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himehikoshrine · 6 months

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Jack Jeanne Explainers: Takarazuka Revue

This post is a quick and probably incomplete overview of Takarazuka Revue specifically for the context of its inspiration on Jack Jeanne, for reference. It's a basic overview but it's not intended as a guide to the form and fandom.

Takarazuka Revue (JP: 宝塚歌劇団) is likely the most direct influence on the game. It also has a very dedicated fan base that maintains robust English Language resources, so if this aspect of things intrigues you, it is quite accessible to dive further into.

Takarazuka Revue is an all-female musical theater company founded in 1913 and based out of the city of Takarazuka. All roles, male and female, are played by women. It also has an associated training school, the Takarazuka Music School.

The original pitch for the game was an All Boys Revue School, so the reference starts at the very beginning, as a kind of gender swap of Takarazuka.

You may notice that the term used here for "Revue" 『歌劇』 is the same one that the game uses. It gets translated sometimes as "opera" sometimes as "theater" - in general the term does mean "opera" but it's pretty clearly not opera that they're training - it's being used as "Revue" the same way that Takarazuka uses it. Which is, loosely speaking, musical theater.

Continued below the cut --

(I suspect that the similarities in first sound and also first character between 宝塚 - Takarazuka and 玉阪 - Tamasaka are intentional as well)

Takarazuka was founded by a businessman looking for an attraction to draw people to the city and settled on the idea of an All Female Musical Revue and a focus on more western style musical, mostly, as far as I know, as a business decision and a feeling that traditional styles of Kabuki were falling out of favor with most people. It drew heavily from French Musical Revue. The full history of the company, like I said, is well documented in English, and is longer than I can get into, here.

Compare and contrast this to the information we get about the 13th Himehiko, the current principal's great-grandfather, Chuza Dairi. He's said to have been born during the Meiji era and lived into the Showa era, and was fascinated by western style musicals. He's credited with the name Univeil, and starting to use the Jack and Jeanne terms.

Takarazuka stands in contrast to a long line of male exclusive theater forms in Japan. Japan, of course, also puts on co-ed musicals, both originals and adaptations, like the rest of the world, but Takarazuka is very much, to use the phrase the game uses, the "pinnacle of all-female revues."

This image is of a showcase from 1930, where you can see the lavish, european revue style inspiration clearly.

In Takarazuka, male roles are called otokoyaku (男役) - which just means 'men's roles' and is the term Jack Jeanne uses for what "Jack" roles are. Female roles are called musumeyaku (娘役) - which translates to 'girl/maiden/daughter roles'. The game actually uses onnayaku (女役) or women's roles when introducing Jeannes.

(Worth noting that the character Kisa plays in the Newcomers' Performance is translated as Maiden but is 娘 (musume) in Japanese which means occasionally when she or other characters are talking about "playing the role of the maiden" they are saying "musumeyaku" which I think is probably an intentional reference.)

Takarazuka puts on Musicals as well as both song and dance revues. It adapts many things, from extant musicals to manga to film, as well as history and classic stories. It has a reputation for being bright, sparkly, and lavish in costuming and set design and dramatic in style.

The voice actor for Tancho, the singing teacher and head of Rhodonite, is a former Takarazuka Otokoyaku. Tancho's outfits and style of speech are directly taken from Takarazuka. The feathers Tancho wears are part of the standard Revue portion of Takarazuka shows.

Right - Tancho's image, from the website, Left - Tancho's voice actor, Nanami Hiroki, from the Asashi article announcing her retirement from Takarazuka, showing her wearing one of the typical feather backed outfits that leads appear in parades after performances.

Otokoyaku are the stars of Takarazuka and tend to draw the biggest crowd and they get top billing, though each troupe tends to have a top Otokoyaku and top Musumeyaku, decided by a complex mix of seniority (especially for otokoyaku) and gradings. I will stop short of saying these are kind of like Jack Ace and Al Jeannes of a class, though. The Musumeyaku is expected to support her Otokoyaku. Using the terms Jack Jeanne uses, for Takarazuka, the Otokoyaku is essentially always the Flower, the Musumeyaku the Vessel, which is more standardized than the point of view of characters at Univeil.

The top Otokoyaku and top Musumeyaku are called the Top Combi (コンビ). Takarazuka and its fandom use that, rather than Partner (パートナー) that Jack Jeanne is fond of, which carries a potentially romantic connotation.

Takarazuka expects its actresses to maintain a more masculine or very feminine (depending on their role) persona on and off stage, and the expectations for behavior and appearance are quite strict even off stage. For example, much like Idols, they are expected to not date, let alone marry and have kids, until they retire.

EDIT: Someone who knows more than me let me know that the rules for dating are slightly more lax now, and relationships are tolerated so long as they are kept strictly out of the public eye - though still no marriage.

Jack Jeanne remains frustratingly vague on the rules for this during school -- No one seems to think dating itself is an issue, but Ao does say that it would 'cause trouble' if people saw them holding hands. So perhaps we're supposed to imagine something similar? But back to the post.

Takarazuka is divided into several different Troupes (組, kumi, read as gumi when used after the name of a troupe). They currently have five.

They break down as follows

Flower Troupe (Hanagumi 花組) - 1921 Moon Troupe (Tsukigumi 月組) - 1921 Snow Troupe (Yukigumi 雪組) - 1924 Star Troupe (Hoshigumi 星組) -1933-1939, reestablished 1948 Cosmos Troupe (Soragumi 宙組) - 1998

Each troupe has a reputation, though they are fairly loosely followed, and many performances get performed by different troupes for different runs. However, I suspect this was a strong influence on the way the classes were divided in Jack Jeanne. For example, Moon Troupe is known for singing. The newest troupe, the Cosmos Troupe is written with a character in Chui's name, and their stereotype is 'experimental and tall'. Snow troupe, interestingly, is known for more traditionally Japanese works (loosely) which is a conspicuous absence from Univeil, especially considering Tamasakaza's style is said to be more traditional than Takarazuka's -- closer to kabuki, even.

In Takarazuka, stars are sorted into these upon graduation. The Music School is probably better as a whole separate post.

The term "Newcomer's Performance" used in the game to refer to the first show of the year is also used in Takarazuka -- shinjin kouen (新人公演), where it has the meaning of a different casting of a play with all newer Takarasiennes (a term used for the actresses of Takarazuka).

The specific announcement that Tsuki makes in the intro is almost exactly, in both wording and tone, the announcement made before each Takarazuka play. His outfit in that scene is a version of a very famous style of Takarazuka Costume, inspired by fancy French dress and specifically the manga Rose of Versaille, whose adaptation is one of Takarazuka's most iconic plays.

I would strongly encourage you to browse their official English Language site (or Japanese one, if you can read it), which can be found here : Takarazuka Revue

While you're there, if you're there for Jack Jeanne reasons, it may be interesting to pay attention to the use of the word "dream" which is one of the theme/motif words of Jack Jeanne, and is use heavily in Takarazuka's official material as well as writings on the subject.

Had to throw this in because these? These are the Takarazuka words right there. Well, their official Motto is "Modesty, Fairness, Grace" or "Be Modest, Be Proper, Be Graceful" (which is a whole lot to unpack elsewhere) but unofficially it could be "So Dreamy and Sparkly."

You'll probably get a more thorough history on the website, too, than I provided.

Rather than make this even longer, I'm going to make a separate post on Takarazuka Music School, the path into Takarazuka, and it's similarities and difference with what we know about Univeil.

I'm by no means an expert of Takarazuka, and I should probably defer to people more involved in the fandom for that, but if anyone has anything to add that I missed in this brief post, please please reblog and add! If you have any questions, I can try to answer, asks should be open!

#explainer #jack jeanne #my posts #this is intended to be a series hence the title #if I've made some zuka fandom faux pas here please let me know!#i do not pretend to know all the rules #takarazuka

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usakizades · 3 months

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📍Monica Bellucci graces the cover of Vogue Arabia, photographed by Nima Benati for their March issue themed 'Beauties of the World'

Italian Actor Monica Bellucci on Continuing to Transfix Audiences Around the World at 59

An eternal muse, the beloved Italian actor continues to transfix audiences around the world. She also inspired the world’s greatest directors, most recently Tim Burton.

The most beautiful woman in Italy. The sexiest woman alive. World class bombshell. Since her first on-screen appearance in the early Nineties, Monica Bellucci has been showered with accolades related to her looks. Now, at 59, praises continue to rain down on her, showing a definitive shift in the global mindset: a woman’s beauty evolves with time; and when led by magnetic charisma and talent that speaks to people across cultures and generations, it endures.

“Things are changing because women today are talking out loud. They’re less scared to talk,” offers Bellucci. “I’m in Paris and I see all these incredible actors like Isabelle Huppert, Charlotte Rampling, Fanny Ardant…women who still have the possibility to play leading roles and they’re still amazing. It really proves how things are different compared to before, where after 40 years old, women didn’t have the chance to work anymore–even though they were still talented, it was impossible. I can’t say that everything is done–the evolution is still there and it’s really changing.”

Of course, Bellucci is far more than a beautiful woman. While her entertainment industry debuts were as a muse and model for photographers like Richard Avedon and Helmut Newton and fashion and jewelry houses like Dolce & Gabbana and Cartier, she has evolved into an artist with an expansive career spanning film and theater. A polyglot, who can act in many languages, Bellucci has worked with the likes of Sam Mendes for whom she made headlines as the oldest Bond girl in history in Spectre; with Giuseppe Tornatore in the role of a war widow in Malena, and with Gaspar Noé who directed one of her most remarkable performances in the dark art film Irréversible alongside her former husband Vincent Cassel.

“Each director gave me the possibility for me to evolve as an actor, and many of them come from different countries and different cultures,” she says. Her experiences with female directors remain sparse but special. “I like it very much because there is an intimacy between women. Sometimes we look at each other and without words, we can have the same feeling about things. There is something very spontaneous and distinctive and natural, and I like this very much,” she says.

Bellucci is also a woman in love. She made her first red carpet appearance hand-in-hand with legendary director Tim Burton at the Rome Film Festival, in October of last year. “It’s so interesting and beautiful to share the experience of work with someone that is also the person that you love,” she says of the time spent on set as an actor in Burton’s forthcoming film Beetlejuice Beetlejuice. And while she shares that she is at her happiest when she is with her children, she expresses that she is equally joyful when she is in love. “When I have the possibility to feel alive as a woman,” she expresses of her current state of bliss.

The Burton movie is not the only film forthcoming for Bellucci. The actor’s warm and melodic voice rhymes off her recent work. She is presently shooting a TV series in France and has just wrapped a film with Iranian director Marjane Satrapi, the woman behind Persopolis. “When I make a movie, more than feeling nervous, I’m excited, especially in the first few days,” remarks Bellucci of her feelings on-set. She notes that cinema is a completely different experience to theater, an art she dedicated the past three years of her life to, performing across Europe in the one-woman show Maria Callas’ Letters and Memoirs. “This was really something that made me very nervous,” she says of her experience before a live audience. There is something very sincere and artisanal in the process of making a show. But at the same time, it’s very intense because you can’t really make any mistakes, and the public can really feel what you feel. This relationship is very beautiful, but also very intense.”

Bellucci describes herself as “very feminine,” but is not fixated on anything beauty-related. She practices pilates and eats well. “I’m not obsessed with anything. I like to live and to have a real life. If I want to go and buy things, I want to feel free to go.” Bellucci’s self-confidence, sophistication, and warmth emanate from her hazel eyes. It is perhaps her curiosity that is the essence of her decidedly youthful spirit. “My job, I really think that it’s a kind of job that you never stop learning,” she says. “And I’m still enjoying doing that. I’m really full of passion for my work.”

