#Most photogenic TV actress | Explore Tumblr posts and blogs

hecatesbroom · 8 months ago

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I left a paragraph of propaganda in the main post already, but I'm not letting Rue go down without a fight, so please!! hear me out, look at her and tell me she isn't one of the most attractive women you've ever seen

her eyes!! I'm not sure what it is about the way she can look at a person but how can you not resist that look?? it's somewhere between puppy eyes and something incredibly sensual, and these examples are only from one episode of Maude

Apparently there's a whole photo genre called "Rue McClanahan with an apple", and I'm here for it

And I haven't even mentioned her book??? Honestly I'd recommend it to anyone who occasionally enjoys an autobiography (it's just that good. She's incredibly funny, both as a writer and as an actress, and you can basically hear her voice the entire time when you read the book!) but here are some of my favourite quotes:

Starting with the opening, which I unfortunately couldn't be bothered to type out (I've got some more propaganda to write lmao) so here's a picture (let me know if you need a transcript and I'll be happy to provide):

And then there's gems like:

“Dumbbells are pretty easy to come by, but since many of them are married, I suggest lifting weights.” and: "People always ask me if I'm like Blanche. And I say, 'Well, Blanche was an oversexed, self-involved, man-crazy, vain Southern Belle from Atlanta -- and I'm not from Atlanta!’"

And look at some more photos!! Oh she was gorgeous

Some of the legendary things she did include (but are not limited to)

Working as a singing, dancing waitress at a musical restaurant to support herself while she followed acting lessons

Posing as a nude model for art students to make some extra money

Started a dance school for children of all races in the then-segregated South

Lived with a lesbian roommate for quite a while, even joined her to a gay bar, and didn't realize said roommate was a lesbian until well after they'd gone their separate ways again and someone else pointed it out to her

Was initially dismissed by agents because she wasn't photogenic enough for TV. Moved on to become none other than Blanche Devereaux in one of the most successful sitcoms ever. On TV. Which she happens to look stunning on

Married six husbands. And who can blame her; I mean, look at her!!

Anyway go and vote for Rue because she was amazing <3

Diahann Carroll Vs. Rue McClanahan

Propaganda

Diahann Carroll - (Dynasty, Julia) - God every clip of her on Dynasty is just so iconic, her entrance, the bit where she shades Joan Collins' Alexis for her taste in caviar... "I wanted to be the first black bitch on television" she said, and she did it beautifully!

Rue McClanahan - (Golden Girls, Maude, Mama's Family) - Listen to me. I have never understood celebrity crushes until I first witnessed Rue McClanahan. She's the most beautiful woman I've ever seen - just look at her!! Gorgeous eyes, the cutest nose, a SPECTACULAR smile - she has this adorable, princess-like quality about her AND she's also a complete hottie AND she's aware of it: she HAS THE RANGE, people!! Her two most famous roles are polar opposites, in fact: she starred in the role of naive, gentle Vivian Cavender-Harmon in Maude (and I mean. Just look her up and tell me that's not an angel!), and then went on to gain even more well-deserved fame and success as the seductive, extroverted Blanche Devereaux in The Golden Girls (a role for which she won an Emmy in 1987 - her amazing, hilarious acceptance speech can be found here: . I should also point out that both of these are comedy characters and she is HILARIOUS as them both - the comedic timing, the delivery, the expressions, she was a comedy queen!!! As for her personal life, she was just a darling - and also very funny in person, not just in her acting roles! She was a staunch supporter of gay rights and a big advocate for same-sex marriage in the US, as well as a vegetarian and a big defender of animal rights. She suffered from illness in her later years which greatly impacted her health, but she was still very active up until her death in 2010, and she even released a wonderful autobiography in 2007 titled "My First Five Husbands... and the Ones Who Got Away". In her interviews she's always gentle, soft-spoken (her voice. dear god. sweet mother Aphrodite I cannot weave I am overcome with gay thoughts), and kind, but also sharp, witty, and just a delight to watch. I could go on forever talking about her honestly. I am actually in love with her and you should be too. She's just the best! Here, have some additional pics: (pics below the cut)

Master Poll List of the Hot Vintage TV Ladies Bracket

Additional propaganda below the cut

Diahann Carroll:

Diahann Carroll's First Scene on "Dynasty"

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Rue McClanahan:

The Hottie™ of the Golden Girls, she was definitely a GILF. And her character's shenanigans were Emmy-winning but no less fun and her outfits were always on point and gorgeous, befitting her perfectly.

she!!!

as Vivian, with her fellow hottie Bea Arthur as Maude

as Blanche - look at those eyes!!!

come on, tell me you wouldn't do anything for that smile, I dare you

in her contract she specifically requested to be given all of Blanche's clothes and SHE WAS RIGHT

Okay so first of all. Rue has this way of moving around and looking at you that just-- I mean, I'm ace, but I *get* the allos. She's hot and she knows it (and she plays a character in The Golden Girls who's in her 50s, hot, and knows it as well. Which, talk about perfect casting??) But I'm mostly here to talk about the fact that she said this in her Emmy acceptance speech (paraphrased because I'm sharing the video with the right timestamp, and you should absolutely watch up until 3:40, because her delivery is UNMATCHED): "My mother said to me once [...] 'Oh, Eddi-Rue, for heaven's sake. Don't you know every kick's a boost?' There've been a lot of kicks, and there've been a lot of boosts. I'm not going to mention the people who gave me kicks... but you know who you are. And you'll be in the book." (Seriously though, do yourself a favour and watch that video. She's amazing!!) She said this, and proceeded to WRITE THE BOOK, titled "My first five husbands, and the ones who got away", which is *incredibly* funny, and such an earnest look into her life. She opens the acknowledgements with "This book is about my life and experiences as I lived them, and anyone who doesn't like it can jolly well lump it." And I mean... she's awesome. I could go on.

Rue McClanahan @ The Emmy Awards 1987

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#rue mcclanahan #i started typing one thing and really got carried away here. oops #i was just going to add those 2 gifs and a little caption lmao what happened??

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thebobby1432world · 2 years ago

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Kristina Tonteri Young Wiki, Biography, Age, Height, Weight, Family, Net Worth

Kristina Tonteri Young Wiki: Kristina Tonteri Young is a highly acclaimed actress from Finland who has captured the hearts of audiences worldwide with her exceptional talent and mesmerizing performances. Her breakthrough role as Bale in the 2021 sci-fi movie "Outside the Wire" catapulted her to fame, and she has also dazzled audiences with her acting prowess in other productions, such as "Dancing Through the Shadow," "Warrior Nun," and "A Christmas Gift from Bob." Kristina is a social media sensation with a massive following on various photo and video-sharing platforms. She has worked with some of the most prominent names in the entertainment industry, thanks to her diverse skill set and incredible range as an actress. She is passionate about exploring new, versatile roles that allow her to experiment with her looks and character. Kristina Tonteri Young Wiki Kristina Tonteri Young Facts Apart from acting, Kristina enjoys indulging in her hobbies, which include singing, dancing, and swimming. Her sense of humour and engaging personality has won her legions of fans who can't get enough of her videos and social media posts. She is also a fan of photoshoots, and her Instagram profile is a testament to her stunning looks and photogenic personality. Kristina has become an icon of beauty and style thanks to her captivating images and videos that showcase her striking looks, cute smile, and fantastic personality. Her immense popularity has also led to a burgeoning fan base, and people worldwide are eager to know more about her. If you're one of them, check out her Wiki, Age, Family, Facts, and More as we take you on a journey through the life and career of this remarkable actress.

Kristina Tonteri Young Wiki

WikiDetailsBirthplaceFinlandRaised inThe United StatesNationalityFinnishCategoryActressZodiac SignLibraAge (as of 2023)25Date of BirthJanuary 17, 1998First TV SeriesWarrior NunCharacter Played in Warrior NunSister BeatriceEducationCompleted Acting Course from Guildhall School of Music and DramaSocial Media PresenceInstagramType of Content on InstagramFashion, Lifestyle, Movie and Web Series Covers, Modeling VideosFeatured onVarious Magazine CoversHobbiesMaking Videos, FitnessHeightApproximately 5' 5.''WeightAround 54 kgFigureSlimEye ColorHazelHair ColorDark BrownPersonalityAttractive

Kristina Tonteri Young Facts

TopicInformationHer Instagram account has 203K+ followers.She has many followers on her Instagram account, indicating her popularity on social media.She keeps posting her beautiful images on Instagram.She frequently shares attractive pictures on her Instagram account.She is pretty famous for her Stylish looks.She is known for her fashionable appearance, which is one reason for her popularity.She has documented her many outdoor excursions and travel experiences on social media.She shares her travel experiences and outdoor excursions on social media platforms.As her popularity increased, brands from all over the world started inquiring about her modelling aspirations.Due to her popularity, brands are interested in working with her as a model.She initially contacted many online fashion retailers and took no time to accept the offer, officially becoming a model.She proactively reached out to fashion retailers and quickly accepted the modelling opportunity.Her fascinating features, charming smile, and dazzling looks capture a huge fan Following.Her attractive facial features, smile, and overall appearance attract many fans.She has worked with some of the top-notch brands in the fashion Industry.She has collaborated with high-end fashion brands in her career as a model.She is an inspiring, transparent, and intuitive leader that brings his work experiences, life experiences, and her overall inspiring and game-changing.She is known as an inspiring and transparent leader who brings her work and life experiences to her work.Her cute smile and style add a bit more to her charm.Her pleasant smile and fashion sense enhance her charming appearance. Read the full article

#Biography #KristinaTonteriYoung #KristinaTonteriYoungWiki

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ashutentaran · 4 years ago

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Most of the celebrities these days try to stay connected with their fans through social media. They keep sharing their pictures and videos, not only from their professional life but also from their personal lives, their special moments. Some of the stars have aced the art and their fans always keep looking forward to it. So, who do you think is most photogenic tv actress out of Shehnaaz Gill, Rubina Dilaik, Jasmin Bhasin or Shivangi Joshi.

