#Icelandic actor

[wouldyourecognizethisperson-poll]

[bodhrancomedy]

I figured out slow-mo on my phone.

Also, bonus pic of me feeling very Puck and cute and masc.

[missnorn]

This one is based off the first piece made by Gracie wadding https://www.instagram.com/higuysimgrace?igsh=dnFrZ3Bxa3Jvb3U0

It's part 2 of the same piece with bjork and jackie earle haley

[fandaniel]

if i said i think the closest voice to how i picture cherry’s is howl from howls moving castle would you beat me to death.

[aricastmblr]

🇮🇸Iceland EP3 ล่องเรือดูวาฬ ทะเลที่นี่หวานจัง ไปแช่ Blue lagoon คุณก็น่ารักจัง

[lazytownpoint]

Stefan Karl on The Radio!

Here's the YouTube version of the WAWTC Stefan Karl Interviews Combo Show - Featuring 3 audio Interviews conducted by Cosmik Laila (CLCI / LTP) with LAZYTOWN's Gone But Not Forgotten, STEFAN KARL ('Robbie Rotten') + Selected Stefan Songs (Intro with 'Commando Vick' voiced by Cosmik Laila and 'Blue Shoes' voiced by Cosmik Dano) as broadcast on SlackRadio.org this week! ->

[byjove]

Immense respect for the Icelandic people and I actually enjoy Icelandic naming conventions. But there is an Icelandic actor/director named Baltasar Baltasarsson. And his son is also named Baltasar Baltasarsson.

[allthecanadianpolitics]

The original Star Wars film, Star Wars: Episode IV - A New Hope, has been translated into over 50 languages. Norwegian, French, Icelandic, Navajo — and now Ojibway. Dennis Daminos Chartrand, a member of Pine Creek First Nation who voices Darth Vader in the film and helped translate the original text, says he hopes having his language incorporated into the "iconic" film will promote it — not just within his community, but beyond. Chartrand spoke with Day 6 host Brent Bambury ahead of the film's release on the national Indigenous broadcast channel APTN next month, and just days after the death of original Darth Vader actor James Earl Jones. He spoke about his hopes for the film, challenges translating the story into Ojibway and why Star Wars resonates so much with him as an Indigenous person. Here is part of their conversation.

Continue Reading

Tagging: @newsfromstolenland

[missnorn]

Here is another one I made myself. This is Jackie Earle Haley and Björk. This was created with the help of AI. It is based on a dream I had while watching and listening to both Jackie's and Björk's body of work. I will also show pictures that helped inspire the piece and plan to write an article related to it.

[nartothelar]

I just had a thought while thinking about your possession au.

So I know you posted some joke art about Ingo confronting a Zoroark acting as his (possessed) brother, but what if the Zoroark WAS trying this time.

So imagine ; Ingo with maybe Lady Sneasler and Irida walking through the Alabaster Icelands, and they get confronted with a Zoroark. It takes Emmet's form and starts terrorizing Ingo, taunting him with "You'd never hurt me!" and everything F!Emmet said before.

And Irida watches as Ingo, her cool and collected if a tad lost warden just... shrink back in fear.

Now just about any sane person would be afraid of a Zoroark, but she can tell that this is MUCH more than just that. This is *personal*. He normally never hesitates fighting Zoroarks when they take the forms of others, but this time he is terrified of hurting the man behind the illusion, and of the man himself.

Judging from everything the illusion of Emmet is shouting (even illusions and how they behave have *some* truth to them), and the way Ingo is terrified, she deduces that maybe the place or family Ingo originally came from wasn't ideal, to say the least. Ingo frantically telling Irida that he loves his supposed abuser only reaffirms her concerns.

Eventually, this becomes somewhat of an open secret among both clans that Ingo's 'man in white' is, to say the least, not good. And how is Ingo supposed to dispute that? He loves this person, and he vaguely feels protective of him, but he also feels afraid whenever he think of him.

Cue Emmet somehow getting into Hisui.

For some extra angst, he took care of his F!Emmet situation, somehow. (Maybe when they both went to Dialga to go to Hisui, he went 'wait a moment, you're not supposed to be there' and separated them)

Naturally, when Irida finds out that the man in white is actually here, she panics. Everyone tries to a. Keep Emmet from finding out Ingo is even here (which doesn't work, he came here KNOWING Ingo is here so he can tell everyones lying to him), b. Know Emmet's location at all times, so that c. They can steer Ingo in the opposite direction of where Emmet is, for his own safety until they can either get Emmet to go back to where he came from, or do some (incredibly biased) investigation.

