#Amazed and truly appreciative of her dedication to do her own stunts as much as possible

[caliphoria17]

The OCS Newsletter exclusive Warrior Nun Stunt Team BTS footage - Alba becoming Ava

Did someone say more Alba stunt training videos?

[raimispiderman]

From the booklet which comes with the Spider-Man Trilogy Limited Edition Collection blu-ray!

This talks about the making of Spider-Man 2, here’s the bit about the first Spider-Man movie.

Click for a transcript:

THE EVOLUTION OF A SUPERHERO

“It was truly gratifying and even a bit overwhelming to witness how strongly moviegoers around the world reacted to Spider-Man,” said director Sam Raimi. “As a filmmaker, I always want people to really enjoy my movies, and on that level, Spider-Man exceeded my expectations.”

After the triumph of the first Spider-Man, Raimi knew he had a responsibility to follow it up with a story that justified the fans’ enthusiasm and their built-in expectations for the next adventure. “There’s great interest in this movie, following the success of the first one,” he acknowledged. “For the kids who come to see it, Spider-Man is their hero. So while the job of making this movie is to provide entertainment, it is also to create a story that shows them a moral character, someone who has to make tough choices and the right decisions in order to continue to be worthy of their admiration.”

The wealth of detailed stories and characters in the Spider-Man comic book series provided a mother lode from which to cull the plot for Spider-Man 2. “The Marvel artists and writers have done a great job through the decades – I know, because I’m a big fan myself – so there’s a tremendous amount of good material to draw upon,” noted Raimi. “Finding a storyline wasn’t that difficult. It was finding the right story, the one that made for a proper follow-up installment, and provided a logical progression for the audience and a logical growth for the character. For the, I relied on the terrific storytelling instincts of my very fine producers Laura Ziskin and Avi Arad. Together with the contributions of our great writers, we found a plot line with ideas that reverberated.”

With the storyline of the new adventure locked, Arad looked forward to the reunion of the Spider-Man filmmaking family, not the least of which was Tobey Maguire. “Tobey was so happy to be Spider-Man again and to be Peter Parker,” said Arad. “As an actor Tobey relished deepening the audience’s understanding of who Peter Parker is and who is becoming,” added Ziskin. “Peter’s a man who is transition, someone who’s struggling with the choices he is making.”

Maguire added, “The theme ‘with great power comes great responsibility’ is never lost on Peter. It’s difficult to be a young man and have to sacrifice as much as he has – presumably for the greater good – and to neglect his personal desires. The struggle continues here and it’s quite complicated, because Peter’s searching desperately for a way to achieve some balance in his life.”

 As Peter becomes more immersed in his dilemma, it creates a rift between him and the important people in his life. Though his love for MJ is stronger than ever, she has moved on with her life, pursuing an acting career, living in Manhattan and moving in new social circles. “In this film, Peter is off in his own world and not a reliable presence in MJ’s life,” explained Kirsten Dunst. “She still loves him a great deal, so it has become painful for her to be around him. Though they’ve both done a lot of growing up in the past two years, at the same time, they’ve drifted apart.”

Then, as if Peter’s life were not complicated enough, the situation moves from bad to worse – much worse. Enter Doc Ock.

Dr. Otto Octavius (Alfred Molina) is a brilliant scientist whose life work has been dedicated to experiments utilizing fusion as a new source of energy. Charming, vibrant and energetic, Dr. Octavius is introduced to Peter by Harry Osborn.

“This movie is the story of Peter’s life, which is out of balance, and Dr. Octavius who, for Peter, represents someone who has achieved that balance,” explained Raimi.

“Peter sees Octavius as somebody who has mastered both his gifts – in this case science, through which he can serve the good of mankind, while also maintaining a personal life, a loving relationship with his wife Rosie (Donna Murphy). This leads Peter to the conclusion that it’s possible to have both.” Dr. Octavius, with the support of his wife, has been working diligently in his home laboratory, trying to perfect his groundbreaking fusion theory. But when a demonstration of his creation goes horribly wrong, Dr. Octavius undergoes a terrible transformation – evolving into the powerful, multi-tentacled Doc Ock.

