Seriously though, go to a doctor if you’re hearing voices and are labeling them as God’s voice. We need to start looking at religos like the nut cases they truly are.

You can have an imaginary friend, you can even talk to it, just don’t do it in front of other people, or ever tell anyone else about it for the rest of your life.

Forgot to take a picture of the double vanities, I had hot pink hand cloths for both sinks.
I miss this apartment huhuhuhu.

"Chief has to die. The picture doesn't work if he just breaks his leg. Copper doesn't have motivation to hate the fox."
Ron Clements (animator for The Fox and the Hound [1981])

"Geez, we never killed a main character in a Disney film and we're not starting now!"
Art Stevens (co-director)

Ouch. Rest in RIP Bambi’s nameless mom. Also Mufasa and Kerchak would be insulted(?)

The history of The Fox and the Hound is infamously complex. There was so much of a dispute over the tone of the movie when it was being made, the older staff wanting a “safer” approach to avoid frightening the children, and the younger staff demanding to keep the stakes high and the tone dark and mature.

The Disney film ultimately chickens out from killing Chief, opting instead to give him a mere broken leg (after getting plowed over by a freight train going full speed and smashing his skull against the steep cliff as he fell into the shallow stream with large exposed rocks below).

Since I’ve already killed off Olaf in my prior Frozen edit and also made Khan immediately trample Mushu to death in my Mulan edit, I knew removing a character and any reference of their existence from a movie without changing the ending is not impossible.
But there are specific challenges with Chief because having him alive on screen is unavoidable at the very end. While I can block edit him to be motionless whenever he’s in frame, I cannot crop him out of the screen.

[General video editing of Chief’s death]
After Chief gets hit by the train, I first cut out any frames where he moves afterwards. Next, I overlayed a picture-in-picture clip of Chief’s closed eyes as he lays in the stream motionless. This way his eyes do not open when Copper comes over to check on him. (side note: doing this on a phone sucks).
Removed any frames where his eyes open slightly or he moves so you have absolutely zero emotional reassurance.

Removed all subsequence scenes with Chief from the movie.

He dies.

He’s dead.

To solidify this fact, I word spliced Amos’ confrontation with Tweed so instead of saying “that fox of yours almost killed Chief“ he now says “That fox of yours KILLED Chief “.
This all came out a lot smoother than I imagined and thankfully it didn’t sound like a YouTube poop. Mostly.

[The biggest tech challenge (and why the taxidermy was a necessity)]
It is unavoidable to have Chief on screen during the closing sequence of the film.

So I asked my spouse, (fellow editor and animator artist) if it’s possible to make it appear as if they taxidermied Chief’s body during the closing sequence when he and Copper drift off to sleep in their respective kennels.
He delivered and gave Chief’s motionless corpse some visible stitching and button eyes. (The possibilities when two neurodivergents unite their ideas and combine their skills). Needless to say, I absolutely shrieked with laughter when he sent me the clip. It’s perfect and unbelievably well done too.

[Sound Editing - Ma]
Aside from killing off Chief, I emphasized a beautiful element intrinsic to the original film: 間 (Ma).
In Japanese, ma roughly translates as gap, negative space, or pause. While its true meaning is a bit more complex than its literal translation, ma refers to the quiet, empty, in between, negative spaces and moments that don’t rely on words. A classic example is in the movie Spirited Away where Chihiro rides the train to Zeniba. It’s just a train ride. There’s no speaking. The characters aren’t singing and dancing about what they’re thinking or what we should be feeling, and they aren’t breaking out into spontaneous, flash mobs of broadway moves with the ghosts on the train. Nausicaä didn’t need to sing and dance with the giant insects in the Valley to get the people to understand the importance of recycling.
(That being said, I’d unironically watch both of those hypothetical Miyazaki musical anime films 100%, but that is entirely beside the point)

Even though many (not all) modern Disney movies are notoriously terrified of this absolute quiet stillness, there is already lots of ma in The Fox and the Hound and many of Disney’s older movies for that matter.