Originally published in the March 2024 issue of Vogue Arabia

Style: Barbara Baumel Fashion director: Amine Jreissati Hair: John Nollet for Maison de Beauté Carita Makeup: Letizia Carnevale Nails: Nafissa Djabi Digital operator: Massimo Fusardi Hair assistant: Pierrick Sellenet Lighting assistant: Pierre Cathala Producer: Sam Allison Talent: Monia

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ltwharfy · 4 months

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"Bob's Burgers" Season 5 Episode Ranking Rewatch (Long Post)

So, I've been rewatching "Bob's Burgers" from the beginning and ranking the episodes using the spreadsheet that @babsvibes created! If you want to know why I'm doing this or how I view the 1-5 rating scale, you can check out my Season 1 post! If you want to check out any of the other seasons, I've been using the "bob's burgers episode ranking rewatch" tag for all of them.

Now, on to Season 5:

Average (Mean) Score: 4.57

Mode (\Most Common) Ranking: 5

Ranking Breakdown: 13 5s 7 4s 1 3

Season as a whole thoughts:

I'm so amused by how similar this season's average score was to Season 4- it's only .02 less than Season 4 (the current leader)! This certainly goes along with one of my main thoughts about "Bob's Burgers", and one the things that lead to me doing this rewatch: that it has been a really consistently good show. This was just another consistently funny season.

In the first couple of seasons, I mentioned my memories of watching the show as it was new and my growth as a fan. Here's my fandom memory tied to Season 5. This was during the time that Loren Bouchard and the case were going around doing Bob's Burgers Live" performances in theaters across the country- and I was lucky enough to see them at the Chicago Theatre on March 20, 2015 (I found an email about it. I don't have the date memorized!) And that might play into the rankings for two episodes in this season and one next season. At that event, they showed a completed clip of the then-unaired "Eat, Spray, Linda", an early animatic clip of "The Hauntening", and did a partial table-read of "Housetrap". So, those three episodes would probably always be 5s in my book just for that special memory. (Although, I also think they are really great episodes!)

Some thoughts on specific episodes (and feel free to ask if you want my thoughts on an episode I didn't comment on):

"Work Hard or Die Trying, Girl": Such a fun episode! So many great songs! But what it really made me appreciate this time was Courtney's character, and the development of her relationship with Gene. It would've been so easy for them to have just made her a one-shot character, or to have kept her as being his annoying ex, like she was in the first half of this story, but the end of this episode really marks the beginning of them being friends- and I like that they went in that direction! I think Gene kind of gets the short end of the stick when it comes to friendship- we rarely see him just hanging out with his friends like Tina and her group or Louise with Rudy and the Pesto Twins. But I think his relationship with Courtney is a sweet one that I have been underrating.

"Tina and the Real Ghost": One of my favorite Halloween episodes- I love that it's so offbeat for a Halloween episode. It's not about costumes or trick or treating or frights-yeah, it's a ghost story but the ghost is a pretty obvious joke and (as Tina points out at the end) it's really a way to tell us about the characters and their wants/needs. The scene in the butterfly garden will always crack me up. And I have a cousin named Jeff, so I love Louise saying it was the dumbest name she could think of for a ghost.

"Friends With Burger-fits": If you ask me what the most important episode for Rudy's character development is, my answer wouldn't be "Carpe Museum" or "Bridge Over Troubled Rudy" or "The Amazing Rudy"- it would be this episode, where we learn that he wants to be the bad boy of public radio like Elvis Mitchell. (I don't know if I am joking or not at this point.)

"Dawn of the Peck": Barely edges out "Turkey in a Can" as my favorite T-Day episode because I love Rudy and Mickey and I love the idea of them having T-Day dinner with the Belchers at the end.

"Midday Run": One of the sleeper hits of this season- I always forget how fun this one is! Just a great, fun school storyline! We learn more about Zeke and get the first reference to his crush on Tina. Rudy plays an interesting role in this episode as Tina's sidekick (and I think it's interesting that in "Fingers-loose", the next episode to focus on Tina as a hall monitor, Rudy doesn't appear to be one any more). Also, how come the fact the Bob's seen Edith naked doesn't come up more often? It just seems like it should.

"Speakeasy Rider": Another sleeper hit! I basically forgot about the existence of this episode, but it is fantastic! A great Tina and Louise in conflict plot! The introduction of Sasha! The One Eyed Snakes are back! Gus has a big role (how frickin' great is Gus?!?! I love him!) So much good stuff!

"Late Afternoon in the Garden of Bob and Louise": This is a mixed review 3. There are some things I really love in this episode. "Happy Place, Crappy Place" is a banger. Bob is so cute in his English lady garden hat, talking to his plants. And the scene where Bob and Louise make up is a classic. But I'm not a huge fan of the standard Logan and Louise dynamic of trading insults and antagonizing each other- and this episode has a LOT of that. So, this episode isn't really my jam. (But I know that a lot of other people love that dynamic and love this episode, and that's awesome! As the spreadsheet says, these are just my Personal Rankings, I don't claim to be putting out objective universal truths here.)

"Can't Buy Me Math": I love the way both storylines end in this one! The bowling alley scene is hilarious, and I love Bob stripping for Linda. One of my favorite aspects of Bob and Linda's relationship is that they are both pretty average looking people (I definitely have a Bob Belcher-esque body myself) but they clearly find each other hot as fuck, and the striptease scene really epitomizes that. One of the best Boblin moments!

"Adventures in Chinchilla-sitting": A great "the kids and their friends have an adventure!" episode, and a I love those. A particular highlight of this one: Gene's jokes at Tammy's expense. "We get it, you have email!" and "You're in 8th grade? I thought you were someone's mom!" I love how all the Belcher kids zing Tammy in their own, unique style. Also, "IIIIIIIIIIIIIIIIIIIIIIIIIIIIIII wish my radio worked!"

"Housetrap": One joke I really remember cracking me up when seeing the tableread at "Bob's Burgers Live" was Linda's line about the clocks: "Spooky. They all stopped at 3:13. Oh, wait, they all moved." Not sure why that amuses me so much, but it does!

"Hawk & Chick": I actually posted when I was rewatching this one, but man, this is a fantastic episode! I honestly think it might be a top 10 or 15 episode for me. I knew it was a good, emotional Louise and Bob episode but I forgot how funny it was- Gene in particular has some good lines throughout! And I love Koji! There is just something really sweet and joyful about him; I hope they come up with a reason to bring him back for a third time!

Random Thoughts (stuff that doesn't affect the ratings):

If I thought of any random thoughts while rewatching this season, I don't remember them! So here are some memories of seeing "Bob's Burgers Live" at the Chicago Theatre:

Each of the cast members did a little standup set. I can remember a little bit from all of them except Eugene Mirman, although I do remember that he did some of the same bits from the Netflix special he had at the time ("Vegan on his Way to the Complain Store").

A Dan Mintz joke: "When I was a kid, I would always ask my parents 'who's your favorite kid?' And they would tell me 'we don't have a favorite kid' And that hurt my feelings because I was an only child."

John Roberts sang a song about how people like Linda more than him.

H. Jon Benjamin did a seemingly improvised bit holding a Walgreens bag containing a home drug test for cocaine that you can buy there.

Kristen Schaal did a bit that was, in part, a one woman show about Emily Dickinson. She also joked about attending Northwestern University in Chicago (along the lines of "So if you saw a weird girl mumbling to herself on the L back in 1998, that was me! You missed out on all this!")

There was an audience question part at the end and someone asked the cast if they would help him propose to his girlfriend. Which they not only did, but improvised a little skit about! I cannot remember the whole premise of it, but I do remember a bit where Eugene and Kristen were playing friends of the guy and girl respectively and were making fake small talk with them. Eugene to the guy: "Soooo....sports?" Kristen to the girl: "Soooo...bras?"

Well, thank you for travelling back in time to March 2015 with me! Who knows what I'll talk about in my Season 6 post! (Probably Season 6 of "Bob's Burgers"...)

#bob's burgers #bob's burgers season 5 #bob's burgers episode ranking rewatch #long post

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louisupdates · 11 months

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Front of the Line: Dedicated Louis Tomlinson fans find inspiration at Boston show

By Haley Lerner | July 25, 2023

Louis Tomlinson inspired fans to line up in the wee hours of the morning ahead of his first of two shows at MGM Music Hall in Fenway.

His pop rock music filled the theater Monday night, with concertgoers turning out to see songs from his latest album, “Faith in the Future,” along with fan favorite songs from his days as a member of One Direction, including “Night Changes” and “Where Do Broken Hearts Go.”

Tomlinson’s mother died of leukemia in 2016. And in 2019, his younger sister died of a drug overdose. His perseverance through difficult times inspires his fans, who say his music and his live persona provides comfort.

As Tomlinson has traveled from city to city on this tour, many fans of the English singer have followed along. Ri Caceda has already been to 20 shows on his current tour. Forsaking a hotel during her trip, she stays in her car when she’s not in line waiting to enter the music venues. She showed up the night prior to line up for the Monday show — and is staying for Tomlinson’s second Boston performance on Tuesday.

“I love this man so bad. I love him so much,” Caceda said. “The connection between him and his fans is so strong. He’s super humble about his upbringing and what he’s been through, so you know he’s super appreciative of what we do for him.”

While Caceda certainly is taking Tomlinson fandom to a new level, Dannie Amador is no slouch. She came to Boston to see Tomlinson perform for her 11th time, driving from New Jersey to have the experience.

“It’s something so intimate you share, being front row,” she said. “With Louis, there’s no one in front of you, so you literally feel like it's just you and him, main character moment. Dopamine rush.”'

Jessica Torres, from Queens, New York, agreed that the community Tomlinson has created with fans is special.

“Louis, he’s so eager to release music just so he can go on tour and I'm like 'Wow, you want to see us so bad.' The last time I saw him was last year. He’s calling my name, it’s been too long,” she said. “I came early because some fans of his are crazy. We’re not crazy! Just dedicated.”

Audrey Imbeault and Emma Barbieri both came from Canada to Boston for Tomlinson's show this week — and they plan to see him on multiple other dates throughout his tour.

“He’s an artist that makes me feel I’m in a safe place. These shows make me feel like I can forget about everything else. It’s so comforting to have him in front of you,” Imbeault said. “You know he loves you the same you love him. He always reminds us that he cares about us.”

“I’ve only seen him front row once before, so not having anyone in front of me is so fun,” Barbieri said. “I just love his music. And he has such a good relationship with fans that you don't find with most other artists, and as someone who loves a lot of other artists I feel like I can say that pretty confidently.”

Many of the loyal fans at the front of the line came equipped with signs they hoped would make Tomlinson notice them in the crowd and give them a coveted moment of interaction with their idol.

Barbieri and Imbeault both brought signs for Tomlinson to see from the front row. Barbieri’s states “Thumbs up for Canadians who drove here (me),” while Imbeault’s displays the words “Your voice grows the prettiest flowers.”

Caceda had two signs: one encouraging Tomlinson to jump on her, and another that says “Pls draw me a love heart” with a spot for Tomlinson to draw, in the hopes he could draw a symbol that she could get as a tattoo. “I want that on my body forever,” she said.

And the loyal fans that secured front row positions did get their up close and personal moments with Tomlinson. For the final song of the night, “Silver Tongues,” he came off the stage and sang over the barricade to his fans.

“A massive, massive thank you to every single person in here,” Tomlinson said during the show. “This is by far my favorite part of this job, I don't get to do these shows without all you incredible people, so thank you, thank you, thank you.”