In Spider-Man 2, the talented and versatile Molina brings this powerful adversary to terrifying life. “He is a formidable enemy for Spider-Man,” said Arad. “He can climb walls faster and better than Spider-Man. In fact, there’s nothing Spider-Man can do that Ock cannot counteract.”

Doc Ock, one of the most popular villains of the Spider-Man comic book series, first appeared in “The Amazing Spider-Man #3,” which was published in 1963. He immediately became one of Spider-Man’s most formidable foes. According to comic lore, each of Ock’s limbs can move at speeds of up to 90 feet per second and strike with the force of a jackhammer. The extremely powerful tentacles enable him to lift a vehicle off the ground, pulverize bricks, claw through concrete walls and hover above his victims by rising into the air.

The filmmakers were eager to attract Molina for the central role. “We needed someone who brought a palpable reality to the part, and who was also sincere, had a great sense of humor and personal warmth,” said Raimi. “Alfred is a brilliant actor, and what he’s brought so effectively to the character of Doc Ock is the sense of him as a misunderstood man who has turned into a beast.”

Molina confessed, “I’ve always been a Marvel Comic fan because their characters are so interesting. They have problems. They’re very realistic.” From him, the mechanics behind the role of Doc Ock was a true education. “It was mind-boggling, the breadth and the imagination that went into how each of my character’s actions – flying across the room, crashing through a plate glass window, smashing a taxicab – was to be executed. It’s a unique way of filming that’s not like anything most of us get to do really. It’s a very particular way of working, and absolutely fascinating.”

J.K. Simmons also returns in Spider-Man 2 as Peter’s gruff boss at the Daily Bugle, J Jonah Jameson. “I fire Peter several times in this movie. Every time I see him, I fire him,” laughed Simmons. “And then I re-hire him because there’s always some pressing need for his services.”

Principal photography on Spider-Man 2 began on April 12, 2003, in New York City, where the production spent approximately three weeks shooting at various locations in Manhattan, Queens and Brooklyn, as well as on a Yonkers stage. From ground-level street shots to rooftops high above the city, the filmmakers efficiently utilized the time they spent in New York, giving them the opportunity to expand on the city’s unique environment, which had lent such vibrancy to the first Spider-Man.

“In the first film we established New York as a character in the movie. With Spider-Man 2, we went even further,” said production designer Neil Spisak. “We used a lot more of the city, including [photographic] plates of real buildings and real streets. Improvements in technology over the past three years enabled [visual effects designer] John Dykstra and I to marry existing buildings to scenery buildings to CG buildings even better than the first time around. It’s a much more complete experience.”

“We got more of a feeling of New York in this movie,” added Ziskin. “The movie is being shot in widescreen, which is appropriate because this is a different story, so it required a different approach.”

Production began on the campus of Columbia University in uptown Manhattan, which served as the university Peter Parker attends while he struggles with the responsibilities of his academic workload and his superhero duties. The rooftop of the Hotel Intercontinental, across from the Waldorf Astoria, was the location where Spider-Man contemplates his next move, while downtown, in the Wall Street area, another rooftop served as the “launch-pad” for the Spydercam camera, as it dipped and swooped over several blocks to replicate one of Spider-Man’s high-stakes aerial journeys through the city.

“We executed one of the longest wire shots the Spydercam has ever done,” said executive producer Joseph M. Maracciolo. “The Wall Street shot was around 2,400 feet. I’m an ex New Yorker, so I didn’t find the location shoot particularly daunting. But there are always difficulties when you’re doing wire work in New York, including the placement of the cranes on the buildings, the movement of the cast, crew and equipment, and of course, the crowds.”

“It was a challenge for us to move our production to the tops of buildings, but we couldn’t have been happier, because rooftops are Spider-Man’s world and that is his view of the city as he swings through it,” noted co-producer Grant Curtis. “It was breathtaking to see the world from 70 stories up – a world unto itself. You can’t fully really appreciate the beautiful architecture of New York’s skyscrapers from ground level. We showed some of that in the first film, but we wanted to show more of Spider-Man’s vertiginous world, and I think we really captured that with this film.”

