Hello, yes, do you want to talk about how Max told everyone that Splendid was dead, that she went under the wheels when she really didn’t? Because I find it so interesting, how Furiosa asks him again, “Did you see it?” and he just looks at her and replies, “She went under the wheels.” He doesn’t say yes, he just states what he said earlier because it’s a lie, she didn’t go under the wheels, but he knows that they can’t go back for her because going back would mean that the other Wives would be returned to Immortan Joe, and Splendid wouldn’t want that.
And Furious understands that. She understands that they can’t go back. She knows that Max is lying, but she also knows that they can’t go back and it tears her apart.
As for Max, Splendid is just another face to haunt his hallucinations, asking him why he didn’t save her over and over again.
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A rare hatless photo for a rare shared moment. Being depressed sucks. I hate feeling isolated and low even when I don’t want to be. I’ve been dealing with depression for most of my life. Only in the past two years have I started working with a therapist to get the support I’ve needed for years. I’m learning to accept my depression more and more as being apart of me and who I am, even though I don’t always love this part of me. I’m sharing this as an act of love for myself and for anyone else who deals with depression. I’m learning more and more that I need to give myself permission to be more and more of myself even the parts I feel are unlovable.
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Jacques Joseph (James) Tissot, Portrait of the Marquise de Miramon, née, Thérèse Feuillant (details), 1866
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Two years ago, when I last visited the Getty, I posted about the pair of paintings by Claude-Joseph Vernet, A Storm on a Mediterranean Coast (1767), and A Calm at a Mediterranean Port (1770). I loved how they were posted near each other, so you could compare the two and see how Vernet created parallel elements in each picture, but I was bummed that they were mounted so high on the wall:
I wrote at the time:
I wish the two paintings had been displayed lower on the wall at the Getty, so I could have gotten closer to them. The Getty website makes it easy to zoom in and see more detail, which is great, but it doesn’t have the same emotional impact as standing in front of the original.
When I went back today I saw that the two pictures had been moved, and are now mounted at eye level. Yay! The Getty is a wish-granting factory!
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Edward Wadsworth, wood block print.
Arthur Lismer, Olympic with Returned Soldiers, Halifax, 1918, Canadian War Museum
Edward Wadsworth, Dazzle Ship at Dock, 1923.
Edward Wadsworth, Dazzle Ships in Drydock at Liverpool, 1919, Ottawa, National Gallery of Canada.
DAZZLE CAMOUFLAGE OF WWI
Modern art, wartime strategy and perceptual psychology converged during World War I, giving rise to dazzle camouflage. The only color visual records of dazzle camouflage from the period are paint-scheme drawings made by the Admiralty and modernist marine paintings. The picture by Group of 7 artist Arthur Lismer of HMS Olympic in dazzle is not a fauvist hallucination, but a true record of the ship’s appearance just after the Armistice. The modernist painter Edward Wadsworth (British, 1889-1949) supervised the application of dazzle camouflage at the Liverpool naval shipbuilding yards during World War I. He painted the image above and others, and also made wood block prints depicting ships in dazzle. After the war, he also painted abstract compositions based on dazzle patterns.
Yuppp we did a piece on this
SS War Penguin!
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replied to your photo
you’re at the getty! cool! say hi to turner for me!
anonsally replied to your photo
ooh, did you make it to the Getty like you said you might? I hope you’ll post a report! :)
It was awesome! I went with Linda and William, and we got there at 9:45 for the 10:00 opening, so we were basically in the first group through the doors at rope drop, if they had rope drop at museums.
We followed the herd up the stairs to the Turner exhibition, but the tide of humanity was too strong for my taste, so we bailed and went to find Manet’s “Spring”, which as you saw we succeeded at.
It was great being able to check out the Manet, and the Monets, and the Sargent that started me down the path of that particular obsession (go Thérèse, Countess Clary Aldringen!), with no one else around. I’ll make some posts later about some of the works I enjoyed most.
Later we visited a photography exhibition (Light, Paper, Process: Reinventing Photography), which William really liked. After lunch we went back to the Turner exhibition, which was crowded, it being its last day, but the crowds were moving more slowly now, and it worked better for me. There were so many beautiful paintings! It just went on, for room after room. I especially loved standing in front of Snow Storm – Steam-Boat off a Harbour’s Mouth. What a fabulous painting.
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Guess where I am. :-)
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Yulin Kuang (director), Charlene Wang (camera operator)
Yulin Kuang (director), Charlene Wang (cam op), Zack Wallnau (DP), Travis Shannon (1st AC), Jennifer Hwang (production designer)
Kimberly Hwang (producer)
Charlene Wang (camera operator), Zack Wallnau (DP)
Krista Jee Baxter (hair / makeup artist)
Kyla Plewes (editor)
Christiana Morgenroth (1st AD)
Caitlin Magarity (2nd AD)
Yulin Kuang (director), Whitney Milam (producer)
Jennifer Hwang (production designer), Nicolette Daskalakis (set dresser), Danielle Aziz (set decorator)
So this is a fun post for me.
