#april wright

[barbaratempest]

~respondendo aqui caso não dê espaço no curiouscat~

hunter é uma pessoinha ainda muito confusa para lidar com sentimentos

acho que pra ele é mais natural externar coisas ruins -- raiva, rancor. sentir coisas boas é algo diferente, quase novo. não vou falar que ele foi criado em meio ao ódio, mas sim que hunter é novo no amor/paixão/april/afins. deu pra perceber que ele é meio intenso, né? é muito pra digerir.

resumindo: hunter é ruim em lidar com emoções.

ciúmes é uma novidade. ele definitivamente não sabe controlar, já que o ciúme se junta com a insegurança. no início, ele poderia achar até que era apenas ódio (não pela april, mas sim parte daquela competição masculina tosca que ele criou, por exemplo, com o josh). naquele capítulo do banheiro, hunter fica possesso e precisa que a april diga em voz alta que o quer. de alguma forma, hunter quer que april afirme que ele é melhor do que o josh (o rival rico e com futuro promissor que já deu uns amassos na april na frente dele). isso aí é hunter sendo possessivo, mas vê se ele admitiria na época? óbvio que não. hunter provavelmente disse alguma coisa machista pra ele mesmo sobre precisar transar com a april.

mas aos poucos april e hunter vão ficando mais envolvidos... no capítulo em que o hunter brigou com o finch, ele já está mais esclarecido (veremos mais sobre isso adiante!)

agora sobre o que ele sente e/ou está começando a sentir pela april...

tem um capítulo em que hunter diz que essa urgência pelo sexo provavelmente passaria logo, mas que ele estava curtindo o barato que essa adrenalina causava lkkkkkk

enfim, é óbvio que as coisas vão ficando mais complexas com o tempo. ele escreveu uma MÚSICA pensando nela (e mentiu dizendo que foi o FINCH porque não queria admitir fjsjfhshs). ele aos poucos vai interpretando essa confusão em que ele se meteu, percebendo o quão fundo isso vai. hunter não sabe se é pra valer o que ele tá sentindo, se vai passar, se é só possessividade, se é uma quedinha, se ele deveria procurar ajuda kkkkkk é como se ele achasse que estava nadando em uma piscina de criança, de boas, e de repente ele esticasse o pé pra tocar o fundo e “opa... que isso? cadê o fundo?”

e, por fim, sobre “coisas boas”... sei lá, imagina o peito dele sendo invadido por coisas boas quando ele vê a april ou quando toca ela? ou, sei lá, quando acorda com ela deitada no peito dele? o que diabos ele faz com isso? com isso que acontece com ele quando fica perto da APRIL? a garota que até pouco tempo o odiava? por que ele quer tanto ficar perto dela? “quer saber? dane-se só sei que preciso disso”

mas tbm, sobre o que eu falei sobre o hunter “não acreditar em palavras”... lembra daquela cena em que april e hunter brigam e...

ele estava a um passo de pedir desculpas, mas as palavras não saíram. principalmente depois de toda merda que aconteceu (seria idiota simplesmente pedir desculpas). estava feito.

outro exemplo:::

sei lá, hunter não consegue imaginar o que falar nessas horas. ele tinha acabado de bater no amigo dele por algo que o cara nem fez. o amigo dele, que o aconselhou bem.

acima de tudo, hunter “se conhece”. ele sabe que pode perder o controle as vezes. por que pedir desculpas se ele sabe que é capaz de fazer algo assim? pro hunter é a “natureza” dele fazer merda. ele nao sabe que tem o poder de mudar. porém, hunter sabe que pedir desculpas sem ter a intenção de mudar (ou sem >>conseguir<< mudar) é algo vazio.

enfim eh isto <333 obrigada pela pergunta, gostei mto aaaa

[otakunoculture]

How to Love Going Back to the Drive-in. It's All About The Family.

