Grunch Doggo

uncertified geek and unsolicited letterboxd reviews

[Tobias van Schneider @vanschneider]

In the future, publishing the behind the scenes will be worth more than the campaigns themselves.

[Missus Mummy 🥧🔪 @missusmummy]

I remember the first time I felt physically unattractive to my partner was when I bought something really sexy and asked him what he thought. He barely looked up from what he was doing and said “Yea! It looks nice.” And kept doing what he was doing. I felt bad. After a while - I verbalized how it made me feel.

He apologized profusely and openly explained “Babe, I thought you bought that stuff for you to feel pretty. I always think you are beautiful. I don’t need bells and whistles to find you attractive. I love you & find you sexually attractive in an old nightgown or when you haven’t even combed your hair. Nothing you did could make me NOT sexually attracted to you.”

He did put it to memory though so that anytime I do show him something new I’ve gotten - he stops what ever he is doing to give me his full attention and tell me what he thinks of the item in question.

Communication is key.
They aren’t mind readers.
Our brains work differently. It’s important to communicate when your partner has unintentionally hurt your feelings. I know this might seem like something they “should” have known but all relationship & people are different. What might seem obvious to one person might go over someone else’s head entirely. Just saying that relationships grow & strive on communication, not assumptions or they are never going to work out.

[erin marie @erinsaysrelax]

I’m done trying to be polite or tiptoe around peoples feelings when it comes to generative AI. Your stuff looks like shit. Your logo looks like shit. Your flyer looks like shit. Your photo edits look like shit. It’s so obvious that it’s AI, and it all looks like garbage.

[turbomander (TWITCH AFFILIATE ERA) @turbomander]

love how companies are trying to occupy the superposition of “ai is so cool and widely accepted it’s the new norm get used to it” and “oh fuck they caught us using ai hide it make sure no one knows nobody must be allowed to see our shame”

[The Daily Pooh @dailypooh_]

Here's something you can see instead of AI slop...

[Will Mavity @mavericksmovies]

I’ve been working writing on a book on VFX history all year, and it genuinely makes me emotional to see classic techniques like this being employed successfully in 2026. Incredible work

[El Paladín Rojo @Elpaladin_rojo]

Así se ven las calles de New York para la promoción de Spider Man Brand New Day 🗽🕸️
#spiderman #marvel #ucm

[Grunch Doggo @GrunchDog]

if people judge this, then apply it to the same people who fly out to watch artist/musicians perform when they can just listen to the same exact songs on their phones 🤯 people do this for the experience and passion behind it. nothing but respect for it❤️

[Rubicon @KnightOfLag0s]

He drove 450 miles just to watch The Odyssey in 70mm IMAX the way Christopher Nolan intended.

Dedication to cinema… or a complete waste of time and resources? 🤔

[Universal Pictures @UniversalPicsAU]

Rest in peace to our Jurassic legend, Sam Neill.

[Ki Thee Final Girl🔪 @_kii_kiii_]

This is so spot on it's almost not funny lmaoooooooo

[DiscussingFilm @DiscussingFilm]

Exclusive look at the creation of the 20th anniversary artwork for Guillermo del Toro's ‘PAN'S LABYRINTH’.

Returning to theaters on October 9.

[Grunch Doggo @GrunchDog]

we all think the same thing huh?

[CK (fka Pelikulit) @pelikulit]

"Minions & Monsters" is like "Babylon" for kids, basically (movies about making movies in the past)

[Sarah Everett @goddammitsarah]

dumbest shit imaginable happening there and it's so cool man, what a great city

[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.

[Abhishek @MSDianAbhiii]

Declare this the photo of the year already.

[Jeremiah Lewis @fringeblog]

I'm going to say this and then log off for a bit because I have a pickup shoot to prep.

On my current feature that I am producing (wrote it as well) our crew was paid fairly, above minimum wage requirements and in keeping with labor laws. Would I have liked to pay more up front? Yes. But we just didn't have that ability with our financing.

My fellow producers and I structured in bonuses for our crew should the film hit certain benchmarks. Should the film do well, they'll make way more money than they would making a standard union level salary for the same amount of time.

Every film is different, every financing deal is different, and so I don't think it is or should be mandatory for producers to set up deals like this.

What we paid people was fair, and if that's all they ever get paid, it won't be something I have on my conscience. There's a very good chance I never see a dime, since I deferred my writing and producing fee to make the project happen.

This is something I would never ask my crew, unless they begged to defer some of their pay in exchange for backend. I will always be open to that arrangement.

Indie producers especially are probably way more open-minded about structuring deals to allow more profit-participation. You aren't going to get that within the studio system, at least not any time soon.

So, BTL crew, please, advocate for yourself. Ask for a deal structure that will benefit you if the film does well. You'd be surprised what people will be willing to do!

If you fear your producer so much for asking for that, then maybe they're not a great person to work for. If you fear speaking up about onset work conditions that violate the law, then you definitely don't want to work for that producer again, and you should seek legal counsel to see how you can protect yourself and your fellow crew members, because if the producer is abusing or exploiting people they've likely done it before and will continue to do it unless someone steps up. Be the change you want to see in the world.

I'm not some heartless, bootlicking producer without a soul. I'm a writer. I'm a first AD. I'm a PA on my own film. I've worked harder than anyone else on my film (which is as it should be), and without compensation (also as it should be).

But to act like we, on the producing side, are stealing from crew by not giving out bonuses when not contractually obligated to do so really misses so much of the reality of paying for a movie to exist. Until you're in the driver seat, you don't really know.

[Grunch Doggo @GrunchDog]

THIS THIS

[SHAWN OF THE DEAD @ShawnNOrlando]

I dunno, If I made $6700 for 1 month of work on the biggest movie of the year, I wouldnt complain, Ill see to it that I personally rub it in the face over everyone I ever met and leverage that shit for more work.

I made a commercial for $300 and I STILL talk about it

[SHAWN OF THE DEAD @ShawnNOrlando]

I dunno, If I made $6700 for 1 month of work on the biggest movie of the year, I wouldnt complain, Ill see to it that I personally rub it in the face over everyone I ever met and leverage that shit for more work.

I made a commercial for $300 and I STILL talk about it

[Grunch Doggo @GrunchDog]

THIS

[Jeremiah Lewis @fringeblog]

Art directors risk nothing for their work. They get paid and they can move on to the next project. If the movie blows up they can leverage that massively or complain and make themselves a byword for industry insiders.

But the producers are the ones holding the massive bag if the movie bombs.

Is the art director going to surrender her salary if that happens? No.

Is the cast and crew willing to defer their fee in hope the movie does well? If so, let's have that conversation, but most wouldn't.

So why should they get an upside if the film does well? They don't deserve it, unless they negotiated for it and it is in their contract.

You can agree to the offered salary or not. But if you take it, and then the film makes a ton of money and then you complain about being exploited, you've shown your hand, and no one will want to play poker with you because they see how you operate.

Pay is a proxy for effort, but also risk. The risk you take as BTL crew is zero. The effort is compensated fairly (consent to the contract is agreement to fair, equitable trade).

But you don't deserve upside while also offloading all the downside to the producers.

[DiscussingFilm @DiscussingFilm]

‘BACKROOMS’ director Kane Parsons says he would get “no enjoyment” out of using generative AI on any project — “It defeats the purpose entirely for me.”

“I think I'm in the same boat as most well-adjusted people. If I could snap my fingers and make generative Al disappear forever, I probably would.”

(Source: https://t.co/LA3K1o9KjK)