Opera Dress

SEBASTIAN STAN A Different Man (2024)

Dame Maggie Smith as Muriel Donnelly The Second Best Exotic Marigold Hotel (2015)

By "roles" I mean playing a different character, and in a different piece of media; someone playing one character across a franchise only counts as one thing for the purposes of this poll, as does playing multiple characters in one franchise/piece of media

Below are some of this actor's roles. Please only check after voting!

SEBASTIAN STAN A Different Man (2024)

Well modern camera equipment can almost see in the dark so what do you even need lighting for?

i just gotta real quick make sure that youre joking. you are joking, right?

I’m not joking. Do you understand the ISO value system as it relates to film?

im not arguing that you cant film in the dark without special lighting (obviously you can), im saying you shouldnt. im arguing with the second half of your statement. the lighting in the first picture is very purposeful and enhances the horror of the film. they didnt get into the editing room and go “oh darn, we forgot to shine a light on the guy hiding in the shadows!” jaws was made scarier because you could rarely see the shark, so your brain invented the scariest possibility. you can just… see the whole man in the second picture. having a flat shot where the lighting doesnt even draw in the viewers eye to anything (much less obscure something thats supposed to give the movie tension and anticipation) looks fucking boring and adds nothing

thats what we need lighting for

One of these is much more visually appealing than the other

Lighting in film, and especially horror is so *so* important to the tension in the scene, it’s a significant part of visual storytelling, and the cinematographer/DOP (director of photography) should’ve picked up on that.

It’s particularly embarrassing in comparison to the original material, as with digital/modern technology, you can literally see how the shot looks while you’re shooting.

This should’ve also been sorted in comp and fixed well before distribution.

As already pointed out, the lighting values have no depth to them, thus creating a very flat scene (this is one of the first design principles we are taught in design for animation/film- if I had handed in a lighting shot or concept anything like this, I would’ve failed the module).

If you take the shots and put them into greyscale, you can see this a lot clearer.

In the original Halloween shot, we can see a high range of value (how bright or dark something is)- the lighting is brightest on Jamie Lee Curtis, the viewer’s eye is drawn to her first- we can see her emotions clearly and gain sympathy for her character. Then we are drawn into the darkest value, creating dread, and this is fulfilled and heightened with the contrasting (and next highest) value of Michael’s mask.

In the modern shot, all the values are within a similar range (mid-greys), and there is no proper depth in value- making the tension within the shot fall flat (not ideal for horror).

In fact, the highest value in this shot is the fire in the background- which is where the eye is drawn to first. The background. Not the action. So instead of feeling empathy or dread, we are focusing on the wrong details.

And yes, while it could be said from a film analysis POV that the flatness of the shot ‘puts the characters on the same fighting ground/level of power in the shot,’ I’m not going to give them the benefit.

To top it off, the use of colour in the modern shot highlights the errors in lighting. Whilst sharing the blue/orange colour scheme of the original shot, everything is blue except the one area of contrast, the orange fire. So once again, we are drawn to none of the action and instead the background.

With a very small edit in compositing and lighting to match the original Halloween, the feeling (and focus) of the shot is completely changed. The shot has higher contrast and range of values- the focus is on Curtis, while Michael feels more foreboding in the darkness. The contrast puts the characters on opposite sides- good vs evil, telling a narrative in contrast to the unedited shot.

These effects could’ve easily been achieved by adding a key light on Curtis and rim lighting on Michael in production, and if necessary, editing value depth in comp to enhance the raw footage.

TLDR: Digital filmmakers still need to know traditional film and design theory- just because you have good actors, cameras and composition, does not mean you can forgo basic film craft. The aim of cinematography is to enhance the narrative, not restrict it.

ultimately… who cares if cameras can see in the dark? we’re not making movies for cameras.

Also, just because you could see it on your fancy camera screen or the big fancy editing screens, that doesnt mean I’m gonna be able to see it on my TV screen at home. Many of us cannot shut out all the light as easily as a cinema, especially not in the summer where it sometimes doesn’t get dark out till 10. And not everyone’s eyes are as good either. Having higher contrast in the lighting and actually lighting your scenes not only enhances the way they set the mood and tell the story, it just makes the story more accessible in general.

Because, let’s be real here, who wants tow Catch a movie or TV show they can’t actually see when they, as the watcher, do still have otherwise at least somewhat functional eyesight.

Sebastian Stan & Lily James To Reteam On Horror Thriller ‘Let The Evil Go West’

Sebastian Stan and Lily James are set to reteam on Let the Evil Go West, a psychological horror thriller from director Christian Tafdrup (Speak No Evil).

Let the Evil Go West follows a railroad worker who stumbles upon a fortune under deeply disturbing circumstances. As horrifying visions and manifestations drive him toward madness, his wife becomes convinced that an evil presence has attached itself to their family.

— Adam Brody as Daniel le Domas in Ready or Not (2019).

THE GODFATHER (1972) dir. Francis Ford Coppola.

THE BREAKFAST CLUB (1985) - dir. John Hughes

SEBASTIAN STAN DUMB MONEY (2023)

Everyone’s depressed on New Year’s Eve.

The Impossible Voyage Le Voyage à travers l'impossible (1904, Georges Méliès)

HAPPY BIRTHDAY TO THE ACTOR BILLY BOYD.

Born on August 28th, 1969 in Glasgow,as early as 16, Billy Boyd appeared in a local musical company’s production of Hans Anderson, Billy Boyd is an actor and musician perhaps singularly best known for his role as the hobbit Pippin in The Lord of the Rings film trilogy.

Both his parents died when he was in his early teens, a year apart. Along with his older sister, Boyd was raised by his grandmother. He worked as a bookbinder for seven years before finally pursuing an acting career.

Starting his acting career, as I often post here, Billy appeared in the popular Scottish Police show Taggart, as well as the Lord of the Rings, and their follow up films, The Hobbit, the talented Boyd also wrote and performed the song “The Last Goodbye” from the movies. Billy also made a cameo appearance in the first series of Still Game. He played the part of Davie in the excellent film “Sunshine on Leith”.

Outlander fans will know Billy from his role in the show as the local lawyer in Cross Creek.

Billy has a home in Glasgow and married his wife, Alison McKinnon at Oran Mor in Glasgow’s West End in 2010, they have a son, Jack.

Billy has been in the movies, Walking with Herb and An Intrusion, as well as guest appearances in NCIS: Hawai'i and Doom Patrol. Billy will seems to be picking up parts in US TV shows here and there, voicing a part in The Legend of Vox Machina last year. Again I will mention the Glasgpwset film I feel Fine is still"in development" A minis series Washington Black is also a projecthe has been workingon.

Billy recently commented that he refuses to take scripts which mock Scottish accents, calling out the “stereotypical” treatment of Scottish accents in the film industry, saying jokes about not understanding it are “overdone”.

Boyd has claimed that he will refuse any script which employs the trope where the accent is incomprehensible, something he says that always pops up in the roles he is sent. Boyd went on to say;

“I hate people saying they can’t understand what I’m saying … As a Scottish actor, every script I get that’s got a Scottish character in it, there’s always the gag that somebody can’t understand them. Always.

“Anything I do now, if that gag’s in it, I say I won’t do it. The gag is overdone and not realistic. It’s just like, stop being stereotypical, you know? Just because someone has a different accent.

“So for the writers who write that gag, I apologise when I lose my mind in the writing room. It’s just that I’ve read it so many times.”