#Most photogenic TV actress #Shehnaaz #Shehnaaz gill #Jasmin Bhasin

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metaborderlines · 3 years ago

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Conspiracy Theories, Outlander Division

At the Comic Con NYC panel on Oct 9, Sam [in person, making a generic American high school jacket the best look for a 41-year-old Scottish actor] praised Cait [onscreen in London in high-necked black with upswept hair, beautiful as ever] for soldiering through the filming of S6 in the cold Scottish winter, while pregnant. An ES [Extreme Shipper] in the Comic Con audience filmed Cait’s response to the compliment, blowing a kiss to Sam. The kiss was not shown on the livestream of the event, so, conspiracy. Really? How is it that people see the same action so differently? Do the ES people not know anyone who expresses affection outside of an intimate relationship? Some ES are so witty, I love to read them in spite of the extremity. Will I attract slings and arrows if I cite @mama-tumblz? Here’s a recent example, a reply to an Anti who cast shade on the fact that Sam and Cait were not together on October 4, Cait’s birthday. Mama concocted an imaginary family discussion. Paraphrase: Papa-tumblz will be at work next Monday on my birthday so we’ll celebrate on Saturday instead. So, she asked, from this decision do you conclude that, A) I am not with Papa but am having an affair or am married to Someone Else, or, B) I am not eight years old?

Touché, Mama. Except that the wit is in service of a conspiracy theory that posits that a couple of not-that-famous actors (much as we may love Sam and Cait, we must remember that Many have never heard of them) have been secretly married for seven years with two, three, or four children whom they somehow manage to keep hidden as well, while Cait carries on in a “fake marriage” with a Scot who is less photogenic than Sam (like most of the world) and recently pretended to have her first child with this Faker.

I’ve been on Tumblr for only one year; my first post was of Dr. Fauci pleading with people to stay home for the holidays in 2020. There’s my politics, because nowadays we can deduce everything from one thing. I’d discovered Outlander during season 3 following online gasps over “A. Malcolm.” So, “for science” as my fellow-posters say, I caught up with the TV series and read the books and soon was able to concur with the indelible sentiment of @folklorianlass who posted the gif from the first episode of Jamie tossing Claire from his horse to free himself to fight the Redcoats at Cocknammon Rock. “‘Someone: I don’t like Outlander.’ Me: ‘Get off my horse! We dinna like you anymore!’”

Same. I remain enchanted with Outlander despite its many stumbles. Season 4. How about Diana Gabaldon’s lip-smacking at Comic Con last week that she relished all the horror in Season 6? Yes, it’s true that nicely-behaved people getting on with their lives do not make for great drama, but when the conflict is imposed rather than growing out of character or situation, you get the Gabaldon of too much plot, too little impact. But I digress. What I’m musing about here is why people believe in conspiracies, and why they are threatened by those who do not, so there’s all this vitriol tossed on those who disagree about the private lives of the actors. Why would you admire two people who collude in a conspiracy to make their lives a lie? Yes, they are a smoldering twosome. Down to Sam, possibly the one with a long-running crush. He might smolder with another actress if the script were good enough. One of his superpowers appears to be “the look of love.” I love to look at them too. Looking makes me happy. But believing that they are dyed-in-the-wool liars? Where’s the fun in that?

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pryde7 · 1 year ago

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celia is one of those kinds of people that looks much better in real life but it does not translate well on the show.

she is an actress that is likely not photogenic on TV and the poor styling does not help.

What feels to me to be anti black, as a black person is the poor handling of the character. it is clear on the show she is not meant to be desired or to be the sexy one when chapel, tpring and TOS uhura were. that is what people are calling out.

Even the most beautiful women in the world can be made to look ugly and masculine. for example Charlie Theron in Monster. Halle Berry's beauty was also played down for monster ball. however with these two women there was a good reason why.

There is no good reason for SNW to make uhura ugly. Can anyone look at this photo and tell me this is a hot sexy chick that will give men wet dreams.

this is fiction is what is an ugly female character. this is not pretty and anyone who says she is is telling lies.

Okay... So, I just saw that a person I was engaging with on that Uhura meta post has a problem with Uhura's short hair and curves. I wanna make it clear to everyone that that shit is anti-black af. Celia is pretty af, has beautifully clear brown eyes, blessedly melanated skin, a smile that blows away everyone else in the cast, full lips, a perfectly flared nose for that good Kenyan air, and curves to die for. And her haircut (with waves waving fully) makes sure those stunning features are more visible to you; on full and easy display, with fewer distractions.

You're welcome... Yeah.

If you have problem with her not being pretty enough, your taste-level stinks, you're anti-black, and you ain't here for Uhura, but for upholding white beauty standards.

FOH.

Period. EDIT: Do people not know she is by canon a Sub-Saharan African woman, from the United States of Africa (specifically the state of 'Kenya')??? She fits so many African beauty standards, I can see her sashaying to some Afrobeats and turning all the heads. Nichelle set the standard and did *exceptionally* well creating Uhura, but Celia out of the three women who have played her, embodies that Western African beauty standard best, IMO. She, out of three looks most like her people could be related to Danai from Senegal, Lupita from Kenya, or Tems from Nigeria, TBH... Neither Nichelle nor Zoe (though both were also beautiful women) gave the MOTHER in Motherland, this much. She is PERFECTLY cast. She is sunshine, she is all aglow, she is radiant energy.

Any issues I have? Are with the writing. Block these people, who I suspect is ONE with multiple sockpuppets proliferating anti-blackness and misogynoir about Celia.

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kaysutcliff-michaelis · 4 years ago

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SOUMA-HEN 2021 CAST

Hi, humans and oni, all fans of Hakumyu!

Since Souma-hen is a thing again I’ve recovered my original cast announcement post and updated it. The info about the actors is a mix between what I’ve found about them and info from the official cast page, but I haven’t included every past myu/stage play in the official info, so I’d recommend checking it if you’re interested in seeing more of any of these people.

Without further ado, I present you the official cast for the 2021 version of Musical Hakuoki Souma-hen:

Mizuki Umetsu (梅津瑞樹) is Kazue Souma

28 years old, his Twitter is @MizukiUmetsu, and he’s been in Musical Touken Ranbu and the Sanrio Boys stage play .

Risa Matsuzaki (松崎莉沙) is Chizuru Yukimura

She’s a member of Roys, a Japanese female duo chorus group. Playing Chizuru in this myu will be her first time as an actress. Her Twitter is @risadegozaimasu and she’s 24 years old.

Hidetoshi Kubota (久保田秀敏) is Toshizo Hijikata

Has worked in films and dramas before, also has myu/stage play experience (Sengoku Basara stage play , Moriarty the Patriot myu, etc.). He’s 33 years old and his Twitter is @kubotahidetoshi.

Shuji Kikuchi (菊池修司) is Souji Okita

First difference with the 2020 cast! Shuji Kikuchi replaces Shogo Yamazaki, who first appeared in Hakumyu in Shitan Hijikata-hen. He’s 25 and his Twiiter is @kutisyu. He’s been in some stage plays before, like the Pirates of the Frontier UtaPri stage play .

Shoichiro Oomi (大海将一郎) is Hajime Saito

His Twitter is @shoichiro_oomi. The protagonist/”your” character in the Fate/GO Babylonia Myu, also has some experience as a seiyuu (in fact google doesn’t list him as an actor but as a voice actor) and is/was in a group called "Hi! Superb"

Yuta Higuchi (樋口裕太) is back as Heisuke Todou!

His first Hakumyu was Shitan Hijikata-hen! He is 25 and he won a Junon Superboy contest (Most Photogenic) and according to Anime on Stage he’s been in other myus/stage plays, like Ensemble Stars and Yona of the Dawn. According to the cast page he’s been in Ao no Exorcist and Hitman Reborn stage plays too. His Twitter is @higuchi24yuta.

