushes her husband, telling him this is the perfect place to tell the story I’m here for. And anyway, the sunset is too pretty. Grumbling, Dan sits back down and pours himself another drink. I settle back in my chair and start recording.]
Kendall H.: [Gesturing to Dan.] He’s still a little skeeved out about all of this. It happened last summer, and for a while there I was afraid he’d make us move. But we’ve poured our hearts into this place, really fixed it up—you should’ve seen it before we got ahold of it, Blake. It was owned by a recluse, totally run down. The kitchen was—ugh. I can’t. The land was totally overgrown. But we’ve made it our own.
Dan H.: Expensive overhaul, too.
KH: Right. Danny never walks away from equity. [Laughter.] Anyway, we stayed, but he still doesn’t like going outside at night. We used to do night-swims a lot...
DH: [With a wink.] Skinny-dipping.
KH: Danny! Anyway, we don’t do that anymore.
DH: It’s a real bummer. But yeah. I won’t. She won’t either, despite the brave face.
Blake E.: What happened?
KH: Well, it was last year. Last summer. The kids had come up for the weekend—you remember Joe and Izzy, don’t you?
BE: Of course. How are they doing?
[We chat about their kids for a bit, both of whom are only a few years younger than me.]
DH: Get back to the story, Ken.
KH: God. He’s so bossy! Okay. So Joe and Izzy came up, and we were having a nice day, swimming, relaxing. About mid-afternoon, Izzy spotted something floating out in the lake. Middle of the lake. Way out, over there.
[Kendall gestures to the expanse of water between the trees. The lake is pretty wide in this area—the trees on the opposite shore are vague green shapes, and there’s nothing but water to the east and west.]
KH: So we looked, and there was something black floating out there. At first we thought it was a seagull—
DH: Too big to be a seagull.
KH: Well, so I thought it could be a log or something, no big deal. Happens a lot. But time went by, and the shape didn’t move.
DH: If it was a log, it’d get swept away by the waves. It was pretty windy out.
KH: Exactly, but it stayed in the same general area all day.
DH: We kept trying to figure out what it was, squinting out at it. But it was just too far away to make out any details. We worried for a while that maybe it was a swimmer—someone got stuck out there or something. It looked like it could be someone’s head. Someone with dark hair.
KH: But it couldn’t be a person, though. I mean, that thing was out there for hours. No one could do that. They’d get too tired.
DH: I thought it was a buoy or something. Someone anchored something out there, right in front of our cabin. Kinda pissed me off.
KH: It did kind of look like a buoy.
DH: Yeah. It wasn’t moving around, either. You’d think a person would be waving their arms, bobbing around. But if this was a swimmer, he was really still. Just hunkered down in the middle of the lake with only his head above the surface. For hours. Didn’t make sense. I thought for a second...could that guy be standing on the lake floor out there? Maybe he wasn’t treading water at all. But that wasn’t possible, either. It’s like 20 feet deep out there.
KH: Didn’t Joe make some joke about a body being chained to a cinderblock and floating to the surface?
DH: Kinda bad taste.
KH: We figured it was a buoy. Thought we’d take the boat out the next day and go get it. No big deal.
DH: Izzy got weird about it, though.
KH: She did, didn’t she? It really freaked her out. She kept being like, “I don’t know, that thing is weird.”
DH: Girl had a point.
KH: Yeah. It freaked all of us out, actually. There was something uncanny about the way it was floating there. None of us wanted to swim out and see what it was. I think—actually, I don’t think any of us got in the water again after Izzy pointed it out the first time.
DH: I did. I wanted to float, but I felt too weird about it. Didn’t stay in for long.
KH: I got worried it could be some kind of big animal. Lots of possibilities.
DH: Joe freaked out, too. Tell him about that.
KH: Right. Usually Joe is really stoic. Man of few words. He was just shrugging off Izzy’s hysterics the whole afternoon.
DH: He still didn’t get in the water, though.
KH: Anyway, after dinner Joe went out for a smoke, and he came running back in, all wild eyed. He said the shape had moved! While we were inside.
DH: See? I said. No problem. It was just some driftwood. And Joe was completely white. He said, “No. It’s closer to our shore.”
KH: We all went up to the balcony and looked out. It had definitely moved closer to us. We still couldn’t figure out what it was, though. None of us even wanted to go back down to the dock. It was totally spooky—made the hair on the back of my neck stand up. We wanted to stay as far away from it as we could.
DH: The kids were pretty eager to get out of there.
KH: Yeah, they left shortly after dinner. Danny and I just holed up inside and forgot about it.
DH: I didn’t forget. I unlocked the gun safe.
KH: Did you? Wow.
DH: I didn’t want to scare you. But I was worried about...I don’t know. You know they do submarine testing in Pend Oreille? It’s that deep. There used to be military bases scattered all over it. At least, that’s what I heard. I worried about government technology or...weaponry or something, as stupid as that sounds.
BE: It doesn’t sound stupid. You guys were faced with the unknown.
DH: Yeah. I was on pins and needles all night.
KH: Well, I forgot about it. And Dan seemed fine, too. We drank some wine and had a nice evening. And around eleven, we came out here onto the balcony for his bedtime cigar.
DH: It was dark, but on nights when the moon is really bright, you have a perfect view of the water between the trees, there and there.
[Sure enough, the view from the balcony is picturesque. From here you can see the family’s private beach and rickety wooden dock, framed by leafy green maples which open up like theater curtains on each side. The sparkling lake beyond them looks almost too perfect to be real, tinged red and orange by the setting sun. It’s easy to see how a black smudge on the water’s surface would not only be noticeable, it would disrupt the scene in a disturbing way.]
DH: We noticed right away that the weird shape was gone.
KH: You’d think it would make us feel better—it was probably nothing all along. But for some reason, not being able to see it was even worse. Like...it reminded me of the time I was followed by a guy in Boise—remember that, Danny? I was walking alone at night, like an idiot, and I wasn’t sure he was even following me. He could just be heading my way. But I looked back at one point, and I saw him duck into an alley, trying to hide. That’s when I knew. So I ran.
BH: Jesus.
KH: The shape being gone felt like that...like it wasn’t really gone, it was just hiding.
DH: I felt the same. We sort of just looked at each other, then got really quiet and watched the water. Felt like we were waiting for something. I was expecting...I don’t know. A submarine or a bunch of military guys in black swarming over our property. But no...nothing. So we went to bed.
[The couple falls quiet long enough that I begin to grow concerned that’s all there is to the story. They get spooked by a floating log—The End. I’m about to ask when Dan finally speaks up again. His voice is hushed, grave.]
DH: I woke up around 2 in the morning to a voice. It was outside. It was...calling my name. Daaaaaaaanieeeell...Daaaaaaaaaaaaanieeeeeeelll…Over and over. It was a young boy, a child. At first I was like, is that Joe and Izzy? Maybe they came back to try to scare us or something. But the more I listened, it didn’t sound like either of them. They’re adults, you know? So, what the fuck? Well, maybe a neighbor’s kid had gotten lost or something. Or some teenagers were trying to prank us. We had our balcony door open—just had the screen to let in the breeze. That’s why I could hear it so clearly.
I got out of bed to go check it out. I had my gun with me, just in case...I took that. Went out to the balcony and sorta crouched down and peeked over the railing. I was hoping the kid wouldn’t see me, but he did. He saw me immediately. He got really excited, you know—Daniel! Daniel!
[Dan makes his voice high-pitched and airy when he impersonates the visitor. It’s unsettling.]
DH: So I stand up straight and kind of puff up to look intimidating, you know. I was angry, but I was also really scared. We’ve never had issues with kids on our property, or drunk people or anything. That weird shape in the water kept coming back to me...I couldn’t shake the feeling this was connected.
So I looked over and...and I expected to see a kid down there, but...
[Dan points over the balcony railing to the ground not twenty feet below us, right in front of the house.]
DH: It was a full-grown man.
BE: Fuck.
DH: Yeah. He was a really tall guy, like seven feet tall, I’m not shitting you. Lanky, really long arms. Well built, though. I got nervous because he looked so strong. He could probably even take you in a fight, Blake. I had no chance against him if he decided to get violent and broke into the house. That voice should not come from that body.
And he was clearly insane. You know how sometimes you can just tell when people aren’t right? This guy made it easy. The childlike voice was enough to clue you in. But he was naked, too. Buck ass fucking naked. That pissed me off. He had really long, dark hair down his back...I’d say he was a hobo or something, but he looked really clean. That was the odd thing. His hair was straight and shiny...he looked clean, you know? He wasn’t disgusting or anything, besides being naked. His eyes were weird, though...Really blank, cloudy. Reminded me of fish eyes.
Anyway, I didn’t want him anywhere near the house.
[I crane to look over the balcony, silently agreeing. The distance to the ground does not feel far at all, despite being one floor up. It would be extremely intrusive for a stranger to be there, especially one so tall. It would feel unsafe.]
