Tag: captain america

evilkneazle:

actuallyclintbarton:

dsudis:

So I’m rewatching Avengers tonight, and—especially in light of Cap 2—I was really struck by the moment on the helicarrier when Steve comes looking for Natasha and sees Clint out of restraints post-brainwashing. Steve is about to head into a war zone, this guy was Loki’s right hand ten minutes ago, and Steve’s reaction is:

a) to look to Natasha for her judgment on whether Clint can be trusted, and

b) when she gives him merely a nod, to immediately accept and trust her assessment and go into war with Clint not only at his back but flying the damn jet.

Just in case we were wondering exactly when Steve started trusting Natasha with his life.

Seriously though, like…

Try to imagine literally any other SHIELD agent convincing Bruce to come in, with just the right balance of truth.

Try to imagine Steve trusting Clint without her go-ahead.

Hell, try to imagine them being able to stop Clint AND clear out the brainwashing in a manner that didn’t kill or long-term incapacitate him.

Try to imagine the chaos of NOBODY ELSE in their much less-cohesive (and less powerful) group being able to go up to prod at the device keeping the portal open, given that they were all doing serious damage control.

Without Natasha, the Avengers don’t exist and the battle of New York is lost.

She is literally the lynchpin of the plot – without her, NONE of it works.

Now who’s fucking eye candy?

And if you think she’s just eye candy, you’re obviously HYDRA.

Yeah, Ward, I’m talking to you.

tamorapierce:

aliasofwestgate:

justira:

Reblogging not just because special effects are cool but because body doubles, stunt doubles, acting doubles, talent doubles — all the people whose faces we’re not supposed to see but whose bodies make movies and tv shows possible — these people need and deserve more recognition. We see their bodies onscreen, delight in the shape and motion of those bodies, but even as we pick apart everything else that goes on both on and behind the screen, I just don’t see the people who are those bodies getting the love and recognition they deserve.

We’re coming to love and recognize actors who work in full-body makeup/costumes, such as Andy Serkis, or actors whose entire performances, or large chunks thereof, are motion captured or digitized (lately sometimes also Andy Serkis!). But people like Leander Deeny play an enormous part in making characters such as Steve Rogers come to life, too. Body language is a huge part of a performance and of characterization. For characters/series with a lot of action, a stunt person can have a huge influence on how we read and interpret a character, such as the influence Heidi Moneymaker has had on the style and choreography of Black Widow’s signature fighting style. Talent doubles breathe believability and discipline-specific nuance into demanding storylines.

Actors are creative people themselves, and incredibly important in building the characters we see onscreen. But if we agree that they’re more than dancing monkeys who just do whatever the directors/writers say, then we have to agree that doubles are more than that, too. Doubles make creative decisions too, and often form strong, mutually supportive relationship with actors.

image image

Image 1: “I would like to thank Kathryn Alexandre, the most generous actor I’ve ever worked opposite.”

Image 2: “Kathryn who’s playing my double who’s incredible.”

[ Orphan Black’s Tatiana Maslany on her acting double, Kathryn Alexandre, two images from a set on themarysue, via lifeofkj ]

image image

image image

I’ve got a relationship that goes back many, many years with Dave. And I would hate for people to just see that image of me and Dave and go, “oh, there’s Dan Radcliffe with a person in a wheelchair.” Because I would never even for a moment want them to assume that Dave was anything except for an incredibly important person in my life.

[ Daniel Radcliffe talking about David Holmes, his stunt double for 2001-2009, who was paralysed while working on the Harry Potter films. David Holmes relates his story here. Gifset via smeagoled ]

With modern tv- and film-making techniques, many characters are composite creations. The characters we see onscreen or onstage have always been team efforts, with writers, directors, makeup artists, costume designers, special effects artists, production designers, and many other people all contributing to how a character is ultimately realized in front of us. Many different techniques go into something like the creation of Skinny Steve — he’s no more all Leander Deeny than he is all Chris Evans.

But as fandom dissects the anatomy of scenes in ever-increasing detail to get at microexpressions and the minutiae of body language, let’s recognize the anatomy in the scenes, too. I don’t mean to take away from the work Chris Evans or any other actors do (he is an amazing Steve Rogers and I love him tons), but fandom needs to do better in recognizing the bodies, the other people, who make up the characters we love and some of our very favourite shots of them. Chris Evans has an amazing body, but so does Leander Deeny — that body is beautiful; that body mimicked Chris Evans’s motions with amazing, skilled precision; that body moved Steve Rogers with emotion and grace and character.