Ryousuke Koike (小池亮介) is Nagakura Shinpachi

Second change in the cast, he’s replacing Yuta Kishimoto, who was Nagakura in both Shitan Hijikata-hen and Shitan Kazama-hen. He’s 25 and his Twitter is @ryosuke19951117. He was Akito/Agito in the Air Gear myu, and according to the cast page he wants everyone to think that Nagakura Shinpachi is cool (literally, 「永倉新八カッコいいな」kakkoii and everything)

Shouta Kawakami (川上将大) is Sanosuke Harada

He’s been in Tenimyu, Rice on stage, Hitman Reborn and Touken Ranbu stages/myus, among others. He’s 27 and his Twitter is @rjpmission. An anecdote: a few weeks ago someone I follow on Twitter went to see Rice on stage and he was one of the actors performing, which made me wonder if Souma-hen would happen since people from the cast were working on other things and I supposed that meant the situation in Japan was good enough to resume events like stage plays, included those that had been cancelled.

Teruma (輝馬) is back as Keisuke Sannan!

Sannan since Hakumyu Reimeiroku, he’s been in Kuromyu (William T Spears), Bungou Stray Dogs stage play, the Nanatsu no Taizai stage play and Tenimyu. His Twitter is @teruma_060 and he’s 31.

This makes me really happy! I still prefer Ryosuke Mikata, but he’s showed that he deserves the role, so I hope he stays in Hakumyu for many years to come! And I’m still mad that Teruma wasn’t in the Tango on the Campania Kuromyu...

Taizo Shiina (椎名鯛造) is back as Susumu Yamazaki!

First appeared in Shitan Hijikata-hen, and he’s been in some Sengoku Basara and Danganronpa stage plays, among others. He’s 34 and his Twitter is @TaizoShiina.

Taira Imata (井俣太良) is back as Isami Kondou!!!

Best dad since Okita-hen (second Hakumyu) and by this point, everyone’s senpai, what else can be said about this man??? If you’ve watched any Hakumyu other than Saito-hen, you already know him. Great man and actor, he’s 45 and his Twitter is @TAIRANT1975.

These are the characters/actors & actress that I covered in my first Souma-hen cast post. I actually wrote another one with the rest of the cast, but thanks to a broken mouse the whole post got deleted when it was almost finished. Time to redeem myself!

Syuya Sunagawa (砂川脩弥) is Saburo Miki!

Replacing Allen Kohatsu in the role of Miki, he’s 26 and his Twitter is @suna_syu_. It’s his first time in a musical, but he’s in the Kamen Rider Zero One drama. According to the Kamen Rider Wikia, he won the Avex Boys Award in 2016.

Masashi Sonomura (園村将司) is Risaburo Nomura!

He’s 22 and he’s @masashisonomura on Twitter. He’s been in Tenimyu and has done some stuff on TV (the cast page lists some things but I’m not familiar with them ;_;)

Masafumi Yokoyama (横山真史) is Kyuju Amagiri!

He’s 34 and he’s @masafumi21yoko on Twitter. He’s been in Touken Ranbu, Ikemen Sengoku and Toki no Kizuna stages.And as my friend and Amagiri’s biggest fan Lawrichai pointed out, he played Amagiri’s grandpa/relative in the Toki no Kizuna stage.

Takuma Sueno (末野卓磨) is back as Kyo Shiranui!

He’s 36 and he’s @sueno0724 on Twitter. His first Hakumyu was Shitan Kazama hen. Has been in the Sengoku Basara stage play and the Rantaro Shinobu myu (this one wasn’t that long ago so I remember seen funny pics of this on Twitter).

Hiroyuki Kawamoto (川本裕之) is back as Kodo Yukimura!

Egg dad since the times of Harada hen, he doesn’t have a Twitter account and apparently there isn’t that much info about him on Google D:

And... drum roll a big round of applause for our returning demon, the original, the one and only, SHOGO SUZUKI (鈴木勝吾) AS CHIKAGE KAZAMA!!!

I already spoiled this in my Souma-hen is back post but I’m sooooooooooooooo happy to see him back. He’s @Shogo_Suzuki_ on Twitter (where he’s posted photos of his Hakumyu-watching sessions more than once),he’s 31 and he played Kazama from the very beginning in Saito-hen until Live 2. During his absence from Hakumyu he didn’t stop acting, some of you may remember my post about his appearance in the Moriarty the Patriot myu.

Not that I dislike Yoshihide Sasaki (Hijikata in Reimei, and Kazama in Harada-hen and the 2020 Souma-hen cast), but I will always see him as my dear Viscount Druitt from Kuromyu. And let’s be honest, Shogo has his “own brand” of Kazama. He took the character and made it his own, having a unique way of portraying him and enjoying every last bit of it.

And that was the complete main cast! This time we had all the info from the start so I don’t think a follow-up post will be necessary.

As an ending note, I would like to dedicate this post to Serizawa’s actor, Akira Kubodera, who passed away last month. I’m sure he would love to see that everyone has been hoping for Souma-hen to return and that the Hakuoki Shinsengumi, or at least its spirit, can’t be defeated.

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theothersideofthecinema · 4 years ago

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The Captive Lover – An Interview with Jacques Rivette, Frédéric Bonnaud

(September 2001)

Translation by Kent Jones

This interview was originally published in Les Inrockuptibles (25 March 1998) and has been republished here with the kind permission of the author.

* * *

I guess I like a lot of directors. Or at least I try to. I try to stay attentive to all the greats and also the less-than-greats. Which I do, more or less. I see a lot of movies, and I don’t stay away from anything. Jean-Luc sees a lot too, but he doesn’t always stay till the end. For me, the film has to be incredibly bad to make me want to pack up and leave. And the fact that I see so many films really seems to amaze certain people. Many filmmakers pretend that they never see anything, which has always seemed odd to me. Everyone accepts the fact that novelists read novels, that painters go to exhibitions and inevitably draw on the work of the great artists who came before them, that musicians listen to old music in addition to new music… so why do people think it’s strange that filmmakers – or people who have the ambition to become filmmakers – should see movies? When you see the films of certain young directors, you get the impression that film history begins for them around 1980. Their films would probably be better if they’d seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much. Actually, it’s when you see too little that you run the risk of being influenced. If you see a lot, you can choose the films you want to be influenced by. Sometimes the choice isn’t conscious, but there are some things in life that are far more powerful than we are, and that affect us profoundly. If I’m influenced by Hitchcock, Rossellini or Renoir without realizing it, so much the better. If I do something sub-Hitchcock, I’m already very happy. Cocteau used to say: “Imitate, and what is personal will eventually come despite yourself.” You can always try.

Europa 51 (Roberto Rossellini, 1952)

Every time I make a film, from Paris nous appartient (1961) through Jeanne la pucelle (1994), I keep coming back to the shock we all experienced when we first saw Europa 51. And I think that Sandrine Bonnaire is really in the tradition of Ingrid Bergman as an actress. She can go very deep into Hitchcock territory, and she can go just as deep into Rossellini territory, as she already has with Pialat and Varda.

Le Samourai (Jean-Pierre Melville, 1967)

I’ve never had any affinity for the overhyped mythology of the bad boy, which I think is basically phony. But just by chance, I saw a little of L’Armée des ombres (1969) on TV recently, and I was stunned. Now I have to see all of Melville all over again: he’s definitely someone I underrated. What we have in common is that we both love the same period of American cinema – but not in the same way. I hung out with him a little in the late ’50s; he and I drove around Paris in his car one night. And he delivered a two-hour long monologue, which was fascinating. He really wanted to have disciples and become our “Godfather”: a misunderstanding that never amounted to anything.

The Secret Beyond the Door (Fritz Lang, 1948)

The poster for Secret Défense (1997) reminded us of Lang. Every once in a while during the shoot, I told myself that our film had a slim chance of resembling Lang. But I never set up a shot thinking of him or looking to imitate him. During the editing (which is when I really start to see the film), I saw that it was Hitchcock who had guided us through the writing (which I already knew) and Lang who guided us through the shooting: especially his last films, the ones where he leads the spectator in one direction before he pushes them in another completely different direction, in a very brutal, abrupt way. And then this Langian side of the film (if in fact there is one) is also due to Sandrine’s gravity.

The Night of the Hunter (Charles Laughton, 1955)

The most seductive one-shot in the history of movies. What can you say? It’s the greatest amateur film ever made.

Dragonwyck (Joseph L. Mankiewicz, 1946)

I knew his name would come up sooner or later. So, I’m going to speak my peace at the risk of shocking a lot of people I respect, and maybe even pissing a lot of them off for good. His great films, like All About Eve (1950) or The Barefoot Contessa (1954), were very striking within the parameters of contemporary American cinema at the time they were made, but now I have no desire whatsoever to see them again. I was astonished when Juliet Berto and I saw All About Eve again 25 years ago at the Cinémathèque. I wanted her to see it for a project we were going to do together before Céline and Julie Go Boating (1974). Except for Marilyn Monroe, she hated every minute of it, and I had to admit that she was right: every intention was underlined in red, and it struck me as a film without a director! Mankiewicz was a great producer, a good scenarist and a masterful writer of dialogue, but for me he was never a director. His films are cut together any which way, the actors are always pushed towards caricature and they resist with only varying degrees of success. Here’s a good definition of mise en scène – it’s what’s lacking in the films of Joseph L. Mankiewicz. Whereas Preminger is a pure director. In his work, everything but the direction often disappears. It’s a shame that Dragonwyck wasn’t directed by Jacques Tourneur.

