Бесит, когда Локи не любят только потому, что он, видите ли, образом не совпал с прототипом из мифов. В чем проблема? Просто не смешивайте этих двух персонажей.
Правила локитреда
Клятва Ночного Дозорного
Предыдущие темы: 1-100, ..., 258, 259, 260.
Вопрос: В детстве и юности Локи приходилось:
| 1. Быть метательным снарядом Тора | 45 | (12.86%) | |
| 2. Манекеном для платьев Фригг | 25 | (7.14%) | |
| 3. Выслушивать, как Один каждый раз хвалит БРАТА | 53 | (15.14%) | |
| 4. Слышать от Тора: "знай свое место, брат!" | 42 | (12%) | |
| 5. Выслушивать, что он и Сиф самые красивые девочки Асгарда | 47 | (13.43%) | |
| 6. Отдавать деньги на завтрак Вольштаггу | 9 | (2.57%) | |
| 7. Постоянно есть манную кашу: "чтобы лучше рос" | 25 | (7.14%) | |
| 8. Печалиться, что не растет борода | 28 | (8%) | |
| 9. Стоять в углу за четвёрку по физкультуре | 24 | (6.86%) | |
| 10. ЛОКЕБОХ!!! | 52 | (14.86%) | |
| Всего: | 350 Всего проголосовало: 105 |
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23.10.2017 в 10:07-
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23.10.2017 в 10:12-
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23.10.2017 в 10:13Нет, в статье на основе ивью употреблено словосочетание creative control. (в 9:53)
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23.10.2017 в 10:16Виноват. Молчу теперь окончательно.
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23.10.2017 в 10:21-
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23.10.2017 в 10:22-
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23.10.2017 в 10:25Под этим тайка понимает вот что: берем хопкинса, бланшетт, руффало, хиддлса и пр. в оборот, начинам креативить.
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23.10.2017 в 10:27That day, Waititi was shooting a scene with Jeff Goldblum. Waititi himself would be performing opposite the star in a motion-capture suit, which visual effects would turn into a character named Korg. “I’ll need to have a shave,” he said, “after the coffee.” He gestured at his cup. “You know,” Waititi said, feigning amazement, “they give this to you for free.” He shook his head. “Hollywood!”
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Marvel asked Waititi to meet in summer 2015. “I didn’t really think this was my cup of tea,” he said. “It’s always nice to be wanted, though.” Given the brief to pitch directing a “Thor” buddy comedy that he would help write, Waititi suggested “ ‘Withnail & I’ in space,” “just these two people who happen to be superheroes making their way across the universe.” (In this formula, the Hulk is the volatile Withnail figure, and Thor must “take care of this time bomb and keep him out of trouble” as they travel from planet to planet.) In their final meeting, Kevin Feige, the head of Marvel Studios, asked Waititi why he thought he could handle such a gargantuan project. “Because I’ve been doing it in my head my whole life,” Waititi replied. Feige loved that answer, because he feels that’s how he got his job, too.
Directing a movie like “Thor” requires a daunting set of skills, many of which have little to do with framing a shot: the temperament to manage a set with as many as 1,000 people on it rather than 100; the know-how to oversee complex effects; the canniness to please your bosses; the confidence not to be intimidated by the money, the stars, the vastness of the task. You’re more the captain of a complex, hierarchical aircraft carrier than the solo skipper of a dinghy. At one point, Waititi cheerfully calculated that he was spending the cumulative budget of his previous four films every few weeks on the set of “Thor.”
In the “Thor” universe, “Ragnarok” refers to the apocalyptic cycle of death and rebirth, freely adapted from Norse mythology, and Waititi cheekily nodded to the concept as he finished his coffee and prepared to head to set. “I can either play it safe and do the framing and everything like the way I feel these movies should be made,” he said. “Or — knowing that I can always go back to my small films that I do with my friends — I could approach this in this Ragnarok way, full out, heading for the fire, sprinting full speed toward Armageddon.”
