Jon Banks

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KANYE WEST CLOSES OUT HIS CONCERT WITH RUNAWAY CHILLS. Enjoy the full performance. 🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥

I could not be more conflicted

All The Love is genuinley one of the best songs I have heard in such a long long time. Shame the rest of the album doesnt follow it

@wwfcscott I think I remember this and I think it was Berra

🗣️Steven Fletcher has said that a Wolves defender once s*** himself on the pitch 💩

Hill I will die on Toy Story 2 is the best of all Toy Story films

@ashLeighG_4 Cinemas are getting worse for it may check it out tbf

@ashLeighG_4 You missed the film?

Wishing Sylvan Ebanks-Blake a happy 40th! 🎈

youtu.be/HBMy-y2wb4I?si… Is he back? This is a banger. Please tell me he hasn’t said anything stupid in the past few weeks

❌ ELIMINATED IN Q2 ❌ 11: Verstappen 📸 12: Ocon 13: Hulkenberg 14: Lawson 15: Colapinto 16: Sainz #F1 #JapaneseGP

Madrid derby is doing nothing to spoil my theory that the premier league isn’t very good right now

You're watching a $248 million film and not a single green or blue screen was used. The alien is a handmade puppet. The cockpit physically rotates to simulate gravity. I looked at the production tech behind this 95% score, and the engineering is wild. Phil Lord and Chris Miller, directing their first live-action movie in 12 years, built the entire Hail Mary spacecraft as a real set at Shepperton Studios in England. Not a miniature. Not a digital model. A full-size ship interior you can walk through. Production designer Charlie Wood studied the International Space Station, Russia's Mir station, and the Boeing 747 cockpit to get the look right. He deliberately made the panels mismatched, because real spacecraft are assembled from parts made by different companies. Nothing matches perfectly. That's what makes it feel real. The cockpit is only about 8 feet wide. It sits on a mechanical platform that can tilt, spin, and shake, so when the ship changes direction or enters different gravity conditions, the whole set moves. Chairs end up on walls. Ladders flip direction. Gosling was suspended inside a spinning ring so he could float and move through the ship for real, reacting to actual hardware around him. No guessing where a wall might be added later. Then there's Rocky. He's the alien co-lead, and he's not CGI. Neal Scanlan, the creature designer who built the Porgs for Star Wars, spent a full year on this character. Over 300 designs before they landed on the final look. Rocky is a thin, hollow shell, 3D-printed from a digital sculpture, then hand-painted in see-through layers so light passes through him like skin. His arms pop off and swap out depending on the scene: one set has a closed fist for walking, another has tiny motorized fingers strong enough to pick up objects. Five puppeteers (nicknamed the "Rockyteers") operated him in every scene. James Ortiz, an award-winning puppet designer from New York theater, voiced Rocky and controlled him on set. When Scanlan met him, he told Ortiz, "You're Frank Oz, and I'm making Yoda for you." Every reaction Gosling gives to the alien is to something physically in front of him. Greig Fraser, who won the Oscar for shooting Dune, filmed the space scenes in the larger IMAX format (that taller image you see in IMAX theaters) and the Earth flashbacks in regular widescreen. Then the team did something unusual: they took the digital footage and printed it onto real film strips, twice, using two different types of film stock. Then they scanned those strips back into digital. It sounds redundant, but it adds a texture and warmth that you can only get from physical film. Fraser used the same technique on Dune and The Batman. Drew Goddard spent six years writing this screenplay. His last adaptation of Andy Weir's novel, The Martian, earned him an Oscar nomination. He described the challenge this way: a screenplay gets about 5% of a novel's word count. The lead is alone for most of the runtime. When he finally gets a co-star, that co-star doesn't speak English, communicates through sounds closer to whale song, and has no face. Goddard called it a screenwriter's nightmare, then said that difficulty was the whole point. He and the directors fought studio pushback to keep Weir's original ending intact. 95% from 212 critics. 98% from over 2,500 audience ratings. And the lead isn't a superhero, a cop, or a soldier. He's just an ordinary middle school science teacher.

It’s not illegal to tell a cop that you’ve fucked his wife, that’s case law

NEW: Afroman's lawyer quotes WAP by Cardi B and Megan Thee Stallion while questioning the ex-wife of former officer Shawn Grooms. Lawyer: Are you familiar with the song Wet Ass Pu**y? Grooms: Yes. Is that a rap song? Lawyer: It is. Have your students played it in class? Grooms: Once and I asked them to please turn it off. Lawyer: When they were listening to it, did they think that was a fact? Grooms: No.

Honestly the rabbit hole you can go into is so worth it See here the original song and enjoy: youtube.com/watch?v=oponIf…

youtu.be/L5a9qzRxnB4?si… I wish I knew Spanish

Catching up with AEW Revolution So far great show great suprises but why did no one tell me about the utter banger that is Misticos entrance

Such a shame where our season went because that is a great point

Yeah bookmark this when it’s August and we have signed two Portuguese children