emby-m asked: Could I request Max saying something stupidly sweet to Furiosa in Latin? A friend and I think he knows it, considering her speaks it randomly a couple times in the movie, and him having the excuse of Furiosa not understanding him is adorable to me

bonehandledknife:

youkaiyume:

v8roadworrier:

youkaiyume:

I’d love to! Are there any suggestions for what he says? I know no latin…

*raises hand*

in addition to some pretty awesomely dirty stuff, the poet catullus had some nicer poems as well

i’d suggest a line from poem #5, which is basically the poet saying how many times he’s gonna kiss his lover, but opens with the lovely line “let us live, my lesbia, and let us love” (lesbia being the pen-name of catullus’ lover, i assume max would swap it out) which in latin is “vivamus, mea lesbia, atque amemus“

OMG I was not prepared for Catullus 16 I’m dying lol

No one’s really prepared for catullus 16.

flourish:

always reblog

(Source: oldman-logan, via adelindschade)

everybodyilovedies:

kinghardy:

Tom Hardy discussing Charlize Theron and Furiosa as a female Mad Max (X)

tom hardy knew exactly what movie he was making and couldn’t be happier what a fucking delight of a person

(via fuckyeahisawthat)

bonehandledknife:

v8roadworrier:

bonehandledknife:

hey-there-bret:

Those of us who understand these matters, however, recognize that the ancient story refers to three objects, or Hallows, which, if united, will make the possessor Master of Death: the elder wand, the resurrection stone, and the cloak of invisibility.

#omg#yes good#where is the fic (via v8roadworrier)

WHAT DO YOU MEAN WHERE’S THE FIC, THERE IS NO FI—

The part of the plan that kept tripping them up was how to get from the Vault to the Rig without being seen, but Miss Giddy simply looked at them sad and reached behind her blackboard. She pulled out a piece of grey cloth threadbared, it might have one day been a whole (once) but like everything else, the Wasteland wore it thin.

“How will that help?” Angharad asked.

Miss Giddy simply looked at them and turned it wrong way around and wrapped it around her arm.

And then her arm was gone like that Imperator’s arm.

“What!” Cheedo exclaimed.

How?” Toasts asked.

But the Dag took one look and yelled, “Why? Why now? Why not before?”

“If I snuck you out of the Vault, what then? Will you manage to hide somehow in the Citadel when you’ve known nothing but the Vault? Will you survive in the Wastes without aid?” Miss Giddy plucked at the edges of the cloak and then grabbed on, and pulled. She pulled five times until she had five cloaks, even thinner, and white.

“These will last just long enough to get you on that Rig.” She said.

“And you?” Angharad asked, angry and determined and hands shaking as she took the fifth of cloak that was hers. That escape that should have been hers from the beginning, “Is there something else you’re hiding?”

“Yes,” Miss Giddy said, and brought out the rifle from the belly of the piano.

“No wonder that thing played sour,” Dag muttered.

*screeches loudly*

it’s just a stone like any other. there are countless hundreds of thousands of them lying in the sand, finding their way into boots, pinging off windshields.

this one turns up in his pocket and just. doesn’t leave. it’s always cool to the touch, sharp man-made edges catching against his fingers as if it wants to be held, gleams darkly in the sunlight when he does.

he turns it over in his hand, watching the colors shift under the surface like an oil-slick. once, twice, thrice.

“where are you?”

phantom voices have been his companions for- might be years, if time had any meaning out here- but they’re usually not so clear. so close.

“max, is that you?”

the rock slips from his grip when he see the girl, looking as she had right before her death, as if he might reach out and touch her. as if she might still have her whole life ahead of her.

“why did you let me die?”

the vision flickers and fades, the child’s face turning to a mask of rage and hurt and the rictus grin of a skull. he drives far and fast, hopes he can outrun the rest of the ghosts that are sure to follow

in his pocket the stone sits, heavy and cold, begging to be held.

“Furiosa,” her mother breathes and her lungs crackle with it, “come here.”

She didn’t want to because she’d known her mother strong and this is— her mother’s breath smelled as sour as the shoulder wound as sour as the green crawling across her mother’s skin as sour as the realization that these are her mother’s last moments and her mind blanked at thought and turned away, she wanted to turn away but she can’t

Something is bumped against her hand and she looks down.

Wood, in her mother’s failing grip.

Whereever did her mother manage to keep this bit of wood, of all things?

Furiosa can’t identify the wood, nor the small piece of thread hanging from it that she can’t seem to remove when she tugs at it. The end of it is broken off, it’s maybe only a hands-width long, and she wondered how long it was before.

(It looked old.)

“Take this, my Furiosa,” her mother wheezed, “Take it from me and keep it safe, and it will bring you victory in the end.”

“But it did nothing for you.” Furiosa replied bitterly.