DH: So I yelled at him, “Get out of here! This is private property!” You know. But he just stood there, smiling at me. His eyes...they looked like they were gonna bulge out of his head, Blake, I swear to fucking God. Those big, bulgy fish eyes. And he called again, “Daaaaaaaaaanieeeel…” in that voice… And he beckoned to me like…
[Dan crooks his finger at me, smiling, his eyes wide and manic.]
DH: I froze. I couldn’t move. I just kept staring at his weird gray eyes…
[Dan shakes his head and purses his lips, then paces forward to lean against the balcony, looking out to the lake beyond.]
DH: I don’t remember much after that.
KH: I do. It was awful. Danny woke me up when he got out of bed, and of course I heard that creepy child’s voice calling for him. When I got out on the balcony, Danny was back by the screen door. I’ve never seen him like that. He was completely out of it, just staring straight ahead.
And I followed his gaze...And I saw the top of that man’s head, and his weird, gray fish eyes peeking over the balcony railing.
BE: Wait. Had he climbed up the side of the house or something?
KH: No. He was still standing on the ground. Blake, he was so tall. Way taller than 7 feet.
BE: But Dan, you had to lean over the railing to see him.
DH: Yeah, I...He was down there. At least, at first...I think...
BE: Huh. Is it possible the guy, like, got taller?
KH: Maybe. I don’t know what Dan saw, but when I saw him, he was tall enough that he could see over a 2nd story balcony. Oh my God, he was grotesque. Looked sorta...stretched out. His head was this oblong shape, and with all that long, black hair...Ugh.
Anyway, I screamed and grabbed Dan to pull him away. The...guy or thing or...whatever...I got really afraid he’d try to, like, reach over the railing and grab us.
But he didn’t. In fact, he started backing away from us, really slow, his huge body, kinda cringing away. And he said, “Oh, hello!” to me, like a child caught with his hand in the cookie jar. Kept backing up toward the lake. His body language was very...almost shy. But he never took his eyes off us. He had predatory eyes.
He kept saying, “Oh, hi there!” or a variation of it, over and over in that young child’s voice. Really uncanny, overly friendly. And he apologized, too. “Oh, sorry!” and, “I didn’t see you there!” Kept repeating himself, like a broken record. “Oh, hello! Didn’t see you there! Oh, hi there! So sorry! Oh, I didn’t see you there! Oh, hi!” The whole time he was retreating from us. Really, really upsetting.
He got to the end of the dock, still talking, saying nonsense, apologizing. “Oh, hello! Oh, sorry! Hi there!” I thought he was heading back to a boat or something, but he...when he got to the end of the dock, he just went completely silent. Actually, I think the last thing he said was, “Oh, I didn’t see you there!” And then he just...He suddenly just slipped into the water. Like a snake back into its hole. Hardly made a ripple.
He didn’t surface again. I don’t know where he went. That was the last time we saw him. I got Danny back to bed, and he slept the whole night like nothing had happened.
DH: It’s been almost a year. But every time I look out at that damn lake from here, I think I’ll see him surface—you know, pop his head above the water to watch.
[There is something wistful in Dan’s voice. Kendall hears it too, and I can tell it bothers her.]
BE: What do you think it wanted with you?
KH: It wanted a meal.
DH: Nah, Ken. He didn’t want anything like that. [He pauses.] Hopefully he didn’t want anything at all.
KH: Hopefully we’ll never find out.
---------
Kendall and Dan graciously offered me their lot to park my RV and stay a few nights, which I took them up on. I’d been going pretty steadily with cases at this point, driving all over the country, and a little vacation from that sounded excellent.
After the couple told me their story, we spent a few hours shooting the shit before they wanted to bunk down. I went back to my RV and tried to settle down too, but with their weird little tale knocking around my skull, I was restless. I grabbed my cigs, rolled a joint, and headed out to their rickety wooden dock—the scene of the crime and all that. Obviously, after nearly a year, I wasn’t expecting to find any evidence of the creepy fish-eyed giant, but the lake was pretty in the moonlight.
I stayed out there a few hours, smoking and contemplating the black water, still and mirror-smooth. I tested my bravery by dipping a foot in, fully expecting it to be grabbed by a white, long-fingered hand. I waited a long moment, almost hoping it would be. Months of stories...I wanted something concrete. Something dangerous.
But nothing happened. I withdrew my foot.
The night grew deeper. As I sat there in peaceful silence, staring up at the stars, my thoughts drifted to Claire. My best friend, the best girl I’d ever known. It had been years since she died, but the melancholy and regret were still as sharp as ever. She would have loved this.
Blake.”
The whisper ripped me out of my contemplations, coming from somewhere behind me. I jerked around, scanning the yard, and saw nothing but the dark house. No Kendall or Dan. No one.
I rose to my feet. Whoever had called my name had to be somewhere. The voice had been loud, clear as day—more of a yell-whisper. I guessed they could be hiding in the thick foliage surrounding the yard, but everything was still and dark. I didn’t have a flashlight to go searching, anyway. My eyes landed on my RV, where a light burned through the windows, the only source of illumination for miles.
Wait. A light? I was sure I’d turned them all off before coming out here…
I squinted toward it, and suddenly a face appeared in the RV’s kitchen window. Well, the silhouette of a face. A face wearing a wide brimmed hat. It pressed itself against the glass from the inside, fully shadowed by the light behind it. At first, in the distance and darkness, I didn’t think it had any features. But as I squinted, I thought I could make something out...something like two round white eyes and a toothy mouth. But it was hard to be sure. It was still for a long moment. Then it slowly, vaguely raised one of its shadowy hands to point a finger at me.
No...not at me. Behind me.
Somehow finding it in me to take my eyes off whatever was in my RV, I slowly turned around. Out in the middle of the lake, lit only by blue moonlight, a small black shape floated eerily on the glassy surface.
My mouth dropped open. I squinted at it through the darkness. It did look like someone’s head...someone with long black hair that covered most of his face. The way it sat there, you got the impression it was attached to a body underneath. But it was too far away to really tell.
After only a couple minutes, the shape slowly sank back underwater. As if it noticed it had been spotted and was retreating for the night. Going back under to watch, to wait. Patient.
I stood there on that dock for a long time. It never resurfaced.
That was enough of that. I turned to head back to my RV, the shadow person inside being far preferable to whatever was lurking in the lake. But all the lights were off once again. And when I got back, it was empty and silent.
I tried to sleep after that, but I ended up just laying in bed, thinking. A little nervous. So close to the anniversary of the fish-eyed giant’s first visit...seeing that shape in the lake tonight...I imagined the worst. Maybe he’d call my name from outside. Maybe I’d wake up to a giant standing over me, drooling and licking his chops. The possibilities kept me awake until the wee hours.
And I said I’d wanted an adventure. Pussy.
I finally drifted off around 3 AM. Sleep was restless.
I woke with a start, probably less than an hour later. As I stared at the ceiling, wondering what had pulled me out of sleep so abruptly, I was overcome with the eerie sense that there were eyes on me, some unseen intruder. Dread settled in my chest, the kind I usually associated with nightmares or half-dream states. Except I was fully awake.
There was the sound of a soft creak, and in my periphery I thought I saw the curtains in the bedroom doorway shift slightly. As if someone was trying to open them, or running their fingers against them from the other side. But in the dim pre-dawn light, I couldn’t be sure. I told myself there was nothing there. I told myself I was just jumpy, just imagining the movement. But those damn curtains kept shifting. Inch by inch, I turned my head to look.
There was, indeed, a gap in the curtains. The opening widened near ground level, like something was parting them at the foot of my bed. Slowly, I moved my eyes down to see what it was.
A man’s head was peeking between them. Down near floor level, like he was crawling around. He froze when I spotted him, neither retreating nor advancing. I felt his eyes on me, though. Even though he didn’t have any. He was featureless, in fact, solid black. Just the impression of a face—pits for eyes, a bump for a nose, high cheekbones, the impression of a mouth. A three-dimensional silhouette. No hat this time, though. Did that mean there was more than one? Even if that was the case, I didn’t think shadow people could move physical objects, like curtains or cups. I didn’t think they could speak, call my name. And I didn’t think they latched onto people and followed them around the country.
I yelled as soon as I saw him, surprised. After a long moment, he retreated, and the curtains fell back into place.
Of course, when I searched the RV, no one was there. Again.
So that was the third time my shadow friend showed up—the first was after the hole, then after Lydia’s story. Now this. Not only that, this time it actually drew my attention to what was happening out in the lake.
Did that mean anything? I had no idea. But some kind of pattern was forming, and I wasn’t sure I liked it. Whatever it was, you can bet your ass I was gonna keep an eye on it.
Part 3
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2018.06.26 12:41 BunyipPouch Viggo Mortensen-Mahershala Ali's Road-Trip Drama 'Green Book' Receives November 21, 2018 Release Date