Fandom should do better than productions and creators who fail to be transparent about the doubles in their productions. On the screen, suspension of disbelief is key and the goal is to make all the effort that went into the production vanish and leave only the product itself behind. But when the film is over and the episode ends, let’s remember everyone who helped make that happen.

image

[ Sam Hargrave (stunt double for Chris Evans) and James Young (stunt double for Sebastian Stan, and fight choreographer), seen from behind, exchange a fistbump while in costume on the set of Captain America: The Winter Soldier. Image via lifeofkj ]

I applaud these guys as much as the suit actors in my japanese tokusatsu shows. They do just as much work. 

Hat’s off to them, and my thanks for all they do.

Reblogging this again for the wealth of extra info added since the last time I saw it. Thank you, body and stunt doubles everywhere.

jabberwockypie:

weinersoldier:

weinersoldier:

so far (since wednesday, meaning the beginning of the #firerickremender push on twitter):

I have been called a moron, a slut, an ugly bitch, a dumb cunt, a racist, and every other colorful, cruel, and sexist insult in the playbook.

I’ve been threatened with rape, been told to shut up, and been told explicitly that my opinion doesn’t matter.

I’ve been accused of trying to ruin someone’s life.

I’ve been infantilized, condescended to, pat on the head and told that my money doesn’t matter, that I was hysterical and irrational, that I was making too much out of nothing, that I was a prude.

I’ve had to answer the question “did you actually read the book?” more times than I can count, and every time the question’s asked with that cruel, invisible “sweetheart” at the end.

I’ve lost an incredible amount of respect for creators whose art and writing I enjoyed.

all because I had the audacity to raise my voice, to hold an opinion that differs from the norm.  because I refused to be silent about the worrying, ever-increasing acceptance of violence against and violation of women in the media I pay to consume.

but – I can’t stop now.  I won’t.  Comic books taught me – Steve Rogers taught me to never, ever give up on the things that are important to you.  I am standing by my truth, and I am not moving.

Sam Wilson taught me to take care of my own, and Sharon Carter taught me to never, ever, ever let anyone else make your decisions for you.

I’m not going away.  #firerickremender is not going away.

Not until comics is a safe space.  Not until comics is a escape for everyone, not just for people whose ideal world is one where women are subservient, sexy, and silent.  Not until I can carry on a conversation with a creator I admire and not be treated like I know nothing, and like my opinion doesn’t count.

I am not going away.

edited to add:

Been sent unsolicited pictures of stranger’s genitalia (i.e. dicks) by direct message on Twitter

Received more than one offer to “cure” me – i.e. “fix” the fact that I’m queer

Had my personal and identifying information – including name, age, location, and photograph – posted without my consent or knowledge as the butt of a post insinuating that I’m “hysterical” and that I have a “vendetta”

Tell me again that the glorification and excusing of rape in comics doesn’t feed rape culture in real life.

Tell me again that it’s “fiction”.

Tell me fucking again.

Oh my fucking god.

EVERYTHING IS AWFUL.

colonelrogers:

Whenever you’re sad

just remember

Steve learned how to juggle from Clint

image

kath-ballantyne’s Nan can juggle oranges, one-handed, against the wall. When asked why, she just shrugs and says, “It was the War.”

I talked about it to an Australian lady who was in England during the War (she stopped to admire my knitting a few weeks back) and she shrugged and said, “Yeah, I did that too.”

So, during the War, it was generally normal behaviour to knit and to teach yourself to juggle when in bomb shelters.

bootycap:

For Priya:

Steve/Tony RomCom AU: Line of Fire

Steve Rogers dedicates his life to his work. He saves lives, puts out fires, and sometimes even helps kittens out of trees. When he pulls Tony Stark out of a burning building and the man claims he has nowhere else to go, Steve figures there’s no harm in opening up his home to the strange but charming man while he sorts out his life. But Tony Stark might be hiding a few secrets that can turn Steve’s world upside down. He thought he was opening up his home, he didn’t realize he would be opening up his life and his heart, putting himself directly in… the line of fire.