“Yes it did,” and there was a small smile, “You’re alive, aren’t you?”

Furiosa’s left arm throbbed, newly stumped, somehow healing, and she just about screamed with the realization that the sad little piece of wood healed her… but not her mother. That there might have been a choice.

“It takes awhile to full up nowadays,” Mary whispered, “but when it does, you’d be unstoppable.”

“Mother…”

Take it.” Hide it, went unspoken. But Mary JoBassa took some last bit of reflex and jerked it out of the way, “But do me a favor, my Furiosa, end me before the sour hits my brain. Let me go out roaring.”

Furiosa looked to her mother’s neck, where the black and green crawled ever up, the flesh eating itself and rotting in place. And set her jaw, and nodded.

Mary JoBassa smiled, calm, as Furiosa stood up and went behind her and placed her neck in a chokehold, and Mary’s hands rose up to cup her elbow encouragingly (she breathed once, hard, at this last hug). Furiosa tightened the hold and twisted fast.

(snap)

Furiosa let the body fall and stumbled backwards until she somehow fell to her seat.

She stared.

Tried to control her breathing so it did not wobble. Tried to control her eyes so that she did not waste water.

When she was successful, she then crawled forward and grabbed that bit of wood.

(many thousand days later, she will place this piece of wood in the center shaft of her metal arm)

(and it was enough)

theelizabethryan:

“The BEST action movie ever made” I scoff; as I read the only review on the front of the Mad Max Fury Road DVD. That’s a bold claim; I think to myself I HAVE NEVER BEEN SO WRONG. AND I HAVE NEVER READ A REVIEW SO RIGHT.

(via fuckyeahisawthat)

fuckyeahisawthat:

schwarmerei1:

antichrissy:

Behind the Scenes!  Fury Road Blu-Ray extras The Road Warriors: Max and Furiosa.

Two things that particularly delight me about this set:

- The wonderful assured energy that radiates from George even in still photographs. “This probably makes no sense to you right now, but in my head it’s awesome – trust me.”

- The fact that (with the exception of the shot of shirtless Tom that must have been on a break) I have no trouble telling which scene they are from even though in most cases the actors are not in costume and the still camera is in a different position to the shots used in the movie. For people who said it was one chase scene and had no plot, this set is an effective response.

Seriously. George Miller looks so calm and happy on set in every BTS thing I’ve ever seen. I mean, I’m sure there must be times he’s lost his cool, but in every clip I’ve seen he just seems to have Ideal Director Energy–calm and confident even if there may be 15 things going wrong at that particular moment, which there probably are cause it’s a movie set. That’s what makes people enjoy working with you and want to do it again.

(Tangent! This is one of the reasons I hate filmmaking reality shows. Because the qualities that make a good reality TV personality are the exact opposite of the qualities that make a good director IRL.)

I am also very much here for Tom Hardy Upside-Down Head Pat and Bloody Laughing Charlize.

there’s a generation of War Pups …

bonehandledknife:

bonehandledknife:

jumpingjacktrash:

roachpatrol:

bonehandledknife:

7000 days = about 19.4 years. According to the comics, Joe gives his wives three chances to give him a male heir with no deformities. Let’s say that Furiosa got tossed in 3 years, and it took her 3-6 years to climb the ranks.

That still leaves a group of maybe 13 year old and younger War Pups who’d only ever known of Furiosa as Imperator. 

Nux spoke of Joe like he’d barely ever seen him, or only from a distance, maybe through binoculars.  There were two other Imperators near Joe.

What if these other Imperators were as distant and aloof? Are they also black thumbs, or do they simply delegate, or only come out for war?

We know Furiosa probably modified her War Rig herself (see: kill switches and hidden weaponry), which means she HAS to have been in the shop and garages. We know from the film that the War Pups are in the background everywhere. We know there’s no way Furiosa could have been cruel to these children given the systematic way we’re shown her empathy; we also know that there’s a systemic pattern of cruelty, deprivation, and put-downs in the general War Boy culture (’mediocre’, being un-witnessed, witheld water and general human needs, the quick way that Nux blooms under the least bit of kindness).

So think about this generation of War Boys who knows in their hindbrains that the safest place to be (both physically and emotionally) is around their Imperator. Their’s because it’s the Imperator that they see the most, in the shop. The Imperator that Joe trusts on his most dangerous runs. The Imperator that is spoken of by older War Boys like Slit with fear and awe.

Is it any wonder the way they say her name?

furiosa: den mother of the apocalypse

you know, considering that, her takeover isn’t so much a coup as a natural succession. she’s the highest ranked warrior with loyal followers.

And it didn’t even occur to her. She didn’t even want it. Didn’t realize that if she went back to the Citadel that her face would be enough.

And even more: Max realized. Went out first so that everyone else were safe, and somehow knew that they needed to see her. (Though maybe it was one of the others? Or at least, he agreed enough to implement it.)