Viggo Mortensen-Mahershala Ali's Road-Trip Drama 'Green Book' Receives November 21, 2018 Release Date submitted by BunyipPouch to movies [link] [comments]


2017.01.07 18:15 girlsgonekyle The 74th Annual Golden Globe Awards

It’s that time of year again! Hey everyone, my name is u/girlsgonekyle and I am here once again to lay down a guide for betting this years Golden Globes. If you are a regular here you have seen my awards show posts before and if you’re new here then welcome, and let’s make some money. This is a really interesting year, especially for TV because there are only TWO network shows nominated for major awards. The time of broadcast TV having the best writers and producers appears to be officially over. There are a lot of really interesting trends and odds this year. You may remember Game of Thrones taking the Emmy for Best Drama, best Directing and best Writing yet at the Globes is is a +550 underdog. By all accounts this is the year of La La Land. They are up for 7 awards this year, 4 majors, and my stats have them taking 6/7 and ALL the majors which really changes the odds around. Unfortunately I can’t find a book that has an award for Best Song which I think is the tightest race. I am betting $10 units this year. Have fun and bet responsibly!
Best Picture - Drama
Manchester by the Sea -160
Moonlight +135
Hacksaw Ridge +1100
Lion +1600
Hell or High Water +2500
The big award of the night is also toss-up of the year. The smart money is on the favorite. Most of the critic sites, entertainment blogs, and talk shows are all over Manchester by the Sea, and for good reason. Casey Affleck is amazing in this movie which is understandable along an oscar winner like Michelle Williams. I have to go with my gut on this one though and take Moonlight. That movie just has a power to it that is hard to explain.
Moonlight 1u
Best Actor - Drama
Casey Affleck - Manchester by the Sea -350
Denzel Washington - Fences +250
Andrew Garfield - Hacksaw Ridge +1600
Joel Edgerton - Loving +2000
Viggo Mortensen - Captain Fantastic +2000
Take out Joel and slide in Ryan Gosling and these are your projected oscar contenders this year. Most of my research says Casey is taking this award but it’s hard to not bet on Denzel. If you saw either of these movies you know this is a toss up. I have to go with the buzz so I am going with Casey
Affleck 2u
Best Actress - Drama
Natalie Portman - Jackie -600
Isabelle Huppert - Elle +650
Amy Adams - Arrival +900
Ruth Negga - Loving +1600
Jessica Chastain - Miss Sloane +1600
Not a fan of the nominations here. Natalie Portman was outstanding in a movie that no one really saw and isn’t nominated for much else. Again, Isabelle Hupper for Elle, a movie no one saw. Also, Negga...for loving...a movie no one...you see the pattern here? I was going to stay away here but the HFPA has a hard on for Amy Adams (she won the last two times she was nominated) so I am going small to win big on Amy.
Amy Adams .5u
Best Picture - Musical / Comedy
La La Land -5000
20th Century Women +1200
Deadpool +3300
Florence Foster Jenkins +4000
Sing Street +4000
La La Land is all anyone is talking about. Save your money. Or put $1 on Deadpool just in case 2017 is the exact opposite of 2016.
Best Actor - Musical / Comedy
Ryan Gosling - La La Land -1200
Jonah Hill - War Dogs +850
Colin Farrell - The Lobster +2000
Hugh Grant - Florence Foster Jenkins +2200
Ryan Reynolds - Deadpool +3500
This is a strange category this year. You are LITERALLY not going to see ANY of the actors aside from Gosling at the Academy Awards this year. Jonah, Colin, Hugh, and Ryan were great this year but none of them are getting any oscar buzz at all. Always bet with caution but if you have the money in your props account this is a slam dunk for Ryan Gosling.
Best Actress - Musical / Comedy
Emma Stone - La La Land -500
Annette Bening - 20th Century Women +450
Meryl Streep - Florence Foster Jenkins +1000
Lily Collins - Rules Don't Apply +4000
Hailee Steinfeld - The Edge of Seventeen +5000
I love Emma Stone. We all saw Super Bad, c;mon. Once again you can thank Meryl Streep for these odds. Without her Emma would be at -1000 or more. I am going pretty big on Emma Stone this year. As I mentioned in the header this is the year of La La Land. The only thing I think they wont win is best song. The HFPA FUCKING LOVES movies about Hollywood .
Emma Stone 10u
Best Director
Damien Chazelle - La La Land -450
Kenneth Lonergan - Manchester By The Sea +550
Barry Jenkins - Moonlight +900
Tom Ford - Nocturnal Animals +3300
Mel Gibson - Hacksaw Ridge +5000
Im not going to sugarcoat it. It is a pricey bet but Chazelle is going to win this one. La La Land is just going to crush this year. Fun fact The last musical film to win both Best Picture (Comedy or Musical) and Director was Barbra Streisand’s “Yentl” in 1983.
Damein Chazell 2u
Best Supporting Actor
Mahershala Ali - Moonlight -800
Jeff Bridges - Hell Or High Water +600
Dev Patel - Lion +900
Aaron Taylor-Johnson - Nocturnal Animals +5000
Simon Helberg - Florence Foster Jenkins +5000
Ali is the favorite for very good reason this year and the odds reflect it. -800 is too rich for my blood and for this category I really feel like betting the board is wasted money however if you made me chose someone other than Ali I would say Patel should have been the #2.
Best Supporting Actress
Viola Davis - Fences -650
Michelle Williams - Manchester By the Sea +400
Naomie Harris - Moonlight +1700
Nicole Kidman - Lion +4000
Octavia Spencer - Hidden Figures +5000
In a category with Michelle Williams, Naomie Harris, and Nicole Kidman you would assume this would be a hard choice but no, this award is going to Fences. Viola is a very expensive bet so I am choosing to stay away.
Best Television Series Musical or Comedy
Atlanta -300
Black-ish +325
Veep +400
Mozart in the Jungle +2500
Transparent +3300
On a personal note I am a HUGE Gambino/Don Glover fan. I loved Community, loved his movie rolls, and I dig his music. This is a SUPER TALENTED guy and the HFP is taking notice. His album is HOT right now and his show has literally ALL of the buzz. Now, let’s be real, there’s a show called Veep in this category too which is kinda of like having Meryl Streep in a category, it changes things. In this case I actually think it’s a blessing otherwise Atlanta may be closer to -750.
Hammering Atlanta 4u
Best Television Series Drama
The Crown – EVEN
Westworld +300
This is Us +400
Stranger Things +550
Game of Thrones +550
This award was won by Mr Robot last year and it seems like they aren’t submitting season 2 until next year which leaves the door open for a few new contenders. Now, I love Game of Thrones but now that they have announced the end dates I don’t expect them to get any major awards until the final season. The general public loves The Crown but it didn’t win the Critics choice award this year, Game of Thrones did, awkward, I know...This one is a hard one but I think that’s where the fun is. The smart move is to stay away but my favorite drama this year was Better Call Saul and it got the shaft so I think I am going to go with my inner child and put .25u on Stranger Things.
Stranger Things .25u
Best Television Limited Series or Motion Picture Made for Television
People vs OJ Simpson -500
The Night Of +300
The Night Manager +600
This one is a no brainer. If it werent for The Night Of (which was my personal favorite mini of the year) OJ would be -800 or more. It’s an expensive bet but I don’t see any other outcome here.
OJ 5u
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2016.10.03 14:40 ligital TIL that Viggo Mortensen's birthday shares the same date as when The Lord of The Rings: Return of The King was first published in 1955.

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2016.08.03 22:57 MsBluffy What's Going on in Columbia? August 3-7

CONTENT COURTESY OF COLUMBIA CVB
 
ON STAGE
 
SPECIAL EVENTS
 
GALLERY
 
LIVE MUSIC
 
Thursday
Friday
Saturday
Bone Jugs N Harmony, The Kay Brothers 9:30 p.m. at Rose Music Hall; free.
Sunday
 
