amuly: (charles/erik mod)
[personal profile] amuly
Couple of things:

1.] Over at [ profile] oldfriends , your fabulous local Erik/Charles X-Men community (co-modded by yours truly) we are having a banner-making contest!! So if you are one of those fantastic graphic-design people (unlike myself) and you love you some Erik and Charles (much like myself) you should come on over and make a banner! The winning banner will be proudly displayed at the top of the [ profile] oldfriends comm, and obviously you'll have credit given on our profile page. Full rules and regulations can be found here. Entries due by July 1st, so get to it!

2.] [ profile] jack_ianto_las: HOW AM I STILL IN THIS? O____o :DDDD WOW. WOW. Completely and utterly thought I was gone this week. Compared to the other fics, I felt like mine stuck out like a sore thumb because of how fucking SHIT it was compared to the ridiculous writing prowess of my fellow competitors. Everyone just freaking stepped up their game this round to an entirely different level, leaving me staring up at them like a short little baby sister thinking "How the hell did they get all the way up there?"

But somehow I'm still in it! I'm going to really, really, REALLY give it my A game this round. I'm determined to make it into the top 10 now, and I know that if the next fic I submit isn't the best thing I've ever written, I'm out. Because frankly, the ladies left in it can write circles around me on a bad day. UNGK. I'm so screwed. But I'm going to try so freaking hard this time. The prompt is kind of meh, and I can see what the obvious 2-3 choices are to write about. I don't know if I should just go with that, or try to be super different, or if that'll screw me over, too...

Who knows. Anyway.

Last thing:

3.] Wow. Super 8 was such a fucking phenomenal movie. Like, a real cinematic, movie maker's movie. It basically felt like Abrams' extended love-letter to Spielberg, done just as well and beautifully and brilliantly as Spielberg's old stuff, like ET and Close Encounters. Just gorgeous. Abrams basically did everything right that you can do right with in a movie. I am really, genuinely happy coming out of the movie theater, because I just saw such a good movie.

a.] The cinemotography was cinematography, not just cameras following action sequences or switching between dialogue. He showed you exactly what he wanted to show you in absolutely every single shot. It was genius, gorgeous, brilliant, amazginess. UNF. Every shot in a movie was a shot: set up perfectly and executed flawlessly. There was one sequence where they're climbing out the back of the bus, and the camera kind of slow pans from them, to the front of the bus, where other action is going on. It's just great. It felt kind of like Jurassic Park, in it's perfect heightening of tension. And another sequence, where the kid is in the back of his dad's cop car, and his dad and a military man are talking outside on a hill. The two men are framed perfectly within the confines of the window that the kid is looking out of. Gorgeous.

b.] The characters were - oh my gosh, wait for it - characters. They weren't just plot-devices or audience inserts (I'm looking at you, Michael Bay). They were loveable, adorable, realistic people, going through the world of the movie and reacting in-character to every change in action. They were kids you were endeared to, kids you wanted nothing bad to happen to them, which - go figure - upped the tension better than any amount of CGI or explosions could (for those of you who have seen the movie: little pyromaniac = little Amuly! Ah!! How much I loved him! How much I was totally him as a little kid!!!).

c.] The film was made for Abrams, not us. I loved this about the movie. It wasn't about sucking the audiences' dicks. He showed us the monster when he wanted to show us the monster, he set the pace of the action how he wanted to pace it. Sure, it was still paced pretty typically with the 20-minute action beat rule (yes, I'm a film nut, yes, I think about these things during movies), but it still had a much more drawn-out feel than most movies these days. And what's more, it didn't feel tedious or uneven. It was perfectly paced because Abrams just took his time and did exactly what he wanted to with it, and it just really, really made the movie a great experience.

d.] The movie was from the perspective of the kids. This was so subtly done but so perfect. The reason the monster reveal was at the end wasn't so much to be like, boo, Cloverfield, monster! It was because the kids didn't care about the monster until the end. The adult world was the adult world. It didn't matter until it infringed upon the kids - ie, one of the kids gets taken by the monster. Then, and only then, does the focus of the movie turn to the monster itself. Before that, all that military stuff and monster stuff is happening in the adult world, is happening in the background of the movie, not the foreground. One instance that really underscored this was a scene where the military is raiding a scientist's house, and the kids are using the military in the background to make a shot of the movie they're making mroe realistic. The adult world is just props, scenery, background, until all of it comes crashing to life when one of their own gets taken. Then all this stuff matters, then the focus of the film shifts. Abrams did this so freaking well, I was stunned. Wow. Wow.

So thank you, Abrams. You have officially proved yourself to be a director to me, rather than just a nerd who likes cool junk. I sanction you, good sir, to make more films. Please.

So, a now revised Favorite Directors List:

1.] Stanley Kubrick
2.] Darren Arronofsky
3.] Quentin Tarantino
4.] Steven Spielberg
5.] Christopher Nolan
6.] J.J. Abrams
7.] Kevin Smith

^ Do you see that, Abrams? You've moved ahead of Kevin Smith! And depending on how terrible or wonderful DKR is, you could pull ahead of Nolan! So get working on Star Trek whatever-the-fuck-number, and we'll see.


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July 2011


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