We recently wrapped production on We’ve Met Before, a short film I directed that’s set in the Twilight Saga Universe and sponsored by Lionsgate and Women in Film. I’m going to make another photo post later with more behind-the-scenes, but this one is a bit specific – this one is a spotlight on all the incredible, hard-working women on our crew.
I’ve said this before – there have been a lot of times when I’ve felt self-conscious about calling myself a director. For a long while, I didn’t match the mental picture I had of a director – some grizzled, coffee-in-hand, headset-wearing cool guy who had inside jokes with all the bros in the camera department. Eventually I realized this was dumb, and the only way to become less self-conscious about the word was to keep directing, and earn the badge of calling myself a “director” through the work I was making.
To be honest, I’m not even sure where that mental picture came from. That image I had of the all-dudebro camera department? That’s so much less common on the indie film sets I’ve worked on than my imagination had led me to believe. I’ve worked on sets that are almost entirely male, but I’ve also worked on sets that are almost entirely female. My favorite sets are the ones which are far more balanced and the crew is made up almost entirely of my friends and I don’t have to waste time thinking about gender politics when I should be focusing on directing the actors and watching the shot.
While every new article on women in film boasts depressing new statistics, I feel there’s a need to also remind people that there are a lot of women working in film right now. Now more than ever. I think those articles are geared towards changing the minds of higher-level gatekeepers who may be less inclined to hire women, due to whatever unconscious biases they may hold. And that’s a good thing, it’s something that should be done, and Hollywood shouldn’t get a pass on the appalling numbers of women in this industry.
But as a young woman coming up in film inundated by these articles on a daily basis, am I meant to feel emboldened and forge on to spite those odds or would I feel disheartened and somewhat intimidated by them? I can only speak for myself, but it’s a mixture of both, depending upon my mood.
My point, I suppose, is that there should be a lot more visibility of the talented young women who are currently working in film and coming up through the ranks. Look at these photos. We aren’t ‘the future of film’, we’re the present day of film. Young girls who are considering a potential career in film should know that they aren’t arriving to a padlocked boys club where they’ll have to prove themselves constantly as ‘one of the guys’ to get taken seriously. That probably was a reality some years ago, but I’ve had the luxury of benefitting from the work of several decades of women who came before me. (Sidebar, this is a thought expressed much more eloquently and beautifully by Shonda Rhimes in her Glass Ceilings speech at The Hollywood Reporter, and I highly recommend watching it in full.)
So yeah. Take these photos as my pebble thrown at an outdated idea of the ‘all male film crew’. Shoutout to WIF/Lionsgate/Stephenie Meyer for giving us this incredible opportunity, and shoutout to all my ladies in film. We work hard, we love the work, and when we’re on set, we don’t have time to deal with the infinite odds they’re saying are stacked against us.
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Welcome to the West Coast, Mr. Turner!
Painting Set Free features over 60 oil paintings and watercolors made in Turner’s final years.
Now on view through May 24, 2015.
Somehow it’s already the last weekend of Painting Set Free! Galleries will be open till 9 PM this weekend for you to absorb all the Turner-ness.
Next stop for Turner? San Francisco at the deyoungmuseum where it’ll open June 20!
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Just some impressions from the making of Fury Road to remind you that they used as less CGI as possible. Thank you George ♥
George Miller the realest person you’re ever gonna meet.
are you fucking kidding me that was two straight hours of ACTUAL EXPLOSIONS
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Okay so. Buckle up, kids. It’s time for Furiosa feels.
Here’s the thing.
I am what’s called a fetal amputee. Fancy way for saying I was born with a missing limb. I’ve written about this on here before, but it’s been a long time and I’ve gained a lot of new followers recently (hai guyz) so it might be news to some of you.
This is me.
This is Charlize Theron as Furiosa.
I finally wound up going to see this movie Monday night after work, by myself, cause I was too thirsty for it and couldn’t wait for my friends to be available. Everyone was out of town this weekend for various reasons, so I figured I’d just wait for someone to go with, but then Facebook started talking about how amazing it was and I just couldn’t put it off any longer. So that’s how I ended up in a theater last night, completely by myself – not another soul in the room, sobbing my eyes out.
Because you guys. I am turning 30 years old next week. I’ve been a fan of action film my entire life. And I have NEVER seen a physically disabled, kickass, female lead character in a Hollywood movie EVER – not once, until yesterday.
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