Demetrius Stear

Founder of A Mind’s Eye, a boutique film production company. The Producer of Come With Me, Play Dirty, and Bruton

[Demetrius Stear @DemetriusStear]

What a journey. Proud of this one! Les GOO!
🎬🎥🍿

[aaron harvey @aaronharv]

COME WITH ME premier at the @thebhfilmfest Saturday 04/18, 6:35pm. Chinese Theater. Come and see us. @DemetriusStear @Theorossi @Ronniegblevins @ItsMeKateFrench @JonathanCroom @perlmutations

https://t.co/aWfsPURa8C

[cinesthetic. @TheCinesthetic]

The Rahad Jackson sequence in BOOGIE NIGHTS (1997) feels like PTA suddenly dropping the audience into a nightmare. Alfred Molina is dancing around in a robe, smiling the entire time, while every person in the room looks seconds away from disaster.

[The Playlist @ThePlaylistNews]

‘Manhunter: The Final Cut’: Michael Mann’s Hannibal Lecter Franchise Starter Returns To U.S. Theaters In July For 40th Anniversary https://t.co/0RRZP3AKeI

[Cinema Tweets @CinemaTweets1]

40 Years.

[Bloody Disgusting @BDisgusting]

Michael Mann's MANHUNTER.

THE FINAL CUT.

StudioCanal is unleashing a brand new 4K restoration in select US theaters on July 24.

"The ultimate immersive version" of the film.

[NEON @neonrated]

You are cordially invited to “the most thrilling party of the year.”

ONCE UPON A TIME IN HARLEM. Conceived and filmed by genre-defying filmmaker William Greaves. Directed by David Greaves. In select theaters October 16.

[The Film Stage 📽 @TheFilmStage]

Michael Mann's #Manhunter: The Final Cut will open in U.S. theaters beginning July 24 in a brand-new 4K restoration.

[cinesthetic. @TheCinesthetic]

Almost 50 years later, the ending of HALLOWEEN (1978) is still terrifying. Loomis shoots Michael, he falls, and for one brief moment it feels over. Then the camera looks back and he’s gone. Horror movies have been chasing that feeling ever since.

[The Art Of Dialogue @ArtOfDialogue_]

Steven Spielberg pushes back on the modern trend of showing an entire movie within the first two minutes of a trailer and says less is more as he reveals the science behind making a great movie trailer.

(🎥 ITV News/Youtube)

[Hayden Hewitt @HaydenHewitt]

https://t.co/QjyS8LBX9E

[𝐁𝐒𝐏𝟑 @RealBSP3]

The art director working on Obsession in question complained about the pay they received for the job, in relation to the film's later success, and called for a reevaluation of the industry, as a result.

Let me spell it out simply:

It's over, for them.

The entertainment industry isn't fair. It never has been, and it never will be. You can write the best screenplay of all time, mix the best sound ever heard, or act a role so well the entire academy bursts into tears.

You can do all that, but you're doing it for the contract you signed up front. If that contract stated you'd receive $10,000, and the movie later brought in Avatar money, you're still only getting $10,000.

What you have in your pocket, now, is the money you agreed to receive in exchange for your services; but you have one more thing, as well. It's something more valuable than money ever will be in Hollywood:

You have your name on a smash hit and, as art director, you have your name in an incredibly lofty position of responsibility in regard to that slam dunk of a film.

Your resume just leveled up not only by $10,000, but by 10,000%. You're immediately in the big leagues.

You made it in one miracle shot. Every director knows your name, now. You're on the short list to call first.

The number of art directors who would flat-out break the law to be in your position is staggering. These are people who control pieces of the entire aesthetic of a film, who've worked their tail off for no recognition.

The art director lays out the blueprint in concert with production and direction before anyone else does their job; and throughout production ensures all of that stays on track and adapts as required.

That's an absolutely massive credit.

There's even a dedicated Academy Award for it.

The idea of slaying the dragon the first time you pick up a lance is the stuff of dreams and legend in the film industry.

Standing up right after it happened and crying about a paycheck just pushed you right back down to the bottom of the barrel, and you deserve to be there.

Find another career.

By complaining, you spat in the face of everyone who endured the grind for years, never to make it to that position, and certainly not to get there on a successful, extremely profitable production.

By complaining, you looked down on people climbing a thousand foot ladder in the dead of summer from the air conditioned elevator you were riding, and called them fools for climbing it their entire career.

Here's the problem you just caused yourself:

The people who make the decisions on who to hire in your position climbed that very ladder to get where they are, and you walked into the room saying you're better than them.

Nobody wants that attitude on their production.

They're more willing to roll the dice on an unproven art director than sully the very core of their aesthetic with your pretentious toxicity.

Congratulations on ending your career just as it began.

A team got you there, but this result is all on you.

