Max Folkman

@maxfolkman.bsky.social

1330 Followers 616 Following

Writer, Director w/ @nickfolkman.bsky.social • Now: Senior Writer @ Riot Games • Prev: Spider-Man 2, Ratchet & Clank, Miles Morales, MASSIVE CHALICE • voice on @scriptlock.bsky.social • Rep: Dallaslyn Lamb

A puppet holds a megaphone and announces “attention, freaks. It’s me.”
Spidey clutching his head saying OMG
Edited clips from the commentary for Kiss Kiss Bang Bang (2005), featuring the director Shane Black, and stars Robert Downey Jr and Val Kilmer. The clips feature Kilmer announcing a contest where fans can count how many celebrities he name drops, and that they can send in their answers to his website.
A sweet pin of the Script Lock podcast logo
Interviewer: There’s also often one writer, Marc Laidlaw, who drives the story. Is that sufficient, do you think, or should all developers learn to become good storytellers to a degree? Garland: That’s a really, really big question. The first thing I’d say, and I want to make this really clear, is that I was not the writer on Enslaved in the way that Marc is the writer on Half-Life. I was very emphatically a co-writer. When I arrived at that project, the levels and the characters pre-existed. Not only that, but much of the required scenes between the characters already existed as well. So, in the way I conceptualise a writer, in that he begins with a blank sheet of paper, I was not the writer. With regard to narrative, I think what I’d say is that it’s not important for everyone to understand storytelling, but it’s important for them to respect it. If you’re going to have a narrative within a game, you have to see it as being as valid as the gameplay. That’s what it boils down to. So here [gestures towards the door] is a film production company, and lots of different people are working on Judge Dredd behind us right now. Some of them will have narrative uppermost in their minds, and some of them won’t; some of them will be thinking: ‘How do I design this gun?’ And the design will have some narrative components. It’s got to have a display that tells you what kind of ammo you’re using, stuff like that. But they’re not really thinking about the overall narrative picture and they don’t have to, but they’re also not going to do stuff that contradicts it, and if they do then someone else will correct it.
Gromit trails Feathers McGraw down an alley with film noir composition and lighting
CIA Superior : What did we learn, Palmer? CIA Officer : I don't know, sir. CIA Superior : I don't fuckin' know either. I guess we learned not to do it again. CIA Officer : Yes, sir. CIA Superior : I'm fucked if I know what we did. CIA Officer : Yes, sir, it's, uh, hard to say CIA Superior : Jesus Fucking Christ.
David Lynch in his Masterclass series watches the ending of It’s a Wonderful Life, and afterward tearfully says “incredible.”
Snapshot from the WSJ article “Inside Hollywood’s Big ‘Wicked’ Gamble” In today’s Hollywood, it isn’t enough to debut a film in theaters. As seen with last year’s blockbuster “Barbie,” getting audiences to the theater in droves requires sucking up more pop-culture oxygen than ever—and turning a movie into an event, a movement and perhaps even a lifestyle. “We’re going to be just short of obnoxious,” Universal Pictures’ chief marketing officer, Michael Moses, assured theater owners at a screening of the film in September.
A black and white inked drawing of dinosaurs riding a souped-up dump truck. The drawing sits on a white table and has a black wooden frame sample around one corner.
Sonic dressed up as the Heath Ledger Joker
Panels from Punisher War Journal #4 where Gibbon bemoans that nobody ever asks what a Gibbon is anymore.
THE SIX STAGEs OF FILM PRODUCTION 1. Wild Enthusiasm 2. Total Confusion 3. Utter Despair 4. Search for the Guilty 5. Punishment of the Innocent 6. Reward of the Non-Involved As described by Walter Murch