The latest #documentary by April Wright (@driveindoc) is now available to stream, and we got to talk to her about why drive-in theatre is beloved to this day! #interview #pictures and where to watch at:

Now streaming on Amazon Prime and other platforms Some people may think of the drive-in theatre as antiquated, but it is not. They still exist far and wide, and as for why they are worth going to is because it helps foster local communities. And for one passionate filmmaker, April Wright, her lifelong examination of this culture is part of a series called Going Attractions. Her latest work, Going…

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[tspoe-pods]

Back to the Drive-In (2022)

Back to the Drive-In (2022) - A new documentary from April Wright (@driveindoc) takes look behind the screens of drive-in theaters across the US. Back to the Drive-In hits streaming platforms March 14th. #PodNation #DriveInMovies #Documentary #AprilWright

A new documentary from April Wright takes look behind the screens of the struggling drive-in theaters across the country. Back to the Drive-In hits streaming platforms March 14th. https://www.goingattractions.com/backtothedrivein Please click, follow, rate and review! https://linktr.ee/TSPandOE_Podcasts

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[greensparty]

Talking with April Wright

When the pandemic began in March 2020 and everything was on lockdown, that meant movie theater closures across the board. But for film geeks who still wanted to go to the movies but remain socially distanced, that meant drive-in movie theaters were the saving grace of the entire film industry for a little while. In May 2020 I shared my memories of the drive-in too! But then in 2021 when movie theaters re-opened and movie studios began releasing new movies again, the drive-in was still doing well, but not as well as we were lead to believe. In April Wright’s new documentary Back to the Drive-In (which was just released theatrically after a successful drive-in release in June), she profiles 11 drive-in movie theaters in 8 U.S. states. It is a look at the passionate owners and employees, many of whom are struggling to keep their drive-in afloat. 

Ms. Wright is no stranger to documentaries about the drive-in. Her 2013 doc Going Attractions: The Definitive Story of the American Drive-In Movie is a very comprehensive historical examination of the drive-in movie theater. She’s done a number of other docs about film history including Going Attractions: The Definitive Story of the Movie Palace and Stuntwomen: The Untold Hollywood Story. 

director April Wright in front of a drive-in

I recently caught up with Ms. Wright via zoom and had quite a great chat about filmmaking, drive-in’s, and more!

Me: I really enjoyed your doc Going Attractions: The Definitive Story of the American Drive-in Movie. Now you’re back with your new one Back to the Drive-In about select drive-ins during the pandemic. How did you become such an expert on drive-ins?

AW: [laughs] Well I went to drive-ins when I was growing up. My parents took us and even in high school I went. We had three in the area I grew up, which was north of Chicago near the Wisconsin border. One of those survived until about five years ago, it got torn down and there were rumors of a Wal-mart wanting to buy the property, but that never happened, so they torn it down and its a vacant lot. But that one survived for years, the other ones have been gone a long time.  But I noticed a lot of drive-ins in the 80s and in the early 90s were closed and just sitting there vacant. This is when I lived in Chicago, and then when I moved to Los Angeles there were a few here. I would just drive by and say “why isn’t this open? We like cars, we like movies, so why are these sitting here empty?” People kept saying real estate and I knew that wasn’t the whole story. So I wanted to know the real reason what happened to the drive-ins. How did we go to almost 5000 to I think there was about 500 when I first had the idea. So I went on the road and traveled to every state except Alaska (the only state I haven’t been to). But I ended up accidentally becoming an expert on drive-ins because I ended up visiting over 500 drive-ins to make the first movie. And since the movie, I have visited a ton more, I stopped logging them after the movie. I went to see all of them: opened ones, closed ones, abandoned ones, the remnants of, the former site to see what is there today. I talked to a ton of drive-in owners who had been in it for generations with their family. So I put this story together in the first documentary.

For this one, I knew they were all family owned and its a struggle to keep them going even in a good year. It takes a lot of work and a lot of effort, but the families are determined to keep them alive for future generations. So I had done the history and now I wanted to do the human side. A lot of people say each drive-in is unique because it reflects the owner and the family, I think in this film you can see that’s true. They are all unique and yet they are all facing a lot of the same issues.

Me: In the Spring of 2020 when the pandemic caused all movie theater closures, the most fascinating thing about that narrative was that drive-ins were once thought to be a relic of a bygone era and now they were the only thing keeping the film industry going for a little while there.

AW: Yeah, nobody saw that coming. I think it was great for drive-ins to get that exposure. I’d often talk to the drive-in owners at their annual conference that was in February of 2020 right before everything shut down, they often talked about that “how can we let people know drive-ins are still out there?”  A Lot of people think they’re all gone. A lot of people go to drive-ins and tell the owner “Wow, I can’t believe there’s still a drive-in I thought these things were all gone!” So we wanted to raise the awareness and let people know drive-ins were still out there, but with Covid that happened. But that also became an extra layer in the film because then there was a perception that “oh, drive-ins are good, they’re safe they’re back, they’re doing good business”, but not as much as you would think. There’s still a ton of struggles. I wanted to show behind the curtain. I wanted to show what it really takes to keep one going.

movie poster

Me: In this documentary, you have 11 different drive-ins in all different areas of the U.S. How did you determine which drive-ins would be subjects?

