Gadot continued, “I am afraid of AI, but I am going to be afraid and look away? No. I am afraid but I am playing with it and learning it and trying to educate myself. The train has left the station. You’re going to work with it or be out of the game completely. I am trying to make the best of it and protect what I can protect. The AI component in this movie is for sets and the lighting. We had a broad crew and a lot of people were working on this movie.”
So she’s thinking about herself.
So the whole art department and G&E is gone, I bet the VFX artists are still getting fucked on pay, most likely foreign production companies for tax breaks and not allowed to unionize.
This is all about money and the 1% of the industry.
I looked up Gal Gadot once to figure out what her background was.
She was in a hotgirl magazine (maybe Maxim?)
She made some appearances on an Israeli soap opera.
And then someone cast her in a Fast & Furious movie on the basis of that… very limited resume. Then she had Wonder Woman and some other shit, I don’t remember. And even her fans admit her acting is garbage.
Like, this is the most fast-tracked-to-A-lister I think I’ve ever seen in my life. Someone very powerful hooked her up because there’s literally no other way to make that happen, unless you’re the child of someone who is already famous (e.g. Scott Eastwood, who was also fast-tracked via a Fast & Furious movie).
A-listers are very valuable to film producers. Creating an A-lister usually takes time and a whole lot of financial investment. Producers have to be convinced that an actor can pull in the numbers at the box office, as they do NOT like taking risks with their money. If they take a risk on an A-lister and that actor don’t resonate with audiences, that’s a lot of money gone with little to show for it.
Someone really wanted her, and specifically her, to become A-list famous, and they wanted it bad enough to risk a massive financial loss if she wasn’t able to sell tickets.
Pam Anderson was already a bankable celebrity by the time Barb Wire came out due to the popularity of Baywatch, and the financial investment for that particular movie was considerably lower than anything Gadot has done: Barb Wire had a $9 million budget, while Gadot’s first headliner, Wonder Woman, had a budget of $149 million. Plus investors in the 90s understood if the movie didn’t do well in the box office they could still make their money back on video rentals.
crews from a dry city are undercutting locals in other cities. atl and nola crews got too big for how much work is going on and now they’re fucking over other markets.
we went from a $100 housing allowance to $50 from season one to season two. rates are supposed to go UP over the life of the show, not down. you can’t even find a room in that town for less than $64/night and that’s on the monthly rate.
i think im done. i found a local job building a meow wolf type thing and im gonna keep it as long as i can.
film and tv jobs are dead and the unions are toothless.
I hear ya, I was in local 600 and one producer credit away from joining their union but after the pandemic and how things were increasing going bad, I dipped out. It hurts because I’m doing something completely different now I I itch for going back but it’s not the same. It’s this weird thoughtless machine.
So she’s thinking about herself.
So the whole art department and G&E is gone, I bet the VFX artists are still getting fucked on pay, most likely foreign production companies for tax breaks and not allowed to unionize.
This is all about money and the 1% of the industry.
It’s fair, honestly. She’s probably running out of willing employers. Maybe it’s just me but she’s not a great actor.
She’s what’s known in the trade as a “wooden spoon”!
It ain’t just you. The director of Wonder Woman is on record saying she “worked around [Gadot’s] acting limitations.”
I looked up Gal Gadot once to figure out what her background was.
She was in a hotgirl magazine (maybe Maxim?)
She made some appearances on an Israeli soap opera.
And then someone cast her in a Fast & Furious movie on the basis of that… very limited resume. Then she had Wonder Woman and some other shit, I don’t remember. And even her fans admit her acting is garbage.
Like, this is the most fast-tracked-to-A-lister I think I’ve ever seen in my life. Someone very powerful hooked her up because there’s literally no other way to make that happen, unless you’re the child of someone who is already famous (e.g. Scott Eastwood, who was also fast-tracked via a Fast & Furious movie).
A-listers are very valuable to film producers. Creating an A-lister usually takes time and a whole lot of financial investment. Producers have to be convinced that an actor can pull in the numbers at the box office, as they do NOT like taking risks with their money. If they take a risk on an A-lister and that actor don’t resonate with audiences, that’s a lot of money gone with little to show for it.
Someone really wanted her, and specifically her, to become A-list famous, and they wanted it bad enough to risk a massive financial loss if she wasn’t able to sell tickets.
Hollywood has tried to make supermodels into movie stars before. Pam Anderson is the one that jumps to mind, Have you ever seen Barb Wire?
Pam Anderson was already a bankable celebrity by the time Barb Wire came out due to the popularity of Baywatch, and the financial investment for that particular movie was considerably lower than anything Gadot has done: Barb Wire had a $9 million budget, while Gadot’s first headliner, Wonder Woman, had a budget of $149 million. Plus investors in the 90s understood if the movie didn’t do well in the box office they could still make their money back on video rentals.
the industry is falling apart.
crews from a dry city are undercutting locals in other cities. atl and nola crews got too big for how much work is going on and now they’re fucking over other markets.
we went from a $100 housing allowance to $50 from season one to season two. rates are supposed to go UP over the life of the show, not down. you can’t even find a room in that town for less than $64/night and that’s on the monthly rate.
i think im done. i found a local job building a meow wolf type thing and im gonna keep it as long as i can.
film and tv jobs are dead and the unions are toothless.
it’s such a bummer.
I hear ya, I was in local 600 and one producer credit away from joining their union but after the pandemic and how things were increasing going bad, I dipped out. It hurts because I’m doing something completely different now I I itch for going back but it’s not the same. It’s this weird thoughtless machine.