Peak Disaster Gay

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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
biglawbear
webbut:
“ kineticpenguin:
“ trilllizard420:
“ headlesssamurai:
“ ninja-weapons:
“This gif is outrageous
”
■ The so-called “blood explosion” which punctuates the conclusion of Akira Kurosawa’s 1962 movie Sanjuro remains one of the most memorable and...
ninja-weapons

This gif is outrageous

headlesssamurai

 ■ The so-called “blood explosion” which punctuates the conclusion of Akira Kurosawa’s 1962 movie Sanjuro remains one of the most memorable and influential special effects in film history.
Production designer Yoshiro Muraki would later recall this scene was filmed in a single take. No such effect had ever been attempted before, as movies of the time rarely showed violence with graphic detail. Filled with uncertainty, Muraki worried the blood spray he’d rigged up wouldn’t impress Kurosawa, so he added an extra 30 pounds of pressure to the fluid pump. At the moment the pump was activated, the additional pressure caused the compressor hose attached to actor Tatsuya Nakadai to blow a coupling which created a slight, unintentional delay before the fake blood began to spray, and caused a much larger gush of fluid than planned. It sprayed so powerfully Nakadai claimed it almost lifted him off the ground. His heart sinking, as he believed the delay and over-pressure had ruined the effect, Muraki nervously glanced at director Akira Kurosawa, but Kurosawa only nodded in approval.

trilllizard420

“oh god i fucked this up”

“yoooooooooooooooooooooooooooooooOOOOOOOO”

kineticpenguin

And to think this is so iconic that “two dudes clash, there’s a beat, then one dies incredibly violently” is just a must-have for action in anime

webbut

Its crazy to think that this iconic visual that has been so ubiquitous in pop culture for so long despite that the source material barely being known by people all came from actors staying in character thru an FX malfunction.

jeanjauthor
dreaminginthedeepsouth

image

Photographed by Martin Schoeller for The New Yorker in 2002:

 "I was hired by the New Yorker in 2002 to photograph Robin Williams, and after doing my research what stood out most for me was that he was a very physical comedian. I came up with this idea to photograph him swinging from a chandelier in a grand hotel room. Most publicists shoot down these kinds of wild ideas, so I didn’t tell anyone what I was up to, but rigged up a chandelier at the Waldorf Astoria hotel for him to swing from. When Robin got there and saw what was happening, he lifted up his shirt and showed me this enormous scar on his shoulder. He’d just had surgery and couldn’t so much as lift his arm. He was so disappointed! He really felt bad about not being able to do it, because he loved the idea and really wanted to help me accomplish my vision. 

Unlike most Hollywood stars, he was unfazed by his success and position. He talked to everyone from stylists to the crew, to the hotel staff. We ended up asking a maid at the hotel to swing from the chandelier instead, and I asked him to just sit there and read a newspaper, which I think in the end was an even funnier, more unexpected picture.

[Follies Of God]