Cinema Tsunami

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Cinema Tsunami

Cinema Tsunami

@CineTsunami

Aquí va el cine que (a veces) veo, historias y fotogramas 🎞️ #UnPosterDiario #200HorrorMovies #BeautifulMovieShots #CinemaCloseUps #lapeliculadehoy

NJ, US. 📺 En una TV ochentera Katılım Kasım 2020
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Cinema Tsunami
Cinema Tsunami@CineTsunami·
«Ozymandias» se refiere al famoso soneto de Percy Bysshe Shelley sobre las ruinas de una estatua colosal en el desierto, que simboliza la fugacidad del poder, la arrogancia de los gobernantes y la inevitable decadencia incluso de los mayores logros humanos ante
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Cinema Tweets@CinemaTweets1·
Amy Adams’ Historic Run in the ‘10s: The Fighter (2010) The Master (2012) Man of Steel (2013) Her (2013) American Hustle (2013) Arrival (2016) Nocturnal Animals (2016) Sharp Objects (2018) Vice (2019)
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Twisted Mentat Matt
Twisted Mentat Matt@moridinamael·
In Arrival the aliens - who are the far more advanced species - are not trying to learn our language at all. They explicitly want to force the humans to learn Heptapod, that’s the whole reason why they came. Rocky, on the other hand, has a fantastic memory and superior auditory processing capabilities, and basically learns English by memorizing Grace’s words. Then, to speak to Grace, he uses a babytalk version of Eridian with pseudo-English grammar. The two characters meet in the middle, leveraging the strengths of their own species. Of the two, Rocky is doing more work.
Dr. Kohan🏛🏛🏛@kohantoys

Lo que más me gustó de Project Hail Mary es que tomó TODA la premisa de Arrival y la resolvió en un montajito de 40 segundos.

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Aakash Gupta
Aakash Gupta@aakashgupta·
Kit Harington just confirmed that the most expensive character in TV history is now narratively worthless. And nobody's connecting the math. Jon Snow generated an estimated $501 million in HBO subscription revenue based on screen time alone across eight seasons. He appeared in all 73 episodes. He was the emotional center of a franchise that produced $3.1 billion in subscription revenue and $6 billion in profit for Warner between 2015 and 2018. HBO came to Harington and said: build a show around this character. They spent two years trying. Two years of scripts and development on the single most bankable name in prestige television. And the guy who played him for a decade walked away and said "nothing excited us enough." Think about what that means. HBO could not find one story worth telling about the character who carried the most profitable drama in cable history. The reason is sitting right there in the Season 8 finale. Benioff and Weiss wrote Jon into exile beyond the Wall with no political ties, no conflict, no relationships, no unresolved tension, and no source material to pull from. They gave him the narrative equivalent of a closed bank account. Every possible sequel has to start from: man stands in snow with no motivation, no antagonist, and no connection to the world that made people care about him. Now look at what's actually working. House of the Dragon: set 200 years before the finale. A Knight of the Seven Kingdoms: 100 years before. The Aegon the Conqueror series: even further back. Sea Snake, 10,000 Ships, same direction. Every single surviving Westeros project runs away from Season 8's ending. The one attempt to go forward died in development. 1.7 million people signed a petition to remake that finale. HBO lost over half its 18-49 audience within a year of the show ending. And Benioff and Weiss rushed those final six episodes reportedly because they had a Star Wars deal waiting. They lost the Star Wars deal too. Kit said he looked at photos from Season 8 and saw himself exhausted. He was. Everyone was. The show that averaged 43 million viewers per episode in its final season was running on fumes creatively while setting viewership records, which is the most dangerous combination in entertainment. Record audience, collapsing craft. The gap between those two lines is where franchise value goes to die. HBO made the right call killing SNOW. But the reason they had to kill it is the actual story. Season 8 didn't just end Game of Thrones. It locked the entire franchise in reverse gear. The only safe direction for Westeros is backward, because two showrunners turned the forward timeline radioactive on their way out the door.
King Targaryen 🐉@KingTargaryenn

La serie secuela de Game of Thrones llamada: ‘SNOW’ ha sido definitivamente cancelada gracias, en gran parte, a Kit Harington, el cual no ha tenido pelos en la lengua a la hora de dar su opinión sobre por qué decidió abandonar el proyecto. Y es que no ha sido por falta de presupuesto, ni porque HBO perdiera interés de repente. Fue una decisión consciente después de años de desarrollo. Ni él ni el equipo de guionistas conseguían encontrar una historia que realmente les emocionara y que justificara volver a Poniente. Aquí te cuento el proceso de desarrollo y las declaraciones de Kit en la entrevista: - HBO fue quien le propuso la idea primero. Su reacción inicial fue “no”, pero luego vio potencial en explorar a Jon como “un soldado después de la guerra”: un hombre roto, con estrés postraumático, viviendo entre los salvajes al norte del Muro. Una historia más oscura y personal. - Pasaron un par de años desarrollando guiones y conceptos… pero nada terminaba de encajar. “Nada nos emocionaba lo suficiente. Si seguíamos empujando, íbamos a acabar con algo que no era bueno. Y eso es lo último que queríamos”, dijo Kit. - También habló de su propio agotamiento: después de la Temporada 8 se sentía destruido. “Me miro en fotos de esa última temporada y me veo agotado. No tenía energías para otra temporada”. Al final, con House of the Dragon funcionando tan bien y otros proyectos basados en el lore de Martin (como Dunk & Egg), HBO prefirió no arriesgarse a forzar una continuación que pudiera dividir aún más a los fans o manchar el legado. ¿Ha sido un acierto enterrar el proyecto antes de meter la pata, o os habéis quedado con las ganas de ver qué pasaba con Jon Snow al norte del Muro?

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PrinCe
PrinCe@Prince8bx·
The Hall of Fame for useless villains patiently waiting for Homelander
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Vashi Nedomansky, ACE
Director Robert Wise is credited with over 340 'Split Diopter Shots' across all his films. The most of any director. Here's all 17 in THE HINDENBURG. Check out the incredible cast!
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Angelica Quiñonez
Angelica Quiñonez@AngelicaQPG·
Como ya viene la película de La Odisea, con la bondad de mi corazón y mi Licenciatura en Letras vengo a quitarles un ápice de su idiotez y a instruirlos en literatura clásica y teoría crítica. 🏛️ ABRO HILO 🧵 De nada.
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Antidepressant Content
Antidepressant Content@depressionlesss·
Bro thinks he is Harry Potter 😂
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