#filmaday

January 17th's Film-a-day was the 2008 movie "Hellboy II: The Golden Army."

Since the first movie was pretty awesome I had to watch the sequel. This too did not disappoint.

January 11th's Film-a-day was the 2001 movie "Black Hawk Down."

A friend of mine told me it was good, so one day a couple of years ago I picked it up in a Goodwill. I never got around to watching it until this project. Normally movies regarding war or bloodshed are not my thing. This movie was based on true events that occurred in 1993, US military was sent in to try and capture a Somalian leader to try ana stop the genocide he was commiting. Over 300,000 Somalians were literally starved to death, the opposing side attacked humanitarian aide. 19 US Soldiers died during this mission. What's even sadder is that this war has been going on since the 1980s, and IS STILL GOING ON TODAY 😢

I tried my best with this drawing. A black helicopter on fire and smoke, I used pastel chalk to color and smear it.

Fun-A-Day 1/11/2025

Still working on this one from the other day.

I don't want to just making drawings and paintings for Fun-A-Day, however my ideas are taking more time.

Barry Lyndon - Kubrick 

Oil paintings 

Light 

Technical aiding the story - the push for new technology. Cause + reasoning. Think Portrait 

Almost every Kubrick film is a showcase for some major innovation in technique – in 2001 it was the revolutionary visual effects; in The Shining, his mastery of the Steadicam. On Barry Lyndon, Kubrick and cinematographer John Alcott set themselves the task of shooting as many sequences as possible without recourse to electrical light. 

The stately, painterly, often determinedly static quality of Barry Lyndon was at least in part dictated by this stylistic choice – lit only by candles, the actors in the many sequences of dining and gambling were under instruction to move as slowly as possible, to avoid underexposure. But it fits perfectly with Kubrick's gilded-cage aesthetic – the film is consciously a museum piece, its characters pinned to the frame like butterflies.

Kubrick and Alcott looked to the landscapes of Watteau and Gainsborough; the day-lit interiors owe a lot to Hogarth, with whom Thackeray had always been fascinated.

Subjected to the director's infamous regime of many, many arduous takes, their faces light up the film and the era, like a series of fine, carefully hung, oil portraits. Kubrick's cast may have been required to sit for these for days and weeks on end, but no one could say the results weren't worth it.

https://www.telegraph.co.uk/films/2016/07/27/kubrick-by-candlelight-how-barry-lyndon-became-a-gorgeous-period/

Story

Anticipation 

Everything in life pre planned - Idea of fate.