First, let's all admire the new layout. Oooh, ahhh. I wanted something to match
my tumblr; and this what three days of coding, re-coding, losing half the code sheet after a copy-paste accident, and saying to hell with it!, results in. (If I never see/type another layout code again, I'd be very pleased.)
Second, A Doctor Who Re-watch update...or
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Comments 14
Sorry you're having a hard time with the writing though. It seems to come in cycles. I'm actually somewhat terrified of getting a proper publishing contract for that reason, because then I'll have The Deadlines. Much as I'd love to have something published...
Oh please do post on the comm! :) I love reading your reviews, even though I know I don't comment on them all the time.
On the movies you haven't seen yet that I have:
The Woman in Black--I loved this one. It's pretty formulaic, but dear god, is it effective! The formula exists for a reason, after all. It's a lovely, lovely film, definitely has the isolation part of that atmosphere nailed down.
Hound of the Baskervilles--you've seriously never watched this before? For shame! Although I strongly recommend the Basil Rathbone version from 1939, and ( ... )
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I think it's just going to be a matter of getting back into a routine. It's been about 2 years; so I just have to keep reminding myself that I'm (basically) starting over and I shouldn't expect my out-put to match where I was when I used to write all the time.
The Jeremy Brett version of Hound (1988) is the only version my library has. I've heard that Brett is the quintessential Holmes, though, so I'm interested to check it out. Though, I agree, I'd love to see the one with Rathbone.
Ugh. Polanski. I feel bad because I really, really want to see Rosemary's Baby but then I don't because it's Polanski. Maybe because both were made pre-The Incident, I can justify it... Maybe.
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Is he? Hm. Might have to check it out myself then. Still partial Rathbone on the whole though, just on principle.
I've read the book Rosemary's Baby, so I figured I can live without seeing the film. Even taking place pre-Incident, there is a very disturbing and violent rape scene, and just knowing . . . that . . . makes one wonder why those seem to appear with so much frequency in his movies. *shudder*
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I kinda suck at being no-Polanski because I've seen The Ninth Gate (damn you, Depp!); but that was before I knew about The Incident. Since then I've never seen another one of his movies. The whole thing just makes me sad; especially recently because the victim is trying to say it's her fault it happened and she knew what she was doing. I...I just can't. I hope Polanski burns in hell.
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You're absolutely right that different people picture "Gothic" differently. There's a surprising amount of variety involved, I guess. From what you've said, I'm pretty sure Rebecca is a fantastic choice. That book has so much atmosphere, I think you could literally breathe it in, and I'm not joking. :)
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Agree about people's definitions of "gothic". Which is why I understand why movies like The Craft and The Crow are on a lot of people's lists...but I don't want that kind of gothic. I want old school, repressed Victorians exploring crumbling estates.
I LOVE Rebecca. (Mmmm, Laurence Olivier.) (Also, I can't be the only one who pictures Vivien Leigh as Rebecca, right?) I think I'll make Rebecca my Halloween read this year.
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Old school, repressed Victorians is definitely my favorite type of gothic. (Ironically, I never saw Victorians as all that "repressed," because I'm super reserved by nature. Though I can see why others can feel differently.)
I second the Laurence Olivier appreciation. And oh my goodness, Vivien Leigh would have made a fantastic Rebecca, if Rebecca ever came on screen. Head-canon accepted!
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Vivien Leigh as Rebecca is EVEN BETTER when you know the backstory. Olivier wanted Leigh as the second Mrs. de Winters, as they were an item then; but Leigh tested poorly, and Hitchcock didn't think she was timid enough to pull the role off. So when Joan Fontaine got the part, Olivier was bitter and treated Fontaine horribly on set...and then Hitchcock told Fontaine that everyone hated her so she'd be even more self-conscious.
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