MOVIE GUIDE
BAD MOMS - Three overstressed, overworked moms decide to blow off their responsibilities and have some fun, but their wild ways cause them to clash with a rival mommy who's dedicated to preserving the facade of her perfect life.
CAFÉ SOCIETY - The latest comedy from Woody Allen, Café Society explores 1930s Hollywood through the eyes of Bobby Dorfman (Jesse Eisenberg), a naïve young man from the Bronx. Sick of dealing with his bickering parents and his gangster brother, Bobby packs his bags and tries his luck in Hollywood, where his uncle Phil (Steve Carell) works as an agent. After landing a job as an errand boy, Bobby falls in love with Phil's secretary Vonnie (Kristen Stewart). But Vonnie already has a boyfriend.
CAPTAIN FANTASTIC - In the Pacific Northwest, an idealistic father named Ben (Viggo Mortensen) raises his six children off the grid. He and his wife aspire to turn them into extraordinary adults. They teach them five languages, as well as how to hunt and farm their own food. When tragedy strikes, the family is forced to leave its isolated existence and experience the outside world. The journey challenges Ben's ideas of what it means to be a parent. Captain Fantastic took home the Best Director prize at Cannes.
GHOSTBUSTERS - A pair of authors (Kristen Wiig and Melissa McCarthy) who focus on the paranormal join forces with nuclear engineer (Kate McKinnon) and a subway attendant (Leslie Jones) to fight off a slew of ghosts who have invaded New York City, coming face-to-face with an evil entity who can control humans.
HUNT FOR THE WILDERPEOPLE - Writer-director Taika Waititi (What We Do in the Shadows, Flight of the Conchords) is back with another witty and charming comedy. A defiant 13-year-old named Ricky (Julian Dennison) grows up in the big city under the foster care system. One day, adult services sends him to the New Zealand countryside, where he's placed with his loving foster aunt (Rima Te Wiata) and a cantankerous foster uncle named Hec (Sam Neill). When faced with an urgent crisis, Ricky and Hec go on the run in the New Zealand bush. A national manhunt ensues as the two outlaws learn to overcome their differences. A big at this year's Sundance Film Festival, Hunt for the Wilderpeople is heartfelt and hilarious.
ICE AGE: COLLISION COURSE - The bumbling Scrat continues his misadventures in space, where he sets off a series of events that threaten to destroy Earth. This forces herd leader Manny (voiced by Ray Romano), sloth Sid (John Leguizamo), Diego (Denis Leary), and the rest of the rambunctious animal pack to embark on a journey for survival as asteroids approach the planet.
INDEPENDENCE DAY: RESURGENCE - Roland Emmerich returns to the helm for the long awaited sequel to the 1996 blockbuster Independence Day. Fearful of another attack, the nations of Earth have teamed up against a common enemy - the extraterrestrials that brought their planet to the brink of extinction. Using recovered alien technologies, the Earth coalition is braced for another infiltration.
THE INFILTRATOR - DEA agent Robert Mazur (Bryan Cranston) attempts to bring down the drug trade from the inside by going undercover as a money launderer for the world's biggest cartels in the 1980s.
JASON BOURNE - Matt Damon reprises his role as the titular former CIA agent with a hazy past. Jason Bourne is the fifth installment in the action franchise.
THE LEGEND OF TARZAN - Years after leaving the jungle and settling down with his wife Jane (Margot Robbie) in London, Tarzan (Alexander Skarsgård) is forced to return to the Congo in order to act as a trade representative for England. However, he soon clashes with a greedy Belgian captain (Christoph Waltz) who has sinister plans for his old home.
LIGHTS OUT - A young woman (Teresa Palmer) must protect her brother (Gabriel Bateman) from a terrifying apparition that only manifests in total darkness. Later, she realizes that this fearsome entity is connected to her mentally ill mother (Maria Bello), who has started hallucinating conversations with a mysterious figure named Diana.
MIKE & DAVE NEED WEDDING DATES - Hard-partying brothers Mike (Adam Devine) and Dave (Zac Efron) place an online ad to find the perfect dates (Anna Kendrick, Aubrey Plaza) for their sister's Hawaiian wedding.
NERVE - A shy high schooler gets caught up in an online game of truth or dare, but a group of anonymous voyeurs eventually start manipulating her.
THE SECRET LIFE OF PETS - This animated comedy from Illumination Entertainment asks the question: what do our pets do all day when we're not home? For the critters living in a Manhattan apartment building, the answer is: whatever they want! A terrier named Max regularly invites his friends to hang out at his place while his owner is gone, but his quiet life is upended when said owner also takes in Duke, a stray mutt whom Max instantly dislikes. Their feud eventually causes both of them to get lost in New York City, and as they work together to find their way home, they cross paths with a vicious bunny who plans to lead a group of abandoned pets on a mission of revenge against humanity.
STAR TREK BEYOND - Captain Kirk and the crew of the Enterprise encounter an alien warrior race when marooned on a distant planet after the destruction of their spaceship in this thrilling sequel directed by Fast & Furious director Justin Lin.
SUICIDE SQUAD - Director David Ayer (Fury) takes the helm for this Warner Bros. production adapted from the DC Comics series about a group of super-villains who are given a shot at redemption by embarking on a heroic mission that will most likely mean the death of them all.
 
CHECK EACH THEATRE FOR SHOWTIMES
RAGTAG CINEMA – 10 Hitt Street 573-443-4359
REGAL STADIUM 14 THEATER – 2800 Goodwin Pointe Drive 573-817-0770
GOODRICH FORUM 8 – 1209 Forum Katy Parkway 573-445-7469
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2016.05.03 06:20 mookiebomber It's that time of the year again; [2016] will have unforgettable releases. Here are 41 upcoming films that you shouldn't miss.