The Big Sleep (Howard Hawks, 1946)

It’s Chandler’s greatest novel, his strongest. I find the first version of the film – the one that’s about to be shown here – more coherent and “Hawksian” than the version that was fiddled with and came out in ’46. If you want to call Secret Défense a policier, it doesn’t bother me. It’s just that it’s a policier without any cops. I’m incapable of filming French cops, since I find them 100% un-photogenic. The only one who’s found a solution to this problem is Tavernier, in L.627 (1992) and the last quarter of L’Appât (1995). In those films, French cops actually exist, they have a reality distinct from the Duvivier/Clouzot “tradition” or all the American clichés. In that sense, Tavernier has really advanced beyond the rest of French cinema.

Vertigo (Alfred Hitchcock, 1958)

Of course we thought about it when we made Secret Défense, even if dramatically, our film is Vertigo in reverse. Splitting the character of Laure Marsac into Véronique/Ludivine solved all our scenario problems, and above all it allowed us to avoid a police interrogation scene. During the editing, I was struck by the “family resemblance” between the character of Walser and the ones played by Laurence Olivier in Rebecca (1940) and Cary Grant in Suspicion (1941). The source for each of these characters is Heathcliff in Wuthering Heights, which brings us back to Tourneur, since I Walked with a Zombie (1943) is a remake of Jane Eyre.

I could never choose one film by Hitchcock; I’d have to take the whole oeuvre (Secret Défense could actually have been called Family Plot [1976]). But if I had to choose just one film, it would be Notorious (1946), because of Ingrid Bergman. You can see this imaginary love affair between Bergman and Hitchcock, with Cary Grant there to put things in relief. The final sequence might be the most perfect in film history, in the way that it resolves everything in three minutes – the love story, the family story and the espionage story, in a few magnificent, unforgettable shots.

Mouchette (Robert Bresson, 1966)

When Sandrine and I first started talking – and, as usual, I didn’t know a thing about the film I wanted to make – Bernanos and Dostoyevsky came up. Dostoyevsky was a dead end because he was too Russian. But since there’s something very Bernanos-like about her as an actress in the first place, I started telling her my more or less precise memories of two of his novels: A Crime, which is completely unfilmable, and A Bad Dream, a novel that he kept tucked away in his drawer, in which someone commits a crime for someone else. In A Bad Dream, the journey of the murderess was described in even greater length and detail than Sandrine’s journey in Secret Défense.

It’s because of Bernanos that Mouchette is the Bresson film I like the least. Diary of a Country Priest (1950), on the other hand, is magnificent, even if Bresson left out the book’s sense of generosity and charity and made a film about pride and solitude. But in Mouchette, which is Bernanos’ most perfect book, Bresson keeps betraying him: everything is so relentlessly paltry, studied. Which doesn’t mean that Bresson isn’t an immense artist. I would place Trial of Joan of Arc (1962) right up there with Dreyer’s film. It burns just as brightly.

Under the Sun of Satan (Maurice Pialat, 1987)

Pialat is a great filmmaker – imperfect, but then who isn’t? I don’t mean it as a reproach. And he had the genius to invent Sandrine – archeologically speaking – for A nos amours (1983). But I would put Van Gogh (1991) and The House in the Woods (1971) above all his other films. Because there he succeeded in filming the happiness, no doubt imaginary, of the pre-WWI world. Although the tone is very different, it’s as beautiful as Renoir.

But I really believe that Bernanos is unfilmable. Diary of a Country Priest remains an exception. In Under the Sun of Satan, I like everything concerning Mouchette [Sandrine Bonnaire’s character], and Pialat acquits himself honorably. But it was insane to adapt the book in the first place since the core of the narrative, the encounter with Satan, happens at night – black night, absolute night. Only Duras could have filmed that.

Home from the Hill (Vincente Minnelli, 1959)

I’m going to make more enemies…actually the same enemies, since the people who like Minnelli usually like Mankiewicz, too. Minnelli is regarded as a great director thanks to the slackening of the “politique des auteurs.” For François, Jean-Luc and me, the politique consisted of saying that there were only a few filmmakers who merited consideration as auteurs, in the same sense as Balzac or Molière. One play by Molière might be less good than another, but it is vital and exciting in relation to the entire oeuvre. This is true of Renoir, Hitchcock, Lang, Ford, Dreyer, Mizoguchi, Sirk, Ozu… But it’s not true of all filmmakers. Is it true of Minnelli, Walsh or Cukor? I don’t think so. They shot the scripts that the studio assigned them to, with varying levels of interest. Now, in the case of Preminger, where the direction is everything, the politique works. As for Walsh, whenever he was intensely interested in the story or the actors, he became an auteur – and in many other cases, he didn’t. In Minnelli’s case, he was meticulous with the sets, the spaces, the light…but how much did he work with the actors? I loved Some Came Running (1958) when it came out, just like everybody else, but when I saw it again ten years ago I was taken aback: three great actors and they’re working in a void, with no one watching them or listening to them from behind the camera.

Whereas with Sirk, everything is always filmed. No matter what the script, he’s always a real director. In Written On the Wind (1956), there’s that famous Universal staircase, and it’s a real character, just like the one in Secret Défense. I chose the house where we filmed because of the staircase. I think that’s where all dramatic loose ends come together, and also where they must resolve themselves.

That Obscure Object of Desire (Luis Buñuel, 1977)

More than those of any other filmmaker, Buñuel’s films gain the most on re-viewing. Not only do they not wear thin, they become increasingly mysterious, stronger and more precise. I remember being completely astonished by one Buñuel film: if he hadn’t already stolen it, I would have loved to be able to call my new film The Exterminating Angel! François and I saw El when it came out and we loved it. We were really struck by its Hitchcockian side, although Buñuel’s obsessions and Hitchcock’s obsessions were definitely not the same. But they both had the balls to make films out of the obsessions that they carried around with them every day of their lives. Which is also what Pasolini, Mizoguchi and Fassbinder did.

The Marquise of O… (Eric Rohmer, 1976)

It’s very beautiful. Although I prefer the Rohmer films where he goes deep into emotional destitution, where it becomes the crux of the mise en scène, as in Summer, The Tree, the Mayor and the Mediathèque and in a film that I’d rank even higher, Rendez-vous in Paris (1995). The second episode is even more beautiful than the first, and I consider the third to be a kind of summit of French cinema. It had an added personal meaning for me because I saw it in relation to La Belle noiseuse (1991) – it’s an entirely different way of showing painting, in this case the way a painter looks at canvases. If I had to choose a key Rohmer film that summarized everything in his oeuvre, it would be The Aviator’s Wife (1980). In that film, you get all the science and the eminently ethical perversity of the Moral Tales and the rest of the Comedies and Proverbs, only with moments of infinite grace. It’s a film of absolute grace.

Twin Peaks: Fire Walk with Me (David Lynch, 1992)

I don’t own a television, which is why I couldn’t share Serge Daney’s passion for TV series. And I took a long time to appreciate Lynch. In fact, I didn’t really start until Blue Velvet (1986). With Isabella Rossellini’s apartment, Lynch succeeded in creating the creepiest set in the history of cinema. And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground. Only the first part of Lost Highway (1996) is as great. After which you get the idea, and by the last section I was one step ahead of the film, although it remained a powerful experience right up to the end.

Nouvelle Vague (Jean-Luc Godard, 1990)

Definitely Jean-Luc’s most beautiful film of the last 15 years, and that raises the bar pretty high, because the other films aren’t anything to scoff at. But I don’t want to talk about it…it would get too personal.

Beauty and the Beast (Jean Cocteau, 1946)

Along with Les Dames du Bois de Boulogne (1945), it was the key French film for our generation – François, Jean-Luc, Jacques Demy, myself. For me, it’s fundamental. I saw Beauty and the Beast in ’46 and then I read Cocteau’s shooting diary – a hair-raising shoot, which hit more snags than you can imagine. And eventually, I knew the diary by heart because I re-read it so many times. That’s how I discovered what I wanted to do with my life. Cocteau was responsible for my vocation as a filmmaker. I love all his films, even the less successful ones. He’s just so important, and he was really an auteur in every sense of the word.

Les Enfants terribles (Jean Cocteau, 1950)

A magnificent film. One night, right after I’d arrived in Paris, I was on my way home. And as I was going up rue Amsterdam around Place Clichy, I walked right into the filming of the snowball fight. I stepped onto the court of the Théâtre de l’Oeuvre and there was Cocteau directing the shoot. Melville wasn’t even there. Cocteau is someone who has made such a profound impression on me that there’s no doubt he’s influenced every one of my films. He’s a great poet, a great novelist, maybe not a great playwright – although I really love one of his plays, The Knights of the Round Table, which is not too well known. An astonishing piece, very autobiographical, about homosexuality and opium. Chéreau should stage it. You see Merlin as he puts Arthur’s castle under a bad charm, assisted by an invisible demon named Ginifer who appears in the guise of three different characters: it’s a metaphor for all forms of human dependence. In Secret Défense, the character of Laure Mersac probably has a little of Ginifer in her.

Cocteau is the one who, at the end of the ’40s, demonstrated in his writing exactly what you could do with faux raccords, that working in a 180-degree space could be great and that photographic unity was a joke: he gave these things a form and each of us took what he could from them.

