"We can’t have a female protagonist because girls don’t like comic book movies"
"Well now that a huge percentage of the audience of comic book movies are girls, clearly girls like comic book movies exactly the way they are and we don’t have to change anything"
Hey there, truth. It’s still some bullshit.
i’d love to see a movie about Storm, Black Canary, Wonder Woman, Captain Marvel, any of the women from the Batman U, Scarlet Witch, X-ladies, Maria Hill, Big Barda, She Hulk, Starfire, Black Widow, and any of the other numerous women in comics.
Because they have wildly different stories to tell, and there need to be more narratives showing women taking care of themselves.
And everything I said above about women goes for non-white heroes. Marvel Movie U Heimdal is a beast, give us more of that! Make white heroes black, or Asian, Indian. Give us a Latin@ Green Lantern! Shake up the boring white-male paradigm of media.
but the costuming is so historically inaccurate
The armour is from oddly mixed locations and periods..
Exactly what kind of Native American tribe is this suppose to be?
The subtitles on your foreign bad guys aren’t what they’re actually saying.
That didn’t happen for another two years…
THAT OBJECT IS NOT FLAMMABLE
BUT THE VOLCANO WOULDN’T HAVE ERUPTED THAT QUICKLY WTF
JUST BECAUSE A SNAKE IS MOVING DOESN’T MEAN THAT IT’S RATTLING THAT’S NOT EVEN A RATTLESNAKE GOD DAMN.
THOSE AREN’T THE RIGHT FANGS THAT’S NOT WHERE THE TONGUE GOES THEY DON’T MAKE THAT NOISE THAT IS A CAT HISS THAT’S MADE OUT OF LIKE 3 SPECIES THAT ISN’T HOW HEAT PITS WORK THEY CAN’T DO THAT WITH THEIR TONGUE HOW DO YOU GET SOMETHING THAT IS JUST A HEAD ON A BODY SO WRONG
tigers don’t yowl like cats goddamn that bird does not make that noise YOU CANNOT TALK TO EACH OTHER WHILE YOU’RE FREEFALLING AT TERMINAL VELOCITY SHOOTING AT A PARKED CAR DOES NOT MAKE IT EXPLODE THAT PIECE OF WOOD IS LIKE ONE CENTIMETRE THICK IT”S NOT GOING TO STOP A BULLET
WOMEN DIDN’T HAVE HIGHLIGHTS IN THE 1700S
THAT SPECIES DOESN’T LIVE THERE AND WOULD IN FACT DIE IN THAT ENVIRONMENT
THE JET PACK DOESN’T HAVE ENOUGH FUEL TO REACH THAT SPACE STATION
GHOSTS ARE NOT REAL AND YOU CANNOT “BUST” THEM
wait what are we doing here again
Another great interview with Roger Deakins and the Coen Brothers on their collaboration.
Roger Deakins in Cinematographer Style: “Lenses are really important to me,” says Deakins, after which we get an in-depth discussion on working with the Coen Brothers and how to shoot with the audience in mind. A great conversationalist, how can one not listen to this man speak about film?
Yesterday was a big day for semi-sequels to Marvel’s The Avengers, featuring the TV debut of Agents of SHIELD and the DVD release of Iron Man 3. When the latter was released in theaters, a lot was made of its Avengers references—the repeated invocations of what happened in New York, the line about when “the guy with the hammer fell from the sky,” etc. But watching the movie a second time, I was struck by how often it went out of its way to pay homage to another precursor: director Shane Black’s 2005 film, Kiss Kiss Bang Bang.
A quick recap: From the mid-’80s through the mid-’90s, Black was synonymous with Hollywood excess. His screenplays (Lethal Weapon, The Last Boy Scout, etc.) sold for small fortunes and took the cinematic art of blowing things up to its inevitable extremes. But after The Long Kiss Goodnight was a relative flop at the box office, Black essentially took a decade off before returning with Kiss Kiss Bang Bang, a cunning satire of the hard-boiled detective genre starring Robert Downey Jr. The movie didn’t make much money, but it was a cult hit. More important, it was a crucial step in the comeback of Downey, who’d only recently finished a stint in prison on drug charges. A few years later, Downey returned the favor, helping Black—who’d actually done some uncredited consulting on the first Iron Man—get the gig directing Iron Man 3.
Here are several of the nods that Black’s latest film makes back to Kiss Kiss Bang Bang.
Read more. [Image: Marvel; Silver Pictures]
Additional but super small references,
To a ficus - the monkey from the future who only says ficus, and the plant that the lady-doctor was working on the initial flash back.
Both movies revolve around a reaction to abandonment - Guy Pierce abandoned on the roof (IM3) and Harmony’s sister abandoned by harmony and abused by her father.