It's that time of the year again, [2016] will have unforgettable releases. Here are the upcoming films that you shouldn't miss.
Inspired by last years' post, I wanted to make one for 2016 now that the movie season is upon us (The majority of Oscar nominated films get released in the second half of the year and earl 2017 pre-Oscars) so May seems like a good time to get pumped up for great film. Also, some suggested last year that I should include the release dates, so I did, and I tried to list them in order of their current known release dates, please note that these are always subject to change,
Movie Director Starring Expected Release Date Synopsis
Café Society Woody Allen Steve Carell, Jesse Eisenberg, Blake Lively May 11 A young man arrives in Hollywood during the 1930s hoping to work in the film industry. There, he falls in love, and finds himself swept up in the vibrant café society that defined the spirit of the age.
Money Monster Jodie Foster George Clooney, Julia Roberts May 13 Financial TV host Lee Gates and his producer Patty are put in an extreme situation when an irate investor takes over their studio.
The Nice Guys Shane Black Russell Crowe, Ryan Gosling May 20 A private eye investigates the apparent suicide of a fading porn star in 1970s Los Angeles and uncovers a conspiracy.
Alice Through the Looking Glass James Bobin Johnny Depp, Anne Hathaway, Sacha Baron Cohen May 27 Alice returns to the whimsical world of Wonderland and travels back in time to save the Mad Hatter.
X-Men: Apocalypse Bryan Singer Michael Fassbender, Jennifer Lawrence May 27 With the emergence of the world's first mutant, Apocalypse, the X-Men must unite to defeat his extinction level plan.
USS Indianapolis: Men of Courage Mario Van Peebles Nicolas Cage, Tom Sizemore May 31 The harrowing true story of the crew of the USS Indianapolis, who were stranded in the Philippine Sea for five days after delivering the atomic weapons that would eventually end WWII.
The Conjuring 2 James Wan Vera Farmiga, Patrick Wilson June 10 Lorraine and Ed Warren travel to north London to help a single mother raising four children alone in a house plagued by malicious spirits.
Genius Michael Grandage Colin Firth, Jude Law, Nicole Kidman June 10 A chronicle of Max Perkins's time as the book editor at Scribner, where he oversaw works by Thomas Wolfe, Ernest Hemingway, F. Scott Fitzgerald and others.
The Neon Demon Nicolas Winding Refn Elle Fanning, Keanu Reeves June 2016 When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.
Finding Dory Andrew Stanton Albert Brooks, Ellen DeGeneres, Diane Keaton June 17 The friendly-but-forgetful blue tang fish reunites with her loved ones, and everyone learns a few things about the real meaning of family along the way.
Free State of Jones Gary Ross Matthew McConaughey, Keri Russell June 24 As civil war divides the nation, a poor farmer from Mississippi leads a group of rebels against the Confederate army.
Independence Day: Resurgence Roland Emmerich Jeff Goldblum, Liam Hemsworth, Maika Monroe June 24 Two decades after the first Independence Day invasion, Earth is faced with a new extra-Solar threat. But will mankind's new space defenses be enough?
The BFG Steven Spielberg Mark Rylance, Bill Hader July 1 A girl named Sophie encounters the Big Friendly Giant who, despite his intimidating appearance, turns out to be a kindhearted soul who is considered an outcast by the other giants because unlike his peers refuses to eat boys and girls.
Captain Fantastic Matt Ross Viggo Mortensen, George MacKay July 8 In the forests of the Pacific Northwest, a father devoted to raising his six kids with a rigorous physical and intellectual education is forced to leave his paradise and enter the world, challenging his idea of what it means to be a parent.
Jason Bourne Paul Greengrass Matt Damon, Julia Stiles July 29 Jason Bourne, now remembering who he truly is, tries to uncover hidden truths about his past.
The Founder John Lee Hancock Michael Keaton, Laura Dern, Nick Offerman August 5 The true story of McDonald's founder, Ray Kroc.
Nine Lives Barry Sonnenfeld Kevin Spacey, Christopher Walken, Jennifer Garner August 5 A stuffy businessman finds himself trapped inside the body of his family's cat.
Suicide Squad David Ayer Will Smith, Jared Leto, Margot Robbie, Ben Affleck August 5 A secret government agency recruits imprisoned supervillains to execute dangerous black ops missions in exchange for clemency.
Florence Foster Jenkins Stephen Frears Meryl Streep, Hugh Grant, Rebecca Ferguson August 12 The story of Florence Foster Jenkins, a New York heiress who dreamed of becoming an opera singer, despite having a terrible singing voice.
The Light Between Oceans Derek Cianfrance Michael Fassbender, Rachel Weisz, Alicia Vikander September 2 A lighthouse keeper and his wife living off the coast of Western Australia raise a baby they rescue from an adrift rowboat.
Sully Clint Eastwood Tom Hanks, Laura Linney, Aaron Eckhart September 9 The story of Chesley Sullenberger, who became a hero after gliding his plane along the water in the Hudson River, saving all of his 155 passengers.
Snowden Oliver Stone Joseph Gordon-Levitt, Shailene Woodley, Nicolas Cage September 16 CIA employee Edward Snowden leaks thousands of classified documents to the press.
The Magnificent Seven Antoine Fuqua Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio September 23 Seven gun men in the old west gradually come together to help a poor village against savage thieves.
Miss Peregrine's Home for Peculiar Children Tim Burton Eva Green, Samuel L. Jackson September 30 When Jacob discovers clues to a mystery that spans different worlds and times, he finds Miss Peregrine's Home for Peculiar Children. But the mystery and danger deepen as he gets to know the residents and learns about their special powers.
Hell or High Water David Mackenzie Chris Pine, Jeff Bridges October 2016 A divorced dad and his ex-con brother resort to a desperate scheme in order to save their family's farm in West Texas.
The Accountant Gavin O'Connor Ben Affleck, Anna Kendrick, J.K. Simmons October 14 A forensic accountant un-cooks the books for illicit clients.
Jack Reacher: Never Go Back Edward Zwick Tom Cruise, Cobie Smulders October 21 Jack Reacher returns to the headquarters of his old unit, only to find out he's now accused of a 16-year-old homicide.
Inferno Ron Howard Tom Hanks, Felicity Jones October 28 After waking up in a hospital room in Florence, Italy, with no memory of what has occurred for the last few days, Robert Langdon suddenly finds himself the target of a manhunt.
Doctor Strange Scott Derrickson Benedict Cumberbatch, Rachel McAdams November 4 After his career is destroyed, a brilliant but arrogant and conceited surgeon gets a new lease on life when a sorcerer takes him under her wing and trains him to defend the world against evil.
Loving Jeff Nichols Michael Shannon, Joel Edgerton November 4 Richard and Mildred Loving, an interracial couple, are sentenced to prison in Virginia in 1958 for getting married.
Billy Lynn's Long Halftime Walk Ang Lee Joe Alwyn, Garrett Hedlund, Kristen Stewart, Vin Diesel, Steve Martin November 11 An infantryman recounts the final hours before he and his fellow soldiers return to Iraq.
Fantastic Beasts and Where to Find Them David Yates Eddie Redmayne, Colin Farrell, Jon Voight November 18 The adventures of writer Newt Scamander in New York's secret community of witches and wizards seventy years before Harry Potter reads his book in school.
Manchester by The Sea Kenneth Lonergan Casey Affleck, Michelle Williams November 18 An uncle is forced to take care of his teenage nephew after the boy's father dies.
Allied Robert Zemeckis Brad Pitt, Marion Cotillard November 23 Set in 1942 following a French-Canadian spy who falls in love and marries a French agent during a dangerous mission in Casablanca. He is notified that his wife is likely a Nazi spy and begins his own investigation of her.
Silence Martin Scorsese Liam Neeson, Adam Driver, Andrew Garfield November 2016 In the seventeenth century, two Jesuit priests face violence and persecution when they travel to Japan to locate their mentor and propagate Christianity.
La La Land Damien Chazelle Ryan Gosling, Emma Stone, J.K. Simmons December 2 A jazz pianist falls for an aspiring actress in Los Angeles.
Collateral Beauty David Frankel Will Smith, Kate Winslet, Edward Norton, Helen Mirren, Jonah Hill December 16 A tragic event sends a New York ad man on a downward spiral.
Assassin's Creed Justin Kurzel Michael Fassbender, Marion Cotillard December 21 When Callum Lynch explores the memories of his ancestor Aguilar and gains the skills of a Master Assassin, he discovers he is a descendant of the secret Assassins society.
Passengers Morten Tyldum Jennifer Lawrence, Chris Pratt December 21 A spacecraft traveling to a distant colony planet and transporting thousands of people has a malfunction in its sleep chambers. As a result, two passengers are awakened 60 years early.
Patriots Day Peter Berg Mark Wahlberg, J. K. Simmons, John Goodman, Michelle Monaghan, Kevin Bacon December 21 An account of Boston Police Commissioner Ed Davis's actions in the events leading up to the 2013 Boston Marathon bombing and the aftermath, which includes the city-wide manhunt to find the terrorists behind it.
The Last Face Sean Penn Charlize Theron, Javier Bardem, Jean Reno 2016 TBA A director of an international aid agency in Africa meets a relief aid doctor amidst a political/social revolution, and together face tough choices surrounding humanitarianism and life through civil unrest.
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2015.04.09 04:47 girafa Theme of the Moment: David Cronenberg

David Cronenberg. Where to even begin... He's somewhere between Jim Jarmush and David Lynch, except they arrived after him.
Cronenberg is one of the most notable directors of body horror, but he's somehow managed to direct both watershed horror films like Videodrome and amazing dramas like Eastern Promises. He's like a version of Soderberg - they both have little "isms," but can both blend into their genres without being showy about it.
Whenever anyone asks "What's the most realistic fight scene in a movie?" people usually say one of the fights in Eastern Promises.
He's also created one hell of an oeuvre, but we only showcase six films of each Theme of the Moment. In addition to these described below, please check out The Fly, Crash, ExistenZ, and A Dangerous Method.
A History of Violence is easily my favorite of all his films, and my second favorite film of 2005. Only 96 minutes long yet it feels like you've traveled miles from the start. I don't recommend you watch any trailers for the movie, or read any summaries. If you've never seen it (or luckier still if you've never heard of it) just rent it and watch it. The things you should know are:
  • It's slow paced.
  • Great acting.
  • Vicious brutality.
  • The stunt coordinator on the movie said something to the effect of "in my 20 years of working on films, this is the first that asked for a stunt pad to use in a sex scene."
mi-16evil:
Videodrome
In a very weird way I've always felt like Videodrome was Cronenberg's answer to Rear Window. Both explore the perverse nature of audience and content, it's just Jimmy Stewart never had sex with a TV. There's something ridiculously perverse about Videodrome's appeal. Much like the snuff films that start of the "plot" there's something awful yet enticing about the way Cronenberg makes you revile the thing you love. It's a sickening masterpiece and even if you hate the film it'll leave a deep impression in your brain in the way it twists our sexual deep impulse to connect via technology. Death to Videodrome! Long live the New Flesh.
LiteraryBoner:
Eastern Promises
One of Cronenberg's better known recent movies and a continuation of his great pairing with Viggo Mortensen. Like A History of Violence, I would recommend finding Eastern Promises and watching it before reading anything else about it. It's a movie that gives information to the viewer very deliberately and knowing too much about it may take the moments of connecting information away from you. It's a fantastic watch that involves the Russian mafia and a young nurse and I would recommend it to just about anyone.
If you simply must see a trailer, here's one. Just try to avoid seeing the titles and thumbnails of the spoilerific "up next" videos on the right side.
Maps to the Stars
The most recent in a long and eclectic career, Maps to the Stars went somewhat unnoticed when it came out last year. Understandable because although it's a step up on the accessibility scale from the Don DeLilo adaptation that came before it, Cosmopolis, Maps to the Stars still isn't the kind of movie you'd show on a first date. It's offensive to just about anyone, shocking at times, and overall just kinda weird. But I think it's all those things coming together that made it one of my favorite films of 2014. Cronenberg has never made himself a stranger to the disturbing, using graphic imagery in his earlier movies to the unsettling tones of abuse and violence in more recent years, Maps to the Stars seems to be his most direct attempt to make an audience uncomfortable. The story behind this movie, and probably the best way to describe the actual movie, is that a writer moved to Hollywood to work in the industry and was so repulsed and disgusted by everyone he met that he wrote Maps to the Stars about his experience and even made himself a character in the movie (Robert Pattinson). Now, this movie isn't based on a true story and it's obvious that a lot is exaggerated, but when the origin of the story is taken into consideration the amount of mental illness and physical abuse present in this movie makes a lot more sense. It's certainly not a perfect movie, but one that I enjoyed immensely and I think if you enjoy Cronenberg's work it's worth a watch.
FletchDoesNotLive
The Brood
Right before he was having heads explode in Scanners, Cronenberg explored psychoanalysis and his relationship with his ex-wife in one of the most disturbing horror movies of the 70's, The Brood. From the actual Brood creatures, Howard Shore's haunting score, Samantha Eggar's rage-induced and unpredictable performance, and finally, David Cronenberg's direction is top-notch here, not only is it visually fantastic, but the way he paces it and does shot compositions shows what was bound for him later on. It also features one of the most disgusting shots from that era.
madism
The Dead Zone
People hear the name Cronenberg and often the first thought that comes to mind are the bizarre yet wonderfully crafted horror films on his resume. What some people tend to forget is that Cronenberg has also created one of the better Stephen King adaptations in movie history with his cinematic vision of The Dead Zone, starring Christopher Walken. While it didn't follow the storyline for King's book, King has noted that Cronenberg's film of his book, "improved and intensified the power of the narrative." Powerful performance by Christopher Walken as a man who acquires the psychic ability to learn people's deepest secrets by merely touching them. The natural frozen landscape of Ontario, where filming took place, lends to the dark atmosphere of the film.
It also led to this amazing skit on SNL
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2014.03.31 22:46 tabledresser [Table] IAmA: Hi, I'm Michael Davis, Writer/Director of Shoot 'Em Up and Riding Shotgun. Ask Me Anything!

