A collection of stuff, things, nonsense, rants, raves, pretties, sillies, and gee-gaws from Rev. Hugo Nebula, Ordained Minister of the Church of the SubGenius. (And boobs. Sometimes there are boobs. Just like in real life.) Thank you for reading.




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Posts tagged "film"

Night of the Demon (1957)


Night of the Demon (1957)

Welcome, new follower piratinisottaceto!

Welcome, new follower piratinisottaceto!


A couple ghost stories.

The Innocents, Carnival of Souls

"From 22 June through 14 September, EYE presents a major exhibition focusing on director David Cronenberg, who acquired cult status with his idiosyncratic films about the relationship between body, mind, technology and mass media. The exhibition explores Cronenberg’s world through the main themes of his films: the physical and psychological transformation of his protagonists.

"Highlights of this exhibition include the weird and wonderful special effects items from Cronenberg’s films, together with bizarre props, set photos and original costumes…"

The basics are that for every one female-speaking character in family-rated films (G, PG and PG-13), there are roughly three male characters; that crowd and group scenes in these films — live-action and animated — contain only 17 percent female characters; and that the ratio of male-female characters has been exactly the same since 1946. Throw in the hypersexualization of many of the female characters that are there, even in G-rated movies, and their lack of occupations and aspirations and you get the picture.

It wasn’t the lack of female lead characters that first struck me about family films. We all know that’s been the case for ages, and we love when movies like The Hunger Games: Catching Fire and Frozen hit it big. It was the dearth of female characters in the worlds of the stories — the fact that the fictitious villages and jungles and kingdoms and interplanetary civilizations were nearly bereft of female population — that hit me over the head. This being the case, we are in effect enculturating kids from the very beginning to see women and girls as not taking up half of the space. Couldn’t it be that the percentage of women in leadership positions in many areas of society — Congress, law partners, Fortune 500 board members, military officers, tenured professors and many more — stall out at around 17 percent because that’s the ratio we’ve come to see as the norm?

OK, now for the fun part: It’s easy, fast and fun to add female characters, in two simple steps. And I want to be clear I’m not talking about creating more movies with a female lead. If you do, God bless and thank you. Please consider me for that role.

Step 1: Go through the projects you’re already working on and change a bunch of the characters’ first names to women’s names. With one stroke you’ve created some colorful unstereotypical female characters that might turn out to be even more interesting now that they’ve had a gender switch. What if the plumber or pilot or construction foreman is a woman? What if the taxi driver or the scheming politician is a woman? What if both police officers that arrive on the scene are women — and it’s not a big deal?

Step 2: When describing a crowd scene, write in the script, “A crowd gathers, which is half female.” That may seem weird, but I promise you, somehow or other on the set that day the crowd will turn out to be 17 percent female otherwise. Maybe first ADs think women don’t gather, I don’t know.

And there you have it. You have just quickly and easily boosted the female presence in your project without changing a line of dialogue.

Yes, we can and will work to tell more women’s stories, listen to more women’s voices and write richer female characters and to fix the 5-to-1 ratio of men/women behind the camera. But consider this: In all of the sectors of society that still have a huge gender disparity, how long will it take to correct that? You can’t snap your fingers and suddenly half of Congress is women. But there’s one category where the underrepresentation of women can be fixed tomorrow: onscreen. In the time it takes to make a movie or create a television show, we can change what the future looks like.

There are woefully few women CEOs in the world, but there can be lots of them in films. We haven’t had a woman president yet, but we have on TV. (Full disclosure: One of them was me.) How can we fix the problem of corporate boards being so unequal without quotas? Well, they can be half women instantly, onscreen. How do we encourage a lot more girls to pursue science, technology and engineering careers? By casting droves of women in STEM jobs today in movies and on TV. Hey, it would take me many years to become a real nuclear physicist, but I can play one tomorrow.

Here’s what I always say: If they can see it, they can be it.

Geena Davis on gender equality in film and television [x] (via wesleywalesandersons)

(via aleskot)

For example, in Stanley Kubrick’s Eyes Wide Shut, the main character walks down a street passing by a number of shops whose names were specifically chosen and window displays specifically arranged by the director to convey additional meaning to the scene and to the film. At 720p or at a bitrate under 8Mbps, those details become indistinct and illegible. It becomes impossible to know that Kubrick was trying to tell you anything with those storefronts, let alone discern what he was trying to say.


Avoid that house in the woods.