The very opening sequence itself for The Fox and the Hound, has ZERO music for several minutes and absolutely no dialogue. Only the near silent ambiance of the forest, the eerie wind, and birds chirping. It then slowly transitions builds and transitions to the strings and drums of the opening theme, which is already instrumental. The intro needs no words to make it incredibly tense and atmospheric.
Absolutely perfect. No editing required at all, I am merely maintaining what tone the movie established from the start.

The quietness always left an impression on me as a young child. Maybe it’s because sound is a major sensory issue for me, but I never felt bored even slightly, I loved the ambiance. It also kind of made me feel “cool” to be watching something that respects your intelligence enough to trust you won’t get bored with a little quietness.

By removing the singing from the following musical numbers, it allows the film to speak for itself without the need for language.
No hate against Pearly Bailey or any other singers who were phenomenal in this film. You are fabulous people, this edit is merely an experiment.

Tweed’s inner monologue, and “Goodbye may Seem Forever” are stripped of the vocals and replaced with the instrumental tracks, the sound effects like the car engine and footsteps are still retained. You can sit in the silent anticipating grief even longer.
[08/10 Edit: rescored this scene and added a piano cover during the departure so it doesn’t sound completely empty]

“Best of Friends” being entirely instrumental allows you to appreciate, with a bittersweet reverence, the most innocent moments of Copper and Tod’s bond. The total purity of their friendship, met with the disapproving scorn of Amos and Chief’s expressions, tells you everything you need to know about the dynamic even with a purely instrumental soundtrack.

I jokingly asked my husband, who has only seen the movie once ages ago and watched my edit recently, “wait, so you’re telling me you could understand that Todd and Copper were the best of friends, WITHOUT having someone sing a song to you about how they’re the best of friends?” He laughed.

The film turns into the ultimate “show don’t tell” movie because of these constructive omissions. But it also shows just how much more powerful the story is when you make the stakes high, and commit to killing a major character.

The dark and mature tone ultimately works rather well when maintained throughout the entire film.

I fell in love with this movie when I first saw it as a kid on CN during Month of Miyazaki. Just everything about it, from the animation to the music, had me speechless. The aesthetic of Laputa is breathtaking, the city’s overgrowth, the underwater city shot, the enormous garden that is basically an indoor jungle. When the clouds slowly clear from the city I always get goosebumps.

However, this scene absolutely terrified and continues to terrify me. That disturbing clip stayed in my head for a long time. Muska leads the army and general (the people who got his ass on Laputa in the first place) onto a trap so he can drop them into the ocean, tens of thousands of meters below.

As you can see, Laputa is nestled ABOVE the clouds, which means the drop could be anywhere between 12,000 meters to 21,000 meters (39,000-69,000 feet). The free fall itself would last for roughly 4 minutes. 4 MINUTES! That’s beyond h horrific.

When Uncle Pom said we come from the earth, and to the earth we must return, he wasn’t lying. That return to earth can be willing and peaceful, or violent and horrific.

[TL;DR]
I framed the details of Anna and Elsa’s childhood as a 3rd Act flashback reveal instead of being shown all the events linearly.
With a 13 year timeskip, you are forced into Anna’s shoes and experience her memory loss while viewing the movie for the next 50 minutes.
Additionally, I aggressively scrubbed the film of any padding or humor, cutaway reactions, slapstick, and gags that disrupt pacing, keeping Olaf’s dialogue/screen-time to the absolute bare minimum.

[Detailed edit breakdown and 3rd Act reveal]
The first ~6 minutes of the movie are visually unchanged aside from using the old Walt Disney Pictures intro (I took this specific one from the movie Snow Dogs because visually it was fitting).
For the audio, I removed the vocals for the Frozen Heart so it is purely a visual and rhythmic/instrumental experience, with the sound effects still retained.
Establishing the world as primarily grounded.

The last words from their father at this point in the edit is “Please help, it’s my daughter” before it fades to black. Cut scene right before the trolls make an appearance so we don’t see them quite yet.
Fade in from black to the gates of the castle being closed, doors/windows being shut by staff, and Elsa’s things being moved out of Anna’s room.
No voiceover from the father, so it establishes this forced Anna POV.
You feel as confused as Anna suddenly being shut out by her sister after she gets her memory of Elsa’s magic removed, so preserving those scenes until later helps you empathize with her experience of being completely in the dark.
This forced POV also adds a bit of tension and mystery for the next 50 minutes of the film.