Verified? (This bot cannot verify AMAs just yet)
Date: 2014-03-31
Link to submission (Has self-text)
Questions Answers
Hi Michael, Shoot 'Em Up is one of my favorite movies to watch because it is so ridiculous. Where did you get the idea for it? P.S. I love the carrot scenes! The carrots started out as a way to validate that he was so accurate. Carrots are supposed to be good the eye sight. That started it, Then, I like giving quirks to main characters - not comic relief characters - so went with out. I had a scene in the lab where clive needed a quiet kills - so I had him stab guy in eye with character -- that started it.
I always thought that the carrot was kind of an homage to bugs bunny, seeing as how the violence was almost cartoonish. It was an homage - it just grew in stature as the making of the film progressed.
When you were developing the concept for "Shoot 'Em Up," how long did it take you to decide that it would be a movie where you read the title and knew what to expect? Did you go into the experience with the idea of just doing a "guy movie," "shoot em' up" type of flick? The idea started with the idea of a gunfight while a guy was delivering a baby. But I had no idea where to go from there. I needed more of a concept. I mused about it for a couple years -never getting it right - I was always focused on what was the plot. The plots I came up with never seemed like big enough ideas for a movie. Finally, I came upon the idea -what gave me the most joy in action movies -- a good gun fight. So, I wrote down all my cool ideas for gunfights. I thought now this is a fun concept. Something I wanted to see. The plot was secondary to the big concept of a movie with a ton of cool and different gun fights.
Nice. That's amazing. When I introduce anyone to the movie it's always, Them: "What's it about?" Me: "Read the title. You'll know what you're getting yourself into." Thank you for your art...yes, art. Thank you. The only reason I have a job is cuz of the people watching. And the people watching, I think -- actually want to go out and makes stuff, too. That's why they love it. And a lot of people actually go out and do it. There is nothing more fun than watching something cool or reading something cool and then talking to other passionate people about it. The life after experiencing the art - and the residual experiences people have related to it -- whether talking to friends -- researching trivia -- looking at the preproduction art -- is all part of the product and experience of something. I've loved the art book of star wars about as much as the movies. Or telling my son why Han is way cooler than Anakin is fun. These things are part of lives and how we bond. Thank you for liking my stuff.
Perfect. Those that didn't like the movie didn't read the title - the movie is just what the title promises.
Shoot 'em Up was so fun to watch! Great work. How was working with Clive Owen? I feel he's under rated as an actor. Any behind the scenes laughs you'd like to share? Thanks for doing this AMA! Clive was AWWWESOMMME! So easy to work with.
Before production I teased Clive by editing a clip from one of his early tv shows where he had the super cheesy line "You foxy lady." I made a jump cut edit of him saying "Foxy Lady. Foxy lady."
He tried a big trick that did not fool me at all -- in the scene with the rat - the cast with clive pretended to drop the baby and yell that the rat was biting it. It was amazing that he's a great actor - but when pulling a trick, his acting was unconvincing.
The playground scene in Shoot 'em Up did it for me... Any thoughts on another movie with similar pace and action? Shoot 'Em Up is kinda a cult hit - but not a box office smash - but I would love to do another big action movie - but I need to write another script to get studio people excited. I did develop a pilot for Epix based on the novel BOOK WITH NO NAME -that has an awesome gunfight inn a bar where everyone is dressed up like their favorite pop culture character - you have a guy dressed like Gene Simmons from Kiss shooting at a guy dressed as the terminator who is under fire from a pair of guys dressed like the Lone Ranger (who don't get "Lone" concept.) It was awesome. I wrote a script wilder than Shoot 'Em Up about a heroin addict gunman teamed with a hot girl sex addict - called Punch and Judy - but that was way to crazy for studios. I wrote a tamer script call bullet proof crush - about a 27 year old nerd who runs into the hot girl from high school - turns out the girl is a jason bourne like spy and he needs to save her. John Hughes meets Bourne. I am trying.
After reading those ideas, all there is to say is... never stop trying, you crazy bullet-loving bastard. Take a look at EIGHT DAYS A WEEK or 100 GIRLS and you'll see I love other things along with being a bull;et loving' bastard. Thanks for the support and getting it.
Oh Man! The bullet proof crush story would be awesome... A wilder version of GOTCHA!... Fell in love with Linda Fiorentino in that one! Exactly - gotcha with more action. It was great the first act opens with bullies giving the hero a swirly - ya know where they dunk your head in a toilet. The second act starts with the hero being water boarded.
The slogan was.
Life is like high school, just more dangerous.
EXCELLENT!!! [email protected] This is more appreciated than you know! Will email you later.
Hey man. Shoot 'Em Up is also one of my favorite movies. my question is : what is your opinion about the example hollywood is giving to the teenagers of today? Personally, I think teenagers are way ahead of Hollywood - and Hollywood is learning from you. Youtube has so much more of an influence on teenagers than Hollywood stuff.
I will tell you only how Hollywood influenced me and try to apply it to today. Movies never affected my moral compass. But movies did influence me to want to be in the arts. Star Wars and James Bond made me want to make movies. It that way movies changed my life.
Movies gave me a break from the rigors of high school and my low self esteem. As a stress reliever - I think movies can help. Did the John Hughes movies help me solve my teen problems - not really - maybe they helped because the films showed me that fictional teenagers had same problems as me.
The specific messages in films don't always have an affect -- but the reliance of studios on making movies based on Hunger Games and Twilight etc. I think might make me as a teenagers say - [email protected]$& - these guys don't want my original studff - I all find a different medium to tell my stories.
I did find movies like Rocky inspirational.
I found and I hope teenagers today are influenced by other things than movies -- movies are just an escape.
I hope this doesn't sound irresponsible. I just got my values elsewhere when I was a kid. I make movies to make people happy and maybe escape their troubles for a moment -- but I don't try to change the way they think.
I will not judge it i will thank you and accept it. thanks for your time. What movies do you think are both entertaining and can be affecting to teenagers? I say this as someone who recognizes that I could challenge himself to add more relevance to my work -- but also recognizes it's hard to do and has so far kept it simple and fun.
Why a Carrot for the protagonist in shoot em up? > The carrots started out as a way to validate that he was so accurate. Carrots are supposed to be good the eye sight. That started it, Then, I like giving quirks to main characters - not comic relief characters - so went with out. I had a scene in the lab where clive needed a quiet kills - so I had him stab guy in eye with character -- that started it.
I like whimsical stuff and the absurd. Since the movie was already wild - why not give the hero a quirk - like eating carrots to better his eyesight to shoot better. Specifics - specifics - specifics is always better. It's memorable and weird. My friends parents had a car with the bumper sticker that said why be normal. I think that influenced me.
Will you making another full length feature? I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again. I hope. I am trying. Yes. Just you wait. Michael Davis will rise again.
I am working on stuff -- see my above responses.
It is a hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, hard, business.
Painful. Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful.Painful not have made one by now.
When it happens, it will rock.
How many days did you have to shoot shoot em up? was it problematic if it was a short length of time? I had 55 shooting days -- but we carved out a bunch of second unit days - and Eddie Perez my second unit director did a superb job and got me everything and more.
My DP Peter Pau was so fast. My AD Robert Lee came up with a super shooting strategy. Doug Curtis, line producer, found the money. The Toronto crew was fast.
I storyboarded every shot - in fact, we had a small budget for a storyboard artist, but Peter Pau wanted a special computer to time the dailies, so we used the storyboard budget money to buy it for him - while I forfeited having an artist help me.
For three weeks before the shoot, we spent three hours a day in "school" which meant going over my hand drawn animatics and storyboards. Everybody knew the plan -- and we were told by New Line we were getting more shots a day -- than their two other go projectd combined.
Alas - NOBODY CARES if you're on time or on budget. It only matters if your movie is a massive hit.
Planning planning planning is the key. That's why Hitchcock got bored with production. He had solved the movie in preproduction.
Hi Mr. Davis I've been waiting for you to do something after shoot em up for years where have you been? Ahhh.. Here's the truth. Everyone believes once you make a Hollywood studio movie that you're on your way - that a filmmaker with not too much difficulty can mount their next project.
Shoot 'Em Up only did okay at the box office.
Studio weights their decision to hire filmmakers based on their box office. Talent/skill are much smaller factors in their decision.
I wasn't hot after Shoot 'Em Up. It's been maddening. But I've finally come to accept the reality rather than be angry about it.
The other factor is that Hollywood is making less and less medium budget action movies. They're all gigantic Avengers sized movies.
The Jason Statham sized action movies actually only did okay at box office. This mid level action movie is not as common. And the studios aren't going to give me a 100 million dollar action movie. Shoot 'Em Up cost 39 million - they don't think I am qualified for a blockbuster sized budget - -and I don't have a hit under my belt.