Titanic (James Cameron, 1997)

I agree completely with what Jean-Luc said in this week’s Elle: it’s garbage. Cameron isn’t evil, he’s not an asshole like Spielberg. He wants to be the new De Mille. Unfortunately, he can’t direct his way out of a paper bag. On top of which the actress is awful, unwatchable, the most slovenly girl to appear on the screen in a long, long time. That’s why it’s been such a success with young girls, especially inhibited, slightly plump American girls who see the film over and over as if they were on a pilgrimage: they recognize themselves in her, and dream of falling into the arms of the gorgeous Leonardo.

Deconstructing Harry (Woody Allen, 1997)

Wild Man Blues (1997) by Barbara Kopple helped me to overcome my problem with him, and to like him as a person. In Wild Man Blues, you really see that he’s completely honest, sincere and very open, like a 12-year old. He’s not always as ambitious as he could be, and he’s better on dishonesty than he is with feelings of warmth. But Deconstructing Harry is a breath of fresh air, a politically incorrect American film at long last. Whereas the last one was incredibly bad. He’s a good guy, and he’s definitely an auteur. Which is not to say that every film is an artistic success.

Happy Together (Wong Kar-wai, 1997)

I like it very much. But I still think that the great Asian directors are Japanese, despite the critical inflation of Asia in general and of Chinese directors in particular. I think they’re able and clever, maybe a little too able and a little too clever. For example, Hou Hsiao-hsien really irritates me, even though I liked the first two of his films that appeared in Paris. I find his work completely manufactured and sort of disagreeable, but very politically correct. The last one [Goodbye South, Goodbye, 1996] is so systematic that it somehow becomes interesting again but even so, I think it’s kind of a trick. Hou Hsiao-hsien and James Cameron, same problem. Whereas with Wong Kar-wai, I’ve had my ups and downs, but I found Happy Together incredibly touching. In that film, he’s a great director, and he’s taking risks. Chungking Express (1994) was his biggest success, but that was a film made on a break during shooting [of Ashes of Time, 1994], and pretty minor. But it’s always like that. Take Jane Campion: The Piano (1993) is the least of her four films, whereas The Portrait of a Lady (1996) is magnificent, and everybody spat on it. Same with Kitano: Fireworks (1997) is the least good of the three of his films to get a French release. But those are the rules of the game. After all, Renoir had his biggest success with Grand Illusion (1937).

Face/Off (John Woo, 1997)

I loathe it. But I thought A Better Tomorrow (1986) was awful, too. It’s stupid, shoddy and unpleasant. I saw Broken Arrow (1996) and didn’t think it was so bad, but that was just a studio film, where he was fulfilling the terms of his contract. But I find Face/Off disgusting, physically revolting, and pornographic.

Taste of Cherry (Abbas Kiarostami, 1997)

His work is always very beautiful but the pleasure of discovery is now over. I wish that he would get out of his own universe for a while. I’d like to see something a little more surprising from him, which would really be welcome…God, what a meddler I am!

On Connaît la Chanson (Alain Resnais, 1997)

Resnais is one of the few indisputably great filmmakers, and sometimes that’s a burden for him. But this film is almost perfect, a full experience. Though for me, the great Resnais films remain, on the one hand, Hiroshima, mon amour (1959) and Muriel (1963), and on the other hand, Mélo (1986) and Smoking/No Smoking (1993).

Funny Games (Michael Haneke, 1997)

What a disgrace, just a complete piece of shit! I liked his first film, The Seventh Continent (1989), very much, and then each one after that I liked less and less. This one is vile, not in the same way as John Woo, but those two really deserve each other – they should get married. And I never want to meet their children! It’s worse than Kubrick with A Clockwork Orange (1971), a film that I hate just as much, not for cinematic reasons but for moral ones. I remember when it came out, Jacques Demy was so shocked that it made him cry. Kubrick is a machine, a mutant, a Martian. He has no human feeling whatsoever. But it’s great when the machine films other machines, as in 2001 (1968).

Ossos (Pedro Costa, 1997)

I think it’s magnificent, I think that Costa is genuinely great. It’s beautiful and strong. Even if I had a hard time understanding the characters’ relationships with one another. Like with Casa de lava (1994), new enigmas reveal themselves with each new viewing.

The End of Violence (Wim Wenders, 1997)

Very touching. Even if, about halfway through, it starts to go around in circles and ends up on a sour note. Wenders often has script problems. He needs to commit himself to working with real writers again. Alice in the Cities (1974) and Wrong Move (1975) are great films – so is Paris, Texas (1984). And I’m sure the next one will be, too.

Live Flesh (Pedro Almodóvar, 1997)

Great, one of the most beautiful Almodóvars, and I love all of them. He’s a much more mysterious filmmaker than people realize. He doesn’t cheat or con the audience. He also has his Cocteau side, in the way that he plays with the phantasmagorical and the real.

Alien Resurrection (Jean-Pierre Jeunet, 1997)

I didn’t expect it as I was walking into the theater, but I was enraptured throughout the whole thing. Sigourney Weaver is wonderful, and what she does here really places her in the great tradition of expressionist cinema. It’s a purely plastic film, with a story that’s both minimal and incomprehensible. Nevertheless, it managed to scare the entire audience, while it also had some very moving moments. Basically, you’re given a single situation at the beginning, and the film consists of as many plastic and emotional variations of that situation as possible. It’s never stupid, it’s inventive, honest and frank. I have a feeling that the credit should go to Sigourney Weaver as much as it should to Jeunet.

Rien ne va plus (Claude Chabrol, 1997)

Another film that starts off well before falling apart halfway through. There’s a big script problem: Cluzet’s character isn’t really dealt with. It’s important to remember Hitchcock’s adage about making the villain as interesting as possible. But I’m anxious to see the next Chabrol film, especially since Sandrine will be in it.

Starship Troopers (Paul Verhoeven, 1997)

I’ve seen it twice and I like it a lot, but I prefer Showgirls (1995), one of the great American films of the last few years. It’s Verhoeven’s best American film and his most personal. In Starship Troopers, he uses various effects to help everything go down smoothly, but he’s totally exposed in Showgirls. It’s the American film that’s closest to his Dutch work. It has great sincerity, and the script is very honest, guileless. It’s so obvious that it was written by Verhoeven himself rather than Mr. Eszterhas, who is nothing. And that actress is amazing! Like every Verhoeven film, it’s very unpleasant: it’s about surviving in a world populated by assholes, and that’s his philosophy. Of all the recent American films that were set in Las Vegas, Showgirls was the only one that was real – take my word for it.I who have never set foot in the place!

Starship Troopers doesn’t mock the American military or the clichés of war – that’s just something Verhoeven says in interviews to appear politically correct. In fact, he loves clichés, and there’s a comic strip side to Verhoeven, very close to Lichtenstein. And his bugs are wonderful and very funny, so much better than Spielberg’s dinosaurs. I always defend Verhoeven, just as I’ve been defending Altman for the past twenty years. Altman failed with Prêt-à-Porter (1994) but at least he followed through with it, right up to an ending that capped the rock bottom nothingness that preceded it. He should have realized how uninteresting the fashion world was when he started to shoot, and he definitely should have understood it before he started shooting. He’s an uneven filmmaker but a passionate one. In the same way, I’ve defended Clint Eastwood since he started directing. I like all his films, even the jokey “family” films with that ridiculous monkey, the ones that everyone are trying to forget – they’re part of his oeuvre, too. In France, we forgive almost everything, but with Altman, who takes risks each time he makes a film, we forgive nothing. Whereas for Pollack, Frankenheimer, Schatzberg…risk doesn’t even exist for them. The films of Eastwood or Altman belong to them and no one else: you have to like them.

The Fifth Element (Luc Besson, 1997)

I didn’t hate it, but I was more taken with La Femme Nikita (1990) and The Professional (1994). I can’t wait to see his Joan of Arc. Since no version of Joan of Arc has ever made money, including ours, I’m waiting to see if he drains all the cash out of Gaumont that they made with The Fifth Element. Of course it will be a very naive and childish film, but why not? Joan of Arc could easily work as a childish film (at Vaucouleurs, she was only 16 years old), the Orléans murals done by numbers. Personally, I prefer small, “realistic” settings to overblown sets done by numbers, but to each his own. Joan of Arc belongs to everyone (except Jean-Marie Le Pen), which is why I got to make my own version after Dreyer’s and Bresson’s. Besides, Besson is only one letter short of Bresson! He’s got the look, but he doesn’t have the ‘r.’