#louis press #louis tomlinson #fitfwt23: boston2 #25.7.2023 #thank you anon!

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seisoukan · 1 year

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Wonderful Journey - Chapter 1

Translated by: @seisoukan

With thanks to my proofers: Vulpes

Season: Winter

Location: Time Street

TOMOYA: Huff, huff…

Ugh, I’m nearly out of breath from all that running… I couldn’t make it in time, and the bakery ended up being entirely sold out of croissants.

Damn it~ Why’s this type of bread only available on Thursdays, and why’d my after-school duties have to come up on this particular Thursday?

(… In the end, even though tons of bakeries should sell croissants, why’d Anzu-senpai feel the need to use HoldHands to instruct me to buy some from this store specifically?)

MITSURU: Hm, hm~ hm~♪ Dash-dash-dashing with lots of bread~☆

TOMOYA: (… Mm? Why do I feel like I hear Mitsuru’s voice?)

MITSURU: Oi~ Tomo-chan~! Why are you here? Did you come to buy bread too?

TOMOYA: Y-yeah. Uwah, predictably, you’ve got two whole armfuls of bread…

MITSURU: Ehe, of course! After all, today’s the day the bakery sells its super tasty croissants, so the second the school bell rang, I dash-dash-dashed all the way from school to here!

After I bought it, I wandered around a little, and was just getting ready to go back to Seisou Hall when I bumped into you, Tomo-chan.

TOMOYA: I see… If my croissant-buying opponent is Mitsuru, I’ve got zero chances of winning.

MITSURU: Mm? What’s with those empty hands and that lifeless face, Tomo-chan? Did you not get to buy any? If that’s why, I can share some of my croissants with you~

TOMOYA: Eh, you’d do that?! Thanks, you’re a huge help!

MITSURU: Ehehe, there’s no need to be that polite with me~ Besides, I’m real happy that my croissant-liking buddies have grown ♪

TOMOYA: Ahaha, I haven’t actually spontaneously gained an interest in croissants. Or, I guess, they’re just a performance prop I need to complete my mission.

MITSURU: A performance prop…?

Time: A few days ago

Location: Vocal Room

SHU: … Oh, it seems as though I am the last to arrive. Even though there are still ten minutes until our appointed meeting time.

TOMOYA: Hello, Itsuki-senpai! Actually, I just rushed all the way from my last job as well—

Uwah?! Where’d the sound of party poppers come from all of a sudden? That scared the crap out of me!

WATARU: Welcome, welcome, warm welcomes all around ☆ Sending greetings to you all from the fluttering pieces of colored paper! It’s your Hibiki Wataru… ♪

KEITO: … Hibiki, quiet down, you. We aren’t some tour group sightseeing at ES for the first time.

Since we’ve all arrived, let’s cut to the chase and start today’s meeting. Anzu should already have sent the relevant details on HoldHands to each of you ahead of time.

TOMOYA: Mm… I can’t believe this time’s job request is filming a promotional commercial for the newest volume of a currently popular shoujo manga.

According to Anzu-senpai, that manga artist is a loyal fan of Dramatica, and personally comes to the theater for each showing. Thanks to that, they really want someone from the troupe to perform this time.

KEITO: That’s right. The four of us assembled here today are Anzu’s final choices for the most suitable members to appear in the commercial.

Due to personal interest, I have read this manga in the past, so allow me to briefly introduce its general contents to assist your understanding and familiarity with the original work.

To summarize, the direction of the work is largely that of a classic shoujo manga setting. The female protagonist has an unrequited crush on a senior one year above her, but is completely unaware of the fact that the childhood friend that she grew up with has always liked her.

To support her endeavors in love, the protagonist’s best friend enthusiastically provides ideas on how to pursue the senior. However, deep down, she actually has a crush on the protagonist’s childhood friend.

TOMOYA: Help, just hearing this is giving me a stomachache…

Mm? You’re asking me if I need to take some medication for my stomach pain, Anzu-senpai? Huh, you carry that kind of stuff around on your person…?

I don’t actually have a stomachache, I just wanted to describe how these kinds of complicated four-way relationships make me feel, so don’t worry about it.

KEITO: I understand what Mashiro is saying. However, this manga doesn’t fall into any clichés; or rather, the author frequently subverts expectations with conscious intent, thereby creating the effect of a sort of youthful comedy.

For instance, one second the atmosphere might still be abnormally tense and serious, but the next moment is likely to introduce an unexpected interlude that causes one to double over with laughter.

WATARU: Amazing… ♪ To boys and girls in the prime of youth, toil and trouble over love! Savor the unripe flavor of first love, and spend your days tinted in rose!

However, Keito-kun seems to hold a certain fondness for this manga. When you received the invitation to take part in the filming, did you not accept it quite readily?

KEITO: Oi, don’t say anything unnecessary… Fine, since it’ll be exposed sooner or later, I’ll admit I am in fact a fan of that manga artist.

Moreover, I’m usually in charge of the creation of our scripts. Taking this opportunity to accumulate some experience as an actor isn’t a bad idea, either.

SHU: Is that so? I have no interest in the common people’s entertainment. It ought to be said, the one originally scheduled to appear in the commercial had been that boy.[1]

It just so happened that that boy suddenly came to COSPRO searching for me a few days ago. He said that due to a sudden change in his work arrangement, a scheduling conflict had arisen. Thus, he recommended me to the client, hoping I could take his place.

Honestly. The next time these sorts of troublesome things crop up, I shall reject it without a second thought.

WATARU: Hahaha, Shu is the type of person to be stubborn but soft-hearted, after all~ No matter how you look at it, acting in a commercial is a wonderful experience, so I do hope you too can enjoy yourself.

Moreover, as long as Natsume-kun looks at you with a beseeching gaze and says “Pretty please, Shu-niiSAN”, I’m sure you won’t be able to refuse him, correct?

SHU: … Hmph. You say that about me, but you’re the same, as well.

TOMOYA: U-um… It might be a bit late to start complaining now, but I still have a small question—

Why do I have to crossdress with the Masked Per… Hibiki-senpai again?! And since it’s a shoujo manga, is it really okay for the female protagonist and the female supporting character to be played by guys?!

WATARU: Fufufu, for this sort of arrangement is undoubtedly, Amazing ☆

In actuality, the most important part of any commercial is to have enough of an eye-catching gimmick, so that more people are interested in the work itself— that is, a principle similar to ‘food for thought’.[2]

Not to mention, the original style of the manga is fairly relaxed and lively, so it’s not a problem if the commercial’s production effects are a little exaggerated.

And really, the most important point is, the client approves greatly of Tomoya-kun and my own crossdressing abilities, and considers us capable of making the fake look real ☆

TOMOYA: How exactly did the client see my appearance while crossdressing? It couldn’t have been you secretly mailing that kind of photo alongside my personal profile, right?!

WATARU: Oya, oya, would I be that sort of vile person~? Perhaps they saw a play that Tomoya-kun and I performed in women’s clothing, and it left a very profound impression on them?

However, what I did not anticipate was that the client would ultimately designate me to play the protagonist; rather than Tomoya-kun, whose temperament usually fits these types better.

TOMOYA: Hmph, just go ahead and call me ‘ordinary’.

KEITO: My guess is, it’s because the protagonist of this manga is an energetic, passionate woman, while her best friend is more of the quiet, introverted type.

The senior I’m playing possesses a sugar-and-spice, taciturn personality. Furthermore, Itsuki has to play a sunny and cheerful childhood friend with a high degree of approachability.

SHU: That’s why this role was initially suited for that boy, and not me.

In this chapter, Shu calls Natsume 小鬼, which more directly translates to 'brat'. 'Boy' is used to maintain consistency between stories.

The idiom used here is 抛砖引玉 (lit. throwing a brick to attract jade). It is a metaphor for attracting refined opinions with one's rough ideas. A similar English idiom is used in translation.

Wonderful Journey - Masterlist

#tomoya mashiro #mitsuru tenma #shu itsuki #wataru hibiki #keito hasumi #enstars #ensemble stars #/#mine: translations

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rookie-critic · 1 year

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Rookie-Critic's Film Review Weekend Wrap-Up - Week of 3/26-4/2/2023

This was a bit of a short week. I'm really winding down from my big run of pre-Oscars binge-watching, and have been enjoying the last couple weeks of casual theater outings and video games. This was an interesting and eclectic trio of indie films, though.

Rodeo (2022, dir. Lola Quivoron)

This was a character study that showed a lot of promise. A deeply flawed protagonist that you still wanted to succeed. A very interesting niche subculture as the main subject matter of the film in the form of a group of underground motorbike and ATV riders, and a gripping handheld-camera shooting style all showed so much promise for this French drama from last year. However, I was massively disappointed in the film's ending, which seemed to throw away all of it's potential for something wildly and unnecessarily abstract. It felt like we were coming up on a climax that was going to be a great payoff for all of the film's plot threads, only for the film to fizzle out within a matter of five minutes instead. Roll credits, go home, nothing to see here. It's not as egregious as something like Smile, which not only threw away it's character development, but actively shattered a very pro-healing-from-trauma message in the process. This is relatively harmless in comparison, and the rest of the film was quite good up to that point, so I'll just say that I didn't hate it.

Score: 6/10

Currently available for pre-order on Blu-ray & DVD through Music Box Films.

The Lost King (2022, dir. Stephen Frears)

This was a harmlessly good time. Sally Hawkins, as always, is an absolute delight and commands the screen with her every movement. She is convincing and demands that you empathize with her character Philippa Langley. I am aware that this film has a fair bit of controversy wrapped around it in how it handles fact vs. fiction in this true story. The film paints a very villainous picture of the University of Leicester, and there are claims that this portrayal is wildly hyperbolic and inaccurate. Granted, everyone I've seen complaining about the portrayal is either a graduate or an employee of the University of Leicester, but on the flip side Philippa Langley is an executive producer on this film. I'm choosing to believe the way the film portrays things as accurate. It is a little on the nose, and I'm sure they weren't as cartoonishly evil as the film conveys, but I can see academia treating a woman suffering from ME as horrendously as they do in this film, and I can't see a director as seasoned as Stephen Frears (whose directed movies like Philomena and High Fidelity) making a film that's blatantly propaganda. I enjoyed The Lost King, it maybe wasn't the best, but people interested in the history of it will surely find a lot to like here.

Score: 7/10

Currently Only in theaters.

A Good Person (2023, dir. Zach Braff)

This a very mediocre film that is saved by two spectacular performances. I've never seen either of Zach Braff's other films (I consider Garden State to be a pretty big blind spot in my viewing history), but man, just based off of this, I'm not super impressed in his ability as a writer/director. The dialogue in the film is packed with filler and faux-drama, and the whole thing just seemed so unforgivably on the nose that I just couldn't get behind the characters for most of the film. The movie is obsessively concerned with you sympathizing with both of its central characters that at two separate spots in the film they each say the actual line "I'm a good person." It's would be eye-roll inducing if Morgan Freeman and Florence Pugh weren't acting their asses off, and they do act their asses off. It might honestly be the best performance I've seen out of Pugh, and I'm so bummed that she delivers it in a film that is so undeserving of it. I'm being incredibly harsh on this, so I will point out that I didn't hate it, and if the script wasn't sabotaging the film so often, it would be great, even. Braff touches on a lot of important, timely topics here, and occasionally gets you to care about what he's saying. I'll even admit to falling for some of the emotional manipulation and tearing up a couple times. Would I watch it again? Absolutely not, but I'm positive there's an audience for this out there. Maybe you're one of them.

Score: 6/10

Currently only in theaters.