That approach sounded a little scary. Waititi giggled. “It’s terrifying if, like, if you let them see the terror,” he said. “But I hide it really well.”
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In hiring Waititi for “Thor,” Marvel found a director with an anarchic visual aesthetic whose storytelling interests were nonetheless deeply, satisfyingly conventional. “In a lot of my films,” Waititi said, “the biggest theme is family, making families out of those around you.” That theme drives Marvel Studios’ “Guardians of the Galaxy” series, an unexpected hit whose energy the third “Thor” movie seems designed to replicate.
Thanks to Waititi’s dogged geniality, the 84 days of principal photography for “Thor: Ragnarok” were, according to basically everyone, pretty fun. He opened the shoot with a ceremony featuring ritual dances and greetings from the local Aboriginal tribe, the Bundjalung people, as well as a Maori celebrant. “A set should be like a family, except that you all actually like each other,” Waititi said. “We just play music all day, we dance, we talk.” At times it seemed Waititi — dancing, blasting disco — was putting on a one-man show with unflagging enthusiasm. Waititi’s favorite gag, according to his star, Chris Hemsworth, was to “forget” his set mike was on and then to perform complaints about his leading actor, midtake, for everyone to hear: “Ah, we should’ve got the other Chris. Chris Pine, Chris Pratt, anything but Hemsworth.” Then there’d be a muffled scrabbling, and Waititi would say, “Oh, crap — sorry, guys, sorry.”
Cornel Ozies, an Australian Aboriginal filmmaker who was one of eight native people Waititi invited to shadow him on the “Ragnarok” shoot, characterizes Waititi’s on-set style as specifically indigenous: “If you talk about his Maori heritage, it’s big families. When you have big families, you’re going to have a lot of clashes,” adding, “you pick up the skill set of being a mediator.” For Waititi, the choice to maintain this disposition, which he calls “Happy Taika,” underlies his entire directorial philosophy. “I’ve been on a lot of film sets,” he said, “and I’ve always promised myself I wouldn’t create a set where people dread coming to work.” He made a face like a kid tasting something sour. “Shooting a movie should be fun! It’s not a real job. It can be hard, but at the end of the day we’re dressing up and playing pretend.”
Waititi found that a production this size lessened the responsibility he had to take on, making the job of a director a simpler one. On his earlier films, Waititi often felt he had to do everything. “When it’s low-budget,” he said, “every job you take is one you don’t have to pay someone else to do.” Here there were hundreds of crew members around, which encouraged Waititi to delegate. On those other films too, he knew that any decision he made about lighting, sets, even performances was “basically baked in forever.” On “Thor,” where digital artists waited to paint over every frame, that pressure was lessened. “In some ways,” Waititi observed, “this makes you feel a little lazier. You’re like” — he waved his hand dismissively — “ ‘Ah, I’m sure it’ll be fine later.’ ”
On a set where every action shot was previsualized and every stunt was choreographed, it wasn’t always easy to direct instinctively, as Waititi was used to doing. “Sometimes,” he acknowledged, “it’s just too late to say, ‘Oh, man, wouldn’t it be cool if like a thousand robots came in and Thor fell off a cliff?’ ” But he still found ways to play. One day, while doing the motion-capture for Korg, Waititi rushed into a battle sequence wielding a big prop hammer, then flipped the hammer around and started pretending to shoot it like a gun. “O.K., CGI,” he declared, “I want you to turn that hammer into a gun hammer.” In the finished movie, that dumb idea is a delightful reality.
Pretending at this scale is a lot easier for an indie director, of course, when he’s working inside a system expressly designed to have megamovie training wheels. Waititi was surrounded, the Marvel executive producer Brad Winderbaum noted, with experienced, talented technicians. Once the shoot was over, he had a year of postproduction to hone the story and several weeks of scheduled reshoots to fix anything that went wrong the first time around. “He’s never going to feel out at sea, wondering how he’s going to achieve this,” Winderbaum said, and then with a shrug offered a fittingly superhuman claim of omnipotence: “We know how to achieve everything.”