I am in a position to "reinvent" myself . I need to bring them the project so fantastic that my past box office (it's a stupid reason I know) isn't a factor.
I pitched to direct RED 2. The Summit exec said it was one of the best pitches he ever heard - but later said he couldn't bring my name up to his boss because i wasn't hot and a known hit maker.
It's insane.
Read my other responses on what I've been up to -- I ma trying.
Hollywood is hard and unforgiving.
Do you have any advice on controlling a set? how to get your authority felt among the unprofessional? I lead by example. If I am prepared and always have an answer and always know what I want - people usually follow. Check out my animatics that I draw to prove my vision. It is easier to direct from a script you wrote because you've already proven yourself in the writing.
Be a good listener - if you listen, people are less likely to voice counter comments behind your back.
Don't be afraid of confrontation. If you are being disrespected, firmly but politely tell the person you won't tolerate it. If you are open about it, it usually diffuses it.
Treat people with kindness - if you are cool and take the high road, most people will side with you against douchebags.
Find good people and keep working with them - you become their bread and butter.
Ask around about people's attitude before hiring them.
I just wanted to thank you for making Shoot 'Em Up, that movie is the perfect action flick. What new projects are you working on? Riding Shotgun - is an animated series I am doing based on the Tokyopop manga - check out the first episode on youtube. We are raising money to do more via Indiegogo. Copernicus in Canada is doing the animation. They're great.
Also I am working on an anime action piece with a Japanese animation company called OLM.
You will laugh - but I got the rights to DANCE DANCE REVOLUTION and I've been pitching that as a live action movie.
I am turning the pilot I wrote for Epix based on the novel BOOK WITH NO NAME by Anonymous into a movie script.
Anonymous also wrote a script based on his other books that I am going to try to set up.
It didn't go - but I wrote a pilot for IFC called TRIGGERMEN based on an indy comic.
Just watched the riding shotgun pilot. Seems to be right in your wheelhouse haha. In some ways, even more so -- the crazy action almost seems more at home in animated form. Plus - in animation I don't have to go to set at 5am.
Wow, I am looking forward to this; I love Riding Shotgun!!! There's a great line in the musical nine - the director sings, "My one regret is there is only one of me I know." As an action fan, I wish there were more SHOOT 'EM UPs to watch as a fan. I've run out of John Woo. The end of first kill bill was heaven.
Also, Shoot 'Em Up was amazing; I'm not a movie buff but have watched a fair share of shooters, and this is one which I always remember. Just awesome and ridiculous. Try the anime black Lagoon. Revy is the most awesome gun slinging chick in history of cinema.
Michael, any future projects or stories being written? If so, do you write stories with actors in mind or just write the stories? Lastly, is there an actor you're dying to work with for any future projects? I've mention my current projects in previous answers -pardon me for bneing lazy - check out those responses.
Many writers write with actors in mind - in fact - if you capture that actors voices in script they rate more likely to respond to it (but you bone yourself with other actors.)
I don't think of actors when I write. The screenplay is the purist stage of creative process in film. The story is a dream living in my head. If I picture an actor in my head, it makes the dream in my head weaker because the business issues of star casting is intruding into my vision.
I really really really wanted to work with Clive Owen.
When I have a project that has momentum - the actor that is perfect for that project is the actor I m dying to work with.
But if I had to blurt something out - I'd say Sean Connery.
I'd like to digitally capture his face, body language, and voice so we could make movies for a hundred years with him. Twenty more Bond movies with virtual Connery.
Thanks for the response! good luck on all future endeavours! I was a nerd in high school. I never fit into the popular crowd -- thinking about a star to work with -- makes me feel like I am chasing the popular crowd again. That's why I write with no one in mind. Connery was the only one I could think of -- since that's how I think.
What is the best advice ever given to you? I got this advice too late - but here goes.
Start out where you want to end up.
I made a bunch pif teen movies - but I shoulda started out going for action from the beginning - maybe I would be farther along in action flicks if I started sooner.
It applies to everything. Don't think low -shoot for what you really want to do. You can be successful early. Look at Spielberg.
If you had the chance to work on any project or franchise, with any actoactress, what would it be and why? Ready for me to blow your mind.
You won't believe it.
After seeing thousands of hours of film and TV, it gets harder and harder to find something that makes you go wow.
But I found something that I love more than Bond or Star Wars.
Eichiro Edo ONE PIECE is my favorite action adventure piece of all time.
The action is so IMAGINATIVE. Example - Monkey D Luffy has rubber powers like Mr. Fantastic. He encounters a baddie who knows Luffy's every move right as Luffy thinks it. No matter how fast or many punches Luffy throws - the guy dodges them. So, Luffy does a series of Gatling gun punches against random walls. Luffy has no idea where his punches will ricochet. But he punches so many times - several ricochets hit the bad guy.
I love art/movies in which the artist hand is unmistakably seen in the art. The now 639 episodes of the anime are all closely based on Oda's manga that he - alone - one guy writes and draws. He works 20 hours a day - seven days a week. His love and passion comes through so large in the work. The ultimate auteur.
I love love love love love Luffy's unbridled optimism.
Forget any movie action that is big and sustained - the show's often has fights that last five or six episodes long. When Luffy goes to save Ace - the monumental battle may have been twenty episodes long.
Characters die and it is heart breaking.
There's humor that makes me laugh to tears.
There are set ups set fifty episodes earlier that pay off big way later.
It is full of imagination. Genres are blended - every type of fantastic creature/trope is weaved in but it never feels like a usual, respectable mashup like Kung Fu meets cyber noir in Matrix -- it's as if the genres naturally belong in One Piece without feeling like a mashup - One piece is always uniquely One Piece.
Nami and Robin are so sexy. And they are cartoons. Yet, show is at ones family friendly -- but has some blood and scantily clad girls - but it still seems innocent. It's violent and dark at times but on a time it can silly , funny, and juvenile. It deals with themes of prejudice, but also shows the complexity when the downtrodden become unjust killers in their protest.
There's a fairytale quality -- with moralities that are relevant today.
When you see the massive fight and beating Luffy takes to save Robin -- the concept of fighting for your friends has never been shown stronger in any other piece of filmed media.
For me (and it's fine for everyone one else -- but in my book...)
If someone could ever find a way to quantify a rating for a piece of media's entertainment value, humor value, heart value, imagination value, clever action value, fun character value -- One Piece would have the highest value on a per minute rate than any other work every created in the history of man.
There I said it. I love to make something One Piece -- or I would just love to pick Oda's brain for an hour to find out how he does it!
Gonna see if I can find this! Thanks for the answer and cool recommendation, and best of luck to you in your future endeavors! You need to give it through like episode 35 through the Arlong/Nami arc. I know that is a lot.
I had heard about it but hesitated to watch because I knew it was over 600 episodes. I like to watch what i finish. Then, I read an amazon review about this guy who thought the same. 600 hundred episodes was too big of a commitment, Then, he said he started watching and he thinks 600 (and still going) is too little. He was right. He was right about getting to Arlong story arc. You can watch 'em all for free here.
Link to www1.watchop.com
I watched six hundred episodes and the ten movies in 4 and half months. Talk about binge watching.
So what are you Michael? Are you a Tough guy, or a pussy with a gun in his hand? I'm a pussy with a keyboard in my hand.
Are you proud of the sacrifices you made in your lifetime? My art teacher, David Pasalaqua once said - Our mistakes are our style.
Woody Allen's films are wordy and lack camera movement - to some a mistake -- to others as strength.
My wife has said - there is the easy way, the hard way, and the Michael Davis way. I have never been able to get things to come easy for me. And maybe, I create the situations to make it harder to do stuff. My parents gave me this heavy duty Protestant work ethic and the feeling everything needed to be earned.
I am proud that I had the determination to work super hard like making 17,000 drawings to make an animatic to get Shoot 'Em Up made. I've gotten to fulfill every dream I set out to accomplish -- but I wish the amount of dreams and time reveling in them was higher -- and I wish I didn't spend such a tortured price to achieve it - not because I am not proud of all the hard work - it's because the struggle has left me a bit of a curmudgeon and I'd like to be a more positive personality to those around me.
Will there be a shoot em up 2? :~) I wish -- but I don't think so - it wasn't a huge hit. If you want your gunfight fix -take a look at the RIDING SHOTGUN animation on youtube -- and help us fund more of it on Indiegogo (sorrty for blatant plug.)
I LOVE ACTION - I am trying to make something new and cool - hopefully i will succeed.
What would you call your biggest strength? directing or writing? My biggest strength is my imagination. There are so many things in SHOOT 'EM UP that people had never seen before.
Gunfight delivering a baby. Spelling Fuck U in a neon sign. Carousel spinning A hero dropping his gun in a toilet A gunfight while making love The flying through windshield bit Skydiving gunfight.