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fearfollow · 5 years ago

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▌real name: audrey mccarthy (one day maybe i will actually change this to her canon name but uhhhh. not today) her real name is also audra denbrough because it’s been legally changed but ▌single or taken: taken, usually by bill denbrough (but that’s verse dependent) ▌abilities or powers: a skilled actress and model. audra also has a good voice! she’s naturally pretty photogenic and conventionally attractive, which has helped with her career because unfortunately modeling and acting to a pretty far extent place a lot of stock in your looks. audra is also really emotionally perceptive which is good for acting and just a general skill she has. she’s very nurturing and caring, which i would also count as a skill. ▌eye colour: blue ▌hair colour: currently dyed blonde, naturally a reddish brown ▌family members: elena ‘laney’ mccarthy, sister. bill denbrough, husband (verse dependent). bob and lydia mccarthy, parents. ▌pets: none :( ▌something they don’t like: uhhhh paparazzi and tabloids. this started because they targeted her a lot when she and bill got together because bill isn’t considered conventionally attractive/in her league and they were like calling her a golddigger, but also because she genuinely hates the way celebrity lives come under scrutiny and that people’s careers can genuinely suffer because of bad press which can often be? straight up false. (it should be noted that audra is nice to paprazzi if they’re not being aggressive/hounding her. if they see her out in public, she’ll be kind. she will not tolerate, however, paparazzi showing up at her home or anyone asking her questions about her marriage/her addiction, esp. like negative leading questions and she WILL yell at them about it.) ▌hobbies/activities: cooking, reading, watching tv, honestly audra probably knits ▌ever hurt anyone before: yes. ▌ever killed anyone before: no. ▌animal that represents them: a doe. (but like... a doe that will absolutely fuck you up) ▌worst habits: overthinking, giving in to her anger/saying things she regrets, nail biting ▌role models: bill, costars that have taken her under their wing (like omg sally field, say) ▌sexual orientation: bisexual. ▌thoughts on marriage/kids: in canon, audra is married and has had trouble conceiving, but she does ultimately want kids if its a possibility to carry them herself and would totally go for adoption otherwise. (obviously in most verses this also depends on bill’s feelings). she wants to be married to the person she’s with eventually, and that person can vary based on verse. if she’s single it’s often in the divorce!verse where she and bill split up, so her view on marriage gets a little more cynical lol. ▌fears: audra is afraid of being rejected and afraid of failure, both of which feed into each other. she very much thrives on like? feeling loved and successful and generally Good. it’s part of why she’s so caring in a way? both because she doesn’t want other people to feel rejected and because she wants to like? ensure she’s worth something to people. audra is also afraid of losing the people she loves (more so after the events of canon). i could also see her being afraid of bugs, especially things with long/many legs ▌style preferences: audra doesn’t have a terribly loud or bold sense of style. her personality is bold enough lmao. she really likes pastels and earth tones? so depending on her mood you will probably find her in light greens, pinks, blues. white and gray as well. other times she wears a lot of maroon, army greens, darker yellows and brown and black of course. audra tends to like slightly more form-fitting clothing, but she does like some more flowy things? she favors sweaters and leather jackets and tends to follow more classic trends like white t-shirt with jeans and boots as opposed to more time sensitive trends like tiny sunglasses. i mean she’s 40 she doesn’t feel like experimenting lmao ▌someone they love: her sister laney, no matter what. audra is 8 years older than laney and she is just fiercely protective of her. they aren’t perfect, they fight sometimes, but ultimately they would die for each other. laney’s an architect and audra is so wildly proud of her–– when she has the money, she asks laney to design her and bill’s house. ▌approach to friendships: audra falls into the mom friend role a little bit, but she does also have like? party girl energy? obviously since she’s sober in most of (actually probably all of) my mainverse threads, it’s not literal? but like audra will take you out dancing or like encourage you to do something extravagant for yourself or take some risk you’ve been wanting to take. she’s a super supportive friend and she’s not afraid to delve into emotional stuff. she can get really goofy though (see any interaction w/ @trashmcuths) and she’s also insanely tactile so watch out. she also tends to bond fairly quickly, even with costars she knows she might not necessarily stay close to. might as well make the time count! ▌thoughts on pie: she likes pie! apple’s her favorite. ▌favourite drink: water, tea ▌favourite place to spend time at: audra honestly just really loves spending time at home. she loves travelling but is a homebody at her core, probably because she is away from home so much. all the better if she’s there with a loved one! ▌swim in the lake or in the ocean: i think audra has a soft spot for lakes, having gone to one a lot when she was a kid ▌their type: hmm... i don’t know if audra has a concrete type? to be honest? she probably is drawn a little bit to people who are a little more lowkey to like? balance out her energy? but honestly like if she connects with someone, it probably means that they have a kind heart and that’s the main thing for her. i think she’s also definitely attracted to people who can be vulnerable. ▌camping or indoors: audra enjoys camping once in a while, but she is mainly an indoorsy person!

tagged by: @armsdealing <3 (sorry this took fully forever lol) tagging: truly anyone who wants to, tag me in your post!!!

#; about #armsdealing #thank you so much for tagging me also omg! <3 #god i love my bABY #i really would die for audra oof

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tmcastandcrew · 6 years ago

Photo

Simon Baker on his directorial debut Breath

Source / Thanks to daisa‏ @dais_sa

Best known for the smooth-talking Patrick Jane in the TV series The Mentalist, Simon Baker was in Calcutta as part of the Australian delegation to showcase his directorial debut Breath at the Kolkata International Film Festival. We caught up with the handsome Australian actor for a chat after watching Breath, while he was on his way to Taj Bengal for a Bengali meal.

You got mobbed by the crowd right after the screening of Breath!

Yes, that was pretty intense (laughs). I couldn’t imagine what it would be like for Shah Rukh Khan or someone.

What are you liking about Calcutta?

You know, what I really like is actually how friendly everyone is… incredibly friendly and there’s such warmth. Everyone is in a very pleasant mood and in a pleasant state of mind. Don’t you think? I think that’s impressive. The other thing that I really love is how proud everyone is of this city. I have just been eating Indian food since I got here. I’m about to go and eat some Bengali food now.

Breath is an adaptation of Australian author Tim Winton’s novel. What excited you about the story that made you choose it as your directorial debut?

I did not immediately think that this was going to be my directorial debut. I knew that I wanted to be involved straight away when I read the book. It was probably the best writing that I have ever read about a relationship with, not only the ocean, but masculinity and the idea of growing up by the ocean in Australia.

You also played the pivotal role of Sando, an avid surfer, in the film. How challenging was it to act and direct at the same time?

Well, I have acted in and directed episodes of TV shows that I’ve worked in. I was familiar with working in front of the camera and behind the camera at the same time. So, it wasn’t so difficult.

Was it difficult for you to don the director’s hat after being an actor for so many years?No, it was good. It was fun. It was exciting and a nice, natural kind of development. It was particularly something that I cared so much about and felt so much for.

Breath is a story about two teenage boys, Pikelet and Loonie. Was it challenging to direct kids?

It took years to find and cast these boys (Samson Coulter and Ben Spence). They are both very good surfers and really great people. As a director, it was really about trying to create an environment for them so that they felt relaxed and comfortable and being able to be those characters. Once they understood that it was a safe and comfortable environment to work in, they had a good time, I think.

The panoramic shots of the ocean were beautiful. Which part of Australia was the film shot in?

It was all shot in the Great Southern region of western Australian, in Albany and Denmark. Not Denmark the Scandinavian country but Denmark, which is a small town in the south-west of Australia. It’s a beautiful place.

You’re an avid surfer. Which other adventure sports or outdoor activities do you like?

I’m getting old, so I don’t try as many adventure sports! It was a big formation of who I am as a person… my relationship with the ocean and surfing.

Now that you’ve donned the director’s hat, which one do you enjoy doing more — directing or acting?

Acting is fun but I think directing is more stimulating and exciting.

Your new film Here and Now just released. It premiered at the Tribeca film festival. How was the response there?

I wasn’t there but I think it was pretty good because they adore Sarah Jessica Parker in New York. She’s a real staple in New York. That was a fun job to shoot.

You play Sarah Jessica Parker’s ex-husband in the movie. Can you talk a bit about the role?

Yes, I play her ex-husband and I have the custody of our child. It’s little bit of a heartbreaking story.

You shot on the streets of New York City, interacting with real people and real surroundings. What was it like?

It’s good. I like it like that. If you ever shot a film in Calcutta, it’d be good to shoot a film that way… where you almost conceal the camera so that you can just get the environment. I’ve been taking a lot of photographs here because it’s so photogenic. There’s just so much for your eye to pick up everywhere you’re looking.

Does that mean that you may shoot a film in Calcutta sometime?

I would love to shoot something here. That kind of a thing is never out of the question. I love that Calcutta is not too modern. It still feels like it has got its own sort of time and space.

You’ve worked in Hollywood, notably in Devil Wears Prada. For an actor, what’s the main difference between the American and Australian film industry?

The American industry is enormous and fiercely competitive. It’s an industry; it’s largely about making money. The Australian industry is more of a cultural imperative to keep the culture of the country being expressed through the art of cinema and telling stories. I think that’s really important and the evolution of cinematic history is very important. There’s a lot of great young indigenous directors that are telling indigenous stories in Australia that are so exciting and mind-blowing. That would be the new wave in Australian cinema.

We loved your character Patrick Jane in The Mentalist. Will there be a reboot?

I don’t think so. I can’t imagine! No one wants to see an old Patrick Jane.

Apparently, you came up with the costume for Patrick in The Mentalist?

Well, because I just like to engage in the process, I think.

Since you’re so good with it, how would you describe your personal style?

