Every Wednesday and Friday
We have a special edition of the Iron Man project today.
Sometimes people will see me in the armor and ask if it’s hard to get into.
Yes. It is.
The real issue is you have to get into the outfit in a specific order, otherwise you can’t move, or you can’t reach the next part. If I have my gloves on, I can get my arm bands on (besides, the foreams wouldn’t fit over them anyhow). If I have my breastplate on, I can’t bend enough to get my shoes or lower legs on…ect.
So here’s the process. It starts with yellow sweatpants and a red Tshirt. It’s a T because the costume gets hot. I want light cloths under it. The fact that it’s a flash T is just ironic.
The yellow top is just so I have sleeves. It’s made from a pair of yoga pants so I have loops around my hands. This helps kept the sleeves from creeping up under the armor. I want yellow arms to go with the yellow gloves. Now we need to pull up the torso and attach the sides.
Legs are next, while I can still bend to take care of things. Upper leg, lower leg, then shoes. It HAS to be done in that order.
Breastplate next. It’s hard enough to squeeze my normal arms through those arm holes, with the armored limbs it would be impossible nad the paint would all scrape off.
And that’s the process. It takes about ten minuets on a good day (when I have help). I can manage to get a helmet on while wearing the gloves, but that’s about it. Next month we’ll go back to the process of making the suit.
Our friend Douglas Waltz submitted his entry this year for the 9th Annual Cinema 2880 video challenge – You get just 2880 minutes (48 hours) to script, cast, rehearse, shoot and edit a 5-8 minute video short.
He asked me if I could do an explosion for the end and I whipped one up in a couple hours. It’s the last shot of the film. Here’s the short in it’s entirety:
And if you want to see the previous Michigan Smith adventure, it’s available here:
And don’t forget, new Violent Blue this morning!
An Angel Lite commission. From “The Ballad”
Luciano a.k.a. Bandito witness his farther get shot cold blooded by a Marshall. His uncle The Meddler took him and raised him and he became part of the West Texas Outlaws. Now he is outlaw himself seeking revenge against the people who killed his farther. A great shot with a six shooter.
And don’t forget, new Violent Blue tomorrow!
Schumacher’s name is synonymous with failure. After all, he pretty much destroyed the Batman movie franchise and it took visionary director Christopher Nolan to redeem and reinvent it.
And I don’t believe a word of the above statement.
Truthfully, I think the film Batman and Robin poison everything around them and that’s not fair. Batman Forever was actually a decent film. You have to remember, at the time, the only cinematic version of Batman we had was Burtons, and he had no interest in the source material. Catwoman was interesting, but there’s noting about her that ever remotely resembles Selina Kyle…and the creepy Penguin? I don’t even know what that was.
What Batman Forever gave us were villains much close to their comic book counterparts, and a Bruce Wayne that I actually could believe was the Bruce from the comic series rather than the pointy eye browed, curly haired weirdo that slept hanging upside down (Oh! I get it! LIKE A BAT! um, yeah.)
Sure there was a little more humor…Jim Carey (Who I don’t like that much at the best of times) was being Jim Carey. There was some speculation that Robin Williams should have played the Riddler (and the Joker before that). Can you imagine how hammy THAT would have been? The humor isn’t down to the camp levels of the TV show though. There’s plenty of action, with Schumacher’s flair for zooming shots actually giving it a more comic book feel, and that’s what I loved about it back in 1994. It felt much more like the comics to me and that was a welcome change. I even laughed at the single reference to the old TV show (which I still hate to this day) about Holey rusted metal….
I think however, that some studio exec with warm and fuzzy feelings for that show head that line and a lightbulb went off over his head…
You see, I don’t place most of the blame on Batman and Robin on Schumacher. This was another film (much like Star Trek Five again) rife with studio interference. Not even that. The word “interference” suggests some level creative vision on the directors part. Schumacher walked into a meting, before the script was even written and was handed toys. Cars, costumes and props and was told that these all had to be worked into the film somehow. The original script didn’t even have Bane in it. Ever wonder why the toy looks SO different from the on screen character? It’s because the toy was designed before the role was cast.
Schumacher could have said no. I’ll grant that. He could have breached contract. In retrospect it might have even been good for his career. But back in 1993, I can easily see how quitting this film (Batman films were a license to print money after all) might have looked like career suicide.
This isn’t cockeyed optimism that fuels my devotion to Schumacher. rather it’s he track record. On one hand we have Batman and Robin – a heavily studio controlled film that was an utter disaster on every level. On the other hand we have my favorite vampire film EVER, the Lost Boys. And we have Saint Elmo’s Fire before that. We have Phone Booth and 8MM (both done after B&R, just incase you were about to make the argument that he had talent but then lost it). Phantom of the Opera is another fairly closely controlled property that he was able to make good with.
It drives me mad when I hear him trashed on the basis of (mostly) one film that he had little or not control of, and I’ll stand by my defense of him any day you like.