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“I’m not a massive fan of the postproduction phase,” he said. “I really like being on set and making stuff up.” Nevertheless, here he was, for almost a full year. “I used to really laugh at everyone who was stuck in traffic, driving to the studios in Burbank,” he said. “And now I’m one of those people.”»
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23.10.2017 в 10:28Всем привет!
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23.10.2017 в 10:30Asked by the publicist to explain the context of the scene, Waititi thought for a moment. “Hulk has been Hulk since the end of ‘Avengers 2,’ ” he said. “Eventually, we’re going to have to see Bruce Banner” — his human counterpart, played by Mark Ruffalo — “in this movie.” The scene was loose and funny. “I was Hulk for two years?” Banner asked in dismay. The two heroes were inside a spaceship, an enormous set that was built for “The Avengers” and shipped to Australia at, presumably, astronomical cost. When the scene ended, Negron said, “Three minutes flat.”
“Cool,” Waititi said. “Cut it in half, then it’ll be amazing.” Over the next two hours, Waititi and Negron chipped away, deleting lines they didn’t find funny enough. They watched all 16 takes of Banner’s response, in which Ruffalo’s improvisations ranged from a deadpan “Oh, no” to screaming shock. Waititi by now was sunk deep into the couch. He came upon a tweet from Peyton Reed, director of “Ant-Man.” Looking at his picture, Waititi said, “All these Marvel directors look the same!” He laughed. “Scott Derrickson and James Gunn and Peyton all look like the same person.” He asked to watch the very beginning of the sequence again: “Do we have the other angle, from behind Banner?” Negron opened a folder full of neatly labeled shots, in each of which Ruffalo, enthusiastically pretending to transform from a monster into a human, fell out of frame. Waititi mentioned that he was hoping the camera might pan down with Banner as he shrank; he hadn’t shot it that way back in Australia, but in about two minutes Negron built a rough move inside the editing software, making it so.»
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23.10.2017 в 10:33Привет) красота. Взгляд один в один.
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23.10.2017 в 10:34And in the way he ricocheted around the big Marvel ship, putting on a two-year show, using all the tools they bought for him to make something he likes — “a Taika version of one of these movies,” he said with satisfaction. »
www.nytimes.com/2017/10/19/magazine/the-superwe...
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23.10.2017 в 10:38-
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23.10.2017 в 10:40Вот кто обиженный братец.
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23.10.2017 в 10:46-
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23.10.2017 в 10:46Хм, как-то двусмысленно😜
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23.10.2017 в 10:54-
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23.10.2017 в 10:56Потому-что при советской власти Москва и Питер были на первом поясе снабжения, то есть снабжались товаром лучше всех. А с развалом СССР из республик перестал идти товар в столицу и Ленинград, поэтому стало так плохо со снабжением в этих городах, пока не наладили поставки с самой России в эти города. А по всей провинции Российской и при советской власти снабжение было плохое, ничего не было на прилавках. У них всегда были 90е, то просто москвичи и питерцы балуваные.
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23.10.2017 в 11:13-
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23.10.2017 в 11:21Человек-Паук – 18 место.
Локи – 22 место.
Грут – 32 место.
Капитан Америка – 54 место.
Звездный Лорд – 69 место
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23.10.2017 в 11:38-
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23.10.2017 в 11:43-
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23.10.2017 в 11:47-
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23.10.2017 в 11:48-
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23.10.2017 в 11:50-
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23.10.2017 в 11:52-
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23.10.2017 в 11:52-
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23.10.2017 в 11:54-
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23.10.2017 в 11:55-
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23.10.2017 в 11:56Мягкий маргарин в пластиком контейнере из Голландии. 100% химия и дрянь. Уплетали тогда за обе щеки и радовались.