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Comment: The womble costume was awesome at the festival this weekend. It has become a bit of a legend xxx Thank you so much 🙂 xxxI have fought against what society thinks as female style for my entire life. My mother would always say, 'Oh my God, if you don't put some effort in...' When I was in junior high school and high school, I used to wear boxers and long johns, and I felt fine because of it. I liked to go against the grain. I think personal style is an extension of who you are. You see my style and I think that you can understand, oh, she's easy. It's simple, clean. And for me, that mirrors who I want to be in life. But there's a lot of structure to my style too, and that is very much who I am. I like organization. I like having a schedule and structure, and so that's what's reflected in my style. If I'm going to wear a designer, I like Theory, Calvin Klein, Helmut Lang. But I'm really getting into Zimmerman. It's more girly than I usually go for. I have three or four Zimmerman dresses right now that I just adore. The Shoes She Can't Live Without: Eisner nails the ruthless aesthetic of making a socio-political survival thriller in 2000s horror terms. There’s an unctuous malaise to 2010’s The Crazies that submerges audiences in a rural American nightmare. From start to finish, a sense of hopelessness keeps us on edge as David’s group marches towards their inevitable fates. Romero does well to represent the government as manipulative, incompetent fools who poison the country they’re meant to protect, which Eisner doesn’t need to do as heavily this time. Plenty happens between 1973 and 2010 that makes Romero’s assertions less and less fantastical, which lets Eisner lean into the utter inhumanity Ogen Marsh’s population endures as tax-paying collateral damage.

Spielberg relays that sense of awe and wonderment of what it was like to be let free on Halloween and roam the neighborhood in search of candy by framing it through E.T.’s eyes. Through the little eyeholes of his ghostly sheet, we feel and see E.T’s curiosity. We feel his trying to make sense of the costumes, whether the more ghoulish costumes have “ouchies” or whether a young Yoda is a friend like him. It’s through Halloween that Spielberg nails that childhood magic and nostalgia. What would it feel like to be a kid again on Halloween? This scene sums it up. The two friends and collaborators had hidden little nods to each other’s films in their work before, but for E.T., Spielberg didn’t need to hide anything at all. In one of the film’s cheekiest jokes, E.T. sees a child dressed up as Yoda for Halloween, prompting the little alien to exclaim, “Home! Home!” Spielberg didn’t tell Lucas about the joke until he held a personal screening for his friend at his Skywalker Ranch, which Lucas approved of with laughter. When he went on to make The Phantom Menace, Lucas returned the favor and made E.T.’s race of aliens part of the Galactic Senate. You can see them acting uncharacteristically hostile in the video above. 17. François Truffaut gave the film, and Spielberg, his blessing.

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It’s a shame that governmental satires remain relevant with cyclical predictability. The Crazies as a concept is as relatable today as it was in 2010 or 1973. Eisner understands that Romero’s foundation doesn’t have to be altered, only the presentation. Proper remakes reinvent; they don’t rehash. Watching Romero’s and Eisner’s versions of The Crazies paints a complete red, white, and bruised picture of how the government works for itself, not the American people. That’s because they’re two halves of a conversation about broken systems, neither movie stepping on the other’s lines when telling their stories. Comment: Great costumes, excellent quality. Had such fun wearing my Queen of Hearts dress as did my partner the Mad Hatter. Great staff as well, thank you so much. I love a really well cut two-piece suit. I love it. It's my jam, it's my thing. What She Pulls on After Work: For scenes that required the animatronic E.T. puppet—like Elliott’s room and the family’s living room—Spielberg had the production designers build the sets raised on stilts. The heavy robotic puppet was bolted down, and its wiring was hidden under the floor. The puppeteers were able to observe and manage the puppet’s performance from a series of TV monitors located in another room. The most notable creative difference sees no character in the ballpark of Richard France’s scientist, Dr. Watts, who spends the majority of Romero’s film testing an antidote that could save humanity. Eisner doesn’t care about what’s happening in laboratories or makeshift command centers because what’s truly horrific isn’t found in beakers or under microscope magnification. Where Romero’s film is more about commanding bodies failing on a spectacular scale, Eisner emphasizes the avoidable consequences we the people endure. Romero wants you to see the parties responsible, whereas Eisner wants your skin to crawl when watching innocents morph into bloodthirsty lunatics. If anything, Romero gets lost in Dr. Watts’ mission and cleanup objectives while Eisner successfully hinges his film on rabid, frothing-at-the-mouth aspects the original glosses over.

Spielberg worried that his intensely personal story wouldn’t resonate with audiences, and that they might have trouble identifying with a potentially off-putting alien character. Once finished, E.T. was publicly previewed a handful of times, but when the film was shown out-of-competition at the 1982 Cannes Film festival, audience members stood and applauded 15 whole minutes before the film ended. The standing ovation went on for another 15 minutes after the credits rolled, and Spielberg knew he had hit the perfect mark. After the Cannes screening, he received a telegram from fellow director François Truffaut, who acted in Spielberg’s Close Encounters of the Third Kind. The telegram read, “You belong here more than me,” echoing a similar line his character uttered in Close Encounters. 18. The film wowed audiences and heads of state alike.

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I'm an earring girl now, which I never really was. My friend Simone Smith, LL Cool J's wife, has a great jewelry line. Whenever I wear Simone's jewelry, I feel like I'm making an LL video. What I've found is that if I put a little hoop in, it actually makes me look like I tried. Clothing That Makes Her Feel Powerful: Spielberg originally had production illustrator Ed Verreaux—with whom he had worked on Raiders of the Lost Ark—draft the initial designs of the titular alien creature. Eventually, he went with a different set of design ideas, created by special effects artist Carlo Rambaldi. Rambaldi had previously designed the mechanical head effects for the xenomorph in Ridley Scott’s Alien and the visitors from Spielberg’s own Close Encounters of the Third Kind. Aims to deliver the next working day including Saturdays, but please note that 1st Class is not a guaranteed next day service. Whether you’re heading out for the weekend with the kids, hitting the town with the girls or being whisked away overseas, we’ve got dresses for every occasion. What’s more, our collection comprises mini, midi and maxi lengths to complement all shapes and sizes. Daytime dresses Peter Coyote, who plays the sympathetic government agent Keys in E.T., auditioned for the role of Indiana Jones during a May 1980 casting session held by Steven Spielberg and George Lucas. Coyote, who was given snippets of the Raiders of the Lost Ark script along with a character outline of Indy, brought along a dashing fedora to accentuate his audition in hopes of wowing the two Hollywood heavyweights. But when he was told it was his turn to go, he tripped over the wiring of the lights that were set up in the room. His stumbling first impression was the furthest thing from the debonair, tough-guy Indy. The part went to Harrison Ford, but Spielberg found something endearing in Coyote's clumsiness, and when it came time to cast Keys—an adult with childlike wonderment—the choice was obvious. The lesson? Sometimes being awkward pays off! 6. The combination of a painting and photos of famous people inspired the look of E.T.