Cause Sinnoh help them if Emmet IS actually as bad as they suspect, cause if he is even half as good as Ingo, then the amount of people who could potentially stop him can he counted on one hand.

Sure, he SEEMS nice if a tad intense, worrying about his brother, but who's to say he's not just a good actor?

I dunno, maybe the climax is Emmet finding Ingo but the Ingo protection squad (consisting of Irida, Sneasler, etc.) is keeping him back and throwing the not completely baseless accusations at Emmet, him saying "hey I was possessed by a future alternate version of myself, but hes gone now I swear" ("well that's awfully convenient"), and Ingo has NO IDEA what do to (cause he said that once, didn't he? He said that the thing was gone, but then it wasn't, so he has no idea if he can fully trust him or not).

OR, F!Emmet arrives still in Emmet's body and just starts tearing through everything to find Ingo. He's an unstoppable force that will not stop until he finds his brother. And he is nearly everything that Zoroark showed Irida. They are desperately trying to keep Ingo away from him, to no avail.

What're your thoughts on this? Do with all this what you want, and thanks for reading my rant.

OK SO THIS WOULDN'T BE CANON PER SAY (more like an offshoot au?) BUT SOME INTROSPECTION ->

so i might have explored this very idea in a couple of discord dms! but for the most part, yes, ingo would be very much scared of the man in white/the zoroark since his last days with emmet were very much tainted with future emmet's influence, but i wouldn't say f!emmet went so far as to abuse him - emotionally torment for sure tho. still, ingo would very much react, even with amnesia, with a sense of fear and apprehension to seeing him. mixed and very confusing feelings

when emmet does finally get to ingo in hisui in the actual au, him and his future self has actually teamed up (as the last installation suggests). that isn't to say emmet is angry at his future self (bc he is FURIOUS even now at how his future self treated ingo and made the last few weeks he had with his sibling so miserable for everyone) but they have a sort of ceasefire since they want the same thing rn

but similar to your ask, ingo doesn't react positively. he still doesn't remember much but he knows that: 1) he knows this figure and that he is someone important to him 2) does not want any harm to come to him 3) he, for the life of him, is scared of him. the clan is rightfully ultra suspicious of them and maybe puts him on watch (and maybe subjecting him to various interrogative talks to get him to explain everything) that the emmets accept without much fight -> f!emmet feeling extremely guilty for what he has done and believes he deserves the treatment/deserves to not be forgiven + emmet knows that the clan is protecting his brother and can't fault them for handling the way they do

f!emmet and emmet both have a lot of work to do if they want things to go back to the way they were, if they even can

BUT YEAH VERRRRRRRY LONG RAMBLE BUT VERRRY INTERESTING NONETHELESS SKSKK

[cococubess]

something that always cracks me up is how the lazytown fandom doesn’t seem to realize that robbie and sportacus have the same accent.

there’s so much fan made content where sportacus is aggressively icelandic and robbie isn’t, when in reality, he should be as well. if we’re going by the logic of an actors traits carrying over to their character (neither’s accent is actually acknowledged in canon), then it would make more sense for robbie to be as well!

while magnús’s accent is much more noticeable in lazytown, stefan karl’s is still very much there, many viewers just miss it because of how it blends with the over-the-top voice he uses for robbie. if i’m not mistaken, both actors began learning english at the same time- i think stefan may have even started later- but everyone only ever calls attention to magnús’s accent😭😭

maybe it’s because i have a 20 page essay (to be made into a video essay eventually, we’ll see when i’m free to film) but it always cracks me up when people don’t realize that robbie would also be icelandic. think how beneficial that idea could be in fanfics, they have their own secret language they can speak with and none of the kids have to know what they’re saying!