In Spider-Man 2, Doc Ock sweeps Aunt May off her feet – literally – and takes her up several stories of a tall building. Rosemary Harris performed her stunts in a variety of harnesses, but only after she had managed to talk the filmmakers into letting her give her stunt double a rest. “I was a bit miffed at first, because my wonderful stunt double was going to do a lot of these harness maneuvers,” recalled Harris. “So I asked Sam and Laura, ‘Why not let me have a go at it?’ At first they were reluctant. But I begged them to at least let me try and they finally relented.”

Returning to Los Angeles, Spider-Man 2 shot on several stages on the Sony Pictures Studios lot in Culver City. Stage 15 was home to the Daily Bugle offices, as well as Peter’s tiny apartment and Dr. Octavius’ elaborate home laboratory. On Stage 29, the Osborn mansion, where Harry Osborn now lives, was recreated. Stage 27 housed MJ’s apartment set, a giant spider web, the interior of the Planetarium, the massive clock tower set as well as various other set pieces. A series of elevated trains were built on Stage 14, where Spider-Man and Doc Ock match wits.

One of the most elaborate sets for Spider-Man 2 was the pier set, designed by Spisak and built over the course of 15 weeks on Soundstage 30. “In contrast to Dr. Octavius’ lab, which was part of his apartment – a streamlined, organized and clean space – the pier is a maniacal, decaying, decrepit space,” explained Spisak. “It follows his character development in terms of his becoming a wilder, more dangerous and more formidable adversary for Spider-Man.”

The set, approximately 60 feet wide by 120 feet long and 40 feet tall, was constructed over a water tank and enhanced by several different components, including CG/plate work and miniatures.

“Before we built the set, we created an exact ¾ scale model of it, about 7 feet long and 4 feet wide, from drawings and blueprints. The model was extremely useful to the carpenters, who could take measurements to help them construct the full-sized pier, as well as for the miniatures team, so they could ascertain the dimensions, textures and materials that were used,” explained art director Tom Wilkins. “We shot plates down in San Pedro, where we panned from a real pier to the water. In post-production a New York background was added. We also built a miniature pier – interiors and exteriors – to complete the composition on the East River.” The art department team designed a 136 foot by 40 foot-high vinyl backing to represent Ock’s view of Manhattan through a large window at the end of the pier set. Wave machines were rigged in the water to create movement under the pier.

The production then moved to the Universal backlot for two weeks of shooting. Several city streets were transformed into a variety of New York neighborhoods including the exterior of the Lyric Theatre where MJ performances in an off-Broadway production of Oscar Wilde’s The Importance of Being Earnest. Ari’s Village Deli and Bakery became the site of an extremely complex scene involving a quiet conversation between Peter and MJ, which is interrupted by Peter’s “spider sense” – and a car careening through the plate glass window, followed by the arrival of Doc Ock.

“It was a great luxury to be able to build that set from every aspect, so that we could do everything we needed for the scene,” said Spisak. “The walls were made of french plate so that when the car smashed through it, the buildings around it were protected. We were able to design what we thought it should look like visually, then as tricks, gags and stunts became clearer, we were able to add them to the set before it was completely finished.”

“The deli was a full, 360 degree set, with a kitchen, deli counters, pastries, ceiling fans and chandeliers,” added art director Steve Saklad, who worked closely with Spisak. “We dressed the exterior streets so that you could look out of the window and see the intersection of Lafayette Street and Astor Place. It required an enormous amount of signage, billboards, street dressing, trees and traffic lights.”

For Raimi,  “The diner was a complex technical scene, because it brought together so many different departments, each relying on the other to fulfil their function  and communicate with each other so that each individual shot would work. We utilized mechanical effects and the stunt department had to take an automobile, spin it and flip it through the deli window, with the prop department providing the breakaway items. What made it even more complex was that we had to fly Doc Ock in, using something we dubbed the “walk rig.”

