(via queermobile)
request:
hey, would you be able to draw a picture of iron lass jade?
(via h-omicide)
(Source: fullmetallover, via h-omicide)
(via h-omicide)
thank god this is here. the youtube versions been muted
(Source: fandom-calling, via hussiempreg)
(Source: kasukahime, via shimaharu)
rule #1: if you think of it, you must draw it
rule #2: you cannot use reference for anything
(via ginax)
Rarely, if ever, do I think to myself ‘I LOVE THIS MOVIE’ before the credits roll. I always reserve my verdict for the end. I couldn’t help it though, and around the 25 minute mark of seeing Moonrise Kingdom I thought to myself, ‘I LOVE THIS MOVIE’. Wes Anderson has the uncanny ability to reel you into his world, whether you want it or not. He has his own film language which is present in all his films, and I’ve learned to love him for that. Bill Murray’s witty one liners is one of those. The slow motion shots of his bands of misfits running or walking towards the camera is another (Rushmore, The Darjeeling Limited, etc). Great ensemble casts. A languid, lilting background score. And those are just the few things you do notice. Then there’s the things you don’t, the ones that aren’t palpable. And assembled together they create something which excels far beyond all hopes and expectations. Wes is an auteur in every sense of the word, and I believe his films will be studied in years to come much like Godard or Bergman is studied today. Anderson’s subtle and understated humour hits right in the collective subconscious. Quite frankly, in the cinema of today, I don’t think there’s anything quite like it.
And god bless Ed Norton.
(via triangularprisms)
(Source: d0gbl0g, via hitoshisexual)