These days? Pretty much whatever is comfortable. That’s what my approach is most of the time. It’s always slightly dishevelled (smiles). I care less and less!

Were there any reference point for playing Patrick Jane?

There were always reference points… that’s just my process of working. The whole idea of the costume and the uniform and all that stuff was based on the American TV series Columbo. There were similarities but things always evolve.

The Mentalist was such a hit. Would you do another TV show if you’re offered one?

I don’t know, maybe. I might do another TV show. I always think about everything. But it’s not a priority for me. I wouldn’t mind doing something that’s maybe like six parts that I direct as well. That’d be fun and challenging. Netflix, Amazon Prime… they are all great platforms. It doesn’t really matter where it is, what matters is what it is.

Which are your favourite Netflix shows?

I’m always on the lookout for something interesting to watch. Most of the time, I watch films. Oh, and I do watch a lot of documentaries!

Nicole Kidman is the godmother to your younger son. You guys are very close friends. How do you look at Nicole as an actress and as a friend?

Oh, she’s very professional as an actress. She’s very committed and devoted to what she does. And as a friend she is very loyal and caring.

Which one is your favourite Nicole Kidman performance?

To Die For by Gus Van Sant in the ’90s.

Which filmmakers inspire you?

I’m very inspired by Martin Scorsese and Phillip Noyce. There are many great Australian directors that have inspired me over the years.

François Truffaut is always a big inspiration for me. Watching his films actually is a major inspiration. I’m a massive fan of Alfred Hitchcock. Oh also, Stanley Kubrick.

Which ones are your favourite Hitchcock films?

I think it’s a tie between Rear Window and North By North West. North By North West is such a spectacle.

Any Indian filmmakers whose work you’ve followed?

Satyajit Ray! His Pather Panchali is a beautiful film, Jalsaghar is an amazing film and Mahanagar was a strong feminist film. For the time, it was pretty amazing. In contemporary Indian cinema, it’s Shekhar Kapur and Mira Nair. But I haven’t watched a lot of Bollywood stuff. I haven’t been exposed to it.

What are the other projects that you are working on?

I have another book that I am working on adapting at the moment in Australia. But I don’t know if that’ll be the next project. There are a couple of other things here and there.

What’s your writing process like?

I like to write long-hand instead of type. I just like to write with a pen. I try to visualise things completely and then come backwards from there. And then it’s just the process of editing. But I try not to limit myself when I first have the idea, so if I write it out poorly that’s okay. Then I just come back and refocus it. I try to stay true to the idea and then try to make the language meet the idea. That’s where my weakness is… in making the language meet the idea.

Which ones are your favourite films of all time?

They are like music, they change. I go through different periods where I really obsess on one filmmaker and I watch all his films. Other times, I’ll obsess on Bob Dylan for six months or obsess on one album for like three weeks. And then I won’t pick it up for four years.

#simon baker #simon2018 #the mentalist #long post

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httplovecraft1890 · 6 years ago

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Tomie Head Canon Extravaganza

"'Don't talk about life or death,' she said. 'I've had enough of both.'" - The Waterboys, “A Girl Called Johnny” (1983)

I haven’t actually seen one of these floating around, and most of this is honestly just kind of fic material, but I figured I’d go ahead and just put up a general mapping of Tomie’s personal history that I recently sat down and came up. While it will be used for my own stories, anyone is free to use aspects of it if they so wish for their own stuff (RP, etc.), and while I understand some might be turned off by ‘explaining the monster’ given Ito’s penchant for not giving his audiences explanations, it was a fun mental exercise.

(Unknown who the original artist is, but I believe they’ve deleted their Tumblr account since making it)

Family History

“Gonna hang myself from my family tree.” - Sparks, “In My Family” (1974)

The Kawakami family’s origins lie in the southern half of Japan in what is modern day Shimane prefecture before they traveled further south to the port of Nagasaki, where for much of their history they remained as a family of fishermen. In 1588, they were among the first to be converted by the Portuguese at their diocese in the region, a faith that Tomie’s father maintained up until his death in 1974. Her mother’s family, the Hashimotos, had historically always been soldiers and could trace her ancestry to samurai in the employ of the Tokugawa shogunate in the city of Sagamihara in Kanagawa prefecture.

Her father, Abraham Kawakami (1937-1974) - Japanese Christians oftentimes adopt Western names or will utilize both a traditional one as well as another and there was no way I was missing out an opportunity to have her dad’s name mean ‘father of many’ - was part of the country’s noveau riche that had sprung up during the post-World War II American occupation that benefited with the abolition of the aristocracy and breaking up of the zaibatsu following their nation’s defeat. The Kawakami family under the enterprise of Abraham’s dad, Peter, changed professions and began a steel plant back in their old homeland of Shimane, based out of Tokyo. With an eager foreign backer ready to help rebuild the islands to prevent the spread of Communism, Peter’s competitiveness and aggressive but fair business practices led his family to wealth virtually overnight. Despite this, Peter always had poor health throughout his life and was really only building an empire so that his son might take over in his stead after he passed on. His mother, Mary (also descended from a line of Japanese Christians), was a homemaker and did not adjust well to being a CEO’s wife, preferring to avoid functions as much as she could

Tomie’s mother, Chouko Hashimoto (1932-present), was one of the most popular actresses - and sex symbols - in the 1950s and 1960s in Japan, starring in everything from TV shows, movies, and even radio programs, getting her start in the 1951-1957 historical soap opera, How Silent Fall the Cherry Blossoms, set during the Meiji Restoration at just 19. Chouko’s, and Tomie’s, good looks are somewhat genetic as her father, Toshiro Hashimoto, was a prestigious pilot for the Imperial Japanese Army Air Service and was known for appearing in news broadcast reels as propaganda for the war due to his clean cut, handsome appearance. He did not live to see the end of the war, however, and his plane was shot down during opening hours of the Battle of Okinawa (April 1, 1945). Though she would always deny it publicly in interviews, her radio body of work was directly inspired by her mother’s, Ai, role as a ‘Tokyo Rose’ during the final days of the war (a term used by Americans to refer to female Japanese broadcasters fluent in English who tried to goad them into deserting the armed services).

Despite Peter’s religiosity, it was something that only came intermittently to Abraham. Scarred by the destruction of Hiroshima and Nagasaki at the war’s end, for a long time he was a lapsed Catholic, and didn’t take going to church particularly seriously - a source of friction between his parents and himself. It also didn’t help that in his father’s waning years before losing his battle with stomach cancer, Abraham took to all sorts of debauchery and heavy drinking, the latter causing his own inner demons to unleash themselves for the rest of his short life.

Chouko and Abraham met at a Christmas party hosted by Kawakami Metals in Tokyo in the winter of 1968 and hit it off. Quickly seeing one another for casual hookups, the situation became much more serious in early 1969 when Chouko found out she was pregnant, and a marriage ceremony was quickly held to save public face for both parties (in Abraham’s case especially important as Peter had died not long into the new year and he had been confirmed by the board of his family’s company as the new CEO). Given Japanese social mores, it was effectively the end of Chouko’s career as she would be expected to retire and raise the baby, as well as any other she and Abraham might have in the future - something that greatly disappointed and angered her.

Tomie was born on October 31, 1969 in Tokyo, Japan (this is a reference to her first appearance in the shoujo magazine Monthly Halloween, as well as being 18 years from that year, a safe bet to assume the first chapter’s story takes place in as there is no mention of DNA testing on her remains - something that became commonplace as part of police procedures roughly at around this time).

Her baptized name is Anna - a diminutive of Hannah, ‘favor’ or ‘grace’ in Hebrew - was a name her dad would refer to as, but something her mother wouldn’t, and was a source of tension between the two of them (given she was not a Christian), something that became more important to Abraham in the wake of his dad’s passing. This is a reference to the movie Tomie: Forbidden Fruit; the bit about her family being Christian is a nod to a throwaway scene from Tomie: Beginning where she quotes the bible, of all things.

Though much more bearable when her father was alive, Chouko’s treatment of Tomie as a child was always one of general detachment and disinterest at best, something that grew into actual abuse once Abraham’s illness, alcoholism, caught up with him in 1974 when after a night of heavy drinking at a party hosted at his family’s home, ended up with him drowning in his own vomit, only to be discovered by a 5-year-old Tomie the following morning.

Despite never marrying again, Chouko mistakenly believed herself set for life as she had taken the Kawakami surname, and the company’s founding documents made provisions for the family to receive a cut of the profits once control had been turned over to the board of directors. Never one to manage money well, despite the stipend she received, she and Tomie eventually found themselves living barely above the poverty line.

Childhood

“Mama's gonna make all your nightmares come true. Mama's gonna put all her fears into you. Mama's gonna keep you right here under her wing. She won't let you fly, but she might let you sing. ” - Pink Floyd, “Mother” (1979)

Unlike the girl that the manga-reading public is familiar with, Tomie growing up was a much different character at first. Despite being photogenic, she had an incredibly shy nature that often meant she would not open up to others easily, something that ultimately evolved into outright being emotionally stunted due to the frequent and varying types of abuse she received at the hands of a mother who hated her, seeing her as the reason her future had collapsed.