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jonfarreporter · 1 year

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Award-winning Mime Troupe Spotlights San Francisco’s Homelessness Crisis

Founded over six decades ago, the Tony-Awarded San Francisco Mime Troupe has always been at the forefront of the pulse of the City and the issues of the day. SFMT opens its 64th season on July 1 with a new musical called: “Breakdown - Sometimes it’s not all just happening in your mind.”

Directed by Michael Gene Sullivan, Breakdown features a five-person cast, with original music & lyrics by Daniel Savio.

The musical reflects what is currently happening in San Francisco as homelessness continues amid a stressed-out economy from the COVID-19 pandemic and rising inflation. The story/plot of this musical is how can we help those struggling with actual mental illness? And who is driving the country insane?

The main character, portrayed by Kina Kantor is a homeless woman named Yume. She lives on the San Francisco streets of an increasingly intolerant urban landscape. Yet that doesn’t mean all her issues can be solved by a passionate social worker, named Saidia, portrayed by Alicia M.P. Nelson.

In the City “by The Bay” San Francisco seems to have more bureaucracy and paperwork than compassion. Help is always just around the Kafkaesque labyrinthine corner!

But that doesn’t mean San Francisco is the hellhole of progressivism as an up-and-coming Fox News commentator, named Marcia Stone, portrayed by Jamella Cross, seeks to present San Francisco that way to the rest of the country.

As playwright/director Sullivan and music composer/lyricist Savio strive to illustrate…whether it’s an individual, a bureaucracy, or a national sanity, everything is headed for a…”Breakdown!”

While SFMT’s initial inspiration was and is rooted in mime, as Sullivan explained.

“We use the term ‘mime’ in its classical and original definition,” he said.

"The exaggeration of daily life in story and song." “It is a form of popular theater that is as old as the marketplace itself,” he said.

Similar to SFMT is Theatre in Paris, in France. Upon hearing the news about the upcoming 64th season and SFMT’s new musical, Carl de Poncins, one of the founders of Theatre in Paris agreed with Sullivan, saying…

“Yes…The history of mime relied on elaborate movement and gesture but also incorporating speech and some song.” Pointing to mime’s universality as an art form, de Poncins noted…

“variations of the practice also found their way into ancient aboriginal, Indian, and Japanese theatrical heritages, all of which feature performances that blend music and dance with a narrative told through a stylized gesture and facial expression.”

“The Japanese Noh tradition of masked theatre, in particular, is another example, said de Poncins, and Noh would go onto influence many contemporary French theorists of mime.”

Co-founders of Theatre in Paris, Christopher Plotard and Romaine Beytout, like de Poncins are very pleased and excited for SFMT as they present an entirely new production. Bringing live theatre directly to the people in public places such as parks is what they are all about. They applaud the work SFMT is doing.

Following much of the basic commedia dell'Arte format, SFMT revels in the ability for art to enhance and improve people’s lives. Adding further, Sullivan said. “From the ancient Greek and Roman farces to the Renaissance/Shakespearean era to modern Chinese Opera, we are using archetypes comically to illustrate people's issues.”

“This is a time honored worldwide tradition,” said Sullivan just as de Poncins mentioned. “Our broadly drawn characters are instantly recognizable allowing the audience to immediately engage in the action,” he said.

BREAKDOWN - A New Musical, opens July 1 at Cedar Rose Park in Berkeley and continues with a showing at Dolores Park in the Mission District on July 4. Shows will continue throughout the Bay Area in SF, Marin (Mill Valley), Ukiah (Mendocino), Cotati (Sonoma), East Bay, Palo Alto, Santa Cruz, San Jose, and Davis, until September 4.

All performances are free of charge unless otherwise listed. Some performances will require an RSVP.

Written by Michael Gene Sullivan with Marie Cartier, BREAKDOWN - A New Musical has been made possible by contributions from The Don Stevens Laugh and Love Fund; California Arts Council, Grants for the Arts; and Individual Donors. For a complete schedule and more information, visit sfmt.org or call 415-285-1717. (Photos by David Allen Studio, Courtesy of SFMT).

#SF Mime Troupe #san francisco #Breakdown - A New Musical #Michael Gene Sullivan #Daniel Savio

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newmusicradionetwork · 2 years

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Paige King Johnson & Got To Be NC presents North Carolina Ag Star Talent Competition

Country music singer-songwriter Paige King Johnson is excited to announce, in partnership with Got to Be NC, the North Carolina Ag Star Homegrown Voice Talent Search. The upcoming semi-final auditions will take place throughout North Carolina, and everyone between the ages of 13-22 years are encouraged to register by visiting NCAgStar.com. As recently announced, Johnson serves as Got to Be NC’s Musical Ambassador and recently released her single “Homes In The Hometowns” which serves as the anthem for the statewide marketing campaign. Paige King Johnson is available for interviews and in-studio performances to discuss this initiative to showcase young individuals who are interested in both music and agriculture. Semi-final audition dates & locations are as follows: Friday, September 16 – NC Mountain State Fair (Fletcher, NC) Sunday, September 18 – Piedmont Triad Farmers Market (Colfax, NC) Friday, November 4 – Martin Community College (Williamston, NC) Sunday, November 6 – University of Mount Olive (Mount Olive, NC) “I’m so excited to embark on this new journey for both myself & the North Carolina Department of Agriculture to, not only discover a whole new generation of raw talent here in our great state, but also to continue spreading the word about the great things that agriculture is doing in North Carolina,” shares Johnson. “We’re already seeing a great response, and we hope to continue to get more young stars between ages 13-22 registered for Ag Star! This will be a great opportunity for them to share their talents while gaining confidence in their craft.” For more information on Ag Star, visit HERE. To view the Ag Star feature on Fox News Digital, visit HERE. Johnson recently released her latest single, “Famous Enough” highlighting the confident feeling when finding your own path while being content with the success that comes with each day. Johnson’s latest music video was directed by Grand Ole Opry member and country music legend, Pam Tillis and showcases her God-given vocals with every note, painting a portrait of contentment that most of us strive for and never achieve. “Famous Enough” was premiered by CMT.com and Heartland TV and can be found on her new album ‘Honky Tonk Heart’ available now. Listen/stream/buy HERE. To keep up with everything Paige King Johnson, visit HERE and follow the socials linked below. Instagram | Facebook | YouTube | Twitter | Website About Paige King Johnson: Born in a quiet North Carolina town just 22 miles south of Raleigh, as a young 9-year-old girl, Paige King Johnson spent her summers under the crepe myrtles imitating the styles of Loretta, Patsy, Waylon, and Merle. Having a grandpa as her biggest fan also meant receiving the gift of her first guitar – a baby Taylor – and enrolling in lessons. As she grew older, Johnson added “opening act” to her resume, supporting chart-topping artists like Scotty McCreery, Neal McCoy, and James Otto. Upon starting school at Belmont University for Music Business, Johnson honed in on the magic that had heavily influenced her as a child: the art of storytelling through songwriting. The famous Bluebird Café was just one of many writers’ circuits around Nashville that provided a safe space for Johnson to meet other writers. In the last four years, Johnson has traveled back and forth between Nashville and the Carolinas, playing shows like the North Carolina State Fair and running her dinner theater, Country on the Outskirts of Town, which she founded in high school. Johnson’s quarterly show provides an atmosphere for locals to enjoy Southern cooking, fellowship with friends, and the sounds of classic and current country music with some gospel thrown in. A three-time Carolina Country Music Awards Winner for Female Vocalist of the Year, Country Emerging New Artist, and Tour of the Year, Johnson’s devoted homegrown fan base continues to expand farther than just her backyard. For more information, visit paigekingjohnson.com. About the Got to be NC Agriculture Program: Got to Be NC is an initiative on behalf of the North Carolina Department of Agriculture & Consumer Services to promote North Carolina agricultural products and goods. From its beginning in 1985, the brand has always supported North Carolina’s diverse agriculture economy through education, engagement and promotions. Our initiatives are designed to increase consumer awareness of local products, leading to increased sales and continued growth for North Carolina’s food, fiber and forestry industries. The program has adapted and evolved along with the global agriculture market and provides support to an industry that serves the world and touches all lives. For more information, visit gottobenc.com. Suggested post: .@paigekjohnson announces Semi-Finals as #MusicalAmbassador for #GotToBeNC and #AgStar competition Read the full article

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fallindomino · 3 years

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how i would have changed s2 of hsmtmts

obvious disclaimer but im not a screenwriter or anyth so im not claiming what i want is best, this is just for fun lololol

okay so first of all nini would still have dropped out of yac but she wouldn’t have gone back to east, she would have transferred to north bc she was too ashamed to tell anyone she left at first and maybe she still wants to explore who she is away from ricky and the others

nini could join north’s batb and this way maybe we could have some playful rivalry with lily and nini and more scenes with antoine shdhdjdj also it could have been a great opportunity to flesh out lily’s character so those scenes where she reaches out to ricky and her confession at the end of the season actually make sense lol

speaking of ricky ,,, i think he should have left the play at some point hear me out. he only joined in the first place because of nini and barely wanted to do it at all once he realized he wasn’t gonna be able to perform with her. he could have joined crew and been a manager with natalie or smth considering he rlly does see the theater gang as a second family. also this would leave so much room for ej and ricky development and bants since ej joined the av club and began to pursue film. they could have some convos where idk ricky asks ej how he figured out what he wanted to do after duke didn’t work out and ricky could actually develop some interests that arent the play or nini ,,, maybe fucking art club i mean he did p good on that centerpiece for carlos’ quinceañera.

with ricky not being the beast anymore i think seb should take his place that would be soooo good. and since seb isn’t chip anymore carlos won’t make those snide comments about chip being a small unimportant role and we can just cut that whole fight bc it was dumb and bad. we could still have seb being insecure that carlos is only dating him bc there aren’t really any other gay guys at school. in a heartbeat is great and i did like ricky being supportive in the background it was kinda funny too idk dhdjdjfj

ooh i almost forgot abt rini ahshdj okay so i still think they should break up. but in my version there’s no ricky pulling an ej 1.0 and deleting comments off of nini’s insta, cause with ricky in art club and nini at north trying to figure out what she wants i think one of them would realize that they’re going in different directions and only got back tgt because they made each other feel safe cause what they had was familiar. this could be triggered by ricky mentioning smth abt nini at yac and then nini breaks down and tells him that she dropped out and is at north and doesn’t know where she’s going. and then they can both realize they aren’t good for each other rn and have a less tragic mutual break up.

honestly i really liked the scene of nini taking charge after miss jenn freaked out cause with the character detail of nini giving every person in the cast of productions she’s in a thank you note she just seems really like someone who is suited to lifting others up. this could still be explored at north, maybe she could help lily through her issues that were briefly implied in ep 11 and nini realizes she wants to be a drama teacher and encourage kids to go off book and put themselves into their acting, something she couldn’t have at yac.

okay now ej ,,, so like i said in ricky’s section, more bants between them cause i feel like friendships kinda fell by the wayside due to all the relationships so more friendship !!!! also the scene where ej tells his dad he’s not going to duke shouldn’t have been an ending scene, it should have been fleshed out with his dad pushing back saying how he pulled all these strings to get him in and ej saying he doesn’t wanna go if his own hard work couldn’t get him there. and also more scenes of ej doing av club things !!! and realizing he rlly likes film and wants to do it OMG IT WOULD BE SO COOL IF HE BROKE THE FOURTH WALL AND ASKED THE DOCUMENTARY CREW ABT THE FILM INDUSTRY god i would love that. the only scene we rlly got of ej doing film things was at the quinceañera which made me kinda sad. uhhh also i just wanted to specifically mention how ej got mr mazzara that job at cal tech bc it really showed how he wanted to be there for people not just for gina, who he had a crush on, but for mr mazzara who supported him outside of romance, so i wanna keep that for sure.