I am very good at sinking into my brain and thinking of fun imaginative things.
Take a look at our Riding Shotgun animation. You've heard the phrase getting caught with your pants down - well - our heroes are caught in the bathroom literally with their pants down and have to shoot their way to freedom.
When I grew up, I loved Disney animation - I guess the fantasy imagery triggered stuff in my head. Of course star wars eye candy got me stoked. I get an endorphin rush when I think of a fun idea. Because I like imagination -- I gravitate towards films like AMELIE or Wes Anderson's work -- these films show the world in a new unique way. I get realism just living me life. Imaginative stuff is new and exciting. It's not like everything else -- since imagination is a quality I value in others and in other works of art - I put high value on it -- and challenge my own mind to go for it.
What is your favorite pizza topping? Sausage - extra sauce/extra cheese - soft under baked crust
What was don murphy like as a producer? Here is Don's great strength.
I don't know whether he is conscious or unconscious of this code he follows -- but in a business of full of opportunists, exploiters, backstabbers where everyone has their own agenda with lots of money at stake -- Don makes it simple for himself.
He first supports the film and the filmmaker.
He is bluntly honest (often to his own detriment) to everyone and anyone when it comes to defending a story, the film, and a filmmaker. He shielded me from the BS, if there was a battle to he fought, he fought it for me. He and Susan Montford were on set everyday (and set can be quite boring.) That's what he does. He takes flack all the time, but he lets you know where he stands on everything. He always just wants to make a great film -- and F-it if he pisses people off doing it.
There was a famous quote, "Live to be loved or hated." He embodies that and I have benefited.
Don's other great talent is he super at identify scripts and properties for very successful movies. People thought transformers was a silly idea for a movie. He was the producer who first identified it was a juggernaut. He laid money down to option Natural Born Killers before Quentin was anybody. Everyone one Natural Born Killers didn't want this kid Don Murphy around. They made it unpleasant for him. He didn't shy away -- he was highly involved and present -- he weathered storms to stay involved -- most of us would have cut and run. He didn't.
I heard a great quote the other day "The degree of our success is determined by the number of uncomfortable conversations we are willing to have." Don is a success because he is never shy about uncomfortable conversations.
Any plans for a Shoot 'Em Up sequel? > Below - I pasted my previous answer - but here's a little more to the answer. I don't think there will be a sequel - but my future work should be spiritual sequels. I'd love to plant in the background of another movie -- a guy dressed like Smith with the kid grown to be a little boy now.
Shoot 'Em Up is kinda a cult hit - but not a box office smash - but I would love to do another big action movie - but I need to write another script to get studio people excited. I did develop a pilot for Epix based on the novel BOOK WITH NO NAME -that has an awesome gunfight inn a bar where everyone is dressed up like their favorite pop culture character - you have a guy dressed like Gene Simmons from Kiss shooting at a guy dressed as the terminator who is under fire from a pair of guys dressed like the Lone Ranger (who don't get "Lone" concept.) It was awesome. I wrote a script wilder than Shoot 'Em Up about a heroin addict gunman teamed with a hot girl sex addict - called Punch and Judy - but that was way to crazy for studios. I wrote a tamer script call bullet proof crush - about a 27 year old nerd who runs into the hot girl from high school - turns out the girl is a jason bourne like spy and he needs to save her. John Hughes meets Bourne. I am trying.
about a 27 year old nerd who runs into the hot girl from high school - turns out the girl is a jason bourne like spy and he needs to save her. John Hughes meets Bourne. Cool premise! Your description brings images of "Chuck" meets "Scott Pilgrim" in my mind. Chuck kinda hit around the time of Bulletproof Chuck. McG gave me a little help trying to set BPC up - but it didn't happen.
What was it like to live my fantasy of having Monica Bellucci naked for your movie? The 15 year old version of me who saw your film in theaters wished that scene had gone on for 10 more minutes. Ha! I love Monica, but to tell you the truth I was thinking something else. I am always so stressed on a set trying to make sure I get the footage I want.
But I do recall on that day - -the one time a gave myself a break was that scene -- and I thought I can't believe I MAKING THIS CRAZY SCENE -it's awesome. It's fun. I was also thinking it was a first - nobody in the history of cinema had made a gunfight/making love scene. It was a first/ history in the making. I recognize my delusions of grandeur were lofty at that moment. i always someone would point out that cinema has always been in love with sex and violence -- and this was perfect distillation of it - which I did actually think about - but nobody picked up on it - the only thing was a silly article about nakedness in recent movies that brought up naked Viggo Mortensen in Eastern Promises and Shoot "Em Up. It reminded me of that Seinfeld episode where the naked girl worked on the bike. There's good naked and bad naked. Shoot 'Em Up - good naked. Eastern Promises - Bad naked.
If you want to see more pinnacles of sex and violence check out our Riding Shotgun animation.
Was shoot em up inspired by any video games? I love video games. I love this kinetic -- always on the move shooters -- there's s mesmerizing effect as your PPV or avatar are always moving towards something - I like the dream state that you are the hero.
I try to capture that in my action scenes. I always want to make you feel like you are the hero. I show you the pieces of how a hero gets of a jam -- by showing you the pieces -- it's like you are piecing together the solution -- just as the character pieces together the solution.
Like in SEU. Here are the pieces.
Smith shoots out his own windshield,. Shoots out the vans windshield. He takes off his seatbelt. He collides so he can fly out his windshield and into the van, He shoots van baddies in the back.
You feel like you were in his head - because you saw all the steps off his thinking -- this is the same effect of a POV in a video game shooter.
I was kinda pissed - I asked New line to put Shoot 'Em Up's release in game magazine calendars - you know how Game Informers has a game, DVD, TV,etc. release date calendar. It's free advertising and New Line just drop the ball. Come on, so easy. And I reminded them. Duhh.
What attracts you to animation? I hope you are asking this because you've checked out RIDING SHOTGUN, my current project which is animated. (shameless plug, I know)
I love works of art in any medium in which the artist's vision/the artist hand comes through. I love motion. I find cinema a visual narcotic. Since drawing is such a pure way of seeing the artist's hand/ and vision and cinema is the greatest art form of all - I love the combo of drawing and film.
I grew up being a Walt Disney nut. Because I could draw - animation was a natural. I loved Jonny Quest. I loved Ralph Bakshi's WIZARDS. I made animation.
Recently for me, I like the control it offers. On a movie, if you screw up a scene - you never get to go back - in animation, you can go back. Also, in animation,your imagination isn't restricted by money, You can do anything - and nobody can stop you from making a film.
It's just magic.
You kinda feel like god - you brought something to life.
Do you have any screenwriting advice? Find your voice. Instead of competing with generic writers to write generic movies -- make your work unique - a reflections of what you have to say, observed about life, and what you like to see in a story or movie. If it is whimsical like Wes Anderson - or gritty real like Hurt Locker -- the rewards will be greater this way -- people will come to you for what only you can do -- and you will love your work more because it isn't just the same old junk.
Also, keep a notebook in your pocket - so you write down anything you see in your normal day that touches you as funny, sad, unique, special. You will use it one day -- fiction written inspired by real events and truth is always the best.
If I wanted to make a large sum of money, in a rather short of time, what is the leverage performance-driven paradoxes via self-reflection that willinnovate school-based need-to-knows with a laser-like focus and prioritize performance-driven Common Core Standards within professional learning communities that will allow us to l deliver strategic mastery learning through cognitive disequilibrium? Question: How many Dadaists does it take to screw in a lightbulb?
Answer: A fish.
It all makes perfect sense now. Seriously - I am wasn't sure how to take your question. I think you were just having fun as was I - - I didn't mean to be glib if there was something serious buried in there. Ask me anything you want.
What do you think about the transition from film to digital cinema? christopher nolan and tarantino absolutely hate digital for some reason. I love digital cinema. When I was a kid - my folks made me pay for all the super 8 film and developing. It was so expensive - so I didn't make many films - if digital was around when I was a kid - I'd be a way bigger filmmaker.
Nolan and Tarantino are in a unique position - they can shoot as much film as they like and no one gives them crap. I like the way film loos - it looks more like a painting - the grain is like impressionist painting - but most of us aren't nolan and Tarantino. I was yelled at if I shot over 6,000 feet a day. I met an editor that said Sydney Pollack shot a million feet for just one scene.
Content is king. Digital helps you get more takes -- digital allows you to have actors improv and experiment more when you're rolling. Digital allows you to ask actors to try something different while camera is still rolling -- instead of yelling cut and restarting (the reset time can sometimes be five minutes or more) and the moment is lost.
Digital is here. I think it looks great - say what you want about Stars Wars eps1,2,3 - but the picture quality is great.
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