resplendent

FLORENCE PUGH

arriving at Venice for her holidays the 79th Venice International Film Festival | September 05, 2022

Vintage 1960s Tolkien flair

Sylvia Plath, The Letters of Sylvia Plath Volume I: 1940–1956

101 Dalmatians storyboards by Bill Peet → final film

Director Brad Bird opted to give the film’s animators portions to animate entirely, rather than the standard process of animating one character, in a throwback to the way Disney’s first features were created. The exception were those responsible for creating the Giant himself, who was created using computer-generated imagery due to the difficulty of creating a metal object “in a fluid-like manner.” They had additional trouble with using the computer model to express emotion. The Giant was designed by filmmaker Joe Johnston, which was refined by production designer Mark Whiting and Steve Markowski, head animator for the Giant. Using software, the team would animate the Giant “on twos” (every other frame, or twelve frames per second) when interacting with other characters, to make it less obvious it was a computer model. Bird brought in students from CalArts to assist in minor animation work due to the film’s busy schedule. He made sure to spread out the work on scenes between experienced and younger animators, noting, “You overburden your strongest people and underburden the others [if you let your top talent monopolize the best assignments].“ Hiroki Itokazu designed all of the film’s CGI props and vehicles, which were created in a variety of software, including Alias Systems Corporation’s Maya, Alias’ PowerAnimator, a modified version of Pixar’s RenderMan, Softimage Creative Environment, Cambridge Animation’s Animo (now part of Toon Boom Technologies), Avid Elastic Reality, and Adobe Photoshop.

The art of Norman Rockwell, Edward Hopper and N.C. Wyeth inspired the design. Whiting strove for colors both evocative of the time period in which the film is set and also representative of its emotional tone; for example, Hogarth’s room is designed to reflect his “youth and sense of wonder.“ That was blended with a style reminiscent of 1950s illustration. Animators studied Chuck Jones, Hank Ketcham, Al Hirschfeld and Disney films from that era, such as 101 Dalmatians, for inspiration in the film’s animation.

The Iron Giant (1999), dir. Brad Bird

— Cinematography by Steven Wilzbach

Nina Simone and James Baldwin photographed by Bernard Gotfryd in the 1960s.

I love them both

Notting Hill (1999) dir. Roger Michell

gay holidays include: pride month, the met gala, halloween, and spotify wrapped day

That was the summer of 1963 when everybody called me Baby and it didn’t occur to me to mind. That was before President Kennedy was shot, before The Beatles came, when I couldn’t wait to join the Peace Corp. and I thought I’d never find a guy as great as my Dad.

“Meg, my older sister. She reminds me to be good, so father will be proud of me when he returns.” “Where is he?”

LITTLE WOMEN 2019 ⋅ dir. Greta Gerwig

Marlene Dietrich in Blonde Venus (1932)

Joan Crawford in The Women (1939)

Mae West in She Done Him Wrong (1933)

Merle Oberon in Wuthering Heights (1939)

Irene Dunne in My Favorite Wife (1940)

Paris When It Sizzles (1964) dir. Richard Quine

Fleabag (2019) // Derry Girls (2019)