The “walk rig” was created for Doc Ock, because the character not only moves himself, but his tentacles move him around as well. When he walks on the tentacles, they support his weight, so a device was constructed to harness him and move him through space as if the tentacles were supporting him. The visual effects department also created “virtual” tentacles where practical ones weren’t feasible.

When he was in full costume, Molina’s tentacles weighed between 75 to 100 pounds, depending upon the action required for the scene. Each of the tentacles was fully articulated. In their expanded, 13-foot length, each upper tentacle consisted of approximately 76 individual pieces Each vertabra was handmade, hand molded, sanded, individually hand painted, chromed, then painted again and assembled by hand. The entire collection of Doc Ock tentacles, bases, heads and wrists, if laid end to end, would be taller than a 20-story building.

Academy Award winning costume designer James Acheson welcomed the opportunity to further explore and improve upon the already classic Spider-Man costume for Spider-Man 2. “Creating the Spider-Man suit for the first film was a real challenge since we were designing for a kind of Cirque du Soleil acrobat, someone who had a unbelievable kinetic spiraling ability,” he said. “So the suit had to be extremely flexible. For the new installment we made several improvements, though you’d have to be a real enthusiast to spot them. The colors are slightly different, and we have made subtle changes in terms of the movement inside the costume’s hood. We also adjusted the eyepieces of Spider-Man’s mask as well as certain aspects of the spider design on the front and the back of the suit.”

For Spider-Man 2’s Doc Ock, Acheson and Raimi spent close to a year collaborating with Spisak and visual effects designer John Dykstra and working with Edge FX in what began as a series of “group think” sessions, according to Raimi. “I needed John Dykstra’s input, because it was John who was going to have to handle Doc Ock’s movements in CG, so he had to be involved in designing the character, along with Jim, who was going to determine the look of the character,” recalled Raimi. “Part of the look determined the movement, and what the arms look like began to govern how it functioned. Neil was involved because Ock had to be a part of Neil’s world in the film. A great interdependence developed among the department heads in order to achieve the complex nature and physicality of the character,”

“The challenge with Doc Ock is to visually create a believable world, focusing on a man with four tentacles growing out of his back,” said Spisak. “Now, that can be a tough swallow. So, in creating Ock and his world, we needed to design and play it so that everything was credible. Ove the course of several months, it became clear what was physically possible for Ock and what would have to be achieved via CG. We conceptualized the look and only then did we deal with the physical limitations, rather than letting them stop us at the beginning.”

Added Dykstra: “It was a huge challenge to make Doc Ock come to life. His tentacles had to meet several criteria. They had to be appropriate with regard to the world Neil had created for Spider-Man and Ock. The components of the costume – the texture and the weight – had to bed something an actor could actually wear. Since using the tentacles wasn’t always practical, we had to create ‘virtual’ versions with Edge FX. In the end, integrating the tentacles into the story was a marriage of all those components and the collaboration of everyone involved.”

Spisak and his team designed and dressed more than 100 sets and locations for Spider-Man 2. “There are probably 10 enormous sets, while some are simply street corners. We covered eleven blocks in downtown Los Angeles and used many rooftops, streets and buildings in New Yorj City,” noted Spisak. “This is certainly the biggest film I’ve ever done.”

Spisak worked with director of photography Bill Pope on the color palette for the sets, and they pored over research and location pictures to inspire them for the story’s lighting requirements. “In the first film, Peter Parker was younger, less aware and just beginning to discover his new powers. That was reflected in the overall look of the movie,” said Spisak. “With this film, he has been Spider-Man for a while, so his frustration over how to deal with his life versus his duty is more complex. That’s reflected in the color palette and the tone of this film – it’s a little more sophisticated, more complicated and deeper, in terms of color and look.”

