Oscar Best Actor Cookies. Oh. My. God.
- guess which one i want to eat
- you have one guess
i don’t know how they managed to make Colin Firth look like the youngest of the five but they did
also, i checked the website and they cost 58.50 so they must be made out of real parts of each actor or something
Cynara, it’s like something that came directly out of your brain.
and the oscar goes to…
seriously, my tableflip will be felt ‘round the universe if Steinfeld doesn’t take a golden statue home on Feb. 27.
(concept by Cynara, rad photoshopping by Aimee Owlet).
Going to see it again tonight with my friends from my old workplace.
Not gonna lie, if they don’t like it, I’m probably going to get pretty weird about it.
Since we discussed it in FOI#16, I’ve seen this flick, and I liked it! Not as much as, I expect, someone with an affinity for Westerns, would, but still. Cynara did not oversell the talent and skill of young Hailee Steinfeld, who plays the character pictured above. -Jenny
This image never gets old to me.
Source: http://amande-concerts.co.uk/index.php?pid=ensembles&hid=the-big-ballet&sid=images
YES. A thousand times yes.
An all-sizes ballet - or any kind of dance, really - would intrigue me enough to buy tickets.
modern ursula
Modern Ursula?
But… Ursula’s supposed to be fat! Fat and sexual and incredible just like that. Why this picture. :(
Also, Ursula was black. Come on.
Episode #16 – Ahead by a Century | Fatties on Ice
A new episode of the podcast, at last! We recorded it in Jenny’s kitchen and we talked about all kinds of things, but most substantively about Black Swan, True Grit and Winter’s Bone.
Also discussed: A bunch of the ways that Ellen Page is awesome, Mila Kunis’s eyes, babies, bad sci fi TV, celebrity-written poetry, Russell Brand’s feelings about Macaulay Culkin, and how the Tragically HIp are the thread that runs through the tapestry of Canadian life (for better or worse).
Thank you, insanepoet9.
GREAT READ. I highly recommend this =]
I hope this isn’t true, but it probably is:
When I started taking film classes at UCLA, I was quickly informed I had what it took to go all the way in film. I was a damn good writer, but more importantly (yeah, you didn’t think good writing was a main prerequisite in this industry, did you?) I understood the process of rewriting to cope with budget (and other) limitations. I didn’t hesitate to rip out my most beloved scenes when necessary. I also did a lot of research and taught myself how to write well-paced action/adventure films that would be remarkably cheap to film – that was pure gold.
There was just one little problem.
I had to understand that the audience only wanted white, straight, male leads. I was assured that as long as I made the white, straight men in my scripts prominent, I could still offer groundbreaking characters of other descriptions (fascinating, significant women, men of color, etc.) – as long as they didn’t distract the audience from the white men they really paid their money to see.
I was stunned. I’d just moved from a state that still held Ku Klux Klan rallies only to find an even more insidious form of bigotry in California – running an industry that shaped our entire culture. But they kept telling me lots of filmmakers wanted to see the same changes I did, and if I did what it took to get into the industry and accrue some power, then I could start pushing the envelope and maybe, just maybe, change would finally happen. So I gave their advice a shot.
Only to learn there was still something wrong with my writing, something unanticipated by my professors. My scripts had multiple women with names. Talking to each other. About something other than men. That, they explained nervously, was not okay. I asked why. Well, it would be more accurate to say I politely demanded a thorough, logical explanation that made sense for a change (I’d found the “audience won’t watch women!” argument pretty questionable, with its ever-shifting reasons and parameters).
At first I got several tentative murmurings about how it distracted from the flow or point of the story. I went through this with more than one professor, more than one industry professional. Finally, I got one blessedly telling explanation from an industry pro: “The audience doesn’t want to listen to a bunch of women talking about whatever it is women talk about.”
Beth
That looks like the Cacique Balconette
My shots from Gossip club shows circa 2003 are not quite this good but I should scan them anyway. Because, of course, they were taken on crappy point-and-shoot 35 mm. That was how we lived back then. Or, it was how I lived, since I couldn’t afford a digital camera at the time.