[doyoulikethissong-poll]

Youssou N'Dour and Neneh Cherry - 7 Seconds 1994

Youssou N'Dour is a Senegalese singer, songwriter, musician, composer, occasional actor, businessman, and politician. From April 2012 to September 2013, he was Senegal's Minister of Tourism. N'Dour helped develop a style of popular Senegalese music known by all Senegambians (including the Wolof) as mbalax, a genre that has sacred origins in the Serer music njuup tradition and ndut initiation ceremonies. He is the subject of the award-winning films Return to Gorée (2007) directed by Pierre-Yves Borgeaud and Youssou N'Dour: I Bring What I Love (2008) directed by Elizabeth Chai Vasarhelyi. In 2006, N'Dour was cast as Olaudah Equiano in the film Amazing Grace.

"7 Seconds" is a song N'Dour wrote and performed together with Swedish-Sierra Leonean singer-songwriter Neneh Cherry. The song is trilingual as N'Dour sings in three languages: French, English and the West African language Wolof. The title and refrain of the song refers to the first moments of a child's life; as Cherry put it, "not knowing about the problems and violence in our world". N'Dour featured the song on his seventh studio album, The Guide (Wommat) (1994), while Cherry included it on her 1996 album Man.

It was a worldwide hit, peaking within the top 10 of the charts in several countries, including Australia, Austria, Belgium, Brazil, Germany, Ireland, the Netherlands, Sweden, Paraguay and the UK. It climbed to the top position in Finland, France, Iceland, Italy and Switzerland. It stayed at number one for 16 consecutive weeks on the French Singles Chart, which was the record for the most weeks at the top position at the time. On the Eurochart Hot 100, the song reached number two. It won the MTV Europe Music Award in the category for Best Song of 1994.

"7 Seconds" received a total of 45,3% yes votes. :'(

[what-even-is-thiss]

Skyrim is the perfect game for ai voice acting because every line in the base game sounds like ai. I keep hearing voicelines and assuming they're ai from a mod and then realizing they're actual voice acted lines

The thing about Bethesda is they hire like two voice actors and force them to voice every character in the game so the voice actors have to voice every single character in a way that their voice lines can be used with every potential character they are doing the voice of during everyday speech or combat.

Also reportedly the voice actors aren’t always given the context for the line they’re reading and just do them all in one or two sessions and as someone who used to do acting yeah I’d also start sounding like a robot under those circumstances

So you get one voice actor that’s voicing every single character in the game with a “female raised in skyrim with a vaguely Icelandic accent” voice. And she’s likely sitting there in the booth just reading off of a list with very little context available to her with her bad Icelandic accent.

So now there’s thousands of lines of her bad Icelandic accent and it already sounds stiff and unnatural. Yeah I think an AI could make a few bits of guard dialogue out of that.

[aricastmblr]

ICELAND EP2 เกาะให้แน่นนะ เพราะจะพาซิ่ง Snowmobile บนธารน้ำแข็ง และไปตะลุย Golden Circle กันนน!

[b-skarsgard]

https://parade.com/movies/bill-skarsgard-nosferatu-interview-exclusive

Skarsgård's vampiric transformation does make him virtually unrecognizable. Combining full-body prosthetics and elaborate costumes, the actor built the character with Eggers over a 10-year period, even working with an operatic vocal coach on a completely new voice. If you're able to spot Skarsgård in the film, hats off to you.

Of course crafting a new version of Dracula/Orlok was certainly a momentous task. Skarsgård's been told there were already over "170 different adaptations" of the character prior to his own. He's humbly giving much of the credit for his own transformation to Eggers' screenplay, though.

full article at the link and under the cut

"I read Robert's Nosferatu script almost 10 years ago, and it hasn't changed all that much in those 10 years," he says. "So the version of Dracula was already different on the page."

Step one in the transformation was the voice. "I was really enamored by Orlok's language," Skarsgård says of Eggers' script. "He's technically speaking German in the movie, but it's English. I think he's learned German just from reading all of these texts and old books. It's this awkwardly constructed English that came out of that."

Orlok's voice was especially important in this film as the character spends much of the film hiding in the shadows to keep his true form hidden from Thomas Hutter (Nicholas Hoult). "The movie monster tends to not have much dialogue, but in this case he has a lot," Skarsgård reflects. "So the voice became my way of expressing the character."

The deep gravely voice in the film was the product of acclaimed Icelandic opera singer Ásgerður Júníusdóttir. "We explored the voice together, but also the technicality of using your entire body when you speak and placing the voice as low as you can in your body," Skarsgård says. "It's a new world for me, and I love voice work. I was just absorbing all of these tools that I'm going to use as my career progresses."

