new segment on the show. can you tell which painting Hegland used for character inspiration for 01’s a knight’s tale?

#moviesky #filmsky #scriptsky

call my ishmael on the mic…
nay,
capt. a-bad mf while i dive the depths of davy jones’ locker to haul up this recurring dream about the white (and black) whale that’s haunted me since before i had sea legs in ‘93’s Free Willy.

#filmsky #moviesky #scriptsky #writersky #naturesky

(10) Blend it with acting, you craft pieces like this. When painting this scene, Lisa Rinzler cinematographer, said this re: building the film's visual language. “A form of expressive minimalism” Ahem sista. And if you made it this far and don’t give us a listen, y’kno you done fucked up right?

(9) Maybe hard in the dark. Facing setbacks and a short leash, the Hughes didn’t go silently into the night. Embracing LIGHT & SHADOW to pixelate the frame like aboriginal dots, they pinprick historical events with the viscerally of A Sunday on La Grande Jatte

(8) Speaking of faces, this frame splays out like Picasso’s African era. Oval SHAPES bounce and reflect and scrunch and accuse and linger and plead. All sides and expressions at once. Can you find all six?--

(7) Crossing LINES, intersecting lines, faces slit thru frames within frames. The overemphasis on slashing the screen invokes horrors to follow. The only face we rest on is Larenz. Ready to put a hole in a mf

(6) COLORS, colors, colors, colors. So many hues. The Hughes/Rinzler paint with their father's album covers and party photos to plunge us into a drug haze from the match strike in black and white. I have a feeling we’re not in Kansas anymore. Monochromatic primarily w/ compliments in key spots.

(5) Let's talk about the slide to the left. Embrace artifice or obscure it. The middle ground is a ½ measure. Allen Hughes said during this setup, when 5th-guessed by producers, ”Shooting through the walls?” “I don’t know, I’m just trying it.” Trust your gut, artist. Move something.

(4) to the MOVEMENT of these shots. You wouldn’t think it to look at em’ but this seq comprises more static than dynamic shots. But when it goes, it go. 40s crashing, Dogg walking death marches to the back, careening over countertops; the blend of static and dynamic sells the subjective tension.

(3) Milquetoast white-washing aside, the “Origins of Jazz” seq (1930) is a beautiful example of where we’ll go. Distill the history of a Black art form into a tribal dance, MOVEMENT, in a sparse backdrop of deep sea greens, maroons, and silhouettes. Earth tones, Gaia, etc, u get it, let's move on

(2) The history of “expressionism” is vast and varied, but the recipe remains. Harness movement, color, line, shape, light, and shadow to ease past reality and put the whole world in your hands. From Deutschland to Compton, the world is yours, morphing into a mood ring--

(1/10) Aye Internet homies, you need some help? Random thread on BLACK EXPRESSIONISM in MENACE II SOCIETY. Some Loosies 🚬:

peekaboo.
type of skits I’m on.

“The Most Interesting Cinematographer in the World” listens to us. Don’t be a hater, follow suit.

Also a KDot Mushroom Kingdom recap! 🍄 for Super Bowl LIX, and 🔥 from Olympus for all Hanumankind alike—Run It Up!