counterfeitsaint posted:

In real life I don't see how you could separate your personality from your gathered life experiences and memories. It seems like people would be a lot more of a blank slate and just develop a new personality to go with their new set of memories. I'd imagine that I'd end up confused and cowed into compliance too, as would most people. It's really hard to say you'd do otherwise without coming off as an internet toughguy.

counterfeitsaint posted:

In real life I don't see how you could separate your personality from your gathered life experiences and memories. It seems like people would be a lot more of a blank slate and just develop a new personality to go with their new set of memories. I'd imagine that I'd end up confused and cowed into compliance too, as would most people. It's really hard to say you'd do otherwise without coming off as an internet toughguy.

Tarnop posted:

I would fight my way out with my replica katana

Megillah Gorilla posted:

When I realised that, not only was there not a plan, but there had never been a plan, I really checked out of the show.

Das Boo posted:

From infuriates me because you have a whole town of people and not 'a one of them does anything that makes sense. Oh, monsters hypnotize you through the windows? Oh, well, too bad we can't board them up for... reasons. Also you gotta pick which group of strangers you live with right now and your decision's permanent for... reasons. Also I leave my daughter alone with an unsecured window that only my absent husband can hammer shut for... reasons. Nobody test the bounds that could help us get out of here for... reasons! YOU ARE MAKING UP YOUR OWN RULES, loving WORK WITH THEM.

Tiggum posted:

I never watched Lost, but I did watch Wrecked. That show was great.



Although it was very funny when "they have a plan" was quietly dropped from the opening titles because it had become painfully obvious that they loving don't.

The thing about From is that it's not a mystery. They're not setting up a clever explanation or trying to explore the idea of what people would do in this situation. It's pure horror. Every choice they make is based on what will be spookier. The character in a slasher film never checks to make sure the killer is really dead, because if they did that then the killer couldn't pop back up five minutes later. The characters in From can't board up the windows because if they did that then the vampires couldn't look in at them and try to convince them to open up or come outside. You've got a bunch of people living all together in one big house where a one person can gently caress them all over by opening a single window, because obviously that's got to happen at some point. It doesn't even matter if the writers have any kind of plan for any of it, because what's actually important is managing the tension. Letting it out just enough for the audience to relax before ratcheting it back up.

Das Boo posted:

I can't feel tension because it doesn't establish expectations. You know the old Alfred Hitchcock bit about the bomb under the table? It's tense because you know a bomb explodes. If the bomb, say... doesn't explode, but a tiny evil ballerina crawls out and dances menacingly at a character before disappearing and he refuses to address it in anyway and it has zero connection to anything else going on, that's not thrilling. That's an incoherent shitpost that cuts to Spooky Thing and hopes you got more scared than confused for a second there.

From, condensed:

Haptical Sales Slut posted:

To look sexy in a red dress.

El Jeffe posted:

Season 2 wraps filming

Panic! At The Tesco posted:

roomtone posted:

oh cool. i thought this was still in some kind of production hell.

Panic! At The Tesco posted:

Khanstant posted:

Seeing it without seeing the show it must just be a goofy gif, but when the show earns its way there it's such an incredible payoff.

Vegetable posted:

I dunno, even in the moment it felt like the producers intentionally created it as a ~weird~ showpiece. Like the dance scene in Ex Machina.

Shageletic posted:

Apparently it took forever to get the lights to blink like that in sequence

quote:

The process took weeks. Helen Leigh’s script left “a lot of room to play,” Erickson says, and everyone’s creativity took hold. For Tillman, that meant solo dance parties in his apartment “with the blinds drawn” to Earth, Wind & Fire; Stevie Wonder; and Aretha Franklin to perfect Milchick’s moves. While he and Rodriguez collaborated on the choreography to the clip from Joe McPhee’s 1971 song “Shakey Jake,” excerpted by music supervisor George Drakoulias, Gagné and Stiller worked on designing the ceiling’s rainbow-hued lighting and benefited from a happy accident with the dimmer board, which created the strobe effect.

“The gaffer thought it looked cool, so he was like, I’ll just show her,” Gagné says. “And I was like, That’s the most amazing! We’re keeping it!”

Other challenges arose. It took nearly a month to program the lighting, which Tillman — nicknamed “Milkshake” on set after one PA misheard “Milchick” — describes as Severance’s own Studio 54. Tillman and Rodriguez decided he would be unaware of the dance moves the MDR team would perform during the sequence, adding the additional challenge of Tillman organically responding to them during filming. (The actor’s only self-imposed rule for Milchick: “It’s in the Lumon handbook, no twerking.”) During the first day of filming the MDE, with ice on hand to keep Tillman from sweating through a cream cashmere sweater that “traps heat like none other,” the cast and crew didn’t even get to the dancing.

“We get right up to the point where I turn around, drop the needle on the record, and turn on the lights. And I think that was the end of that day,” Tillman says. But on the second day, with the cast and crew hyped, “we’re just having a ball.”

The morning was devoted to the dance number, which Tillman estimates took about 10 takes. “Many years in theater definitely prepared me to be able to dance and be open, because I needed to get information from them and that information was in their dance,” he says. The MDR space, which is Gagné’s favorite set inside Lumon for its contrasting tones and geometric lines, comes alive in shades of purple, blue, and pink as Tillman winds across the floor, doing a ʼ60s-style Mod dance with Helly, soldier-marching with Mark, and getting down with Irv. (Among the takes that didn’t make the final cut were “the Bump with Mark and a little Snake with John Turturro,” Tillman says.)