Layered on top of the vocal work were Linda Muir's costumes, what Skarsgård describes as "historically accurate costumes that a 16th-century Hungarian nobleman would have worn. They're the clothes he would have worn when he was a man."

While Focus Features is keeping Orlok's appearance under wraps for as long as possible, you can see the massive fur coat Skarsgård donned in the shadowy poster.

"I knew the shadow was going to be an ally for Orlok, especially in the scenes with Thomas, where he's hiding his appearance," he says. "So he lives in the shadow, and he uses his big fur cape and the hat to not give away what he is. The shadow became a friend."

Perhaps the most impressive element of Skarsgård's transformation, however, was David White's prosthetic makeup, which took hours to apply each day, was difficult to act through and painful to wear. When I ask if he was able to cheat on days he was in the shadows, Skarsgård says no with one exception: "Every single shadow in this movie is also me puppeteering behind camera. That was the only time where I didn't need to have the full regalia on.

"The full prosthetics would take six hours to apply. "It's just uncomfortable," Skarsgård says of having to sit in the chair that long. "And any sense of privacy goes out the window. You become very close with the team that's applying this makeup. They're really getting up in there with a brush in your ass crack. They become your little safe space."

And the six-hour application process was just the beginning of what could be long, physical days on set. The film's final moments involve a sex scene between Orlok and Lily-Rose Depp's Ellen Hutter, which Skarsgård performed in head-to-toe prosthetics.

"I don't know her perspective on, 'I'm going to kiss this monster,'" Skarsgård says about his (fully clothed? skinned? suited?) sex scene, "But for me, when we shot, I was Orlok, and I really, really, really wanted to devour her."

If performing a sex scene in a hot latex bodysuit sounds miserable, that's because it was. "The actual final moment of Orlok was incredibly physically exhausting because there was a lot of technical camera work," Skarsgård says. "What's in the movie, I had to do that 30 times." If you've seen the film, you'll know how truly arduous that experience must have been.

The most difficult day on set for Skarsgård, however, involved a sequence filmed on a boat during Orlok's transfer from his castle in Transylvania to the German harbor he plans to terrorize next. In one scene that involved "pretty tricky advanced camera work," a seaman descends into the hull of the ship to "rid the boat of this demon." As the camera follows the sailor, Skarsgård's Orlok is initially seen behind the man in the shadows.

"Then I have to exit frame, run around and enter my position for when the jump scare pans down to the rats and then pans up and I'm standing there," Skarsgård remembers. "So it's very physical, but I was covered head to toe, except for my eyeballs and the soles of my feet. Even my palms and my hands are covered. That was a 12-hour day."

With that many prosthetics on, there's nowhere for all that sweat to go. "It doesn't breathe, and I don't think it's healthy," Skarsgård confides. "Your body's probably absorbing all those f--king toxins and glue and sh--, plastic and latex and whatever."

During the 12 hours running around the hull of a ship, Skarsgård remembers thinking, "I don't know what's happening, but my body is not doing well."

"You know the skin is your biggest organ right," he says. "So it needs to breathe. I got flashbacks from that urban legend about the woman in Goldfinger being covered in gold and actually dying. I'm like, 'Okay, this is how I go.'"

Obviously, Skarsgård did not die of heat exhaustion in a latex Dracula suit like that one cameraman in the 2022 film Babylon.

"At that point I told them—because it was a long day and I was waiting around—'We need to open it up so my body can breathe,' and then they found the pockets where I could open up and my body started to breathe."

Skarsgård compares the agony of the shoot with what he thinks childbirth would feel like. "They're not on the same level, of course. I've seen childbirth, but it's as close as I can get to giving birth as a man, as these f--king monsters I'm portraying," he says.

When I ask him if there were any other iconic monsters on his bucket list, he says he's done for now. "To play Orlok in Robert Eggers' Nosferatu is the holy grail," he says. "It's kind of the peak and, in a way, the nail in the coffin."