Having the past return to bite someone in the ass (directly related to previous thought)
If I watched these two movies back to back (and trust me, when I own Iron Man 3 I will) I could probably write an extensive essay discussing the two movies, comparing and contrasting them and considering how Shane writing has evolved from a smaller indie movie and how it was differently polished and edited for this movie.
A terrific 13-minute clip of raw B-roll behind-the-scenes footage of Ed Wood with Tim Burton, Johnny Depp and Martin Landau as Bela Lugosi in an Oscar-winning performance (thanks to LoSceicco1976 A.K.A. Orang Telor Theatre):
“Let’s Shoot This F#*%@r” (14 mins.) sees Johnny Depp in full drag in a meat locker introducing an atypical making-of piece posed with verve and a sense of humour. Burton, unless he’s putting on an act, is just as whacked-out as you’d probably expect him to be in B-roll footage of him dancing euphorically behind the camera in time with Depp’s meat-locker striptease. The most successful animator-turned-live-action director since Frank Tashlin, Burton’s demeanour on set is simultaneously boyish and possessed; the strength of this docu is in just letting us watch him guide his rogues’ gallery through its paces without annoying “cut-ups” or junket-style interviews. —Film Freak Central
Like Quentin Tarantino, Burton is a cinema true believer and avid fan turned artist, and by recasting Wood as a naïve auteur wannabe whose ineptitude produces inadvertent art, Burton proposes Wood as a patron saint of movie junkies, raptly mouthing his own films’ dialogue Rocky Horror-style, his own number one fan. Wood’s idolization of fellow pariah Orson Welles and the splendidly unforeseen audience with Welles that the film grants Wood combine to move beyond affectionate tribute to bestow him with unlikely, surreal grace, adding luster to the Wood myth. An alternate title might be It’s All True, since much of it is. —Tim Burton interviewed by Gavin Smith
"Women don’t like action, they skew towards romantic comedy and emotional drama. That’s just the way it is."
Using this argument is like feeding a lab mouse only cheddar cheese all it’s life and then saying it prefers the cheddar over the Gouda because reasons. No. No it doesn’t. That’s just all you’ve been giving it. You are a bad scientist. Hand in your goddamn coat and get the hell out of the lab.
THE REAL REASONS YOU SHOULD SEE PACIFIC RIM
1. It is an original story by an original director that cares more about characters and humanity than sex scenes and explosions.
2. It is one of the few summer blockbusters that is practical effects heavy. Not everything is CGI.
3. None of the main characters are big dumb American cowboys.
4. People of color as (well developed and compelling) main characters.
5. A female lead that is not a love interest, sex symbol, or tool of the male lead’s development.
6. Beautifully choreographed fight scenes. Unlike Transformers, in which neither the camera or action stays still long enough for you to see what is happening, Pacific Rim’s fights are shot much more like Kung Fu films.
7. Attention to detail. This world is fucking huge. And deep. 20+ years of continuity are introduced in the first ten minutes, leaving tons to the imagination.
8. Real emotional consequences. This ain’t a story about a boy and his car. This is a story about what it feels like to share the feelings, fears, and hopes of other human beings.
9. This is the movie your inner 10 year old has been craving your entire life, and maybe only got satisfied by a couple of films along the way. Imagine Independence Day but without the air of American exceptionalism and gross patriotism.
10. Total and complete lack of cynicism. This is a movie about hope, humanism, optimism, and the shared bond of humanity. It believes that we are stronger when we work together than when we are selfish. That’s a message for a summer blockbuster.
ALRIGHT ALRIGHT I’LL SEE IT AGAIN
All of this is true.
This did not post the way I wanted it to before, so I’m reblogging it again.
i liked the teamwork aspect. Pilot teams, tech teams, the science teams then all of the teams being the Human Team versus the Kaiju Team. It’s not about one lone hero, it’s team work and the final ending is possible because teamwork.
I need to see it again.And get that prequel book.
Pacific Rim (2013)
I went fromm knowing nothing about this movie to being all about it. Seriously.
Back in October or November when the first trailer or teaser was released I wasn’t in on it, but all of my twitter stream were about it. Their lives had changed, they all had boners (I happen to follow a lot of dudes… why are their dicks the first thing to respond to stuff??) so I finally decided to watch it to see what the hubbub was was. My interest was piqued.
I liked G Gundam. It’s the only Gundam series I watched, but I’m cool with the idea of mecha anime so I was kind of jonsed for it, but as the release date rolled around I did what I always do, I didn’t look at anything. I’d kind of forgotten things. i wanted to see it because Idris Elba, mechas (jaeger) and giant monsters (kaiju). In the theater I fell in love with Mako Mori, Charlie Day got a resurgence of love from me, as did Burn Gorman (whose name I always forget. I want to call him Simon, was that his name in Torchwood? I just feel like his name should be Simon…) and Ron Perlman. I was cool with the lead white-dude (Charlie Hunnam), I have a new love for Clifton Collins Jr, but Idris has my fangirl heart is a death grip from his sympathetic squint - fantastic! Also, Black Dude as a lead hero in an action movie like this.
