"Always."

Hey there! Huge, huge fan of Dai Gyakuten Saiban, Over The Garden Wall and Steven Universe. Feel free to roam. Don't hold back. Icon picture from my art account: @awallflowerdraws

[catcastielart]

[lights-stars]

[u3pxx]

klavier gavin apollo justice's poor little meow meow

[drunkendawg]

Super Junior on SBS (All members ending FanCam)

SUPER JUNIOR(슈퍼주니어) - Callin' @인기가요 inkigayo 20220306

[duckflyfly]

this user is very very proud that she grew up with SuJu and she hopes that they can grow old together

[wellntruly]

Critic Emily St. James on the use of set & space in Everything Everywhere All At Once

[kaienmaart]

i have never cried harder at a movie in my entire life

[bamf]

Of all the places I could be, I just want to be here with you.

EVERYTHING EVERYWHERE ALL AT ONCE (2022) dir. Daniel Kwan, Daniel Scheinert

[keyboard-worrier]

Daniel Kwan (co-director of Everything Everywhere All at Once and Swiss Army Man) on maximalism in art.

[milflaszlo]

The universe… is so much bigger than you realize. EVERYTHING EVERYWHERE ALL AT ONCE (2022)

[doramilaje]

MOVIES WATCHED IN 2022

Everything Everywhere All at Once (2022) ✰✰✰✰✰

[perfectday1972]

via leslieimgart

[ladyonfire28]

POALOF DVD Commentary Masterpost

Here are all the different scenes of the DVD commentary I’m translating. I’ll try to update it after every new post ! A huge thank you to @bereaving who’s the one who makes ALL the gif sets here. A true hero. 

Céline’s words of introduction on the DVD/Blu-ray

Céline comments on the very first scene of the film

Céline talks about the boat + jumping in the water scene

Céline comments on Marianne’s arrival on the island

Noémie talks about how her costume helped her to get into the character of Marianne

Céline talks about the castle

Céline explains the importance of the workshop set

Céline talks about her new challenge with the sound reconstitution

Céline explains how she used light and candles in her film

Céline talks about Sophie’s role and the creation of a new horizontal dynamic between the characters

Céline comments the discovery of the faceless portrait and the match cut with the headless dress

Céline talks about the role of the countess and her horizontal relationship with Marianne

Céline on creating Marianne’s workshop and the importance of the curtain

Céline explains why and how she created the desire to see Adèle/Héloïse’s face

Céline talks about the first exchange of glances between Marianne and Héloïse

Adèle explained how she prepared for the role of Héloïse and how she perceived her character 

Noémie looking like a tired kid at Christmas

Céline and her desire to show the work of the painter

Céline talks about the scarves and Adèle’s gazes

The beach as the end of the world for Héloïse

Céline talks about the first time she heard Adèle’s voice as Héloïse on set

Céline talks about the sound work on the waves and the unexpected good weather in Brittany

Céline Sciamma: “This is important. The character drinks beer.”

Céline talks about filming the painting

Céline talks about the first real exchange between Héloïse and Marianne and about a key sentence of the film

Céline talks about the difficulty of not having a model and the art of self portrait

Céline and Adèle talk about the first scene of intimacy between Héloïse and Marianne

Marianne is the first character to burn during the piano scene

Céline commenting on one of her dreamed scenes, that was the “but I also felt your absence” scene

Céline talks about how the first portrait is presented to the audience

Céline explains how she wanted to resolve conflict differently from most other films

Céline talks about guilt and fire

Céline comments on the portrait on fire and its meaning

Céline explains how she created the delay of conflict

Céline explains how the film dynamic changes after Marianne shows Héloïse the first portrait

Céline talks about the arrival of a third character in the frame

Céline talks about the relationship between Héloïse and her mother

Noémie explains how she approached the role of the painter

Céline on filming desire in the “look at me” scene

Céline comments the representation of menstruation in her film

Céline Sciamma : “New territory. A world without the countess, a three person world.“

How Totoro has inspired Céline Sciamma

Céline explains her love for the kitchen place and its signification

Céline talks about the difficulty of the sequence shot of Marianne preparing to draw Héloïse and the importance of the candles 

Céline talks about the technicality of the scene where Marianne draws Héloïse in secrecy

Originally, the “if you look at me, who do i look at” scene was the scene of the first kiss

Céline talks about the one and only wide shot on Marianne

Céline comments on Adèle’s innocence when shooting the card game scene

Claire Mathon talks about filming Adèle and Noémie’s faces

Céline talks about her desire to film the art of embroidery

Céline talks about the representation of sorority in the film

Céline explains the importance of the reading scene of the myth of Orpheus and Eurydice

Claire Mathon comments on the silhouettes scene

Céline Sciamma and Claire Mathon talk about the bonfire scene

Céline explains the thought and making process of the first kiss scene

Céline talks about the new dynamic of the film after the first kiss

Céline comments on the first ghost apparition 

Céline talks about her tribute to Persona in the second kiss scene

Céline explains the scene of intimacy in the morning

Céline and her pockets obsession

Céline talks about the complexity of the abortion scene

Céline explains why it’s important to represent the abortion within the film

Céline and Noémie talk about their chemistry with Adèle and how the environnement created by Céline helped them

Adèle explains why filming the sex scene was something she enjoyed doing

Céline comments on the second ghost apparition

Céline Sciamma : “we hope to democratize this method of hydration”

Céline, Adèle and Noémie talking about the scene of conflict

Céline talks about the beginning of the end of the love story

Céline said they picked the most emotional take for the “forgive me” scene

Céline explains how the silence she created helps the audience to focus on their own breathing and own emotions

Céline and her desire to talk about miniatures

Céline and Adèle talk about page 28 and the explanation behind that figure

Céline comments the mirror scene

Céline says she wrote the “don’t regret, remember” scene for the last audition of Noémie and how her chemistry with Adèle moved her

Céline comments on the last bed scene

Céline talks about the effect of seeing the man back in the frame

Céline explains the necessity of writing about women’s desires

Céline talks about Marianne and Sophie’s goodbyes

Noémie being very moved (and pale) during Adèle’s last day of shooting

Céline comments on the “turn around” scene

Céline comments on the first ending of the film

Céline commenting the exhibition/ Louvre scene, which was the last scene that was shot for the film

Céline reading the script of the final scene of Portrait (+ the audio)

[shiruba-tsuki]

What gives… What gives you the right not to tell me all of those things? You said you would be my subordinate when I became the clan leader. You said you would support me for your entire life. You said you would never betray me. You said you would never betray the Jiang Clang. You said so yourself…

[shijiujun]

Wei Wuxian: Call me daddy

New GSC WWX Figurine!

[valarinde]

‘I never thought that Hanguang-jun would be so popular among little animals.’ ➤ THE UNTAMED, EPISODE 43

[hawberries]

i have had a rough couple of weeks so i’m easing back into this whole “doing art” thing by painting my favourite bad and terrible man :) 💜💜💜

[image is a watercolour painting of Jiang Cheng standing stoically, the hand wearing Zidian raised and glaring down his nose at the camera. a field of lilac-colored lotuses is in the background, and a streak of purple lighting arcs down behind him, leading to his raised hand.]