gina !!! okay so i mostly liked her arc in this season, the only changes i would make would be to flesh it out a teeny bit (god this hypothetical s2 would have to be like 22 eps at least shdjdjdjfj) anyways besides ashlyn singing home to get gina to stay i think there should be a scene where they actually talk in her room abt how gina feels safer when shes on the run (second chance reference ilysm) hhhh and also a scene of her and carlos actually working out compromises for their choreo cause i liked that bit of development too and fleshing that out would make gina an even better foil for lily, who felt a need to hog the spotlight like gina used to. with gina’s own arc fleshed out her character would feel more whole independently from romance and portwell would be even more rewarding than it is in the current s2. the only thing i would really change abt portwell is that they would kiss !!! in the finale but thats bc im biased.

ashlyn should have gotten a more fleshed out storyline about being insecure about not being a good enough belle or the typical belle. there were some throwaway lines when north did their typical dramatics but the only two real scenes that showed it were when ash talked to big red about it and when she was telling nini she wanted to do a run in “home” bc lily did it. ashlyn should get more screen time where she has to grapple with the reasons she doesn’t feel good enough and big red can still support her but also gina too bc i would like more roommate besties interaction.

kourtney could still date howie, that harry potter shit was cute but there needs to be smth else for kourtney’s arc. idk she’s still into fashion so maybe she could be out here trying to create her own line or smth? this doesn’t have to be resolved in s2 like making a wholeass line takes time and she could work on it into a potential s3. kourtney just didnt get much outside of howie and the stuff at the beginning of the season where she said nini inspired her to be independent and that's why she got a job was just dropped?? so i think that fashion could fill that for her if she’s still dating howie cause like having her whole arc just be the pizza place kinda overlaps w big red’s mini arc abt how he wasn’t settling for hospitality, its what he wants to do with his life.

ik what ur thinking. anna, even if you added more episodes, where would u find the room to add all these plotlines?? well first we cut (most of) the seblos fight, so thats some time saved. honestly most of the time that we r going to gain is going to be from cutting ms jenn’s time. things like ms jenn’s and nini’s car ride would get cut, but mostly all of ms jenn’s romances would get cut down. considering she’s the teacher and isn’t actually a character with an arc how does she have THREE love interests this season?? like all of the weird tension between her and zack can be cut, like just some short scenes of them being competitive can stay. all of the stuff with ricky’s dad can go bye bye we don’t need it. i did like her w mr mazzara so most of that can stay i just didn’t like how he said he would give up cal tech for her, ew no that would be gone.

the MENKIES !!!! this is the last thing im gonna address cause in a perfect world every character would get a long fleshed out arc but then the season would be waaay too long and also im mostly trying to work within material the show gave so this is mostly made up of “realistic” deviations from what actually happened. lol idk what that even means it just makes sense to me. but anyways!! uhhh bro idk i thought them dropping the menkies was funny but it also made the finale really BAD lmao. in this finale, seb is the beast, east still had to deal w the fact that they’re underfunded compared to north but no one is injured, lily is less of a poorly written character and maybe ppl are even rooting for her, and wow i just realized i never actually said what role i think nini should have in north’s show. OOH she could be student director instead of lily cause lily both being in the play while also directing was weird considering omg i just checked and according to her wiki page shes a FRESHMAN?? and they let her be student director? lol hell nah. okay so with all that in mind ,,, the menkies should have been the season cliffhanger instead of portwell. east and north should both be nominated, both schools perform at the menkies, and then the award winner is about to be announced and THATS when it cuts to natalie and the end of the season.

one, this actually gives more tension for a summer s3 as we would be waiting to see the consequences of whichever school won. also i bet people would be wondering if nini’s gonna be transferring back to east or staying at north. people would also prob wonder if ej would be getting the scholarship if east won and what that would mean for his interest in film.

lmao that got longggg and idk if anyone’s even gonna read this but it was fun to do :D

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samnyangie · 3 years

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Since people liked rsl interview on dps, I’d like to share one of my favourite interview by him. I think it’s one of those rare interview where he wasn’t joking around that much but discuss acting quite seriously haha

So enjoy:DD

(Credit)

____________________________

1990 New York Times

Young Actor's Life Has the Makings of a Movie

by Lynn Mautner

New York Times

May 20, 1990

It would make a good movie. A 15-year-old sophomore at Ridgewood High School is playing the Artful Dodger in the musical ''Oliver'' with the school's theater group, New Players, when he is discovered by a casting agency secretary and whisked off to Broadway and the movies.

That's exactly what happened to Robert Sean Leonard, now 21, and a star of the 1989 film ''Dead Poets Society,'' which received an Oscar for best original screenplay.

''My mother took me to New Players' summer performances when I was 10,'' he said, ''and I loved the camaraderie of people, rehearsing and singing. I began spending more time there, painting signs and moving furniture, and soon became an element of the company, with small roles in 'The Miracle Worker,' 'Joseph and the Amazing Technicolor Dreamcoat,' 'Barnum.' ''

Starting as an understudy for three roles at the New York Public Theater (he never got on stage), Mr. Leonard amassed credits that include ''The Beach House'' with George Grizzard for the Circle Repertory Theater, television movies, ''Brighton Beach Memoirs'' and ''Breaking the Code'' on Broadway, plays at the West Bank Cafe on 42d Street and the recent ''When She Danced'' at Playwrights Horizons.

He has just completed a part as Paul Newman's and Joanne Woodward's son in the movie ''Mr. and Mrs. Bridge,'' filmed in Kansas City, to be released in August. ''I age from a 15-year-old Eagle Scout to 22, coming home from World War II with a mustache,'' Mr. Leonard said.

Mr. Leonard, who received a general equivalency diploma when he was 17, lives in New York City and attends Fordham University between performances. Soon to return from the Cannes Film Festival with his fellow actors in ''Dead Poets,'' he is next scheduled to go into rehearsal for the film ''Married to It,'' a romantic comedy.

Q. Do you remember when you decided on an acting career?

A. I never decided to pursue an acting career. It just has happened. I still think it's going to stop and I'll have to get a real job soon, but I'm afraid to question it because if I do, it will disappear.

Q. How do you think your theater experience in high school has helped you?

A. It was a great teaching experience that prepared me in a lot of ways. We did 10 shows in 10 weeks, so there was no time to think about method. It was running for the stage, hoping you'll make it in time for your entrance. In Steven Soderbergh's new book of his diaries when directing the film ''Sex, Lies and Videotape,'' he said that on a film set there should always be a chain of command, but never a chain of respect.

At New Players, those three to four years, everyone was given the same respect. You had to, because you'd be the lead one week and painting sets the next. That's a luxury that is not available in New York, unfortunately, because of the unions. You're an actor and that's it.

Q. Have you taken any acting lessons? Do you recommend them for others?

A. I've taken two classes - a video acting class to help me get from stage to film, with Marty Winkler, currently my manager, and an acting class at H. B. Studios.

Acting classes are tricky. It's like asking someone in therapy if they'd recommend going to a psychiatrist. For some people it's great; for some it's not necessary; for some it's harmful. The best way to learn acting is just to do it.

There's a danger to the classroom, because it's safe, and you can get addicted to it. The clique of people are there, and you might tend to remain with them and never go out on your own. So it can give you the safety net which can eventually strip away your courage to go out and really try. On the other hand, you can get a wonderful teacher who brings out the best in you and gives you the courage to go out and dazzle everybody.

Q. You went from high school to Off Broadway. What were your feelings and fears during your first professional performance?

A. The first time I performed in New York - in ''Sally's Gone, She Left Her Name'' - I played Michael Learned's son. I think I was too young. I wasn't even aware of reasons to be afraid. I was just there for the fun of it. Fresh out of New Players, I knew it to be fun. I've never worried about lines. In ''Brighton Beach'' I should have been tense, because it was Broadway. I was nervous, but not racked - more excited.

Q. What do you enjoy most about acting?

A. The people, and opportunities to learn, to travel, both physically and emotionally. To look at people other than myself and try to figure out what makes them tick.

Olivier said you never play a villain; you play a man considered to be a villain; that you have to justify everything he does first; you have to know that what you are doing is right and find a way to make it right - even murder.

I just played a conceited piano player in ''When She Danced,'' and I had to figure out what would make a person be conceited and make that O.K. with me. I learned where conceit comes from - from confidence and talent.

Worst thing you can do is play someone and judge him at the same time, saying: ''Here I am. I am so conceited.'' First you have to understand why you're that way so that people interpret you as conceited.

Q. Do you consider acting an escape?

A. I don't look at performing as escaping, as really becoming another person and leaving my problems for two hours, so I don't have to deal with me, because I don't become another person. I work, so that when I am working, in a way it is me at my best. I'm not leaving myself; in fact, I'm more focused on myself than ever. I don't become that person, but I fully understand him, fully explore him, as to why he does what he does and justify it.

You can't play a fool to play Bottom, who's the opposite of fool in Shakespeare's ''Midsummer Night's Dream.'' What makes people fools is that they're completely confident in what they're doing. They don't think they're fools; they think they're right on track, which makes them so funny and makes them look like fools.

Q. Who influenced you the most?

A. I have not had one person or experience that stands out that's a turning point. Every step in acting relies heavily on the one before. Everything I've learned colors everything I have known before, and suddenly changes it.

I have learned a little bit from everyone I have known, whether about acting itself, or living and working as an actor. Like a good detective novel, for every clue that is solved, two more appear. Every time I learn something, it opens two other doors. In ''Dead Poets,'' the rooftop scene, where I throw the desk set off, was improvised. Are instincts then a part of acting?

Q. Are there desirable qualities to have as an actor?

A. Concentration, perseverence, lack of inhibitions. There's no room for self-consciousness on stage. Also, there is an element in acting that is not fair. Whatever talent is, part of it can be learned and part can't. There are people that audiences like to watch or don't. In Soderbergh's book, he says that talent plus perseverance will equal luck. But I don't know what talent is; it is beyond definition.

Q. Do you learn by watching other films and plays? Your own? Other people?

A. Sometimes I watch for directing; sometimes for performing. There are lines in ''Dead Poets'' I would do differently, if given the chance. For example, Todd said: ''You talk and people listen to you, Neil. I am not like that.'' I answer, ''Don't you think you could be?'' I think I could have made it clearer. I don't get much from observing strangers, because although I see what they do, I don't know where they're coming from.

Q. What are the main differences between stage and film work?

A. I feel that as an actor, you should start in theater, to learn the process of creating a character, in rehearsal. Film is an arena for people who already know that, because on the set they expect you to know the character inside out.

Film work is harder, because this tangible part has to happen in your head before filming takes place. And it's more solitary. You create your character alone, without the give-and-take of other actors.

Q. What tips would you give young, aspiring actors?

A. Read plays aloud with friends at home; do any work you can do in high school. Hang out with jocks, leatherheads, and see what makes them work. Don't be a theater rat and only talk to actors. Read a lot. You really have to feel it; really want it; then take it. Don't take no for an answer. Seize the day.

___________________________

There’s another one I really want to share as well, I’ll bring it with me at some point:))

#robert sean leonard #rsl #theatre #acting #interview #I love how he ended the interview with seize the day

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ingek73 · 3 years

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Juneteenth

STORY by Team at Archewell

Jun. 16, 2021

YOUNG POETS OF GET LIT SHARE POWERFUL WORDS TO COMMEMORATE THE DAY

In honor of Juneteenth, we, at Archewell, connected with our friends at Get Lit and asked them to share poetry to honor this important day. We hope their poignant words allow you to reflect on the significance of this newly declared federal holiday in the United States and its impact across this country and around the world.

