IrresponsibleIan

Irresponsible for getting your boat shaken

21 Mar

trungles:

angietumblz:

typette:

yknow people make fun of ghibli tears… but I think they aren’t made to portray what they look like on others, but instead how they feel like to us, when WE cry. Doesn’t it always feel much bigger/vision impeding when it happens to us as we experience it?

I like that analysis a lot. It resonates with my feelings on crying.

I am all about this explanation

(Source: majikojima)

21 Mar

Anonymous asked: Hello Ivy! The conversation that John and Sherlock have by the stairs right before Sherlock gives the interview on The Empty Hearse, I never really understood why John would tell him what he said at the grave... can you help me with that? Also, why do you think Sherlock chose not to tell John how he did it? Was it because at the beginning John tells him he doesn't care about how, but why he did it? These things were never very clear to me, and I feel they might be very important, so it bugs me..

ivyblossom:

John struggled a lot with what he said at Sherlock’s grave. Like the speech he gives to Mary in His Last Vow, it feels like a practiced speech. He had to wrap his feelings in some kind of terminology, so “best and wisest man I’ve ever known” and his dearest wish that Sherlock not be dead, is what he chose. I think a lot of that speech at the grave is John trying very hard to not say, “I loved you.” And now I think it kind of means that for him anyway.

At first Sherlock was all keen to tell John all the details of how he survived the fall, but now he knows how painful the whole thing is, and it’s become painful for him too. It’s a sore subject.

Between the beginning of this episode to the end, Sherlock takes a very big emotional hit. He started out thinking he’s indestructible. But John’s rejection does in fact destroy him. He can’t think straight after being rejected by John. The loss hits him very hard.

When John finally asks him that question, they’re in a celebratory moment. The duo is back together. They’re leaving everyone else, including Mary, in the flat and stepping out into the world together, as Holmes and Watson again, jaunty cap in place. Sherlock says he’s indestructible, I think because he wishes he were, and knows now for a fact that he isn’t. As if, were he to jump again, he would surely die.

I think telling Sherlock what he said at the grave is John addressing the spectre of his own emotions. Because that scene means I’m sorry, I love you, I always loved you, come back to me. And as angry as John is about what Sherlock did, Sherlock has done this amazing thing John wished for: he’s come back. As distraught as John was, maybe in this moment, when everyone’s happy and drinking champagne, and the case is solved, and the press want to crowd around and laud Sherlock for another job well done just like old times, maybe John feels like he really did manage to magic Sherlock alive again with the sheer power of loving him so much and wanting it to be so. And Sherlock confirms that fairy tale reading: you did bring me back. I heard you.

It’s a nicer ending, isn’t it?

21 Mar

mid0nz:

The Look of Sherlock Season 3, E1 & E2:
Gregory Crewdson's Influence on Steve Lawes 

Gregory Crewdson

Crewdson’s photographs usually take place in small town America, but are dramatic and cinematic. They feature often disturbing, surreal events. The photographs are shot using a large crew and are elaborately staged and lighted. He has cited the films Vertigo, The Night of the Hunter, Close Encounters of the Third Kind, Blue Velvet, and Safe as having influenced his style, as well as the painter Edward Hopper and photographer Diane Arbus.

Steve Lawes:

…what I love about Crewdson’s work is that he captures what I feel we really see with our eyes although it’s heightened and it’s exaggerated. It’s that idea of sodium light, that sort of radiation you get off sodium light, fluorescent light, all those different tones and colors you know how they kick off a pavement, how they kick off the road, things like wet-downs you know. I’m forever winding production up because I want roads wet down.

If you look at a Crewdson frame it’s like a painting. It’s like a Dutch master: you can look at parts of the frame, you can sit there. That’s what I try and do with my cinematography. I try and create frames that if they were put on a still people would look at them and go “there’s depth in the frame” which brings me to the importance of framing and relationships in the frame. 

In terms of influences I’d say that Crewdson has probably had the most dramatic influence on me in terms of you could probably look at Crewdson’s work and then look at my work and see that there’s a similarity.

…what I love about Crewdson’s work is that again there is this scale and this color and there’s everything. They’re paintings. I tend to be drawn to darker things you know dark in terms of contrast but also dark as in terms of subject. I find it more interesting. The kind of underbelly. There’s something I love about Crewdson’s work which is that there’s something not quite… it always feels slightly on edge. There’s something not quite right about it. I think it’s really interesting the idea that you… it’s about being as subtle as possible. And I think what Crewdson does so well is that he does lots of really dramatic things but he does them very subtly.  So what you’re actually getting and the fact that he creates this frame and does the shot and you look at it. A lot of time when you start off in terms of cinematography or photography… when I first started I wouldn’t put a light somewhere unless I thought it was justified because if you want your lighting to look real then really it should only come in the direction the sun comes in. Well you soon learn that if you do that you’re on a hiding to nothing because it’s very difficult to do that. What you tend to do is you tend to stick to that rule but then you bend it slightly which is what Crewdson does which is if you want to have a different color in the frame you can create different color in the frame. You don’t necessarily need to justify it. It can be there for an aesthetic reason. It can be there for all sorts of reasons. What you’re actually doing is you’re creating different things in the frame because you have the ability to do that. Visually Crewdson’s been a very big influence on me.

From “Each Frame Tells a Story” (X)

21 Mar

elina-elsu:

s-u-w-i:

mixture of my latest Holmes/Watson fan-arts :3

1. BBC Sherlock from summer holidays (it’s bit older ^^; ) - trying to draw with ink pencil :)

2. Classical Holmes and Watson (from book :) ) commission for lovely Antwort - http://antwort.deviantart.com/ ^.^

3. Russian Holmes fan-art for my dear friend Kaminek - http://kaminek.deviantart.com/ >.<

4. BBC Sherlock for contest :3

s-u-w-i has a Tumblr, go like their art :)

21 Mar

fangartist:

BBC Sherlock + Stairs

(Source: hellabrave)

20 Mar

the-rest-in-trumpets:

katswhiskers:

velvetonions:

imagine a milkshake place called “shakesperience” where all the milkshake flavours are named after puns of shakespeare plays

  • Oreothello
  • Rolo and Juliet
  • Macberry
  • Mars Ado About Nothing
  • Antonutella and Cleopatra
  • Merchocolate of Venice
  • Two Gentlemint of Verona
  • Richerry III

It would bringeth all the gentlemen to the yard. 

(Source: queerbiologist)

20 Mar

teenagebatch:

teenagebatch is so cute like

aawwwww look how awkward

image

look at the little innocent soul

image

image

then something happened that science cannot explain

image

image

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20 Mar

digbicks:

Noel Badges Pugh

(Source: fullpollenbasket.com)

20 Mar cuzyourethebest:


Life, Death and Reincarnation via makeup.

RAD

cuzyourethebest:

Life, Death and Reincarnation via makeup.

RAD

20 Mar

(Source: pusheen)