I feel like Ramin Djawadi did a great job with the score, and whoever mixed the music into the movie did a great job of not calling attention to it. One track sounded a little Iron Man-y, but I might have been too into the movie to notice that after a while, but I think it mostly had it’s own flavor as a score.
Going back to people of color, since a lot of this movie took place in Hong Kong I loved the global aspect to the cast. There were some Russians, Americans, a lot of English/GB/UK, Australian dudes and a lot of Asians. Many were nameless and filled in crowd scenes, I feel there could have been more women mechanics in those scenes (never enough women in movies but better than most). It fails the Bechdale test but the women are portrayed as being strong even when emotional. Mako has drive, she has her own motivation and agency. The Russian female, we don’t get to see her as much as it seems like some people online would have liked to have seen her, but she was also cool. I’ve heard a rumor that more was filmed and shown the Chinese and Russian pilots than ended up in the movie. I hope it’s true and that it ends up on the Blu-Ray/DVD. I also would have liked for there to have been more black people, but it’s a condition with me. I like gender and racial diversity.
Addressing the women in the movie, I liked that there’s never a glamour shot of them. Mako is shown as being emotional, enraged, confident, enthusiastic and shocked, but there’s never a slow pan of her in skimpy or sexual clothes. We get to see Charlie Hunnam like that - twice even - all shirtless and muscular. Fully suited or in their casual clothes Mako and the other woman (I forgot her name, she piloted the Russian Jaeger) aren’t reduced to being T&A for the audience. Hell, the movie has the thinnest whisper of a romantic element but it mostly focuses on the fact that these fucking kaiju are trying to tear shit up.
I’ve been looking at collateral damage in spectacle movies a bit more and paying attention to it more recently. Here the jaeger pilots initially seem to try to avoid fighting the kaiju in the cities and try to save as many lives as possible. I can’t imagine how much structural damage has happened over the extended timeline of the movie (there is one major time jump, but kind of 2 because the first 10 minutes set up everything else.) you’d think after battling the kaiju for about 10 years they’d stop building skyscrapers but you need to punch through a building and avoid a Newtons Cradle somewhere.
Some other stuff i liked: there’s not time spent explaining the jaegers, at all. The first one was built in 14 months and we’re told why they need 2 pilots. No time is extended to how they work, or the mechanics of them. There are some small - not quite throw away- lines about what they’re made of, but it’s kind of just there was the need and then they were. I don’t really care how they work, they exist and they have crazy-mecha magic-weapons. I’m happy at that.
I don’t remember who I saw comment on this but it’s true, there is more heart than I expected. It is about stopping the kaiju from destroying everything and taking over earth, but there is believable emotion baggage on the main dude, Mako and with Idris Elba. The support scientists played by Day and Gorman both get their moments to be right and wrong and support one another on their wacky side adventure. This movie is about teamwork and supporting people. Countries put aside ages old disputes to defend the planet from an intruder. Each jaeger is piloted by a team, then there are the numerous crews below them keeping them alive.
I think the last thing I’ll bring up that I loved it that there was humor. It wasn’t so much ‘ha ha irony!’ it was ‘this jaeger is being this kaiju with a ship’. There were some small visual gags, and some humorous quips but it wasn’t like Iron Man (especially 3) where they went out of their way to have levity. It was a bit wry, kind of like ‘this is our life and if we don’t try to laugh a little we’ll never stop crying because this is fucked’. I might be explaining it wrong, but I do want to see it again. There are things you pick up on during subsequent viewings of a movie, I want to see those things.
I was so into this movie that when the theater got dark and it got going I was leaning forward the entire time. I didn’t need anything to keep my hands entertained, which happens if things feel slow for me. I laughed I cheered, I felt my heart race with the drama and action. I was game for it all. I even told someone to put away their phone and was prepared to fight about it, but he acquiescenced and I was able to just enjoy the movie.
Was it perfect, of course not, but it was really damn good. And I want to see it again. I’m glad I have the art book because the kaiju and jaeger designs are amazing and I just want to look at them and love the people who worked to make them look so fucking cool.
I was kind of joking, but kind of not joking about MJ. And I was like, ‘What if MJ is a dude?’ Why can’t we discover that Peter is exploring his sexuality? It’s hardly even groundbreaking!…So why can’t he be gay? Why can’t he be into boys?
Andrew Garfield thinks it’d be cool if Spider-Man swung a different way. (He also wanted MJ to be played by Michael B. Jordan.)