Among the tools Dykstra and his team utilized to achieve the shots presenting Spider-Man’s point-of-view, while he is soaring over the city, was Earl Wiggins’ Spydercam. During the New York portion of the shoot, the specialized camera was launched using a remote-controlled computer suspended on a cable from a Wall Street-area rooftop more than 30 stories in the air, which recorded what DSpider-Man saw as he swung over the city. The camera traveled along a line suspended over four blocks, dipping down into the street and over the tops of several blocks of vehicles and background art that had been placed for the sequence.

“We were dropping the camera and moving it up and down over the course of the shot to follow Spider-Man’s trajectory as he swings through the arch, releasing a web, and shooting a new web as he swings into the traffic below,” explained Dykstra.

“One of the successes of the first film was the empathy the audience had for the main character. He was very sympathetic,” Dykstra said, “This movie explores the character in greater depth, and in terms of the visual effects, we’re hoping to give audiences an event more intimate sense of what it’s like to be Spider-Man. In the first film, we get to fly with him. The idea here is to make the flying sequences poetic enough and evocative enough that you will get an even stronger sense of what it’s like to fly like Spider-Man.”

That approach is reinforced by Raimi, said Ziskin, “One of the really striking aspects about Sam is that he is the audience for this film. He makes the movie for the audience, identifies with the characters and is always aware of the rhythms and how each sequence will play – both to him and the other members of the audience. That makes him the perfect director for this kind of material. Also, he’s at a point in his directing career where he’s at the top of his game. He is brilliant technically, but also works extraordinarily well with the actors. Ultimately, his personal connection to Peter Parker and the other main characters is a great gift to the audience.”

“These are tough, scary times and during such periods we look to heroic stories to give us hope,” noted Raimi. “Maybe that has something to do with why the audience was so taken with Spider-Man when he first appeared two years ago. With Spider-Man 2, I truly hope that audiences will feel that they’re seeing a love story, that they’re participating in another episode of Peter Parker’s life and are seeing the challenges and conflicts he faces and how he overcomes them. I hope it will leave them feeling uplifted and exhilarated.”

[kookiebunnii]

mono.