[irregularcollapse]

a genre rule: don't open the box

everett blakely/james douglass, 1.4k words, pre-relationship? and complex coworker dynamics

an actors AU b-side by phlegmatic

I think I've mentioned that there's a lot of sprawling lore for my film industry AU, all of it nutted out with @angelfruittree. In before you say cut, Everett was introduced as the director of The Long Slow Draw (the show that Gale and Bucky are working on) and Bucky's longtime collaborator, and there was a passing mention of his 1st AD, James Douglass. There were a couple of little extra details about Ev and Bucky's friendship and working relationship in this fun and incredible Interview article that Sailor wrote, and it was revealed that while Bucky is in NOLA (why?), Ev is shooting in Reykjavik. He's cagey about it.

This is a short thing, getting a bit into why Ev is cagey about Reykjavik. The Big Lebowski-themed bar is real. They have a menu with like twenty White Russians on it. The roulette wheel is also real: a strike gets you ten beers, and a gutterball gets you nothing. The title of this (a genre rule: don't open the box) is a quote from Joel Coen about filmmaking, and not showing the audience everything. Anyway, filmmakers and possible UST.

--

The tick of the roulette wheel is louder than the music, louder than the bar chatter, louder than the clucking of the women who spun it. It turns into crowing as the wheel slows, and Everett twists in his stool to watch them. The bartender tells them that they won four shots, the women all squawk a bit, and maybe if Everett hadn’t had the day he’s had, he’d find it sexier. It’s so loud he can’t tell if they’re local or tourists. He turns back to Dougie and their drinks, and can’t tell which one he is either. Six months doesn’t feel transient. He’s been at this bar enough times that the bartender looks familiar.

“You want to spin the wheel?” Dougie asks, and his line of sight is bypassing Everett, sliding over those women.

“Is that a euphemism? You’re a dog, man.”

“Never know. Could get a strike. Or—” he looks back at Everett, taking a sip and leaving a bleed of milk at the edge of his mustache— “gutterball.”

“That something the kids are saying these days? Let me gutterball you, baby. Want to gutterball you so bad.” Dougie’s face cracks around a snicker, and his mouth moves like he’s snapping gum that isn’t between his teeth at the moment. Habit. Everett taps his glass against the bar, dregs all filmy. “You know, the thing about The Big Lebowski—”

“What’s that? Don’t think I’ve seen it.” His knee knocks into Everett’s kind of juddered, jeans chafing on the Persian-style rug that upholsters the bar. Really ties the room together. Dougie’s grin bares his eye teeth, bit of a gremlin in it. Or an elf, maybe. They are in fucking Iceland, after all.

“Yeah? You haven’t heard of the cult classic The Big Lebowski?” He takes a sip, forgetting that he’s down to wash. The glass slides easy over the bar, leaving slippy trails. Everett puts his elbow there, not thinking about his jacket, and leans in a little closer. It’s loud, and he’s had a day. “Film so beloved that it’s got a religion? An unofficial merch shop in the Village, RIP, and a fuckin’ bar in fuckin’ Reykjavik?”

“Doesn’t ring a bell.”

“The Coen brothers? Jeff Bridges?”

“Can’t say I’m familiar.” He snaps his invisible gum again, and Everett’s had a day but this is easy. This is familiar, and wanted. He is laughing, even though he’s tired down to his organs. Buzzing, and full of milk.

“You jerkoff,” he snickers, and Dougie cheeses at him. “How’s that White Russian treating you?”

“I’m gonna be shitting later, probably. If I’m late in the morning, I’m glued to the crapper.”

“Lacteeze, man. It’s PrEP for dairy. I’ll hook you up. I can smash a full bowl of Alfredo now, like full cream and parm and all of it, and I just sleep like a fuckin’ baby. Guts of steel, bud.”

“I didn’t used to be like this. Remember fuckin’, shooting in upstate New York for Travelers, and those wings at that roadhouse? Bucky dared me to drink that bowl of blue cheese sauce?”

“And you hurled in the parking lot.” Everett’s temple is settled on his fist, pressure throbbing dull around the residue of his headache. The cushion is the liquor, the dairy, the reminiscing. There were four hours of daylight, reshoots are pushing them over budget and his number one is pissed (the studio is pissed), but Dougie’s grinning and sucking milk out of his mustache and maybe there are some things that are good.

“That was because of the cheese curdling with the beer or something, man. I tell you what I didn’t do that night,” he leads, elbow coming up on the bar in a mirror as he points at Everett, close enough that he pokes his collar, “I didn’t shit my soul out and clog the toilet.”

