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govnoedovna

The new Minions movie is awesome. I adore them.

owenwilsonkisser

Saw the minions and monsters movie twice and He was really cool i think i love him watever

grayfoj

So who’s seen minions and monsters… James and Henry are in minion love and it’s beautiful 💛

veggieboxes

flip o rama

chris-krizzler

WAKA HAPPY BIRTHDAY HE'S MY MAITRAIL!!! I LOVE HIM!!! @wakaaniki1 HAPPY BIRTHDAY!!!! 🧡🔶

piwomm

Opera from Mairishimashita! Iruma-kun

Is there even a fandom of this manga?

grimmkattepus

192nausikaa

an excerpt of mozart's last known letter vs the ending scene of amadeus (1984)

splitflute

Casting the Coveted 'Amadeus' Roles

(Stephen Farber, The New York Times)

Two of the most coveted film roles of the decade — the parts of Mozart and Salieri in the screen version of Peter Shaffer's play ''Amadeus'' — have gone to two actors who are barely familiar to most moviegoers.

In explaining his casting choices, Mr. Forman said first of all that he felt major stars in the roles would work against credibility. On the other hand, he said, ''nonprofessional actors wouldn't do. I considered musicians for the role of Mozart, but the demands of the role were too great and I needed an experienced actor.''

In working together in Prague, where most of the film was shot over a six-month period, the two actors began to feel a bit of the same jealousy that infected the relationship of Mozart and Salieri. ''Occasionally Murray and I would go out and drink this terrible sweet champagne that they have in Prague,'' Mr. Hulce said. ''But at other times there was a rivalry between us, and I found myself suspicious of him.'' Mr. Abraham felt the suspicion even more strongly during the rehearsal period. Mr. Hulce had a very close rapport with Meg Tilly, the actress originally cast as Mozart's wife, Constanze. (She broke her ankle during rehearsals and had to be replaced at the last minute by Elizabeth Berridge.) ''Tom and Meg were very close,'' Mr. Abraham recalled. ''They had these secret jokes and were always laughing together. I was pushed out, and I was resentful. I began to have very nasty feelings that were exactly like Salieri's feelings toward Mozart. When that correspondence between a film and real life occurs, it's a director's dream.''

When they were hired for the movie, the first task for both Mr. Hulce and Mr. Abraham was to steep themselves in the music of the period. Again Mr. Hulce had a headstart, for he had some background in music. He was able to read music, had played the violin as a child and had also sung in boys' choirs and with symphony orchestras in Michigan, where he grew up. But for his role as Mozart he had to learn to play the piano and spent four hours a day with a piano teacher for a full month before filming began. ''My fingers ached,'' Mr. Hulce recalled. ''After working at the piano all day, I wanted to go out and drink and listen to rock and roll. People wondered how Mozart could work all day and then go out and party all night. In a tiny way I felt I understood that from my experience.''

Although Salieri might be seen as the villain of the piece, Mr. Abraham came to admire him just as intensely as Mr. Hulce admired Mozart. ''Salieri is so human in his responses,'' Mr. Abraham contended. ''And he's not a coward. What do you do when you're a mediocre composer confronted with genius? Many people would simply quit. But Salieri didn't destroy his work or kill himself. He said no to fate. There are two lines which were unfortunately cut from the movie, where the priest hearing his confession says to him, 'May God forgive you,'' and Salieri replies, 'He may, but I shall never forgive Him.' I like that spirit. I think he was a courageous, crazy man.''

(September 20, 1984)

derp4life

sorry for the long leave!!! We are so back

boiledcaprisun

radiomaru

People often ask about my writing process. I was actually looking at the new edition of Scott Pilgrim 2 the other day like “how DID i write this?” and so I went into the archives and grabbed the outline and a few script pages…

(note: this book was originally created over Winter 2004-5 and released May 2005)

STEP ONE: NOTES (not shown) I scribbled all over notebooks and sketchbooks (and text files on the computer) figuring out scenes I wanted to show, themes I was thinking about, and the overall direction of the story

STEP TWO: OUTLINE I turned my mess of ideas into a rough, straightforward, chronological outline (shown here)

STEP THREE: SCRIPT I turned the rough outline into a basic script.

At this point i was using a bastardized format of my own invention (seen here); later I went on to use a more standard ‘screenplay’ format. My scripts have always been largely dialogue-based with just the barest descriptions of stuff, since I’m writing for myself to draw, and I know what I want stuff to look like – or I figure I’ll worry about it later. (often to my detriment!)

I also want to note that I do a lot of adverb-descriptions on each line of dialogue, ie “offended”, “dismissive”, “incredulous” – that’s really just to remind myself what kind of facial expressions and “acting” I was thinking of. You’re not supposed to do that in a screenplay (via it’s rude to actors, who need to make their own decisions from moment to moment), but I think it makes a lot of sense for comics.

These pages are part of “scene 6-4” on the outline (I always name my scenes like Super Mario levels), which you can see right away I have decided to alternate between Scott/Kim and Scott/Lisa scenes, which wasn’t indicated on the outline at all. This made Scott into more of an active character, pushing the story forward as I intercut between his interactions with the two different girls. This also helped develop the subplot of Scott’s emotional entanglement with both girls.

STEP FOUR: THUMBNAILS These were always really small, maybe two inches high. I can’t really explain this part of the process at all but I feel like this is where a lot of the magic happens. Somehow the text stuff goes in my brain and comes out in these weird scrappy little drawings that always closely resemble the final pages.

FINAL Here are the finished pages (from the new edition, colour by Nathan Fairbairn) where you can see how some of the dialogue from the original script got dropped or reworked. These pages seem to have had a bare minimum of revision, though, compared to some of my later stuff (volume 4 script pages were like 85% crossed out and rewritten).

OH, BY THE WAY, THE COLOR EDITION VOLUME 2 OF SCOTT PILGRIM WILL BE IN STORES NEXT WEDNESDAY, NOVEMBER 7th!