Autumn had a weird way of sneaking up on you. This morning, you happened to step outside your door to face an immediate ambush by freezing winds and swirling orange leaves. It was definitely a shock to the bright sun you were used to these days, but a welcome one. These days, you were always tired and melancholy-- so the fact that the weather was changing to reflect that couldn't be called a bad thing honestly. Today, you chose to dress relatively plainly. Nothing about your caramel overcoat or black cap called attention, and you were grateful for that. It was your free day today, and you wanted to spend it alone and de-stress. In your backpack, you carried a sketchbook and a notepad with your favorite array of pencils. The plan for the day was to hop on a bus, pick a stop, and explore. Along the way, you'd find a cafe or park bench to settle down and just observe. This practice became somewhat of a habit, because you felt that getting out of your head was becoming an increasingly nagging need recently. There weren't many people at the bus stop, since you had picked a time where the buses just began to run for the morning. As you glanced at the people next to you, you watched as a businessman straightened his tie before giving pointed glares at his wristwatch with growing impatience. In seemingly direct contrast, an elderly woman gives you a serene smile while clutching an array of bags, seemingly in an effort to be one of the first customers at the local farmers' market. Witnessing all this, it made you wonder at the amount of lives in world, all running in different directions, crossing paths, running parallel but never to touch, or being cut short at the end of a journey. Within your lifetime, you couldn't even hope to know the path of a single percent of earth's occupants entirely, let alone comprehend your own with clarity. After all, you knew who you were, you were [FullName], [Age] years young with an affinity for taking random walks and documenting interesting things you saw. But could you honestly say you knew yourself? That you loved yourself? The answer failed to manifest on your tongue, so you swallowed and pulled out your phone. As you slipped your earbuds into their familiar home to rest within your ears, you selected RM's mono playlist and set it to repeat. This collection of seven songs was recently released, and as you listened carefully, you couldn't help but feel that the melodies encapsulated your recent moods perfectly. Especially on a quiet, thoughtful day such as this, BTS's leader had outdone himself again. As the sound of trains and sad piano notes filled your head, you couldn't help but consider Namjoon's talent once again. You remembered his energy, filling and expanding the whole stadium when you attended one of BTS's concerts a few weeks ago. There was no doubt that he was a leader, a man who knew a lot more than what he chose to show publicly, and an artist who was quite literally bursting at the seams with songs the world needed to hear. His bright smiles, energetic dancing, and genuine appreciation for ARMY never ceased to amaze you. Although it hurt to see diminished cheering when RM appeared across the screens, you found solace in watching his dedicated and informative vlives and listening to his lyrical genius spread throughout BTS's many albums. However, you almost felt a shift in your heart when he released mono, amidst a world tour nonetheless! He was truly opening himself up and speaking himself. It was so raw and so real that it made you wish for nothing more than the ability to tell him, in person, how amazing he was and how loved he was. You were going through a tough time right around the time of the playlist release, and he had quite literally saved you. The bus arrived, the strong scent of gasoline and loud screeching of its wheels bringing you out of your little stupor. You gave the bus driver a smile and a nod before heading to the back of the bus and looking outside the window at the lazy, crawling streets. This time, as the same businessman from earlier also boarded your bus, he was angrily conversing over the phone. "Do you know who I am?" he shouted, face tinged red before quieting down after noticing the way passengers stared. In a daze, your fingers automatically moved towards pulling your notebook out and reaching for a pencil in the depths on your backpack. 'Do you know who I am,' you quickly scrawled on the empty page before hesitating and skipping to the line underneath it to add, 'Do I know who I am? Because I don't, so much so that my meaning can't be found within or outside of me.' You stared emptily at these words before turning the page over so you wouldn't have to look at them anymore. The bus was beginning its movement now, so you settled for enjoying "seoul" in silence. As the third song of the list ended with finality, you exited the bus along with a crowd of others. Everyone quickly hurried off to their known destinations, leaving you behind to take in your surroundings. You weren't entirely sure if you had been to this part of town before, but you were sure you wouldn't get lost as long as you had your phone handy. Within a few steps, you caught sight of a park filled with heavy-breathing runners and small families feeding ducks in the pond. Crossing the street immediately, you hurried over as puffs of air emitted from your mouth before disappearing in the cool air. You loved the way the leaves almost seemed to change color against the bark from the trees. As a particularly energetic toddler rushes past you to chase a fearful duckling, you smiled and sat down against a large and worn tree across the water. Although the boy fails to capture his prey, he seems to have thoroughly enjoyed the chase as he runs happily back to his parents with open arms. The father raises the child into the air with a shout before settling his son on his broad shoulders and having the petite arm of his wife looping around his own. The family of three walks away from you and you watch, unashamed, as the woman rests her head on him in content. Your pencil scratches against the smooth surface of the paper as you document the boy and duck chase, making sure to highlight his laughter before turning the page to include the silhouette of the family you had just witnessed as their stunted shadows reflect on the pavement below. As "everythingoes" begins, you close your eyes and feel the beginnings of a smile tugging on your lips. A little "dah" escapes you lips with each beat before you open your eyes. A man stands perhaps a few steps away from you, so close to the edge of where land meets water that you fear a single push would have him tumbling in. Perhaps he had been standing there earlier when the family was still present, but this time, you notice him because he is facing you and despite his hat and facemask, his eyes hold your own. As he begins to slowly trudge towards you, the moisture seems to disappear from your mouth in an instant when you realize he looks awfully, awfully, similar to the artist who's voice you're currently enjoying with great enthusiasm. By the time he is standing over you, his tall frame making you feel even smaller with you on the ground, your heart is beating a mile a minute. The hand clutching the pencil shakes against the page, so you tuck the utensil into your pocket. "May I sit here?" Even his voice echoes alongside the one that whispers against your ear, and you couldn't help but think that, against all odds, Kim Namjoon was here. "Sure." You scoot over and watch as he folds his self down, his lanky legs stretching out before him in comparison to your own that are crossed over each other in shyness. Although he is not touching you, his warmth radiates off him in waves. Waves that pulled you in and pushed you out. "What are you listening to?" he asks, lowering his mask to help you hear him better. You'd know that timbre anywhere. "I-It's a new release from one of my favorite artists...a playlist of sorts," you swallow thickly and refuse to make eye contact with the man. "Playlist?" Pulling yourself together, you sighed before replying, "Yeah. It's actually really popular and successful right now. I like to listen to these songs when I need to forget and remember."

