steve rogers to the young avengers, sternly: “you’re too young to be superheroes, you could get hurt”
bucky barnes, appearing out of nowhere: “SORRY CAN U BACK THAT UP I THOUGHT MISTER BACKALLEY HERO HERE WAS TALKING ABOUT RECKLESSNESS LIKE IT’S NOT HIS MIDDLE NAME”
no but could you imagine one of the quidditch team members saying “knock on wood” and they all just hit oliver before a big match
I’m almost a thousand percent sure the Weasley twins did that at some point
Nude Portraits series by photographer Trevor Christensen
This is my new favorite thing
School and Tumblr Photoset
a curse upon my genes for making me too short and girly to cosplay ronald knox
this is osric chau cosplaying princess bubblegum
this is osric cosplaying castiel
and this is osric cosplaying rapunzel
and he looks rad as hell in every single one of them
follow your dreams and cosplay anything you wish little human worm baby
bucky who can’t quite seem to get over the fact he can pick up mjolnir even though it’s been a good three months since the first time he accidentally plucked it from the ground in avenger’s tower. the hammer itself always seems to be in the most random of places and bucky will…
Joss Whedon’s Top 10 Writing Tips (Source)
1. FINISH IT
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.
Structure means knowing where you’re going ; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes ? The thrills ? The romance ? Who knows what, and when ? You need these things to happen at the right times, and that’s what you build your structure around : the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
3. HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys ?’
4. EVERYBODY HAS A REASON TO LIVE
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue : you get soundbites. Not everybody has to be funny ; not everybody has to be cute ; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
5. CUT WHAT YOU LOVE
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.
7. TRACK THE AUDIENCE MOOD
You have one goal : to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.
8. WRITE LIKE A MOVIE
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly ; if something isn’t that important, just get past it tersely. Let the read feel like the movie ; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet ?’
9. DON’T LISTEN
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system ; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction ; it’s a homogenizing process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up : they’d started talking about a different show.
10. DON’T SELL OUT
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie : if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skillful you are : that’s called whoring.”
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This is some excellent writing advice for all of the swoonworthy writers out there!
Especially relevant to this blog is number 4: EVERYBODY HAS A REASON TO LIVE.
Also, shoutout to Joss for saying exactly what I was thinking when I was watching The Island. Good lord, that movie devolved quickly.
Well, since the serum is an enhancement, it’s unlikely to be passed through genetics (the doctors probably tested this, somehow, haha). Steve’s kids are more likely to inherit his asthma and weak stature.
OH MY GOD THO
A SINISTER GOVT EXPERIMENT TO CREATE AN ARMY OF TINY CAPTAIN AMERICAS
STEVE FINDS OUT ABOUT IT AT SOME POINT
AND IT’S BASICALLY ELEVEN TOW-HEADED, ASTHMATIC, ALLERGIC, IMMUNO-COMPROMISED LITTLE BEANPOLES WITH BAD ATTITUDES
SOCKED AWAY SOMEWHERE
LIKE IN A WAREHOUSE OR WHATEVER
WITH A COUPLE OF OVERWHELMED INTERNS BABYSITTING THEM
BECAUSE THE RESEARCHERS HAD ALL THEIR FUNDING TAKEN AWAY WHEN CAPTAIN AMERICA’S SECRET UBERMENCH CLONES TURNED OUT TO BE A BUNCH OF WEAKLINGS
AND NOBODY KNOWS WHAT TO DO WITH THIS GAGGLE OF KIDS (WHO ARE SHRILL AND UNMANAGEABLE AND WHEEZE A LOT)
EXCEPT MAKE SURE THEY GET ADEQUATE MEDICAL CARE AND REGULAR MEALS
AND REGRET THEIR IN RETROSPECT VERY OBVIOUS ERRORS
AND HOPE STEVE DOESN’T FIND OUT
WHICH OF COURSE HE DOES
BACK AT THE TOWER
EVERYONE’S INHALERS KEEP GETTING MIXED UP
THERE ARE COLORED PENCILS EVERYWHERE
A FISTFIGHT ABOUT THE NATURE OF JUSTICE ENSUES BETWEEN THE 9 YEAR OLD ONE AND ONE OF THE 11 YEAR OLDS
It took me 12 years to go frame by frame and realize that weird lag I had always noticed was Tulio pausing to kiss Miguel before pushing him off the cliff in a desperate attempt to save their lives…
MY SHIP IS UNSINKABLE
“: Miguel & Tulio: The original script had them be lovers, calling each other ‘darling’ and such. Although the idea was shot down, they left in scenes where you can kind of tell what they were pushing for.”
You’re forgetting the scene in the beginning where they’re prisoners in the ship. Tulio is lifting Miguel so Miguel and look out, and Tulio briefly rubs his face against Miguel’s ass. Best. ever.
fucking get me started
on my gay analysis
of El fucking Dorado
^This part is subtle and often missed. At the end, when Tulio and Miguel are reunited, they run to hug each other and Altivo interrupts just as Tulio has his hand on his pal’s waist.
All gifs here made by me because SACRIFICES! I actually have hundreds more to make but who knows if I’ll ever finish—especially since my hard drive kaboomed and I lost my perfectly organized clips.
Edit: AHH IMAGES FIXED. SO SORRY ABOUT THAT. Some of you have been asking for further analysis. I direct you to a fic study I did on their relationship in the movie: The Magnificent.