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hi, i'm nuri. this is my fandom/everyday life tumblr. i talk a lot in tags and my posts are all over the place. ask is always open.

Showing posts tagged with “film”

rabidbatpus:

Alexandre Desplat / Canto At Gabelmeister’s Peak

It’s easy to see it on the simplistic terms of ‘Broomhilda has no power and Olivia’s totally empowered,’ right? You see them on these opposite ends of the spectrum of history in terms of slavery. But they’re both such strong women in different ways and in some ways, here Olivia Pope is, a woman who cannot get her personal life together and is in violation of the institution of marriage. And here is Broomhilda who lives in a time when black people can’t even legally be married, and she so believes in the sacred institution of marriage that she is waiting and believing in her love and in her humanity and her husband’s humanity and in their relationship that she waits for him and she longs for him and she believes in that. So it’s not as easy as it looks on the outside, it’s also like in some ways Broomhilda is much stronger than Olivia when it comes to interpersonal, loving relationship. - Kerry Washington [x]

gelphie:

Rent Appreciation Life: First Appearances

veingme:

geeksngamers:

The Fifth Element Poster Series - Submitted by Anthony Genuardi

Posters available on his Etsy

Ifycyoxhkchlctlcyocoycyoc I must have!

Look, I’m glad ‘12 Years [A Slave]’ got made and it’s wonderful that people are seeing it and there is another view of what happened in America. But I’m not real sure why Steve McQueen wanted to tackle that particular sort of thing.

[‘Fruitvale Station’] explains things like the shooting of Trayvon Martin, the problems with stop and search, and is just more poignant. America is much more willing to acknowledge what happened in the past: ‘We freed the slaves! It’s all good!’ But to say: ‘We are still unnecessarily killing black men’ – let’s have a conversation about that.

Samuel L. Jackson (via artyartyhadaparty)

I think in light of 12 Years a Slave winning the Oscar for Best Picture, this needs to be remembered. Because it is a very important point in terms of the palatability of 12 Years a Slave and why Fruitvale Station didn’t even get nominated when it has such acclaim outside of the Oscar world.

(via artyartyhadaparty)

THANK YOU SAM JACKSON

(via jakegyllenhaalelujah)

this is important. don’t get it twisted, don’t be fooled. i’m elated for the cast and crew of 12 years a slave as well as lupita, but america remains 10,000 steps behind when it comes to race. these wins (and no oscar wins before it) do not equal “progress.”

also i think the reasoning behind steve wanting to tackle it doesn’t really matter; both films should’ve been nominated.

bana05:

christel-thoughts:

poc-creators:

Belle Director Amma Assante explains why she wanted to tell a Jane Austen Story with a Black Protagonist

Belle will be released in the US on May 2. 

Why did you decide to go the route of the Austenesque romance to tell her story?

In so many ways, it’s a romantic love story and it’s a paternal love story as well. It’s as much about her and [her surrogate father] Lord Mansfield, and also the fact that her biological father loved her as well.

It was much more practical in those days, if you had an illegitimate child of color, you could bring them into the household but had to keep them in the servant’s quarters, and have them work with servants where they’d be safe but wouldn’t be a full part of the family. The fact that her father decided that he didn’t want her to be brought up that way and brought her to his uncle [Lord Mansfield] and said, “Love her as I would had I been here,” was important to me.

When I did the research, it surprised me how many people had left Dido money in their will — Lord Mansfield left her money in his will [and] Lady Mary, Lord Mansfield’s sister, also left Dido in her will. The reality of it, then, was that so many people clearly [and] on paper showed their love for Dido that I thought it would have been disingenuous for me to tell a story purely about her suffering and a story that wasn’t about her love.

She had great love. That she married John Davinier, that she was able to baptize all of her children with him in the same church that they married in, I found that that was very romantic and beautiful.

I also wanted to understand, or communicate to the audience, what kind of men would love Dido during this period. Lord Mansfield, who adopted her, and also John [her husband] — what would make them so brave and so courageous enough to be able to love this woman of color during that period?

If I’m honest, I wanted to show a woman of color being loved. We don’t see it that often. I wanted to change the conversation a little bit, change the dialogue a little bit — we are loved, [and] we can be loved. Dido was valuable enough to be loved, she was worthy of being loved, and she was loved. Her challenge was showing people the right way to love her in the way that she needed to be. MORE

Belle Director Amma Asante on Challenging Stereotypes About Black Directors

Switching gears a bit, how did you make that transition from acting to directing?

I had been writing and producing for quite a while in British television. I wanted to circle my screenplays around some of the things that we’ve discussed — race, gender, and class — and I wasn’t sure that TV was the right place for me to do it.

I had written my first script, A Way of Life — which, thankfully, went on to do quite well critically, and won me a BAFTA and lots of other international awards — and I was very protective of it.

One day, one of my funders at the BFI called me in and said, “Hey. I know you would really like to produce this movie, and that’s all very well, but actually we’d love you to direct it.” I sort of shrunk back into the sofa and said, “No, no. That’s not something I can do. I’m a writer. What I do is write, and this is the best thing I’ve ever written to date, and I don’t want to be the person who ruins it by trying to direct it. This movie is my baby and I’m not going to kill it!”

They were very adamant and said, “Look. You’re not going to kill your movie. We’ll send you to film school for a month” — like a month of film school, what’s that? — “And we’re going to give you some money so that you can shoot a pilot of the movie. We want you do a couple of scenes so you get used to getting behind the camera then we want you to go off and make a movie.”

It took about a month to convince me, to get the courage to accept the offer. Off I went to film school and had one-to-one training with cinematographers, other directors, and editors — I literally had one to one time with all of the heads of department that you’ve have on a real movie, then I went off and shot a pilot. Then I thought, “Wow, I really like this.” Being able to create the characters and then see it through, it felt like, this is what I was born for. 

MORE

I almost teared up just reading her thoughts on showing Black women being loved.

The bold, the bold.

the bold and the fact that someone pushed her to direct, was adamant and let her take her time in deciding, and then hooked her up with personalized instruction. FEELS.

loveyourchaos:

punishandenslavesuckers:

odairaremysugarcubes:

this broke my heart

like he looks at her like she’s his little sister

and they’re playing some game

Can I have the AU where the two that survived were Rue and Thresh? Imagine Rue finds Thresh right away and they team up and Thresh makes a pact with her — he promises if he can get them both to the end that he will make sure she is the one who goes home. Where he says, “Fuck them and their games. I’m going to protect you, little bird. I’m going to get you home.”

Watch the gamekeepers try to kill them right away because of what Thresh says. Because he’s fighting, not to win, but to protect Rue from the games. But the sponsors keep sending her and Thresh food and medicine and the Districts too because watching Thresh carry Rue through fire and get injured protecting her is too much to bear. 

Can I have the AU where it’s Thresh and Rue with the nightlock, after the mutts attack and Cato is dead and it’s Thresh about to take the poison and send her home? But it’s Rue who won’t let her ‘big brother’ go alone after so many already died protecting her (imagine Katniss dies protecting her) and they decide, okay, together and…

Rue has always been the Mockingjay, but imagine that she lived.

^^^ “RUE has always been the Mockingjay, but imagine that she lived.”