AND HOLD, AND HOLD

CORTUNAY MINOR AND TAMIA JACKSON

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WHY THEY WROTE THIS POEM:

“When I wrote this poem, just a few weeks before June 15th, Juneteenth wasn’t yet a federal or national holiday. It wasn’t something I’d given much thought to, but when I had recognized that fact, it wasn’t information, it was confirmation. At first, I was upset about it. My immediate thoughts were along the lines of, ‘Where are our fireworks? Where’s our three-day weekend?’ But in reflection, I realized that this was demonstrating continued deference to a supposedly superior entity. Juneteenth isn’t the ‘Black Independence Day,’ it’s the only Independence Day. To have that nationally recognized feels amazing. But whether or not the date is printed in every calendar does not validate this holiday. We do.”

WHY SHE ANIMATED THIS PIECE:

“This poem, especially for Juneteenth, really inspired me. The color palette expresses the somber yet hopeful emotions that happen when black freedom is discussed, and what it means to be a Black individual in America. This poem as well as the visuals really emphasizes the impact that Black people have by simply existing, and the importance of our breath. We know that as long as we’re still breathing there can and will be change, and ultimately full freedom.”

ABOUT THE AUTHOR:

Cortunay Minor (she/they) is a performing artist who specializes in Stage Acting and Spoken Word Poetry. They are currently pursuing a bachelor’s degree in Theater from the UCLA School of Theater, Film, and Television. The theme and goal that Minor tries to hold in the heart of their artistry is liberation, be that emotional, intellectual, or otherwise. Expression and education are two of the most fruitful paths Minor has found that achieve that liberation, and she is immensely grateful to be able to participate in a craft that allows their simultaneous occurrence.

ABOUT THE ANIMATOR:

Tamia Jackson (animator) is a rising senior at the Rhode Island School of Design, receiving her BFA in Film/Animation/Video with a minor in Literary Arts and Studies. She has always been passionate in art, animation, and storytelling. She loves bringing stories of lesser voices, such as BIPOC, low income, female, etc., into a visual and cared-for light. Though not all of her stories or animations revolve around such identities, it is important that she shows diversity so that many people can relate and find comfort in the characters or art piece. Not only does Jackson enjoy spreading her own voice, but she also loves bringing others’ stories to life.

AND HOLD, AND HOLD

‘Holiday’ meaning ‘Holy Day’ meaning:

every second is sacred/every hour hibernates

within the spirit, huddled beneath the bosom.

To breathe is to commemorate:

inhale – exhale – cradle the thought – hold – and repeat.

When daybreak demotes breath to subconscious action,

the diaphragm still submits in reverence, still remembers that

This is Divine. This

is where jubilation begins:

in the suspension of

breathe in – breathe out – take maybe – and

forever hold the moment,

where the deferred dream stopped shriveling,

wavered in anticipation, remembered that expansion

can be soft,

recognized that it didn’t want soft

expansion.

Bodies were policied out of possession, but

the Black individual liberated their own being,

hollered themself out of state-sanctioned silence.

Words ignite, but presence sustains; this intake/expel maintains us

here

the dream explodes. The spirit absorbs the remnants and outpours,

‘holiday’ meaning ‘Holy Day’ meaning:

I hold this day as sovereign. Meaning:

I hope this day knows its home is in these lungs,

is in this breath, is in the repetition of:

inspire – expire – immortalize the memory – and hold – and hold – and release

POPLAR TREES

CYRUS ROBERTS

youtube

WHY HE WROTE AND DIRECTED THIS POEM:

“It’s easy to say “slavery was an atrocity and we need to do better” but it’s much more difficult to say “slave masters ripped babies from their mothers and used them as crocodile bait for sport.” In the average American lexicon, phrases like ‘Never Forget’ are commonplace but are rarely attributed to periods of fundamental, ongoing violence of a racial nature for the simple fact that our pain makes the people who benefitted from that pain uncomfortable. For me Juneteenth is a day of mourning; the Confederate holidays still celebrated today seem like a gruesome counterbalance. So this is my eulogy to both the country and my own being that could have been.”

ABOUT THE AUTHOR:

Cyrus Roberts (he/him) writes, acts, and directs across poetry, theater, and film. While his work has been commissioned by organizations like Toms Shoes, Adidas, and March For Our Lives, he also enjoys working on cool independent projects, whether he’s self-publishing poetry compilations, creating movies with friends, or acting in his own plays. Roberts is currently a senior in UC Santa Barbara’s BFA Acting program. Look for him in the upcoming film Summertime, directed by Carlos Lopez Estrada. His assistant director on the project was Mattie Kranz.

POPLAR TREES

Before you there was me. But before me there was (Nina Simone audio: “black bodies swinging”). And that was the gentler time period. Everything base within you, reflected in your actions. Please don’t censor me when I mention how you wrangled our teeth from our mouths and used them to seduce your own illnesses into submission. Or how you took an interest in the skin that had a monopoly on sunlight and then took what you wanted underneath the moon. Or how you used our babies as crocodile bait and our skin as shoe leather. Look right into the eyes of our demise and try to say those times are past, that I’m being rash, that I’m being bad and so full of woe and I should be glad I’m writing this on my MacBook Pro. Yeah? Who am I to complain about slavery? Because it ended, right? On June 19, 1865, Union Army general Gordon Granger made his way to Texas and proclaimed slavery’s supposed fall and us colored folk supposed to have a ball? I mean it was two and a half years after Lincoln already announced it, but we needed a white man to tell other white men what another white man already said. I mean that is until that white man found himself dead and Reconstruction found itself at a head and chain gangs, sharecropping, Jim Crow, private prison options, perc popping, bodies dropping, cops still stopping, guns cocking to ensure that (Nina Simone audio: “black bodies swinging”). Every 19th of June we celebrate the end of chattel slavery and every 20th we’re back to fighting its descendants. Private prisons / a cop’s knee is a modern lynching / it ain’t my decision to get busy dyin’ or busy living / I paid attention, to all the digitized depictions / all the people packing up pensions while we’re backed up by the system. Put your back into the system, this is wack how mother’s missing their babies kisses and I’m supposed to be celebrating? I’m sorry. Will you forgive me, I’m jaded. My grandmother looks at me and says confidently that I made it. That she can’t possibly imagine the life that I’m living, I owe a debt to her generation, and I hope that I pay it. I just get so angry, hazy laughter at the thought of thoughts and prayers ending enslavement. So after you hear me, I’ll forgive you if you’re jaded. But you still need to know the history to have an appreciation. It’s no mystery why it’s a mystery present in our education, presently the gatekeepers keep us from it and it’s heinous. On Juneteenth, Americans across the nation eat red foods in honor of the blood spilled before and during emancipation, we celebrate the secondary, pushed-to-the-side independence day, but you don’t have to know our proclamations of jubilation for us to be heard. We will be heard in our voices screaming thanks that we are not treated as herd. We dance and we sing hymns of freedom. Freedom: absence of subjection to foreign domination or despotic government. Are my brothers and sisters in jail cells free? When there’s a glaring loophole in the 13th amendment smiling from cheek to cheek I’d imagine there’d be some incentive to ensure our purity is never free. And how can I be free when I can’t sleep because my dreams keep whispering I can’t breathe. Regardless of that fact, progress is still being made. But I fear progress is just an exchange of chains for other chains. Same way they changed our names for other names, I rest a bouquet on the graves of enslaved, singing regardless this day. In the hopes that I never again have to see (Nina Simone audio: “black bodies swinging”).

UNTITLED

SIERRA LEONE ANDERSON

youtube

WHY SHE WROTE THIS POEM:

“When writing this poem, I really made an effort to think back to my ancestors. What was their impact? Who did they inspire? How did they carve the path for the road I now choose to take? This poem is about legacy. I am calling back to the ancestors before me to give me the strength and courage to be the ancestor I want to be to future generations.”

ABOUT THE AUTHOR:

Sierra Leone Anderson (poet) is a youth activist and professional spoken word artist from Los Angeles. Rooted in liberatory joy and armed with ancestral truth, Sierra Leone aims to bring light to the power of language, empowering Los Angeles youth of color to recognize the quantifiable influence of their voice. She has placed both second and first in Get Lit’s annual middle and high school Classic Slam respectively, co-wrote an article for the political column of USA Today, and has shared space with several influential changemakers including Dr. Melina Abdullah (co-founder of BLM-LA) and Cecily Myart-Cruz (president of UTLA). Her other organizing work includes collaborating with Students Deserve LA to make Black Lives Matter in and beyond schools. She is currently a ninth grade student at Girls Academic Leadership Academy and an avid lover of trashy teenage dramedies.

Her director and editor is Lukas Lane, an award-winning filmmaker and founding member of Literary Riot (started in his junior year of high school), and he is currently attending UC Berkeley.

UNTITLED

Every generation, the world gives birth to a new fleet of freedom fighters.

I am one of them.

I stand on the shoulders of tired women.

I dance in the footsteps of Pan-African poets, liberation fighters, and Black writers

who grew fires from a pit hungrier than a stomach. They call my name and I call theirs.

Malcolm X. Phyllis Wheatley. Maya Angelou. Sojourner Truth. Audre Lorde. Ida B. Wells.

Your resilience rivers through me. You are my founding fathers. The blueprint to a world we need to be brave enough to see, to seek.

Let us imagine a world in which we know each other’s palms

and never the fist. Not unless needed. Not unless united together.

Let us be the drum and not the war.

Let us know each other’s names and not the languages we cry in.

Let us be, let all us be more than a slave’s wildest dream

Let us beam past blueprints and what-ifs and start becoming the now we want to see, the now we want to be

Trees growing so far past the Earth, Allah would mistake our bodies for angels.

When I die, I want to ripple through lifetimes. I want my name to graffiti the mouths of the next 10 generations.

I don’t want to be forgotten. Or remembered for the way my feet wouldn’t stop running.

I wanna grow roots in this soil, in this American skin. Join the forest of my ancestors. Let my grandkids climb up my branches and tell stories of school.

And before the first pulse of morning, I want them to drip from their homes and gather at my roots.

I want to tell them my name before I forget it.

I want to tell them that morning is coming. And will always come. And will never wait for when you are ready.

I want to tell them that there is a point far beyond this tree, this forest, this temporary point in time, their bodies, their fears, their fathers, their memories. Where the sun is eternal and smiling. Where freedom rings and is never silent, never out of reach. It is called horizon. And it is right there.

#juneteenth #archewell #sierra leone anderson #cyrus roberts #cortunay minor #tamia jackson #get lit #poetry #poets #Youtube

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thexfridax · 3 years

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Translated interview with Adèle Haenel, heroine of “Portrait of a Lady on Fire”

Performing in order to richly live the now

Tomoko Ogawa, in: Ginza Mag, 3rd of December 2020 Translation by Rose @rosedelosvientos 🙏🏾

Set in 18th-century France, the daughter of an aristocrat who refuses marriage and a female painter who makes her portrait - two people of different social status - meet and fall in an unforgettable love that will last for a lifetime.

In the film “Portrait of a Lady on Fire”, Héloïse, an aristocrat, is played by Adèle Haenel, who, as an actress, always thinks, acts and decides constantly for herself. Late last year, she filed a complaint against the director for sexual abuse during/after her first film debut 18 years ago. At the César Awards, she protested and walked out after Polanski won Best Director, which shook the world of French cinema and is also still fresh from memory.

This film is also the work of Céline Sciamma, the director of Water Lilies, in which Adèle Haenel also appeared. Adèle recounts her thoughts about her current film, and director Sciamma’s “Female Gaze”, who, for many years was also her partner in her private life.

