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Alpha last won the day on November 10 2018

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About Alpha

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    CEO of the Business Industry
  • Birthday 09/12/2000

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  1. @cayommagazine After several years of careful deliberation by Alpha Pictures, the studio has decided to greenlight Tony Yacenda’s follow-up to Y4’s critically-acclaimed By the Balls, entitled The Zealots of Idlewild, Kansas, for a Y7 release. While the word “Kansas” brings with it a lot of controversy around CAYOM Tinseltown (for reasons that can only be explained by acknowledging a rampant conspiracy theory about a major time-related cosmic event), a company spokesperson who would like to remain anonymous has told us that Alpha Pictures is doing its best to avoid “this iteration of an idea that’s been bouncing around inside the writer’s room for quite some time” from becoming the black sheep of the studio’s slate, but one that will hopefully entice moviegoers and perhaps garner Oscar attention. The Zealots of Idlewild, Kansas is a satirical comedy-drama about a controversial Pentecostal Christian summer camp located in the eponymous town, located in the dead-center of the contiguous United States. The film focuses on several characters whose stories become intertwined at this yearly gathering of young evangelicals from around the country: Kyle (Noah Jupe), a young amateur preacher from a bitterly-divided Christian household who hopes to become a pastor and spread the Gospel when he grows up. Maureen (Holly Hunter), a charismatic and devoted youth pastor who leads the summer camp but begins to experience doubts about her teachings. Jonathan (Sam Rockwell), a Republican politician running for U.S. Senate who becomes entangled in a political scandal. Timothy (Patrick Wilson), the owner of a large nondenominational megachurch based in Wichita. Abigail (Brooklynn Prince), a shy, introverted campgoer who struggles to make friends at summer camp. In addition, Maggie Gyllenhaal and Nat Faxon have been cast respectively as Kyle’s highly devout mother and his more-moderate father, who both play crucial supporting roles, while Annabelle Attanasio and Jimmy Tatro have been cast in undisclosed roles. While the film’s focus on a particular subset of evangelical Christianity is poised to stir up some controversy, The Zealots of Idlewild, Kansas blends outrageous black comedy with a biting portrayal of contemporary American society, highlighting timely themes about Christianity’s place within the American civic religion, and its connection to wealth, commodification and political causes. The Zealots of Idlewild, Kansas is slated for a limited release in New York and Los Angeles on March 10th, Y7, before expanding to wide release two weeks later on March 24th.
  2. @cayommagazine Following Joaquim Dos Santos and Lauren Montgomery's firing from Alpha Pictures' Wanderer, the studio has announced that Michael Dante DiMartino and Bryan Konietzko (Avatar: The Last Airbender, The Legend of Korra) will helm the $200 million traditionally-animated science fiction epic, due for release in IMAX 70mm-only theaters on December 20th, Year 7 before expanding to theaters everywhere on Christmas Day.
  3. I mean, tons of people see it coming, I think you might be disappointed. There'll probably be a bigger shitshow if like Two Popes won.
  4. My full list of predictions: BEST MOTION PICTURE - DRAMA: Joker BEST MOTION PICTURE - MUSICAL OR COMEDY: Once Upon a Time in Hollywood BEST ACTOR - DRAMA: Joaquin Phoenix, Joker BEST ACTRESS - DRAMA: Renee Zellweger, Judy BEST ACTOR - MUSICAL OR COMEDY: Leonardo DiCaprio, Once Upon a Time in Hollywood BEST ACTRESS - MUSICAL OR COMEDY: Awkwafina, The Farewell BEST SUPPORTING ACTOR: Brad Pitt, Once Upon a Time in Hollywood BEST SUPPORTING ACTRESS: Laura Dern, Marriage Story BEST DIRECTOR: Bong Joon-ho, Parasite BEST SCREENPLAY: Quentin Tarantino, Once Upon a Time in Hollywood BEST ORIGINAL SCORE: Hildur Guonadóttir, Joker BEST ORIGINAL SONG: “(I’m Gonna) Love Me Again”, Rocketman BEST ANIMATED FEATURE FILM: Toy Story 4 BEST FOREIGN LANGUAGE FILM: Parasite Could see either Once Upon a Time in Hollywood and Joker totally sweeping, or Marriage Story walking home empty-handed.
  5. Hey, everyone. So, if the over-the-top Oscar post didn't make it clear, I've decided that I will be cancelling both Part I and Part II of Star Fox, and I will be selling off the rights to the franchise for anyone who wants it. I imagine this is disappointing to some, but I can tell you this was absolutely not an easy decision to make. It's even one that I might regret sometime in the near future. But there are a lot of factors in why I decided to shelve this project. First off, the film just kept growing bigger and bigger and bigger to the point that wasn't a CAYOM film anymore -- it was like full-blown miniseries, just this monstrous behemoth with too many characters, too many story threads and too many lofty ambitions. Never mind the fact that I had been working on this film for about two-and-a-half IRL years, dedicating basically all of my CAYOM time trying to get it right. Delaying it to Year 6 at first wasn't a huge problem. I felt like there were just a few storytelling bugs that needed fixing, and in that time I was making real progress on the film to the point where it felt like getting it done was going to be a real piece of cake. But delaying it to Year 7 really messed with my self-esteem. At that point I felt like I was getting nowhere with this thing at all, and I was investing too much time in Star Fox when I could've been focusing on stuff elsewhere. Star Fox just felt fated to be in development hell forever. The awards ceremony today was the straw that broke the camel's back, when I was trying to write a trailer. I am sick and tired of playing the hype game for this film, trying to