one day im just gonna do it. im gonna vanish into the scottish highlands like god intended
TIMOTHÉE CHALAMET
24th Annual Critics’ Choice Awards, California | January 13, 2019
one thing i know for sure. don’t do it like me. do it like you.
That’s the real sickness here, your righteousness and hypocrisy. It’s the simple fact that you can’t live by the rules you set, yet you still pretend. This is your world. You built this. If it’s too strict, tear it the fuck down. But don’t look at me. Don’t take your hate out on me, I just got here.
We’ve got two stories here. We’ve got a story about degenerate clergy, and we’ve got a story about a bunch of lawyers turning child abuse into a cottage industry. Now, which story do you want us to write? ‘Cause we’re writing one of them.
Spotlight (2015) dir. Tom McCarthy
listen I don’t “like” things, I either read a book/watch a show and forget 0.2 secs later or change my entire lifestyle based on what it was until I find something new
Jake Gyllenhaal in Prisoners (2013)
Jen’s evolution
the haunting of hill house
season 1, episode 3
Bird Box (2018) dir. Susanne Bier
“That’s the weird thing about him is that he is smarter than everyone in the room but he has that ability to speak in a way that everyone can understand, so it’s never smarter than the room.” - Nick Kroll
There are two kinds of seducer. First, doesn’t actually like women, so wants to assert his power over them. But the second, and far more dangerous, is the guy who genuinely falls in love every evening, only to fall out of it again the next morning. But as you run away, you tell her you’re the one in pain and she’s just too much for you to handle.
Lily James as Donna Sheridan in Mamma Mia! Here We Go Again (2018)
#same
Jon Benthral as Frank Castle in season 2 of Marvel’s Daredevil.
Academy Award Winners for Best Cinematography:
2018 — Roger Deakins, ASC, BSC
Blade Runner 2049 (2017)
Directed by Denis Villeneuve
Aspect Ratio: 2.39 : 1“It wasn’t just for the sake of going dark, but some places are built wanting to be dark, and some were more interesting. We had a whole discussion about the action scene in the storm at the end, on the sea wall. You think, “Well, how much do you want to see? What’s interesting, and what can we practically do?”
I talked to Denis about it and said, “I don’t think we want to see very much. They’re flying. They don’t really see the water below until they crash.” When they’re on the sea wall, the waves come at you, and suddenly they’re revealed in the light coming from the vehicle. But you don’t have another light that’s showing you all the depth of the background.
So it’s the idea of the darkness, and really pushing that—pushing the fact that there’s large areas of blackness in the frame. But you’re not necessarily saying something is very dark overall. You just have pools of light.” — Roger Deakins