Q: Last year, “Portrait of a Lady on Fire” opened and was screened in Europe, and won Best Screenplay at the 72nd Cannes Film Festival. A year and a half has passed since then. Do you feel the magnitude of this work’s influence on women empowerment?

A: If put this way, people might think that it may be too subjective, but I think that not only this film, but Céline Sciamma’s works have constantly played a role in empowering women. But, it was understood that, surely, there’s also a way - that it’s possible to show the worldview of equal love between women from a different perspective, in a history where there are a lot of films that contained an element of women being controlled unilaterally from men’s point of view.

Q: Not dominance, but the joy of collaborating and creating something with someone, and the love that continues to grow is depicted in this film. What do you think sets it apart from many other films that have depicted love until now?

A: Until now, love has been depicted in ways such as controlling the other person, and in a sensual manner, but in this film, the nature of love is kinda different, I guess. The two women who happen to be in that place - while interacting extemporaneously using language that is characteristic of themselves and figuring each other out - are building up their relationship. While it’s fictional without altering historical facts, it’s a proposal that’s entirely different from what love looks like until now. I think that it’s a film that brings with it a new perspective.

Q: It’s not a one-sided view from the painter’s perspective where the person whose portrait is being painted is the “muse”, but rather of both sides looking at each other, and the connection of being seen is depicted. I think that you’ve also been called a “muse” up to this point, but during those times, do you remember how you felt then?

A: The word “muse” is used against actresses as a stereotype, and there were people who did say that to me that but, even if I were called a “muse”, I’ve come to be aware of not taking that position that’s being asked. That’s because even if it’s the director who’s directing, ultimately it’s up to the actors how they perform something while working together with different actors. So, you’re supposed to actively consider how you build up the character relationships artistically, politically, all aspects. In the first place, it’s not acceptable that in most films it’s the men looking, and the women being looked at, so even for things that aren’t visible on the surface, I constantly think and make decisions for myself.

Q: Tell us about the charm of Céline Sciamma as a director.

A: She has a very clear perspective, doesn’t she? She’s a person who can raise all sorts of questions and kinda make you rethink various ideas, not about how reality is, simply, but beyond those ideas that are based on the reality that there is. She’s also a visionary, and she understands the wonder of fiction, and has philosophical ideas.

Q: In this film, you were also able to apply the relationship of trust that you’ve built with your partner, at the time, through the course of many years.

A: That’s right. I’ve been friends with her for as long as 15 years, and of course she was also my partner, and that’s because I’ve been collaborating artistically for many years. This time, in the script, too, the character of Héloïse was written with me in mind. So since we’ve already built that trust with each other, there was no need to talk about every little thing, like, “I’m thinking of doing it this way”.

Q: This film has a mostly female staff, such as director Céline Sciamma, cinematographer Claire Mathon, Hélène Delmaire, the female artist who carried out the painting on-screen, etc. What do you think about its significance?

A: From the very start, this film’s intent - especially since the relationship between women hasn’t really been presented as something very important - is to focus the spotlight on women across history who weren’t written about. This time, an axis (focal point) has been put together by the film crew for the women who properly understand that importance, so there’s a part where the production did really well, I think.

Q: Through this film, is there anything that you discovered about yourself?

A: I don’t think in a way like, that there was a discovery or change just because of the role that I played. Basically, I’m the type of person who keeps moving and doesn’t stand still, who constantly asks and answers my own questions, and raises issues. Whichever work it is, I perceive them in one of those processes.

Q: I see. In the midst of constant movement, what is your primary motivation as an actor?

A: Meeting with people with whom I can collaborate with is a big one. Whenever I work with new people, I’m made to realize that there’s also such a different way of depicting (t/n: lit. “drawing”) the world. That there is a way to richly live the now, that is in film and art in general. That also motivates me.

Q: With all this motivation that’s hitherto been given to you by the director, do you think that it’s because you both share a common perspective?

A: Since I take the responsibility myself when I perform, there’s no such thing as being influenced by the director. I’m a person who doesn’t really care (t/n: I’ve a feeling ‘give a shit’ is what she really wanted to say here) about hierarchy, and the people whom I can really respect are those persuasive people who have a clear perspective, and, within the silence, can properly show what they want to talk about. Directors who give hints to the actors on how they can arrive at the reality that they’re thinking they want to depict more. I’m thinking that actors don’t express form, rather, their role is to explore the expounding of their own vocabulary. So a person who has a clear vision of what they want, and what they want to draw is amazing, in my opinion.

Q: Finally, all the handmade dresses have an impression that they’re being fastened thickly and heavily, but how do you think the costumes influence your acting?

A: When I wear the costumes, I feel like a pilot in the Star Wars series (laughs), so as we handle the costumes that we’re given, I really think about how I’m going to move while in it, you know? The one we had was a basic dress, but at first there was a feeling of nervousness, a tense kind of stiffness. But as the story went on, I try to be aware that the movements of the dress will become a bit softer along with my facial expressions. Even if it’s the same costume, I performed while feeling that change of heart.

“Portrait of a Lady on Fire” Original Title: Portrait de la jeune fille en feu Director: Céline Sciamma Cast: Noémie Merlant, Adèle Haenel, Luana Bajrami, Valeria Golino Music: Jean-Baptiste de Laubier Distribution: GAGA 2019/France/122 mins./Colour/Vista/5.1 Digital Channel Dec. 4, 2020, TOHO Cinema Chanter, Bunkamura Le Cinéma Nationwide Screening © Lilies Films https://gaga.ne.jp/portrait/

Profile Adèle Haenel Born in January 1, 1989 in Paris, France. Attended theater classes at 13 years old. In 2002, debuted as the heroine Chloe in Les Diables. In 2007, her name became more well-known after being nominated for Most Promising Actress at the César Awards. Furthermore, she was also nominated for her role in House of Tolerance (2011), and for Suzanne (2013), achieved Best Supporting Actress, and won Best Actress for Love at First Sight (2014) – becoming one of the actresses representing the world of French cinema both in name and substance. Her major appearances also include The Unknown Girl (2016) and Bloom of Yesterday (2016), among others.

***

Translated excerpt from ’“Portrait of a Lady on Fire” - Approaching the True Face* of Adèle Haenel’

Atsuko Tatsuta, in: Madame Figaro Japan, 4th of December 2020 Translation by Rose @rosedelosvientos 💜

(*t/n: may also mean the 'true nature’ of AH. Literally it means bare face with no make-up.)

“A woman who has an adventurous spirit, while living under constraints.”

Interviewer: Marianne and Héloïse are depicted as contrasting characters, aren’t they? From the outset, when the canvas falls from the boat, Marianne jumps into the ocean in order to retrieve it. Héloïse, which you performed, has never gone into the sea despite living in the island. How did you interpret the contrast between this free and conservative way of living?

Adèle Haenel: Marianne and Héloïse were indeed depicted contrastingly. Not just marriage, but Héloïse is a person who’s lived within various restrictions. But, as the story progresses, you’ll understand that actually she’s a character who is highly curious, and also has an adventurous spirit. People tend to think that she’s dull and lacks vigour, but it’s soon understood that up to this point, in reality, her actions are coming from a place of being shackled. Playing the transformation of such a character was very interesting.

#rosedelosvientos #Ginza Mag #Madame Figaro Japan #Adèle Haenel #Céline Sciamma #Noémie Merlant #Portrait of a Lady on Fire #December 2020 #Japanese article #Translation #A spirited woman #Thank you so much Rose #long post

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lokiondisneyplus · 3 years

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We have learned that Autumn Durald will serve as the cinematographer on Black Panther: Wakanda Forever, replacing director Ryan Coogler’s long-time collaborator Rachel Morrison who shot the first film.

Autumn Durald most recently served as the cinematographer on all 6 episodes of Loki, and has received high praise from fans and critics alike for her fantastic visuals on the series so far. Michael Waldron serves as the head writer on Loki with Kate Herron directing all 6 episodes. Tom Hiddleston, Sophia Di Martino, Owen Wilson, Gugu Mbatha-Raw, Wunmi Mosaku, Richard E. Grant, and Tara Strong all star in the series that will release its final two episodes every Wednesday until July 14.

Autumn Durald is also known for collaborating with Gia Coppola, shooting her directorial debut Palo Alto as well as her most recent film, Mainstream. Durald’s other cinematography credits include Emma Forrest’s Untogether, Max Minghella’s Teen Spirit, and Ry Russo-Young’s The Sun Is Also A Star. She has also shot various music videos from high profile artists such as SZA, The Weeknd, and Travis Scott.

Autumn Durald takes over for Rachel Morrison, who reunited with Ryan Coogler on Black Panther after shooting his feature debut, Fruitvale Station. Morrison was seemingly set to return as the cinematographer for Wakanda Forever, however, scheduling conflicts with her upcoming directorial debut Flint Strong seemed to have made that reality an impossibility. In an interview earlier last year, Morrison already mentioned how COVID-19 delaying production on Flint Strong could result in her not being able to commit to the Black Panther sequel, she says “If we had gone back in September, I think we could make it, but now it’s a bit of a moment of truth for everyone to realize if my movie is definitely going back in January that I probably won’t be able to do [Wakanda Forever] which is devastating to me.”

It has been previously reported that the production team behind Black Panther: Wakanda Forever could be significantly different from the previous entry with the rumored addition of Queen of Katwe and Guava Island costume designer Mobolaji Dawodu, rather than Ruth E. Carter who won a long- overdue Academy Award for Best Costume Design on the first film. That being said, Hannah Beachler, who won an Academy Award for Best Production Design on the first Black Panther, is said to be returning for the sequel.

Black Panther: Wakanda Forever just begun production this week, with Letitia Wright, Angela Bassett, Winston Duke, Lupita Nyong’o, Danai Gurira, and Martin Freeman all set to reprise their respective roles. Tenoch Huerta has been cast in the sequel, his recent credits include Narcos: Mexico and The Forever Purge, which releases later this week. It was also reported earlier this month by The Illuminerdi that Huerta will be taking on the pivotal role of Namor the Submariner in the sequel, the rest of the new cast additions are currently unknown.

Kevin Feige and Ryan Coogler have confirmed that they will not recast the role of T’Challa in the tragic passing of Chadwick Boseman following a private, four-year battle with colon cancer. Coogler recently talked with The Hollywood Reporter about moving forward with developing the Black Panther sequel without Chadwick Boseman, “You’ve got to keep going when you lose loved ones. I know Chad wouldn’t have wanted us to stop. He was somebody who was so about the collective. ‘Black Panther’, that was his movie. He was hired to play that role before anybody else was even thought of, before I was hired, before any of the actresses were hired. On that set, he was all about everybody else. Even though he was going through what he was going through, he was checking in on them, making sure they were good. If we cut his coverage, he would stick around and read lines off camera [to help other actors with their performances]. So it would be harder for me to stop. Truthfully. I’d feel him yelling at me, like, ‘What are you doing?’ So you keep going.”

At the Black Widow world premiere fan event earlier this week, Kevin Feige spoke about the commencement of production on Black Panther: Wakanda Forever, saying “It’s clearly very emotional without Chad. But everyone is also very excited to bring the world of Wakanda back to the public and back to the fans. We’re going to do it in a way that would make Chad proud.”

Ryan Coogler returns as director for Black Panther: Wakanda Forever and has also signed a 5-year exclusive television deal through his production company, Proximity Media, to develop a range of television projects for Disney’s various networks and streaming outlets including ABC, Hulu, and Disney+. One of these projects includes an untitled Wakanda series for Disney+ which Coogler said that they “are especially excited that we will be taking our first leap with Kevin Feige, Louis D’Esposito, Victoria Alonso and their partners at Marvel Studios where we will be working closely with them on select MCU shows for Disney+.”

