nancyelizabethbrown:

typette:

bellecs:

Asked by ANON: Favorite 80s Fantasy Films

The 80s was truly the best decade for cheesy 80s fantasy films. If you haven’t seen all of these, you’re missing out. In order of pictures:

  • Legend (1985) 
  • The Last Unicorn (1982)
  • Ladyhawke (1985)
  • Labyrinth (1986)
  • The Secret of Nimh (1982) 
  • The Neverending Story (1984)
  • Red Sonja (1985)
  • Masters of the Universe (1987)
  • Return to Oz (1985)
  • Highlander (1986)
  • Conan the Barbarian (1982)
  • Krull (1983)
  • Excalibur (1981)
  • Clash of the Titans (1981)
  • Dark Crystal (1982)
  • The Princess Bride (1987)
  • Willow (1988)
  • The Beastmaster (1982)

80S FANTASY

WHERE GORGEOUS SOUNDTRACKS AND AMAZING CONCEPT DESIGN LIVE AND DIE

Right in the childhood.

maxkirin:

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.

2. STRUCTURE

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.

6. LISTEN

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.”

Want more writerly content? Follow maxkirin.tumblr.com!

winterartwork:

gothiccharmschool:

winneganfake:

konstance:

protowilson:

[x]

PERF

MY GOD, I NEED THESE. 

These are perfect and I need them. 

WAAAAANNNNT!!!!!!

brianmichaelbendis:

Grace Park And Katee Sackhoff In Star Wars by Reid Kikuo Johnson

(Source: browsethestacks)

ofgeography:

robin williams died today.
here is a list of things that robin williams was:
funny
sharp
kind
clever
and sad.
that’s important, the “and sad,” because sometimes sadness can feel like the only thing we are. it can feel all-encompassing. it can feel like the only thing anyone could possibly see, when they look at you: sad. that person is so, so, sad.
but there is always an “and.” we are never just sad. we are never only. we are always and.
we have all known people who were sad, who are sad; some of us are ourselves sad. being sad does not remove the other parts of us, though it can make them harder for us to see. when you are sad, you don’t necessarily feel like you are also funny, and sharp, and clever, and kind.
but you still are. you don’t have to feel like something to be it.
those things are written on your bones, they are woven into the fabric of your skin. sadness can feel so big, so big and overwhelming and complete, even when it is not a directed sadness. maybe especially when it is not a directed sadness, when it’s a depression that has no direct cause and nothing we can name.
sometimes the sadness is too big. people try to cut it out, or starve it out, or drink it down, or drug it silent. if this is you: i’m sorry. if this is you: you are not alone. if this is you: remember that the solution is never to give up, because you do not live in a vacuum. there are people waiting for you. there are films and songs and books and not-sadness waiting for you. i know that you don’t feel like waiting, but wait anyway.
if you need help, ask for it. here’s a link to crisis centers across the globe. if you live in the U.S., this is the national suicide prevention hotline: 1-800-273-8255.
robin williams died today, but the genie didn’t, and mrs. doubtfire didn’t, and peter pan didn’t. sean maquire didn’t, and professor philip brainard didn’t, and alan parrish didn’t. batty koda didn’t. john keating didn’t. you didn’t. 
don’t.

ofgeography:

robin williams died today.

here is a list of things that robin williams was:

  • funny
  • sharp
  • kind
  • clever
  • and sad.

that’s important, the “and sad,” because sometimes sadness can feel like the only thing we are. it can feel all-encompassing. it can feel like the only thing anyone could possibly see, when they look at you: sad. that person is so, so, sad.

but there is always an “and.” we are never just sad. we are never only. we are always and.

we have all known people who were sad, who are sad; some of us are ourselves sad. being sad does not remove the other parts of us, though it can make them harder for us to see. when you are sad, you don’t necessarily feel like you are also funny, and sharp, and clever, and kind.

but you still are. you don’t have to feel like something to be it.

those things are written on your bones, they are woven into the fabric of your skin. sadness can feel so big, so big and overwhelming and complete, even when it is not a directed sadness. maybe especially when it is not a directed sadness, when it’s a depression that has no direct cause and nothing we can name.

sometimes the sadness is too big. people try to cut it out, or starve it out, or drink it down, or drug it silent. if this is you: i’m sorry. if this is you: you are not alone. if this is you: remember that the solution is never to give up, because you do not live in a vacuum. there are people waiting for you. there are films and songs and books and not-sadness waiting for you. i know that you don’t feel like waiting, but wait anyway.

if you need help, ask for it. here’s a link to crisis centers across the globe. if you live in the U.S., this is the national suicide prevention hotline: 1-800-273-8255.

robin williams died today, but the genie didn’t, and mrs. doubtfire didn’t, and peter pan didn’t. sean maquire didn’t, and professor philip brainard didn’t, and alan parrish didn’t. batty koda didn’t. john keating didn’t. you didn’t. 

don’t.

detective-comics:

Justice League: Western Re-Design | Denis Medri

archiemcphee:

We can’t get enough of these inconceivably awesome LEGO dioramas depicting scenes from The Princess Bride.

"You keep using that word. I do not think it means what you think it means."

They were created for a fantastic collaborative project by nine different LEGO builders and displayed at Brickworld Chicago. When viewed in the proper order they tell most of the story simply using tiny plastic bricks. Feel free to quote the movie out loud as you look at them (we did). Here we see “The Fire Swamp” by Max Pointer, “The Battle of Wits” by Daniel Church, “Inigo vs. Westley” also by Daniel Church, “Miracle Max” by Paul Vermeesch, “Mawwiage” also by Paul Vermeesch, “The Shrieking Eels” by Ben Merrill, “Westley and Buttercup” by Casey McCoy, and “Inigo versus Count Rugen” by Matthew Oh.

Hello, my name is Inigo Montoya. You killed my father. Prepare to die.”

Click here to view them all.

Then check out this interview with all nine builders conducted at Brickworld Chicago by Joshua Hanlon from BrickPodcast.com.

[via Screenburn]

mikemaihack:

Drew the new Batgirl. I heart this character so much.

brianmichaelbendis:

Doctor Who meets Indiana Jones, by Pink Havok.

(Source: doctorwho247)

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