I’m pretty sure all the bigotted douchebags ranting about Johnny Storm being black’s heads would explode. Which would be amazing.
IT’S HITTING THE JACKPOT NOT HITTING THE JILLPOT(via itswalky)
I grew up relating to so many rom-coms only later to realize they were written by men and it makes me wonder how real those women are and why do so many women relate to the women they see in rom-coms when they’ve been written by men and is it because we were raised with all these women who were the creations of men or because the men were writing decent reflections of the women they knew in their lives? I guess this is the stuff of Women’s Studies and/or Feminist Film Studies classes. Anyways. Debate amongst yourselves.
This makes men being so annoying about going to them interesting in a different way. They don’t want to see ‘womens’ stories but they’re written by men.
In a way it also makes sense. These men, whatever they are in the movies, come out of nowhere and sweep the (often) successful mananger or whatever job the woman has, off her feet. They either encourage her to have fun or to leave their job on some crazy adventure but they don’t always bring equal stuff to the table. It’s okay, because this woman who hasn’t been having sex and hasn’t had a good relationship in a long time is now happy with an uncertain future because of the man. It’s like he’s a knight in slovenly armor. Sometimes slovenly, sometimes he’s equally successful and as pretty as she is but has been a player until he meets her and wants to settle down and be mature.
I haven’t watched one in a while, but it does generally seem like the woman hasn’t been laid in ‘years’, their ‘sexually liberated’ friend tell them to bone some stranger, then they make an emotional connection with said stranger and vice versa so they fall madly in love.
Now i’m wondering how many rom-coms pass the part of the Bechdel test where 2 (+) women have a conversation about something other than a man (and is it also shoes and fashion, like, these women have real interests???)
Let’s talk about This is the End.
It’s celebrity rpf (Apocalypse AU) and whatever, the beginning of the movie is sort of fun, with a lot of cameos and celebrities running around partying.
didn’t want to see this is the first place…
Part of me thought it could be a fun, dumb movie, but now not so much. :/
With theaters â particularly larger theaters â chock full of men’s stories, where did the women go?
An interesting piece on NPR about this writer noting that the vast majority of movies out right now are about men or ensembles of men with women in a supporting role.
I also thought this was of note:
They put up Bridesmaids, we went. They put up Pitch Perfect, we went. They put up The Devil Wears Prada, which was in two-thousand-meryl-streeping-oh-six, and we went (and by “we,” I do not just mean women; I mean we, the humans), and all of it has led right here, right to this place. Right to the land of zippedy-doo-dah. You can apparently make an endless collection of high-priced action flops and everybody says “win some, lose some” and nobody decides that They Are Poison, but it feels like every “surprise success” about women is an anomaly and every failure is an abject lesson about how we really ought to just leave it all to The Rock.
Part of the problem with the “they’re just doing what sells” argument is the assumption that comics/movie/gaming industries are all made of purely objective beings of energy and thought rather than human beings who come with their own biases, and who can also tend to prefer the safe status quo that are affected by those biases. If a Catwoman or Elektra flops, it’s chalked up to people not wanting to watch movies with women in them, but if a Jonah Hex or Green Lantern do poorly, that’s not assumed to be the fault of those movies having male leads. As the piece says for men, a movie failing can be seen as the cost of doing business, rather than an indictment of the movie having a lead of a certain gender. If the “common knowledge” in Hollywood is that movies with women don’t sell, it can lead to confirmation bias, where ones that do are flukes (or not about having a female lead), and ones that don’t are proof that people don’t want to see women in lead roles (and not about the promotion of the movie, or the writing, or the acting, or etc).
Anyway, I wanted to share this because I thought some people might find it of interest. :)
A couple years ago I was in talks to option a Dresden Codak film, and was politely told that “female leads are a hard sell,” and asked how married I was to the fact that my protagonist is a woman. Suffice it to say, I ended up not wanting to make a Dresden Codak film.
What bugs me about “women don’t sell” is that not only is demonstrably not true, even if it were true, that’s not a valid excuse! If filmmakers discovered that the best selling movie concept was just 90 minutes of a puppy being beaten, I’d hope they’d at least give a pause.
Once again, women are subjected to a double-standard. If a male-led film fails, it’s because the film is bad. If a female-led film fails, it’s because “women don’t sell.”
In short, screw you, Hollywood, my lady-hero comic is successful, and it’s hardly the only one!
Sharing this too because I didn’t know this happened and it’s an actual example of somebody being told “female leads don’t sell.”
Then there is the Hunger Games series, a female (child character) as the action hero and people went, in droves even. Female leads sell, bad movies don’t. I’d rather not assume the quality of a piece of media hinges on the gender of the lead.