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Yeah he really shouldn't be trying to peddle used merchandise as new!
Half the reason the movie exists the way it does is to explain how Iago appears in the Aladdin TV show
I had no idea they had character posters for this movie (or any posters at all aside from the bat symbol, come to think of it). I appreciate the post!
I feel like a De Palma Psycho II would've been more or less the same movie except with a lot of boobs, and Mary would've been played by Nancy Allen who would've showed her boobs at some point. Also lots more splitscreen, spinning camera moves, and split diopter shots. All involving boobs.
It's just some low-key sarcasm/sass from Tanaka pertaining to Bond's immature concerns over his partner's looks (going by his reputation it's obvious Bond is asking about her because he wants someone to put the moves on and not for any reason related to the mission). Sort of like, "Oh, and what're you gonna do about it if she's ugly? That's what I thought. Get serious!"
It's her natural accent. She grew up in Los Angeles.
The reason Shatner never directed another movie after this (the reviews weren't good but they weren't "career-ending" bad by any means) is because he literally could not finish the film. They had to cobble together the climax almost out of thin air in the editing room.
Luke saw her wearing the slave girl outfit on Tatooine so he knew she had it, she had it goin' on indeed.
Seriously though, I think he mostly just presumes that being his twin Leia would've most likely inherited the Force like he did, but I quite like the idea that her being able to hear his call at Cloud City was a sign she could use the Force.
Sure, but the production history of this movie's been documented pretty well so we pretty much know for sure there weren't any major changes during filming.
In fact there arguably weren't any truly radical changes at any point in the production - some of the early script drafts had differences in settings and characters (the Emperor's throne was at a city planet (this would've been what Endor was a moon of), Admiral Jerjerrod was more openly antagonistic with Darth Vader, there were two Death Stars under construction, etc.). But the story beats and overall tone were pretty consistent all throughout. There was always Jabba the Hutt on Tatooine, there were always Ewoks (it's true they were derived from a forest planet of Wookies, but that was during the drafts for the original Star Wars, not Return of the Jedi), and Darth Vader always sacrificed himself saving Luke from the Emperor.
The title was changed because there was some discussion within the production that it didn't really fit, and after the first trailer was revealed some fan reaction echoed that sentiment. They then ran a survey which revealed more people preferred "Return" over "Revenge" in the title, so they went ahead and made the change. It didn't accompany any change in direction for the film.
"Revenge of the Jedi" was just a title, it wasn't a different movie. They were already well into filming when they made the title change.
To be specific, Star Trek II: The Wrath of Khan is "Moby Dick Vs. A Tale of Two Cities... in Space!"
I think he just has a habit of raising an eyebrow. They're actually pretty symmetrical in shape.
You can tell Hollywood threw this movie and 'Robocop 2' at him because they saw him as "the sequel guy."
Thing is, directing ain't magic. No matter how good you are there's no overcoming weak scripts or stars/producers that can veto all your decisions. 'Never Say Never Again' actually does have one of the more distinctive directorial styles of the Bond movies (it's striking how much more modern for the time it feels than 'Octopussy,' which sometimes still feels like it was made in the 70s). But they were legally required to just rehash 'Thunderball' and Kershner was stuck with the bland department store music . Most of the budget going to Connery also meant there was only so much they could do with the action and set pieces. So Kershner mostly focuses his efforts on the camera framing, the performances, and using as little of the music as he could get away with.
Was this you, OP?
https://metro.co.uk/2018/01/08/issa-rae-overheard-someone-mistake-viola-davis-alfre-woodard-golden-globes-7213199/
(Adding my thoughts, years later, for posterity's sake).
Mima's character arc ends with her realizing she should forge her own identity and figure out what's best for her rather than to let others dictate her life. One of her managers pressures her into the raunchier side of the business, and she goes along with it because apparently that's what the public prefers, it's what people keep telling her, and she ends up feeling used and exploited.
The twist at the end is that Rumi and the fans who object to her new image don't actually have her interests at heart, either, and are also just trying to impose their own idea on Mima about who she is. Whatever direction she decides to go in after the movie is over, she at least realizes it should be something she herself believes in, and moreover she shouldn't let her professional act dictate her identity as a person.
Drag queens don't claim to be women, not now nor in the past. They dress in drag as a performance, for fun or as a profession. This makes them distinct from transgender folks, who claim to have a condition in which their innate sense of their own gender doesn't match the bodies they were born with. I can't say I know what it's like to be in a trans person's shoes but I don't see any reason to believe they're all just making the whole thing up.
Both types of people have been around in some form for most of recorded history, and neither of them are recent phenomena or signs of modernity at all.
Going by the name "Captain Howdy," I'm pretty sure Pazuzu didn't just waltz up to her with horns and fangs blaring or anything like that.
There was a rather famous episode of Star Trek: The Next Generation about an ever-repeating time loop pretty much right around the time of Groundhog Day.
The original Japanese version seems to have conflated trans women and drag queens together: the way she describes herself in dialogue is in-line with being a trans woman, but the actor's performance seems to deliberately try to depict "man in drag" (you get the impression that we're meant to see the character as delusional or "playing" rather than genuinely being trans).
In the 2020 official English dub, Hana's voice actor gives a more androgynous performance that fits a bit better with the idea that she's trans, though the voice is exaggerated just enough that if you still prefer Hana to be more of a full-time drag queen than a full-on trans woman it won't get in your way of doing so.
The official dub also goes with "homo" as the derisive term Gin and other occasionally use for her, which sound sounds more plausible to me with these characters; I'd have a hard time seeing Gin and Hana hanging around each other in the first place if he regularly called her "faggot" so casually like that.
Following up on this, there was finally an English dub released in the US in 2020 by the GKIDS brand. I'd say it's pretty good overall. Gin's voice fits him well (reminds me of John Huston); Hana's might actually be better than the Japanese original depending on how you prefer to see the character, playing it more androgynous; I think only Miyuki is a misfire, she seems to have that "constantly shouting" quality that seems so typical of anime dubs.