This post has been going around again and I feel the need to give a caveat that I tried writing the language in the original post very carefully. In no way do I think that Furiosa was actively nurturing or performing traditional motherly roles, there’d be no room and no safe space for it in the toxic environment of the Citadel. 

However, I do think she was probably the least bad thing in a very bad situation, and that she’d be fair if you give her fairness. The War pups would be in no position to harm her; and if they deal with her honestly, I don’t see her giving them any less credit and responsibility and fairness and thanks than she did for Max.

The way that she got Max to stand down and to help her out willingly, even gladly? Other meta have pointed out that its a skill, and like most skills have been honed. (She treated him like he had trauma, and gave him things to do to be useful, and responsible.) And I wouldn’t be surprised if she used these same skills on the War pups as well as she did her own crew. 

dyinghistoric:

hellofangirlparadiseblog:

*Ahem*

Cheesy warboy pickup lines. Go!

Are you the sun, cause I’d like to be the man to grab you

(via dyinghistoric)

Male Gaze, composition choices, and Mad Max’s ‘locker room’ eye

bonehandledknife:

vorpalgirl:

bonehandledknife:

vorpalgirl:

bonehandledknife:

So there was this one reblog on that post where I discussed Center framing, Composition, and Male Gaze with this comment:

image

The comment continues in typical mansplaining manner but I want to address this first bit specifically. Because the assumption that the women are framed that way because it’s an action shot is wrong from a technical standpoint.

There is a difference between Wanda gesturing with her hands almost having no space for her head in a composition that highlighted her breasts …

image

…and the way Tony is given ‘headroom’ while gesturing with his hands (see: any Iron Man Trailer). He still has his face prominent at the sweet spot of the Golden Ratio (for more discussion on what/where this is scroll down to the diagrams), his hands are on the other sweet spot, and it’s a very dynamic pose with great use of diagonals both foreground and background.

image

There is also a difference between Natasha almost having to bend her head so that her face stays on the screen while her chest and hips land in the sweet spots…

image

And the headspace that is given Thor. Thor’s face lands on upper Third (Rule of Thirds). They are both holding/threatening with weapons. 

image

But wait! you say, what if we want to emphasize the weapons?

Yeah there’s a way to do that too, without sexualizing your character and smashing their head almost off the frame…

Keep reading

I enjoyed Age of Ultron, but these are some very excellent points. Also, am I wrong in thinking that in Iron Man 2, when Natasha is going down that hallway, beating the crap out of the guys in it, that a lot of the focus is more on her face? Not entirely, but more than it is here? Oh…

oh.

I just looked it up (thanks Tumblr for the the new gif feature!)

image

Originally posted by geekimus-prime

….my eye goes to her face but also her boobs. It’s hard for me to analyze in a moving gif though why hat is, other than the top with a great big triangle of flesh screaming LOOK DOWN.  (the coloring may or may not be altered in this gif, too, like an upped contrast that is aiding that, idk)

She’s also more off-center than I realized in this shot. It’s like this technique is so common I can’t even see it unless I’m looking for it o_O

The term you’re looking for here is diagonal composition. Where are the diagonals pointing?

Look again at the background spaces behind Thor and Tony, the arches are pointing at Thor’s face and the architecture is pointing at the repulsor. Now go look at what the edges of the building is doing for Wanda and Natasha.

Im on mobile and on a break, but Google “diagonal composition in photography” if you want to look into the effects of diagonals more. It’s a bit more advanced than golden rule framing but not by much. (Though I would hesitate to do composition analysis on that shot off a cropped gif, you still can’t get away from the diagonals.)

Ooh thank you! That actually makes total sense to me, because I’ve worked in picture framing before, and a lot of that is about: “are you bringing the eye in, or out? What are you drawing the eye towards, if you are drawing it in or out?” (because you don’t want to draw the eye towards the frame, usually – you want to draw it towards the picture or objects, or a specific part or aspect of the picture or objects). Though in the case of picture framing it’s usually more simple, in that it’s more on an actual outline or series of asymmetrical outlines it still serves the same function: to point the eye towards what’s in the “center”. So now that you’ve pointed that out, I can see it at work. :)

This also makes me suddenly realize that the reason they make so many female characters’ tops zip down is…even MORE male gazey than I thought >_> “hey look, my clothing is not only showing actual boobflesh, it’s also pointing towards my waist and hips and crotch!”

Getting off my ass and finally posting these because I’d finally gotten a free picture editor that did what I wanted it to. All AOU caps come from the main trailer, The IM2 screencap comes from one of the trailers.

Look at where the women’s faces are. Then look at the men’s. That area is called the upper/lower thirds and where you’d put scrolling titles and name cards:

(the rest of the discussion including how some of the most potentially objectifying moments in Fury Road is subverted by composition/blocking/lighting)