“We used to be young. Fuckin’ artists. We used to shoot all day and still have a good time. I think I’m losing my hair. Turned into this guy who makes a sport out of bending over for execs and gets an upset tummy when I eat the wrong thing. I read an article about Whole30 the other day. I know what fuckin’ Whole30 is.” He’s still smiling as he says it all, drawled and Kahlua-slurred and sardonic, and Dougie is smiling back.

“Hey, you haven’t changed that much,” he says, laying a hand on Everett’s shoulder. “You’ve always made a sport out of bending over.”

“You’re a piece of shit,” Everett laughs, feeling himself slump. They’re huddled in together enough that it’s muffling out the other noises in the bar. It’s muffling out a lot of things.

“D’you remember when—” Dougie starts in, and it’s some story from shooting their third feature together, trying to get a oner and it was all these hiccups—a squib malfunctioned, and a background artist slipped in the blood, and the actor choked on some ice, and there was a fucking cricket on set that one of the mics was picking up, and the light was changing too fast—and he’s telling it through his grin, drawling and drunk-eyed, and Everett is chuckling sloppy, and Dougie’s hand is still on his shoulder.

“But we got it,” Dougie sums up, and his touch pats down all heavy. “We made a good movie.”

“I forget, was that when we clinched that Indie Spirit, or—?”

“We made a good movie,” Dougie affirms, earnest and toothy. Close. “You always make a good movie.” Like it’s simple as that. Everett’s ready for bed. He hears what Dougie is saying, without saying it: this one’ll be good too. There’s always bullshit, and compromise, and headaches, but there are constants. One of them is the movie being good; another is sitting in this bubble with him. Everett nods, and Dougie hums. Licks his lips, and scrapes teeth over the bottom one while he’s nodding too. He adjusts in his seat, slow and kind of ginger, rocking in closer for a beat. His mouth brushes against Everett’s, smudgy and humid. Graze and exhale. It lures out Everett’s tongue, swabbing Dougie’s lips, warm from him but chapped from the Icelandic air. He keeps moving to move away, and pats Everett’s cheek. His palm is humid too.

“You taste like milk,” Everett says, which is fucking dumb.

“Let’s get you back to your room, boss,” Dougie says, which is a whole lot smarter. “We’re shooting the sunrise.” The sun won’t rise until eleven, but Dougie is kind as well as smart. The liquor, the dairy, the reminiscing; six months of seasonal depression versus nearly a decade of what they’ve built up together. Making good movies. Everett slides his vape from his pocket, inhales in the bar, and holds it until he can blow it into the night air. It glitters, like the vapor turns to ice crystals as soon as it’s set free.

“Thanks, brother,” he says. Dougie is unwrapping a piece of gum, eyes glittering too and nose already red from the chill. “I don’t pay you enough.” He gets a grin in reply, squishy and wet as Dougie chews.

“But there’s dental in my health insurance, so.”

“Shit, no wonder we’re over budget.” Everett thinks his lips are buzzing. The inside of his mouth feels coated, thick. Jamming up his tongue and making it sluggish. He swallows, and takes another hit. “Only a couple more weeks, I guess. I miss traffic.”

Dougie smacks his gum; the action makes more of a sucking noise than it did in his empty mouth. “I can bump the standup by fifteen, talk to Rich while he’s in makeup. Get him to tell me what he’s actually pissed about.” Everett hums around a drag. His calves are twinging, from walking uphill in the cold. Not everything is dulled, turns out.

“Some talent has families. I guess it sucks being away from your wife and kids for two extra months, but hey. What do I know?” Dougie’s lips close, hiding his teeth. They thin out and disappear. Everett coughs out his next pull, and tucks his vape away. “I appreciate it.”

“I’m here for the assist, hey? I’ll make sure to do all my shitting tonight, and everything.” He nudges his elbow against Everett’s. They’ve both got their hands in their pockets. “Up and at ‘em, crack of dawn.”

“Yeah, fucking ten-thirty in the AM.” It’s a joke again, or almost a joke again. Just elbows knocking and sneakers on crisp-damp asphalt, after that. Everett’s stomach is tired, and heavy. There’s milk all through his insides. Even after the vape, he can taste it still.