by Jared Jones

kinky-space-nerd:

pipistrellus:

my favorite part in attack of the clones is when obi-wan just fucks off to play space nancy drew on Clone Rain Planet with the alarming giraffe-necked aliens and swans in like “HELLO IT’S ME, the jedi who definitely… … was here before and probably, uh, spoke to you, and stuff” and theyre like “ah you are here for the order” and hes like “beg pardon” and theyre like “the order of millions of identical human men?” and hes like “RIGHT YES. ABSOLUTELY I AM HERE FOR THE ORDER OF MILLIONS OF IDENTICAL HUMAN MEN”

and then later when he SNEAKS INTO A CORNER TO FUCKING… facetime yoda… like “ok so we have these millions of identical human men who were apparently suspiciously ordered for us by someone???” and yodas fucking response is just “when countless sapient lemons life gives you…….. send those lemons into intergalactic battle you must”

 and obi-wan’s like “shit man you’re so right" 

There literally isn’t a frame of this scene where Obi-Wan doesn’t look confused as hell

by Jared Jones

Gould: Vince has said something that always rings for me, which is that we thought we set out to make a comedy. When we started out, we used to say, “Breaking Bad was 70 percent drama and this one’s gonna be 70 percent comedy.” But the more we work on this, the more it feels tragic. It’s interesting you say it’s so dark, because I can often think of moments in this season that I think are as funny as anything we’ve ever done, like when Jimmy’s making his commercials and his slip-and-fall and so on. But I think it is true that the thing you take away from it is a great sadness and I think it’s the sadness of the loss of this upbeat, striving and essentially good character, Jimmy McGill.



Gilligan: Yeah, it’s sadness for what could have been if he had only remained Jimmy McGill, if he didn’t have Chuck chipping away at him so that he felt the need to start chipping away at Chuck. If they didn’t exhaust themselves emotionally, morally, every-which-way battering each other to the ground, if they hadn’t wasted their energy on such a pointless exercise, they both could have been great. It’s a good question and it puts me in mind of what Peter said. I didn’t want this to be a tragedy, but it is a tragedy. There’s no denying that it is a tragedy. We didn’t realize that. I didn’t realize that going into it. I’m not even 100 percent sure if I’d known that it was gonna be, in a lot of ways, a straight-up tragedy as a story, I’m not even sure if, knowing that going into it… I might have still done it, but I don’t know that I would have been as excited about it.“



Gould: We thought it was gonna be a romp!



Gilligan: We thought it was gonna be a romp and it just goes to show what Peter was saying earlier. You can do anything you want when you’re a showrunner, which is one of the great joys of the job, but if you’re smart you’re gonna go where the story takes you and sometimes the story takes you places you just don’t want to go. But you can’t tell the characters where they need to go and who they need to be. It sounds weird. It sounds like, “Well of course you can! You’re the writer!” In a weird way, you are but you’re not. Sometimes this feels like transcription, rather than writing. The characters, you really want them to come alive above all else, and they can’t come alive if you don’t let ‘em, if you don’t let ‘em go where they’re gonna go. It’s odd, but in our experience it’s been the case every time that the characters lead us and not the other way around.

‘Better Call Saul’ Creators on Season 3’s Finale Sadness, Chuck’s Fate and Awaiting Renewal (via pablolf)

by Jared Jones

fromdirectorstevenspielberg:

“Now, had we shot on the tank I don’t think Jaws would have been very successful, because it would look really phony. So I really insisted on the sea, but innumerable problems… physical problems, came along with my decision. One of the first things we had to do was find a open sea where you couldn’t see land, and where there was a 30 foot flat, sandy bottom so the shark sled would have some place to [stand]… It had to be 30 feet because if it was 40 feet, the shark could never get out of the water. We had a shark arm that only went up so high. The problem about shooting in the shallows 10 to 12 miles out to sea is that the shallows pile on the waves. You don’t get breaking waves out there, but you get some swell out there because of the shallowness. So we picked the worst place in the world to shoot.”

Spielberg talks to Entertainment Weekly about the difficulties of shooting Jaws at sea.