AW: That’s a great question. I did reach out to see which drive-ins might be interested in being filmed for this. Because it’s not easy to have someone be in your face with a camera all the time. But when you think about a documentary, you are still doing a form of casting. You’re still putting in different people in different roles, so for this one I really wanted to show different types of people, different types of drive-ins and I wanted it to be kind of diverse perspectives. And like I said earlier, even though they are all different, they are all struggling with the same issues. But I picked drive-ins with single screens, and other drive-ins had up to seven screens. Some had been around since the 50s. The one in Nebraska had only been open three weeks when I got there. It was brand new and built from scratch. And there were drive-ins that had been brought back to life by their current owners. And drive-ins that had younger people running them, and then drive-ins that had older people running them. People who had been in the business 37 years, people who were looking to retire. So I just wanted to get a good cross-section of all the different types of drive-ins and types of owners. They are all unique, so you can’t really categorize, but I did want to show all the different things that are going on out there. 

Me: I don’t even know if you went into this documentary with this in mind, but I felt that on a certain level, this doc served as a microcosm of America in the 2020s. You really showed how in some areas, patrons were compliant and wearing masks, then in other areas patrons were complaining about masks and hostile towards staff. Was that something that was intentional or did it just find its way into the documentary as you were talking with people?

AW: That’s an interesting point. I think some had more difficult customers than others. And I illustrated that with certain drive-ins. But everyone was having trouble with customer compliance. I think it was also dependent on the state you were in, because different states had different rules. The one that specifically had a lot of issues was the Coyote Drive-In in Ft. Worth, TX. They are also near a major city which is another difference. Some drive-ins I showed were very rural. At the Coyote in Ft. Worth, you can literally see the tall buildings a few blocks away. That’s one of the few drive-ins out there that really is right in the middle of a big city epicenter. 

So yeah, those stories were kind of interesting because it’s a place for families, a place for kids, its the one place you can go and get out of the house. And yet people were so cooped up [laughs], that I think you just had a lot of people acting very entitled. That’s what you see on the airlines. People feeling like they are the only person in the world. In your house, you are, but when you go to a public place, especially a drive-in movie theater - a place for kids, a place for families - try to reel it in a little bit. You know? These families running these drive-ins don’t need you arguing with them or doing crazy things. There were some crazy things they talk about in the film that happened. A few places say they had less issues with that, but everyone said they had some issues with that. It wasn’t like places were exempt from it. But you are right, I think the whole movie is a microcosm of the bigger picture of it in the sense that it is drive-ins but it’s all small businesses that are trying to get through this and sustain and get to the other side and grow their business back up if they made it to the other side. 

Me: Many of the drive-ins you profiled are family-owned and operated. You really got the sense that these owners were connected to the community. I’ve always felt that film can be a good means of bringing a community together. I think drive-ins are a perfect example of that in a way.

AW: That’s such a good observation. Almost all of them are family owned. There are a few of them owned by the same company, they are still owned by a family. There are one or two that are a corporation, but even those corporations started as family-owned and grew. So they really are family businesses. And being a part of the community is primary to drive-ins and it always has been, because they really are a local thing. Some people who are really into drive-ins will drive to see different drive-ins, but like I said, where I grew up we had three nearby. But now, there’s usually not a lot near each other and they really are a part of the community. Especially for family entertainment. That’s part of what they were built to be. The first drive-in opened in 1933, but the real growth and flourish happened after World War II. With the baby boom and all of that and family entertainment, that was really the thing that made drive-ins so popular. We had the baby boom, this car culture and people wanted to be mobile and go out for entertainment. TV was not as big of a thing in the houses yet. It’s kind of similar now in that, drive-ins are community gathering places, family gathering places. I’ve said this before but I really feel like some of the things that we are dealing with now as a nation and as a culture, we used to have more community gathering places. It’s not just drive-ins, it is theaters, it is roller rinks, it is bowling allies. There used to be these places that were either outdoor spaces or bigger spaces and so many of them have been torn down for shopping and things like that. We’ve been very economically driven, but sometimes tearing places down like this does hurt the fabric of the community. So drive-ins that are trying to keep going and have a safe place where people can gather and interact and feel connected to the community. I think the more places we have like this, the better off we are. 