"What do you mean by that?" he's looking at you this time, dark eyes holding your own and this time you felt that even if this were all a crazy, wonderful dream-- fate was giving you the chance to say everything you had wanted to say to him. "My mind is always noisy. Throughout my days it becomes filled with the words of others, the accusations from my own thoughts, and the fear spoken by my heart. His work helps quiet that noise and reminds me of simple truths that get buried under my worries."

"What do you think those truths are?"

"That we're all here for a reason. A purpose. In that process of living our lives there's plenty of setbacks, but we are loved. We are strong, we will find who we are and speak ourselves without shame," you bring your pencil back out and scribble on the right corner of the page. He glances at your drawings from earlier before whispering, "I think those are some good truths." As soon as the last word escapes his lips, the sudden downpour greets the two of you with ferocity. The shock of the initial droplets splatters against your scribbles, smearing the lead while running grey rivers across the snow-white canvas. Perhaps his response is quicker than yours, because you find yourself clinging to the side of the blonde-haired boy as he raises his coat over your heads. With one hand grasping your sketchbook and the other twisted into the side of his sweater, you feel your heart beating against your chest as the beginning pitter-patter of raindrops from "forever rain" mixes with those resounding in your surroundings. By the time the two of you duck under the awning of a cafe, you watch as the heavy drops gather at the edge of the awning before crashing into the gathering puddles below. Really, how big of a coincidental cliche is this? "Are you alright?" he asks, taking your shivering form in with a concern genuine and it warms you up immediately along with the realization that you were still clinging to him like a lost child. Dropping your hand quickly, you cleared your throat before continuing, "Y-Yeah...but," you shake your wet sketchbook with a dejected smile. He lifts the pages up to regard them closer, brushing your fingertips in the process. "I'm sorry," he apologizes, "But they're still beautiful. It's a concept!"

You laughed, "You didn't make it rain RM, don't worry about it." He regards you with surprise before fidgeting with the band of his black facemask nervously and you bite your lip in frustration that you had let his name slip. You didn't want him to be uncomfortable if he knew you were a fan. He was likely taking a break of his own, and the last thing you wanted to do was make him feel like he needed to return back to RM instead of Namjoon. "Hey." He looks down at you when the word escapes you with a quip, watching you write something quickly in the driest section of the page and tear the whole sheet out of its binding. "This is for you. I'm glad I got to meet you today. I've always wanted to tell you how much respect and appreciation I have for you both as an artist and a person," you offered him a small smile before adding, "I have to go now. But thank you Kim Namjoon, for making this whole world a little brighter with your light." He looks like he has more to say, but as soon as you're certain he has a solid grasp on your drawings, you dash out in the rain with your hood covering your head as the RM in your earbuds sings gently, "forever rain..."

---------- Days have passed since you saw Namjoon, and as much as you've thought about it, you couldn't help but think it might have been a case of mistaken identity. In all honesty, what were the chances? Besides, you'd probably left a terrible impression anyways by giving him some ruined scribbles and a weird note. Scrolling through Twitter with a spoonful of cereal, you gasped and almost dropped your phone into your bowl of milk. Your couldn't help the tears falling silently down your face as you saw your own water-damaged picture looking back at you along with a note written in your messy handwriting. Simply, but warmly, the caption read, 'moonchild, you are the reason for my light.' a/n-- i decided to leave the note up to imagination, since i’m sure the things we’d want to say are different for everyone :-) i love “mono” so much i couldn’t help but write this even with a midterm in 12 hours so i really hope you all enjoy this!!