-13 year timeskip to the current timeline instead of a 3 year timeskip-

The film progresses as normally.

Removed the duke’s statement about wanting to exploit Arendelle’s riches and eliminated any of his slapstick.

Move the childhood scenes that were initially cut, to the moment after Elsa’s ice chandelier crashes down on her and she passes out.
With a slight filter, the details of her and Anna’s life during that 13 year timeskip is finally revealed like an anime-esque flashback dream to uncover the characters tragic backstory. This also helps act to show a passage of time while Elsa is unconscious.
The scene with the trolls, the plan to replace Anna’s memories of Elsa’s magic with an ordinary childhood, the warning about Elsa’s growing power, and the father’s voiceover about reducing the staff and cutting off Elsa from everyone including her sister, and Do You Want To Build a Snowman are re-integrated at this point. I cut off Anna’s title drop after the parent’s funeral so you can sit in the silent grief a little longer.

Since Anna and Elsa never talk about their parents in the current timeline at all, saving the scene as a flashback builds the mystery of what happened to them. This is also because, in this version, we don’t see them beyond the point of when they bring the girls to the forest after Elsa accidentally strikes Anna’s head. Since it cuts to the gates being closed after they’re in the forest begging for help, we don’t see the trolls, and it’s almost as if you wonder if they died that night or if the thing they went to the forest for help killed them.

It all feels like earned knowledge through the 3rd act flashback, since they never mention what happened during those 13 years and all we have to go off of is Anna’s altered memory.

Elsa’s brief flashback after Anna comes to her ice palace and says “we can be like that again” is now framed as a trigger for an extremely traumatic memory of when Elsa struck Anna’s head when they were kids.
Anna’s well-meaning stated desire to be close like when they were little, and Elsa’s subsequent panicked flashback to when she struck Anna, accidentally becomes a perfect psychological instigator for the 3rd Act reveal that will occur later.

The final frame of the flashback dream is Elsa crying alone in her room after their parents funeral with Anna on the other side of her door, then it fades to black into Elsa waking up in the dungeon.
The movie progresses linearly after she wakes up.

Later, after Olaf says “this is the best day of my life, and quite possibly the last”, he melts and the scene immediately cuts to everyone smiling and Anna letting out blissful laugh, before the movie proceeds normally with Anna confronting Hans. Removed all subsequent content of Olaf, including his lines at the end, completely. Elsa does not give Olaf his own flurry cloud and everyone, including Olaf himself, happily accepts his noble, permanent sacrifice to bring back summer without hesitation.
Olaf does not appear on screen at all after he melts and is never heard of again.
He dies.
He’s dead.

[Credits]
Begins with an instrumental version of Let It Go, followed by Sorcery, 50 seconds into Han’s Kiss, and lastly, ending the entire film with Elsa Imprisonment, to solidify the dark fantasy psychological mystery anime vibe I set.

[General editing]
Extremely aggressive scrubbing of all comedic filler, cutaway reaction shots, gags, slapstick. Any good jokes that do exist in the raw are punchy and brief.
Remove of any other padding or fluff that disrupts the pacing and serious tone (e.g. Sven struggling up the ice stairway).

Deleted 3 musical numbers: reindeer are better than people, in summer, and fixer upper. Olaf never says his catchphrase “I like warm hugs” and introduces himself simply as Olaf, so the film respects your intellectual capacity to connect the dots without holding your hand.

When Kristoff introduces Anna to his family of rocks, Anna and Olaf just awkwardly stare silently and blink. There’s no “ThEy’Re RoCks” or “He’S cRaZy” clarification of what’s on screen or over explaining the joke.
Olaf only whispers “I’ll distract him while you run” and it immediately cuts to Anna saying “uh, okay… well, I’m just gonna… go..”

Removed most of Olaf and the trolls’ dialogue in general to keep things serious.