The marquee of the Wellfleet Drive-In Theatre

Me: I agree! Now, amongst the drive-ins you showcased is the Wellfleet Drive-in in Wellfleet, MA. The first drive-in I ever went to was the Wellfleet Drive-in in 1986 when my family was on vacation in Cape Cod. It was a double feature of The Great Mouse Detective and The Journey of Natty Gann. We liked it so much, we went back later in the week to see Back to School. 

AW: And were you just like “this is the greatest place ever”?

Me: Yes! I just thought it was so cool to see a movie outdoors in your car. It was not what my movie-going experience had been up to that point. But I was very interested that the Wellfleet Drive-in was featured in this doc. It was fascinating because the owner you showed was concerned about the weather. That’s not something I think about when I am at a drive-in, but its something the owner was very concerned about.

AW: Each drive-in kinda ended up with their own mini plot line of what they’re about. Like Jennifer at the Brazos in Texas has owned it for 37 years, she’s looking to sell it. So her whole story is very nostalgic. All the good memories of how she had to switch over from a regular projector to digital and taking care of the place. She’s very reminiscent because she’s getting to the end of wanting to sell hers. Other ones like the Wellfleet, the plot is very clear for theres. “What’s going to happen tonight because this heavy fog is rolling in?” [laughs] So he’s more of the nail biter in the film because you really don’t know what’s going to happen. You can tell the tension in him the whole time. Even though he’s showing me other things, he’s constantly keeping an eye on the weather. Even the Harvest Moon Drive-in was watching the weather map. You can see a movie in any weather. People have told me stories about seeing movies in snowstorms. You can see a movie in the snow...sometimes, depending how late their season is going. And in the rain, you can watch a movie in the rain and have your wipers go every few seconds. But some movies, like a scary movie, it can add to the experience. It can make it better and creepier. But the fog is a problem because the sky stays so white that it’s like it’s light out and it can obstruct the projection. He has given stories of how sometimes he had to refund all the tickets. So fog is not good at a drive-in. 

Me: With regular movie theaters hurting and concerns about the impact of streaming, what is the future of drive-ins in your analysis?

AW: Streaming has been a thing for a while. During the pandemic, studios had a chance to test a few things that had been talked about like “what if we only put a film out on a streamer and don’t do a theatrical release?” and during the pandemic that happened. Some films they decided to just skip the theatrical release and just put it on a streamer. Some films they decided to put on a streamer and in the theaters at the same time. These are all things they wanted to try and the pandemic gave them an opportunity to do that. I think, ultimately, they realized it hurt their films and hurt their revenue. When we went to CinemaCon, which is the big convention where the studios talk to all the exhibitors, they seemed like they had a renewed interest in focusing on the theatrical. Those streaming numbers didn’t pan out the way that they had hoped and I think the theatrical piece is very valuable, in terms of getting people to be aware of the film and that there’s revenue to be made. Like with Sony’s Spider-Man: No Way Home, Sony doesn’t have a streamer. So they were the ones who decided to put it in theaters only and it was big. In the middle of Covid it was like “Whoa - maybe people will go to theaters!” Streamers are not going to go away. But the industry is realizing that the theatrical experience is important. What it will look like, I’m not sure. There’s always been different things to try to re-attract people back into theaters. When TV first became a thing that was when films were still in black and white, so that’s when color and technicolor happened, and surround sound. And all these different things that could make the theatrical experience different than what you could get at home, because most TVs at home were in black and white until the 70s. Cinemascope and widescreen format happened in 1953 to get that different experience than you could get at home. IMAX is a big thing and it’s expanding. Almost every major theater has an IMAX screen now. There used to be only like 10 IMAX screens in the world, now there are these mini-IMAX screens everywhere. There was a whole phase of 3-D around 5 or 6 years ago. The lounge seats, beer and wine in the theater. All of these things are just to try and attract people. I feel like there’s going to have to be other things they’re going to have to come up with. The laser projection is one of them. Some drive-ins that I visited already have laser projection, which is really weird that some drive-ins were actually ahead of the curve. But the advantage that drive-ins have is that it’s really a full experience. It’s a whole night out, a double feature, and it's more of a social experience than sitting in a chair in a theater. You can talk and interact with the people that came in your car. It’s a little bit more of a community group experience and because of that it creates great memories. Like you remember so well your first experience going to the Wellfleet. Almost everybody you talk to can remember those things: what they saw, what they ate, they can tell me the details because it does imprint a memory. I think that’s what drive-ins have always done. It’s a unique and fun experience. Once people go and have that experience, they usually start going back. That’s the way I’ve always been, I ask “should we see this new movie at a multiplex or at a drive-in?” and the drive-in of course if going to be a different experience. Some people like to see movies in both. I know someone who saw Top Gun: Maverick and already saw it at a multiplex and now wanted to see it at a drive-in, as a different experience. 