[BKP @BustedKnucklePr]

The amount of people who dont have the slightest clue what they're talking about saying the art director on Obsession was screwed, and everyone btl should get $1 million bonuses and similar stupid shit on here is EXACTLY why so many people fail in this industry. Cause they dont have a clue what they're talking about yet think thats how things should work and anyone who thinks otherwise is just trying to screw people. Have seen at least a dozen people claim "Ya, I used to do independent films and this is why I quit!" Which is the dumbest statement in the world and shows why you failed. Something I've never said before cause its very harsh, but apparently some people need a reality check. Esp when I see them insulting people who have managed to actually succeed in this industry and know what theyre talking about. Here's the simple facts:

The writers and producers work for free for years to bring any project to fruition. So, someone who works for a month, after they made that job happen, should be entitled to the same rewards they are for a successful film?

If the film is lucky enough to be bought vs just getting a 7yr distro deal then that company is going to be putting A LOT of money into its release. Either will be, honestly.

So why tf would someone who was paid for a month's work woth ZERO RISK be entitled to anything that happens after the fact? And saying you were borderline trying to flip it with a budget that small will make it so NO ONE wants to ever work w you. BELIEVE ME, WE ALL wish anything we make will be a film that honors every union and its workers. But, the fact is its impossible to do so on that budget. Which is why Paramount cancelled their division they made years ago that was just going to do 10 $1 million films a year. Cause it wasnt possible to do under all union contracts. Made the subsidiary, never made a film.

Its one thing if a film has a real budget and screws the crew. That's a whole other conversation and one I agree w. This is just a bunch of wannabe know-it-alls who never did and never will make it. Because they don't know wtf they're talking about.

[Luke Barnett @LukeBarnett]

The Obsession art director post. Man, what a choice.

One year total experience. Only credit pre-Obsession is a single short film. Sign on to a low budget indie. Agree to rate. Movie explodes. You're suddenly the Art Director fo the most talked about film of the year.

If this ever happens to you, let me give one piece of advice. Embrace it. Use the credit to fight off offers, get a BTL agent, turn those difficult three weeks into an incredible career.

Do NOT cut every connection you have to the filmmakers, put out tweets about how you wish you'd shut down their production, and complain about the rate you agreed to (which isn't even like $100 or some student film sketchiness).

Do you know how many indies I have done as an actor for $240/day? A fucking lot. Every single time I know what I'm getting into and I hope to god it turns out well and leads to another opportunity. I cannot even imagine getting cast in Obsession and then putting out a career ruining post about it instead of trying to leverage it into more work.

[GangsterFilmz @FilmzLoverz]

Viggo Mortensen is in Carlito’s Way for one scene, and somehow Lalin feels like he has an entire movie behind him.

That’s what makes Viggo’s performance so good. He doesn’t play Lalin as a random lowlife or comic relief. He gives him history, damage, resentment, and that pathetic kind of desperation that makes you understand why Carlito still feels something for him, even when he knows he shouldn’t.

In just a few minutes, Viggo turns Lalin into a warning sign. He’s what happens when the old life doesn’t kill you cleanly but leaves you broken and bitter.

I also love how smart Carlito is. He immediately senses something is off.

[John Watches Horror @Y2John84]

You are receiving this broadcast in order to alter the events you are seeing... this is not a dream.

[Carnival of Horror @HorrorCarnival]

The image of Reagan in THE EXORCIST as she simply sits and watches as Father Karras desperately tries to revive Father Merrin is chilling. What finally pushes Karras into a rage is Reagan’s quiet, almost playful, remorseless laugh as she realizes Merrin is dead.

[John Watches Horror @Y2John84]

Dèmoni | Demons (1985) released in the US 40 years ago today.

30 May 1986 🎭

[Cinema Tweets @CinemaTweets1]

Rocky IV was once the subject of heavy satire & a lukewarm critical response, but if you ask me honestly, I would tell you that I consider this to be an all-time sports film. This is a beautiful sports movie that nails so main themes. Sly is awesome here too- give him credit.

[Love Classical Music and Movies 🎺🎻💖🎥🎬 @AlexTran677026]

The Deer Hunter (1978) isn’t really a Vietnam War movie — it’s a film about the people war leaves behind. Instead of focusing on combat, Michael Cimino shows ordinary working-class friends before, during, and after Vietnam, making the emotional damage feel devastatingly real. The long first act matters because it builds the friendships and innocence that later collapse under trauma.
The Russian roulette scenes remain some of cinema’s most intense, but the film’s real power is in its aftermath — how war fractures minds, friendships, and entire lives. Haunting, painful, and unforgettable, it remains one of the greatest works of American cinema.

[Love Classical Music and Movies 🎺🎻💖🎥🎬 @AlexTran677026]

The Warriors (1979) is one of the most unique cult films ever made.

Inspired by the ancient Greek story Anabasis, the movie turns New York City into a violent urban battlefield where gangs rule the night.

Hated by many critics when it first released, it later became a midnight movie phenomenon and is now considered a true classic of street cinema.

Stylized, gritty, surreal — and unforgettable.

[Martin Kessler @MovieKessler]

The French Connection (1971) dir. William Friedkin
The Killer (1989) dir. John Woo