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Damn you, now that I know it's out there I don't know if I'll be able to resist looking it up:o. Obviously won't go into any further detail than that here, but it is out there if you're curious! I'll wait. cool: I will watch promos and trailers though. francis. People get paid to make 8 minute videos based on that:facepalm. I'm fine with August as long as it not in October. cool. People get paid to make 8 minute videos based on that:facepalm: Hey, come on, Krid. The people need to know that Jon and Sansa (last seen at Winterfell) are. I wonder how long until they tip us off on the future of Sansa's hairstyle. How did Arya go all the way from Walder's Frey's place to.

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HOLLYWOODFLIP: How long did it take you to write the script, from the time of production, and finishing it. How many shooting days did you have and can you talk about how did you find the location used in your movie? ? worked together with the scriptwriter Emma Brostr? . We did a lot of research in different cases both in Sweden and in other countries. Then during the preproduction, I usually change a lot of things in the script, both after doing location scouting if I get inspired and after casting process, which I often attend a lot and try different things in some scenes. All the exteriors were shot in night time to create a special feeling because it was still lighter during night time of the year and all the indoor scenes we would close the curtains, as they often do in northern Sweden in the summer to create a stuffy feeling. We had 35 shooting days but, in Sweden, you only have permission for 8 working hours every day so it? a little tough. HOLLYWOODFLIP: Can you talk about the casting process, especially the lead actress. Did everyone go by the script and not inject any improvisation?

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I’ve been a critic of people bitching about Littlefinger’s jetpack, but even I am surprised to see him teleport to Castle Black from the Vale in one episode. Maybe the show should start doing the whole “1 month later” captions to denote a passage of time. They probably used the same body-replacement tech as with the walk of shame and mellisande’s reveal, except instead of a body double they used footage from s1e10. A lot of things happening but we still have great quieter moments like the Jon and Sansa reunion (all 3 scenes between them were very good) or the high sparrow speech. I do think it’ll be Dany’s forces, together with Jon and the Wildlings, that unite to defeat the dead beyond the Wall. Some proper writing for a change and a balanced mix of scenes. She really wants to become a leader masses follow out of respect and not fear, she’s needs another move. Fear fades. Ask granddaddy Aerys. It is interesting how the show is playing “the unburned”. Nut up, big bro, we’ve got Boltons to hunt. Oh yesssss.

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To aid in our exploration of the realm most creepy and most pasta, we bring on the Review Cultist, host of Al Dente Rigamortis, to elaborate on these never-ending internet campfire stories. Reading List The Dionaea House NoEnd House Sigma Radiation Slender Sickness Caught Not Sleeping Eversion Why Horror is Scarier with Weapons Everything Is a Remix The Inspiration for Silent Hill Check out Al Dente Rigamortis on Patreon. While but one of a movement, his works changed the basic inspirations of horror from a universe of divine punishment doled out by monsters to a universe that couldn't be bothered to care if you lived or died. His talk of ancient powerful beings from worlds beyond the stars and the insignificance of mankind were fantastical and horrifying in ways the stories of vengeful monsters couldn't be. In the modern age, Lovecraft's work is still highly influential, but the original stories are a bit lacking in modern sensibilties. We discuss those who took inspiration from Lovecraft and made horror exceptionally weird. Matt and Ross Payton from Role Playing Public Radio hosted this panel at Gen Con 2016. Travis was supposed to lead this panel, but due to personal issues he was not able to make it to the con. This episode, we know things about our experiences with This Is The Police. Important Links: Neo Noir Reading List Patreon for Al Dente Rigamortis The Works of Brenda Romero. Also along for the ride was Aaron Carsten of Role Playing Public Radio, talking about his recent experiences running games online and the differences from his time at the table. Kevin and James join Matt on this one in describing their campaign design philosophies to the attending audience before opening the floor for questions, advice, and discussion.

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Well, it was so different back then. I think the one you're talking about probably was called Ice Cream, and it was so different then, because I shot those on 16 mm film, like with real film crews, and they cost more than they do now to make those things. But at the time there wasn't an Internet, and there wasn't. When I made that thing, you had to actually write to a film festival. Like you had to go to the library and get a book that has all the film festival addresses in it. It was like the biggest deal of my life when I got that. Then I went out to Sundance and it got bought by European television stations, because in Europe they were showing short films. But Ice Cream started getting known, and that's a good question, because Ice Cream ended up being what got me the Conan O'Brien show job. Because when Conan O'Brien was trolling for writers, I got asked about it because I had a good reputation as a stand up, but the stand up only got me in the door. It wasn't TV writing and it was certainly not late night writing. Now it's just sitting on You Tube for anybody to watch. It's funny to watch it now because the tone of it is not something that's supported by today's You Tube world.

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Keep in mind this is supposed to be a hidden layer of meaning; in terms of the surface plot, Waymar rises presumably on command of the Others to kill Will because they want to, and that’s kind of what wights do, they lie dormant in the snow and then pop out at the most inconvenient time, as we saw outside of Bloodraven’s cave with Bran and Coldhands and company. But the potential symbolism of Nissa Nissa’s ghost raising dead Azor Ahai, who has just given up his fiery blood, is quite compelling, and makes a lot of sense. Night’s Queen would seem to facilitate this transformation, so seeing someone playing that role raising an Azor figure from the dead makes sense, especially since our undead Azor appears reanimated by ice magic with a blue star eye version of the Odin makeover. They do not stop to savor the moment, or brush anyone’s cheek. They attack aggressively and viciously, like most zombies do. That language also does not fit with the main action, but does fit with the idea that Martin is trying to imply a tender reunion. I kid of course; I think the choking has to be there for purposes of the main plot, and it’s this anomalous cheek-brushing elegance that is supposed to be the clue about this being a reunion of sorts. Or we could interpret it as a depiction of Night’s King “chasing” and “catching” and basically possessing Night’s Queen, as he is said to do. Again we are reminded of the choked, stream-of-ice speech of Lady Stoneheart. Martin calls it a blind white eye transfixed by a sword shard, and this has to make us think about the dragon locked in ice symbolism. Resurrected Waymar might simply be regarded as the ice moon in this instance, just we see the moon leering with Euron’s face in one the TWOW early release chapters, implying Euron’s entire face as the ice moon. We are starting at the end of the chapter and working backwards, reshuffling the order events in reverse.

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