The Texas Chain Saw Massacre, The Blair Witch Project


Blank table of contents page for the 1982 CREEPSHOW graphic novel by Bernie Wrightson.


don’t wake up;  a mix of some of my favorite scores from horror films [listen]

i. sleep clinic - charles bernstein | ii. the rainstorm - bernard herrmann | iii. suspiria - goblin | iv. trouble in woodsboro/sidney’s lament - marco beltrami | v. lighthouse music - hans zimmer | vi. voices in the mist - marco beltrami | vii. main theme (ju-on: the grudge) - shiro sato | viii. in the house - in a heartbeat - john murphy | ix. wolf suite pt.1 - danny elfman | x. opposites attract - clint mansell


don’t wake up;  a mix of some of my favorite scores from horror films [listen]

i. sleep clinic - charles bernstein | ii. the rainstorm - bernard herrmann | iii. suspiria - goblin | iv. trouble in woodsboro/sidney’s lament - marco beltrami | v. lighthouse music - hans zimmer | vi. voices in the mist - marco beltrami | vii. main theme (ju-on: the grudge) - shiro sato | viii. in the house - in a heartbeat - john murphy | ix. wolf suite pt.1 - danny elfman | x. opposites attract - clint mansell

(via horrormoviefreak)

Original Scissor Hands worn by Johnny Depp in Tim Burton’s “Edward Scissorhands”

Welcome, new follower voltager!

(via voltager)



"After many debates, it was decided that Johansson would be filmed using miniature cameras, interacting with genuine, non-acting strangers wherever possible. Says [producer James] Wilson: ‘Jonathan always had a dream of driving around in a van with Scarlett, seeing if she could get a real person to get in. I’ll admit now that I never thought this would work. If you could drive around for a week, yes, but this was a low-budget, independent feature film, and we didn’t have the luxury of driving around for a week just to get one happy accident. But Jonathan stuck to his guns.’" - Film Nation Press Notes

"There were people in the film who were told they were in the film after we shot the footage, just members of the public. What I was very conscious of was making sure the texture was such that you wouldn’t be able to tell which was which, who was cast and who wasn’t. Sometimes with Scarlett, for instance, we’d pick up somebody who doesn’t know they’re being filmed, and they’d wonder why she’s driving this van around. ‘What’s a woman like you doing driving a white van around in Scotland with an English accent?’ and we would give her some key lines, like a spy with a cover story." - Jonathan Glazer, The Dissolve interview

"So I literally have half the crew in the back of this van that I’m driving down a street in Glasgow, and I have this earpiece in where Jonathan is saying "Pick up that guy, pick him up!" And I’m going no, I’m not going to pick him up, he’s clearly smoking crack on the corner! [Laughs] I mean, he’s directing me to every hardcore ruffian he sees. I have to decide in the moment whether I’m going to pull over and engage somebody or not while cameras are rolling. You asking yourself, is this person going to be a threat? Is this person going to engage you? Will we be able to get a usable scene out of this, or will they recognize me?" - Scarlett Johansson, Rolling Stone interview

"Always after you’d filmed something, there’d be this moment that production assistants would come out of doorways or from behind bins, with release forms. It was like an episode of Beadle’s About. And they’d go off around the corner and you’d sit there with your fingers crossed hoping that you’d get that permission, because what you just shot was great. Sometimes you got it and sometimes you didn’t.” - Jonathan Glazer, Esquire interview

"I probably used 15 percent of what I shot. There were people we shot that were fantastic interactions but I couldn’t use, because they didn’t give us permission to use the footage. That’s the game, you know. It’s a roll of the dice. I would still be shooting in that van, given the choice. I would be out there today, still filming Scotland, driving around. It was exhilarating. The footage was magnificent." - Jonathan Glazer, Random House interview

"A couple of people clued in [to Scarlett], absolutely. But she doesn’t really look that familiar. And also you’re in Glasgow and she’s driving a van. People just aren’t going to expect Scarlett Johansson to show up and ask for directions. A couple of people who were suspicious and there was one guy who said, “are you a movie star?” You know, in the nightclub scene was all hidden cameras as well. In the street when she falls down and people pick her up. No one ever knew they were being filmed or anything. It’s all about circumstance, I think." - Jonathan Glazer, Collider interview

“We were concerned about whether Scarlett would be recognised. If your cover’s blown then it all collapses. But we got away with it. The idea, really, is about surveillance: her being this kind of operative who is watching us undetected, and undetectable. It made perfect sense to film it that way – once we understood that then everything really served that objective.” - Jonathan Glazer, The Skinny interview

(via suicideblonde)