When Olaf is dismembered, he does not speak. Removing his “I’ve been impaled” line so the ending freeze frame before it dissolves into the next scene, is a snowman looking down at his impaled body smiling silently. He is also silent when he falls off the cliff during the ice gollum fight (“hang in there guys”) and when he is broken apart by the wind as they try to find Kristoff on the frozen fjords (“keep going”).
There is no reassurance of his wellbeing when he’s dismembered.

Removed all crude humor, the carrot biting scenes, and Kristoff getting his spit on Anna. Cut off the dialogue after “what if you hate the way he eats” before Kristoff can elaborate any further, so the next line of dialogue is Anna saying “look it doesn’t matter”.

Shortened the wolf chase scene.

When Anna is frozen and eventually thaws, the camera stays absolutely locked on the sisters and does not cutaway to the reaction of the other characters at all.

Completely silent, blinking, staring reactions and took out almost all of Olaf and Anna’s dialogue while Kristoff is talking to the rocks, aside from this single exchange between them:

Olaf: “…I’ll distract him while you run…”

Anna: “Uh, okay… I’m just gonna… go…”

Sometimes less is more when it comes to dialogue.

Duo project where my husband edited the video and I edited the audio. I didn’t grow up with this movie but he did and he said the goal is to make the film less annoying.

He took out two musical numbers, and scrubbed any unnecessary dialogue, and scenes that don’t advance the plot.
He moved the opening sequence with the dirigible to be used at the end when they go to the real circus and cuts to to credits. So it feels like an ambiguous ending in if it was really a dream or not.

I removed 98% of the “Yippies”, “weeeee”, “yahoo”yelling, screaming, and almost every single Icarus’ reaction sound from the audio except when Nemo tells him to be quiet and when Flip blows smoke in Icarus’ face, so he is more or less punished when he makes an annoying sound.

Decided to experiment with removing all the flashbacks from this scene of Naruto crawling toward Gaara on the forest floor after defeating him. Naruto recalling Haku and Gaara’s flashback monologue about having a sense of purpose, Gaara recalling Yashamaru’s definition of Love, are removed but the music is retained.

Had to separate the dialog from the soundtrack and rescored the music, unintentionally having the shamisen solo bridge when Naruto is empathizing with Gaara and explains that he’ll fight to the death to defend his friends, and the tender piano theme cues right on Gaara’s life changing question of why Naruto would fight so hard like this for anyone other than himself. Accidental perfection.

It came out pretty well so decided to keep this change since it’s the exact same scene just without the monologue flashbacks.

(DM me for the full project link)

Stumbled upon this gorgeous photo and was wondering if there’s anywhere in Washington that looks like this.
My first guess was Baker Lake but I actually haven’t been there yet so maybe you guys know of someplace more of similar vibes where the grass is right next to the water?

[Edit] Wow thank you for all the beautiful suggestions, I want to visit them all now!

The stone tablets in the ancestor’s shrine subtlety illuminates before it cuts to the next scene, effectively removing the ancestors from the movie entirely, including the closing sequence, so there is no comedic relief and more implied magic than overt magic.

Removed some cricket reaction scenes since I like editing kids movies to be extremely serious all the time by removing goofy character reactions that cut away from the action and disrupt the flow.

The entire introduction to Mushu is kept strictly to her line of sight when Mulan meets him. Entirely Mulan POV, you don’t see the behind the scenes bit of cricket fanning the flames so it feels purely from her perspective.

Khan (Mulan’s horse) tramples on Mushu and kills him.

Removed all subsequent scenes with Mushu.
Either cropping or extracting his dialog while keeping the backing track perfectly retained, such as when Mulan fires the last canon at the mountain and he starts yapping.
Since having him on screen is unavoidable during the “snake” scene, I put a shitty jpeg of a snake on screen to censor Mushu and muted his lines.

Replaced the music for the end credits with “Short Hair”, followed by the instrumental for “Reflection” “Gratitude” and finally close it with “The Pendant”

Haven’t seen anyone explore this method of gameplay: making it so Bigby and Snow have a horrible work relationship. Absolutely zero chemistry, disagreeing on everything, Bigby treating Snow as an untrustworthy suspect, and remaining largely unresponsive when she talks to us unless it’s to disagree with her.
The endlessly awkward silences, paralyzing secondhand embarrassment, and constant passive aggression is not to be underestimated.