get everybody really excited for something that I didn't know I was ever going to complete. I said back in Year 5 that if I had to delay Star Fox again I would can it then, but I decided not to make that decision then because I felt like there was room for potential. I've reached the point where there is no room for potential. Because I wasn't getting anything out of it, I decided I was done with Star Fox. Another important reason was that I felt completely constrained by the source material. I've been wanting for so many years to break off from doing adapted stuff and finally start moving into writing original films. I feel like the game has completely changed for the better since 2.0. The people who write for CAYOM are using this opportunity to explore unique original concepts, like the Spark movies, The Scavenger Wars, By the Balls, etc. Paradise Island, which just won the Oscar for Best Picture, is an example of one of those great original films. I'm surrounded by people who are in complete control of their craft. Meanwhile, writing for an existing franchise property like Star Fox and turning it into its own thing, but at the end of the day it was never going to as creatively fulfilling. I want to create my own characters and my own worlds, instead of working within someone else's framework. There were so many parts of my Star Fox film that seemed so fun and vibrant that no one would recognize as Star Fox, and would absolutely never would make it past a board meeting at Nintendo. I was afraid my Star Fox films were gonna be judged on how much they deviated from the source material, how bonkers they were, and how much it captured the style of a filmmaker that after rewatching OUATIH, I don't feel as enthusiastic about anymore. I'm a Jackie Brown person. But Star Fox is not Jackie Brown. I want to have my own style, not mimic someone else's. Does this mean I'll lose a ton of my work? Yes. Does this mean I'll have to go back to the drawing board in some places? Yes. But I can't wait for the adventure ahead that comes with creating something new. I feel like creating something original helps keep people's expectations open. So, tomorrow evening, I'll release the trailer for my new original science-fiction animated epic, with the working title Wanderer, and I'll release an informational post about the film over the weekend. It's an idea that goes all the way back to 2.0, and one that's been gestating in my head for several years now. I'm excited to write it, along with all of the other new projects I'm pursuing for Y7 and beyond. So, once again, I'm sorry if this announcement comes as a bit of a disappointment for some. If anyone wants, I'm willing to share the plethora of concepts I developed for my Star Fox film, and if anyone else wants to tackle the source material, the rights are yours.
  6. lol how about you trust yourself. Don’t let somebody else decide how you feel about a film.
  7. Your reading comprehension skills must not be up to par. Scorsese movies contain subtext. The characters in his movies act like real people and aren’t just gangster/psycho-thriller tropes. It’s my opinion that Joker is like a Scorsese movie where every single storytelling element is surface-level, from the characters to the dialogue (including one of the worst ending monologues in recent memory). Once you get past the main narrative there’s nothing left to examine. For example, it’s been heavily publicized that Phoenix lost a ton of weight for the role. But what relevance does Arthur’s weight have to the story? Nothing really, because from Phillips and Silver’s point of view, in psychological thrillers all protagonists must be gaunt because they’re crazy or something. That’s about the level of thought they put into the character development here. Thats not saying there aren’t things to admire about the film. I really liked the cinematography and color palette of the film, both because it’s a nice throwback to that late 70s film look and also because it reflects the gross and slimy setting of the film, and Phoenix does a solid job with the material he’s given, but in my opinion it’s just plain derivative of Scorsese movies like Taxi Driver and The King of Comedy which had far more complex themes and characters. It’s clear that Phillips likes Scorsese movies (War Dogs is basically Wolf of Wall Street 2) but he doesn’t get what makes them so important and genre-defining. And thus we circle back to the original point which is that you can’t just say how everyone who doesn’t like Joker should go back to film school when you aren’t giving A SPECIFIC REASON why other than “it’s a masterpiece, and if people don’t see that then they’re dumb”.
  8. Yes, I actually think it does help to see more movies, that way you can actually develop a taste and not just watch Baby’s First Scorsese Movie and think “this is a masterpiece.” Comparing support from film industry folks to support from those in the engineering/science fields shows you don’t understand the difference between something being objectively and subjectively good. There’s a difference between a toaster that makes toast well and a movie that you think is good. The latter doesn’t universally apply to everyone. Maybe they would’ve taught you that at the film school you want to send every Joker critic back to. First, there’s also a sizeable amount of critics who dislike or feel ambivalent about the film. That 69% on RT speaks for itself; it’s a highly divisive movie. Second, when did I ever mention what I thought critics would think of the movie in my first post? It doesn’t matter to me whether I’m in the minority on Joker. Silly me, trying to form my own opinion on the movie. Anyways, after this discussion I’ll be sure to go back to film school and learn about how Godard stopped making Breathless because he needed to respect swords-and-sandals epics and John Wayne movies more and how much of a sham New Hollywood was.
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