Back to the Drive-In screening at a drive-in

Me: In June, you actually got to screen Back at the Drive-In at some drive-ins. I had a short documentary I made that screened at the Mendon Twin Drive-In in 2016 and again in 2017 and it was definitely among the most special screenings I’ve done. What was it like for you to have this love letter you made about drive-ins playing at some drive-ins?

AW: My first documentary about drive-ins played at a lot of drive-ins. All over the U.S., and in Canada and I got to go to Australia. I got to go to a 50th anniversary of a drive-in in Queensland, Australia where it played in a double feature with Grease. It was really amazing. But for this doc, on June 6, we did a special screening as part of National Drive-In Day, which is the day that the first drive-in opened in 1933 in NJ. We wanted to do a special event to kick off the film. It played at 20 drive-ins in 14 states. I think we ended up being the #15 movie in the country that day. It was a good kick-off, even though a few locations did get a lot of rain, but some of them had huge crowds. I didn’t get to go to all of them because it was 20 screens in one night. The primary release is on August 12, at a lot of in-door theaters, art house theaters and some drive-ins. Eventually it will be on streaming, but not till later in the Fall. 

Me: Do you have a favorite drive-in in America?

AW: I cannot pick among my children. [laughs] I always give the same answer that any open drive-in is my favorite drive-in. There’s all these lists that come out and try to compare them or list the top 10 or whatever and we kind of laugh about it within the drive-in community because you can tell that whoever wrote those lists have probably never even been to those drive-ins. And a lot of the times it just kind of repeats the same ones. But if they are still open, still keeping it going - that is a good drive-in. What you see in the film is true: they are all passionate and it’s a little bit of American entrepreneurship to own your own business and to do something like this that serves your community. Any drive-in, no matter where they are, the owners all feel that way. 

For info on Back at the Drive-In: https://www.goingattractions.com/backtothedrivein

[ot9000]

スタントウーマン　ハリウッドの知られざるヒーローたち Stuntwomen: The Untold Hollywood Story

Directed by April Wright 2020 USA

[taekwondolifemagazine]

Kung Fu Stuntmen Reviewed

Kung Fu Stuntmen Reviewed @wellgousa @HiYAHTV @LeifHelland1

Kung Fu Stuntmen Reviewed April 17, 2022 (NYC)- Kung Fu Stuntmen: Never Say No!  is a 2022 documentary taking a look at the history, struggles, and lives of some of the most famous Hong Kong action actors in the entertainment business.   It is an enlightening, behind the scenes look at some of the most interesting and exciting action movies to come out of the Far East; all from the vantage point…

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Charlotte - A Boneca Malvada

Charlotte – A Boneca Malvada

Charlotte – A Boneca Malvada (Charlotte)

Origem: EUA/2017 Elenco: Ari Bavel, Jessi Burkette, Kimberly Atkinson, Mike Brabender, Sally Bremenkamp, Sarah Agor, Stephen Blackehart, Steve Brewster Direção: April Wright, Calvin Main, Colin Campbell, Corey Norman, J. Andrew Lee, John Edward Lee, Patrick Rea Roteiro: Michelle Davidson, Anthony Fanelli, J. Andrew Lee, Calvin Main, Corey Norman, Haley…

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[barbaratempest]

(006). Cole Wright também guarda alguns segredos pelos pais. Um deles é que Boddah, o coelho de estimação da April, nunca fugiu. Infelizmente, o bichinho morreu depois que Paige deixou ele solto na cozinha. Os três ficaram apreensivos em contar isso para a April e Paige sugeriu uma mentirinha, para não ter que contar que o coelho dela morreu. Arthur Wright foi contra, porque odeia mentiras e jogatinas. Ele se preparou para contar, mas não teve o coração de fazer isso com uma April de 8 anos e olhos castanhos enormes. Cole consolou April depois que o coelhinho “partiu”. R.I.P. Boddah.