Major choices:
Ignoring the blood on the ground of a literal crime scene and only looking at the piece of fabric just to compare it to Snow’s clothing.
Leave the area without saying anything. When Snow asks where you’re going, reply that you’ve seen enough.

Disagree with her in telling Crain about the murder [when she has nothing to go off of] and remain silent the entire time Crain is yelling at Snow in the office so she takes the blame.
Choose silence again when Crain asks what our leads are so that way Snow puts forth her theory of it being Bluebeard and gets it shot down by Crain when he says Bluebeard is out of the country.
Only speaking up to say “fuck you” when Crain tells Bigby to do his job so that way Snow would tell Bigby to stop. After we reiterate our advice to not tell Crain and Snow agrees she should have listened to us
Light a cigarette silently and blow smoke in Snow’s face.

When Snow tells us to ask the Mirror for help, go to the lamp first, then only use the mirror to spy on Snow in the same room, then exit.

Looking at the book of fables, glance over any case relevant prompts and go to see Snow’s picture, comment on how repulsive her 7 associates are, then back out. Then look at the book to find the symbol of the ring and progress the plot.

Exploring the hidden option of not doing anything. Sometimes it goes exceptionally well, such as staying completely silent when you go to the Trip Trap to break the news to Holly that her sister is dead, and sometimes it pisses people off. This is one such example.

It’s interesting hearing the entire conversation with the Crooked Man, Georgie, Dee, and Jersey from behind the doors. We now know who TJ was talking about when he said he heard someone say “stop laughing at me”.

Wasn’t expecting Tim to actually make a snarky comment on Bigby not waiting up for him but then waiting at the door until the very end until he catches up and opens the door anyways.

Which is essentially bullying a disabled employee when they are the only person working, but acting civil and proper with them once we are around the CEO.

13 years of playing this game and still discovering new things during the annual summer playthrough.

Our yearly summer playthrough brought some very unique avenues to manipulate and psychologically torture the unsuspecting citizens of Fabletown.

This one is interesting. Saying you know who murdered Lily, right in front of Holly in the middle of her sister’s funeral, but then choose silence when she and Gren demand to know who it is.
Instead of yelling at Bigby for leading them on but refusing to elaborate on breakthrough information he explicitly stated, they become furious at Snow, who understandably wants to gather all the facts first before telling people who the killer is.

Choosing to be a jerk, because you’re in a position of authority and are too feared by everyone to suffer any real consequences, never ceases to be amusing in this game. I love it with all my heart.

This entire sequence had me cackling.

Suspect Nakamura has been arrested.

As per title, this is the first episode of The Summer Hikaru Died that is entirely in English, save for one character, Matsura.

I love the sub with all my heart because I kept up to date with that shit, but there is no denying that the English dub is phenomenal too and I love them both.
So I merge my two loves into one, to make it even more scary (as an English speaker). Hearing an entire English speaking cast, then suddenly having an old lady shout in her native tongue 3/4 into the episode is deeply unsettling.

Her first appearance is absolutely terrifying.

Tech work:
Since there is overlapping dialogue, instead of just block edit, I went in and did some audio reengineering to separate the lead vocals and backing vocals so you can hear Matsura’s Japanese voice actress wailing in the background while Yoshiki and Hikaru have a piece of dialogue that fits this mixed language edit perfectly and completely recontexualizes it. She speaks from the Motherland.

Matsura: ヌンキ様が山から下りてきちまった…！

English dub:
Hikaru: what? Did she say a “monkey”
Yoshiki: just ignore her. This kind of stuff really freaks me out.

It’s as if they cannot comprehend the language and Hikaru is trying to decipher it. It also kind of makes Yoshiki look xenophobic lol. Not intentional at all.

The ending scene whith the final appearance of Matsura, both characters speak Japanese, except for the >!“I’m already inside” but I also kept in the Japanese voice actress for Matsura and sound effects when she chokes!<

Dm me for links