Black Panther: Wakanda Forever releases in theaters July 8, 2022

#Autumn Durald Arkapaw #Loki #black panther: wakanda forever

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magicallybree · 3 years

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Money Making Magic

Who wants to easily attract money and money-making opportunities? I know I do. This post is all about tips and tricks as well as correspondences for financial gain.

First lets focus on what not to do, these are the mistakes you are making that could be blocking the flow of money:

–Clutter: yes, mess can have an unfavorable effect on your money. It is very important to keep your environment neat and tidy, Pests will literally eat away at your money, and having loose change lying around shows that you don’t value your money.

–Holding on to receipts: these are reminders of money going OUT, and money will continue to go out if you carry a bunch of receipts with you. If you must keep them organize them in a place that is not your wallet. Also, credit cards are reminders of borrowing money, keep them to a minimum.

–Poor Money Mindset: whether you have been taught through your past experiences that you don’t deserve money, or you feel like money goes more than it comes, or even that money is the root of all evil, you need to try to work with your shadow side to change your negative perception of money. These thoughts are definitely money blockers.

–Ignoring the Opportunities: if you are blind to all the different ways you can make money in this day in age, you may be stuck in the 9-5 mind frame, traditional jobs are not the only way to gain financial stability. Explore 5 different ways you can make Multiple Streams of Income today, I currently have 4 ways that actually bring money to me but my goal is to have over 10 streams of income.

–You don’t know how to Budget: every month you should sit down and write all of your necessary expenses (rent, gas, groceries, etc.) and think of ways to cut down on all the extras (like limiting fast food, choosing netflix over the theater, or splitting wine cost with a friend). It’s not fun, but it is important and it helps you get real about your money and your needs.

Now that you know what NOT to do you can focus on what to do to start attracting more funds in your life:

-Get to know the planets, Mercury, JUPITER, and Venus.

Mercury (Wednesday) rules communication, commerce, and travel which are important aspects to understand when attracting money in this very global marketing time we live in, use Mercury energy to communicate what you have to offer to potential customers around the world through social networks.

Jupiter (Thursday) is the best tool for money magick, he is the benevolent giver of the universe only concerned with abundance and expansion. Just ask for what you want here with passion, and allow Jupiter to pull the strings to get you to the next level in life. This planet is associated with freedom and mastery, freedom from working for others, mastery of the skills you need to create your own opportunities.

Venus (Friday) is best known for love and beauty, but also art and luxury. This is the planet that will make you look like a million dollars and help you attract it as well. Use the charms of Venus to seal the deal at an interview or business meeting. She can help you be more attractive and therefore more persuasive.

-Get in a Giving Mood

It is the holidays and you may see more people giving from their hearts, but to attract money easily you must always be in the giving mood. Charge some money (Start with 10 $1 bills) with the intent of great return, you can do this by drawing a sigil on them or chanting over them something along the lines of…This money will return to me a hundred-fold! Now take all of the money and give to the poor and homeless in your city, do not spend the money any other way. Now watch the money come back in many different ways, and repeat the whole thing over even increasing the money that you are giving to the needy.

-Money Rituals

Create some different rituals to perform, such as a money attracting floor wash for your home or business, a money drawing mojo bag that you wear to business meetings, a candle spell, or any other rituals you can think of. Be specific with how much you need, or at least specify what you will be using the money for to give the universe some direction. I cant tell you how many time I attracted random checks in the mail for $4 or less, that’s what not being specific gets you!

Here are some herbs/crystals/correspondences that you can use in your money magick…

Herbs/Spices- Basil, Cinnamon, Allspice, Bay leaves, Clove, Dill, Ginger, Marjoram, Nutmeg, Rosemary, Sage, Vervain

Crystals- Citrine, Pyrite, Green Aventurine, Jade, Quartz, Sodalite

Correspondences- The colors green, gold, Thursdays (Jupiter), Money/Coins (real/fake), I ching coins, Bamboo, Money Sigils, Pumpkins, Road Openers, Cinnamon Brooms, Keys, Ox symbols, Goldfish, Horseshoe

I hope this post is helpful to you guys!! Now go attract some money and support Magically Bree on Patreon.com/Magicallybreeblog!!

With Love, Magically Bree

#money #magic #rich #magically bree

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tcm · 4 years

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Paul Henreid: Actor, Director, Father By Susan King

Who was the most romantic actor during the Golden Age of Hollywood? For me, it was Paul Henreid. He was tall-6’3”-handsome, with a gorgeous Austrian accent and a nobility and intelligence that could sweep women off their feet. Like that iconic scene in NOW, VOYAGER (‘42) where he lights two cigarettes at once giving one to Bette Davis; or when he utters the words “if I were free, there would be only one thing I’d want to do – prove you’re not immune to happiness. Would you want me to prove it, Charlotte? Tell me you would. Then I’ll go. Why, darling, you are crying.”

And this exchange with Rick (Humphrey Bogart) in his most famous role as the noble resistance leader Victor Laszlo in the Oscar-winning classic CASABLANCA (‘42):

Rick: “Don't you sometimes wonder if it's worth all this? I mean what you're fighting for.”

Victor: “You might as well question why we breathe. If we stop breathing, we'll die. If we stop fighting our enemies, the world will die.”

But Henreid was so much more than those two roles. He was dashing and sexy as a pirate in the 1945 Technicolor swashbuckling adventure THE SPANISH MAIN, he gave a complex and haunting performance as the mentally troubled composer Robert Schumann in SONG OF LOVE (‘47) and proved he could be a wonderfully vile film noir bad guy in HOLLOW TRIUMPH (‘48).

He also survived the blacklist, directed numerous episodes of Alfred Hitchcock Presents, as well as the delicious thriller DEAD RINGER (‘64) with Davis. Even before he came to Hollywood, Henreid made his U.S film debut in the terrific romantic war drama JOAN OF PARIS (‘42); he had been a star on the Vienna stage as a member of the legendary Max Reinhardt’s theater company and also appeared in films. He was offered a movie contract with UFA in Berlin with the caveat that he join the National Socialist Actors Guild of Germany. Henreid turned down the offer.

Henreid went to England where he earned good reviews on the London stage as Prince Albert in 1937 in Victoria Regina. Though he played a sympathetic German in GOODBYE, MR. CHIPS (‘39), he was typecast generally in Nazi roles such as in Carol Reed’s classic NIGHT TRAIN TO MUNICH (‘40). He even played an odious German consul in his first Broadway show Elmer Rice’s Flight to the West in 1940. Then came Hollywood. And a name change from Von Hernreid to Henreid.

He was 84 when he died in 1992.

I recently chatted via e-mail with his daughter Monika Henreid, an actress/writer/director who is currently working on a documentary about her father.

You always talk so lovingly about your father on social media. What was he like as a husband, father and friend?

My parents were in love…really in love. They were best friends, confidants, colleagues for almost 60 years. So, my guess is, he was a wonderful husband!

He was a hands-on father. He invested time and money to make sure I had all the arts, sports and education a growing girl needs. He always asked how the day went, what I did, what did I enjoy, what did I learn. He was willing to help with or review homework. When my mother didn’t want to attend events, meaning premieres or films, ballets, operas, concerts, etc., I was fortunate enough to be his date.

As a friend to others, he was devoted. Friendship meant a lot to him. It wasn’t always easy to separate real friends from the ‘Hollywood’ type friends. But once he knew, through trial and error and behavior, he was a great person to have as a friend.

Was it difficult, albeit, dangerous for your parents to leave Austria for England?

My father had a successful stage career in Vienna and, because of his reputation, had the opportunity to do a play in London. After that play, he returned to the Viennese stage and some film. When it was time to really leave because of the political situation, he had another offer in London. That allowed for a good structure, but they were scared for the families on both sides. Eventually, most of my mother’s family moved from Austria, but my father’s stayed. My mother did have numerous interactions with the Gestapo, but she was smart and charming and always released without incident.

How was your father discovered by Hollywood? When NIGHT TRAIN TO MUNICH was released in New York City, my father was appearing in the Elmer Rice play Flight to the West on Broadway. Simultaneous double whammy. He was very visible and got a lot of press. Good press! He said a lot of scouts and agents came around, but Lew Wasserman made the move to Hollywood possible. Lew became my father’s agent and later, my godfather.

He made so many classic films in 1942, what was that like for him to become a Hollywood star so quickly? He had already achieved ‘stardom’ in Austria and England, so I don’t think it was that difficult. He never talked about it at home. I think it was more the Hollywood lifestyle and the American way culturally that was jolting. Did he enjoy being under contract to Warner Bros.? He was happy to be working and felt secure with the studio system contract, but he wanted some control over his projects. He was always interested in more challenging character parts, so was quickly tired of being pigeonholed as the handsome, romantic leading man. He took SPANISH MAIN to Jack Warner who turned it down. So, he went back to his first Hollywood studio RKO, where it was made. He was suspended a number of times [at Warner Bros.] because he refused to do ‘crap’ scripts and soon learned he really preferred his independence. Your father was one of many actors and directors including Humphrey Bogart, Lauren Bacall and John Huston, who went to Washington, D.C. in 1947 to oppose the HUAC investigation into communism in Hollywood. Did his support lead to him being blacklisted? Absolutely. He was immediately blacklisted by all the Hollywood studios. Offers stopped right away. He talked to his agent and was told what the studio reaction was. He couldn’t believe it! And there were no longer invitations to lunch or dinner from the ‘Hollywood friends.’ Luckily, he could work for independent producers and in England and Europe.

Your dad was removed from the blacklist when he became a director in the 1950s on the classic TV anthology Alfred Hitchcock Presents. Had he been good friends with Hitch? His friendship was with [producer] Joan Harrison, Hitch’s ‘right hand man.’ Had your father wanted to direct before he joined the series? He was a very ‘educated’ artist. He went through all the rigors of the drama school in Vienna and graduated qualified as a professional. Directing was just an extension of his training and experience. He was a man who loved to be in charge in any way. It was his nature-so a rather organic move when the first opportunities as a director or a producer presented themselves. Would you talk about his bond with Bette Davis? They were so wonderful in NOW, VOYAGER and DECEPTION (‘46), and he directed her in a Hitchcock episode as well as the fun thriller DEAD RINGER. He and Bette were friends, colleagues, flirts and best of adversaries. They respected each other and were capable of pushing each other’s buttons. There was a tremendous trust and so, we get these wonderful performances from both of them. He was a wonderful director because he understood the actor. I should say that my mother was included in the friendship. She was also creative, smart and talented and often contributed to make that duo a trio. He directed you in DEAD RINGER. What was that experience like? Great. I was fortunate enough to have that experience a number of times. We were really good about keeping the job and the home life separated. Work was work. Home was home. There was an expectation of excellence, but that was an everyday experience. He was a bit of a perfectionist but then, so am I. He didn’t push or shove but rather guided. Ask anyone he worked with how calm and gentle he was. You may not be able to answer this question! But what is the favorite film of your dad’s? That’s difficult to answer! My favorite film is THE SPANISH MAIN because it’s most like HIM – smart, athletic, funny, thoughtful, charming, daring, gorgeous. As far as acting talents go, a toss-up or mixture of SONG OF LOVE, DECEPTION and HOLLOW TRIUMPH.

#Paul Henreid #Bette Davis #Warner Bros.#old hollywood #classic #Blacklist #RKO #Monika Henreid #casablanca #Humphrey Bogart #Dead Ringer #Now Voyager #TCM #Turner Classic Movies #Susan King

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