#alvadee's shit

[alvadee]

🤭🤭🤭

[alvadee]

noooo not the consequences of my actions!

[alvadee]

Count Manzeppi...but make it slutty

[alvadee]

i just want a good poto movie man. i have a vision.....

-it needs to have a vibe that reminds you of glitter 80s fantasy and Coppola'd Dracula, at least when we're in the Palais Garnier where Erik is in control of reality and illusion

-we're doing something with the faust symbolism

-i want to show Christine's grief, loneliness and depression before the Angel of Music appears. this story is not a story about perfection in music for music and art's sake it's about lonely and desperate people helping each other through a weird coping mechanism first

-let's explore the palais garnier as its own world, with a heaven and a hell below the trapdoors. how the normal rules of the world don't apply in the cellars where you can meet fire heads and shadows and hear distant singing. colorful background characters, this world needs to feel lived in.

-crass mood change through more naturalistic lighting and drop of soundtrack when Christine is suddenly in Erik's frumpy living room and she realizes "oh damn, that's just a guy :("

-there will be different people cast for the singing, we're doing this old Hollywood musical style baby!

-we cut to the managers doing their safety pin bit a few times for comic relief

-i don't want del Toro to direct but i want his address book with the contacts of all the great sfx makeup artists, set/costume designers and artists because baby besides the lack of nose we're doing shit practical

-one idea i have is, if i could pull it off, i would love do the shock and horror of the unmasking and the reactions of the characters to his face throughout the movie but delay the unmasking for the audience (by hiding his maskless face through angles and obstructions) and manage to not show Erik's face until he's at the Persian's home recounting what happened after the torture chamber but make the reveal completely unspectacular. only thing that changes about how everything is shot is that we can now see his maskless face too. i think it could illustrate the point that his actions were much more horrific than his face ever was and it would be less offensive to facially disfigured people. yes, the story hinges on Erik being "ugly" and ostracized but to make that point we don't need to make a big deal about his face. also you can't really make a living death's head horrific enough that the audience experiences the horror the character's in the book experience the way Leroux wrote it, so why even try to make his face such a spectacle?

it would also be a homage to Castaigne's wonderful illustration

-if i did that idk how the masquerade would work because i was always a fan of the take that Erik really didn't wear a mask as Red Death and i would hate to see that go

-Heightend Reality! yes realism is good but let's go fantastical when the story gets fantastical

[alvadee]

thinking about buying a cheap little car for the apprenticeship ....which would be my first own car. i don't get payed much but i make 300 bucks more than i did at my old part time job which means i would have the little bit extra each month to cover the running expenses i didn't have before. also public transportation here isn't reliable and even though it's mainly an office job i will have regularly shifts into the night. would be nice to have a way to get home safely. also if i have to live for three more years in that tiny room at home i would have at least freedom mobility wise.

[alvadee]

gerard butler is bi?????????

[alvadee]

i hate how when you apply for a job you immediately imagine what your life would be like if you get it. delulu for real 😭

[alvadee]

I found the three pages of comic based on Leroux I did for uni once! It's this part from "Apollo's Lyre":

" But the voice had told me that it would be at the performance and I was really afraid for it, just as if it had been an ordinary person who was capable of dying. I thought to myself, 'The chandelier may have come down upon the voice.' I was then on the stage and was nearly running into the house, to look for the voice among the killed and wounded, when I thought that, if the voice was safe, it would be sure to be in my dressing-room and I rushed to my room. The voice was not there. I locked my door and, with tears in my eyes, besought it, if it were still alive, to manifest itself to me. The voice did not reply, but suddenly I heard a long, beautiful wail which I knew well. It is the plaint of Lazarus when, at the sound of the Redeemer's voice, he begins to open his eyes and see the light of day. It was the music which you and I, Raoul, heard at Perros. And then the voice began to sing the leading phrase, 'Come! And believe in me! Whoso believes in me shall live! Walk! Whoso hath believed in me shall never die! ...'"

-If the voice isn't dead -If nothing happened to it -Then it will be in my dressing room -and be waiting for me

-The voice wasn't there