With the idea that talking = being hurt seared into her, Tomie’s school life was not much better than being at home. Her beautiful appearance meant that girls were frequently jealous of being shown up by her and her reticent demeanor towards others meant that boys saw her as stuck up or seeing herself above them. With school administrations loathe to address bullying, Tomie was an easy target for her peers to pick on. This only served to further the idea in her mind that human beings are capable only of cruelty and that kindness by others is only as good as how much they believe it will benefit them to act that way.

Reiko Mizutani was Tomie’s first - and only - real friend. They met in middle school in their first year, with Reiko being the first person who ever tried to reach out to her and establish some kind of human connection. Despite many of her initial attempts being rebuffed, Tomie ultimately relented in the hopes she would finally be left alone, but quickly latched onto the other girl when it became apparent that someone, at last, was treating her well. Even if perhaps on some level she believed it was a lie, it was a worthwhile delusion to hold, making her the one exception to Tomie’s rule about mankind. She’s also the only victim of hers that Tomie has ever felt any kind of remorse in eating/absorbing.

Speaking of Reiko, her efforts at getting Tomie to come out of her shell are also the very same thing that set her on her eventual downward spiral. At first simply trying to avoid further harassment, it became readily apparent to Tomie that it was easy to get things out of others by using false promises or at least feeding them enough bread crumbs that they’d be strung along by her for no other reason than they felt she was attractive or they happened to be intimidated by her. The older she became, the worse she got, though she she always did spare Reiko her later attitude when they were in private together.

The positive feedback loop of being awful to others yet simultaneously cowing them never made much of a difference at home. Even if she could put on a brave act while at school, it didn’t matter when facing Chouko’s wrath. Tomie being on the receiving end of physical violence didn’t begin with men, it instead began with her mother hitting her for minor mistakes, using her firsts or the closes object to her. Tomie’s numerous ‘boyfriends’ often remarked that the only thing imperfect about her were bruises or scars.

There was nothing particularly special about her relationship with Yamamoto or Mr. Takagi; she’d cheated on those she’d been in relationships before, but it was the first time that it had ever blown up in Tomie’s face. Despite not caring much for Yamamoto personally, it was Takagi who made the first move, which Tomie did reciprocate (the signature mole underneath her eye vaguely reminded Takagi of a porn star he liked) and being middle-aged meant that his tenure at Tomie’s school gave him a bit of money to throw around for compensated dating.

Manipulative and cruel as she ended up becoming in spite of Reiko’s best efforts, Tomie’s fear that she was pregnant was correct: she was indeed with child and afraid of the consequences, not only from the rest of society, but her mother especially. His later status as a thrall of Tomie’s posing as her father on numerous occasions is meant to reflect his attempted shirking of responsibility.

It fudges with the time frame a bit, but Tomie’s (first) death was on July 13, 1987 occurred exactly one week when they were supposed to go on summer break and the events of the first chapter occurred shortly after class 1-B’s return in August. (This date in particular was chosen as it’s inverse of Junji Ito’s birthday July 31).

Life After Death

“I don't want a cycle of recycled revenge, I don't want to follow Death and all of his friends." - Coldplay, “Death and All His Friends” (2008)

Despite being close to her father growing up, it turns out his conception of the afterlife was wrong - or at least not applicable to her. Tomie ended up in Meido, or the Buddhist version of hell with some Chinese folklore tossed in. After crossing the River Sanzu to proceed onto the afterlife, Tomie’s soul immediately faces problems from the underworld’s bureaucracy. Namely that her life was a complicated one and that’s seriously effecting their judgment on her fate. None of the kings present can decide on what to do with her or what level she should end up on. Her lecherous and selfish behavior is something that would’ve normally damned her... but the circumstances of her death shock them. Betrayed by not only her teacher, but a classroom that almost entirely hated her? It was clearly an unwarranted punishment from mortals, an idea that they balk at. However, what seals Tomie’s fate is that among those who betrayed her is someone whose life is relatively free of any kind of bad karma: Reiko. Unsure of what to do in extenuating circumstances such as this, the kings make their decision.

With no options left, they kick Tomie out of Meido and onto a diferent plane entirely: that of the more traditional Japanese afterlife, Yomi. This, too, is much like the Western conception of purgatory though without any kind of the fire or brimstone seemingly found in the former location. Meido’s judges have determined that the only being who has the right to see Tomie’s fate decided satisfactorily is the primordial goddess Izanami.

Izanami, annoyed that this trivial matter is being brought before her, almost does away with Tomie’s soul entirely but she stops her, mentioning that the two of them are kindred. Since Izanami’s bet with her brother-husband eons ago saw her committed to killing more humans than he could bring into the world, Tomie believes that the only sensible solution is to have someone working in the mortal realm who can help expedite the process of creating strife. After all, the terms and conditions of the bet were vague and there was no specification from either party that the same soul passing on had to be different. With that in mind, as well as having her own deep seated desire to hurt men, Izanami acquiesces.

Tomie lays out her terms: she will be allowed to return to life as an agent of Izanami’s on her own terms. She cannot die permanently though her physical body may be destroyed, will not age unless she wills it, luck must forever fall in her favor, and she can manipulate anyone she chooses. Izanami agrees since to her something like this is trivial and it allows her to get back at Izanagi, but she requires one last thing: proof that Tomie is willing to uphold her end of the bargain. To that end, Tomie offers her the soul of her just formed child as compensation and is allowed to return to earth, setting up the events of the original Tomie.

Abilities and Powers

“I thought that I was in heaven But I was sure surprised. Heaven help me, I didn’t see The devil in your eyes.” - Elvis Presley, “(You’re the) Devil in Disguise” (1963)

Functionally speaking, Tomie’s manipulation of others works like she were an emotional vampire: the other person must be emotionally vulnerable, just like she was when Reiko met her years ago, for her to have an ‘in.’ If at some point you ‘fall in love with her’ or are weak enough to be unable to resist her, there’s nothing you can do to rid yourself of her until it’s too late. This ability is also not based on sexual attraction either. “Orphan Girl” proves that she can manipulate people based on nothing more than platonic affection as well, so straight women or gay men can’t even consider themselves safe.

Tomie prefers to revive herself from her own body rather than absorbing others. There are a few reasons for that, but the foremost one is that it’s simply less taxing on her. The other is that occupying the same body means sharing the same soul as another, and this is the reason why Tomies who are generated in others are far less cooperative than those who come from Tomie Prime (for lack of a better term). Traits from the previous girl’s life often find themselves seeping into this new version of Tomie and it’s something she absolutely despises.

Eating human flesh as a quicker way of healing herself is, obviously, not something she agreed to do, but something Izanami forced her to do as it 1) amused her and 2) didn’t want Tomie getting too arrogant about her newfound powers.

Despite what was mentioned above about Tomie’s preferred regeneration methods, there is a benefit to taking in those who aren’t her. Tomie’s memories function much like a cloud computing system - they’re all accessible by any of the ghost clones and still exist even in the inevitable death of those who’re using them. Similarly, skill sets that Tomie could gain such as being able to speak/read/write English fluently, learning how to be a stewardess, the intimate knowledge of a particular mathematician become hers once her mind mingles with another’s. Once again similarly to a vampire, though, Tomie must manipulate the girl into letting her absorb them into herself (seen arguably in the manga chapter “Hair” and a frequent subject of the Tomie movies). She does this, in true Hollywood movie monster fashion, by keeping all the souls of the girls she’s absorbed over the years (or men who’ve been manipulated by her and died) to further her own abilities’ growth, thus explaining why she seems to get stronger as the series progresses. They are collected in a place her mind can sink into once it’s damaged enough called the ‘In-Between Place,’ a kind of personal fiefdom she has in Yomi itself.

Her effect on men, or women, who become attracted to her is very similar to a heavy sleep, with few being able to recall any details of their experiences while under her sway, but going from relatively normal and functioning within society to raving lunatics hellbent on her murder.

Unlike characters such as Deadpool or Wolverine, Tomie isn’t immune to the pain of being hurt. Getting cut, stabbed, electroctued, drowned, beaten with an object, etc. all still feel just as horrible as they would to a regular human, it’s just that they aren’t permanent obstacles.

Shintoism places a high premium on the phrase “cleanliness is next to godliness.” The worlds of the living and dead are not meant to intertwine and historically even people who so much as touched corpses like butchers, graveyard workers, etc. formed an underclass called burakumin who were treated as the dregs of society (and soft discrimination still continues to this day despite the Meiji reforms abolishing the shogunate’s caste system). Fire being one of the few things that kill Tomie is an extension of this idea, as a common superstition is that corpses that are buried or left to rot above ground can become haunts for evil spirits, but turning someone to ashes prevents that possibility. It’s her one Achilles’ heel due to the paradoxical nature of her origin.

Though Tomie occasionally refers to herself as a ‘demon,’ as I explained early on, this is not accurate: she’s a ghost, albeit a physical one. Calling herself an oni, though, is more of her cheekily referring to the idea that her purpose is, technically speaking, a divine one... just in a very twisted manner as oni are often in depictions of versions of the afterlife among Japan’s main religions of Shintoism and Buddhism acting as tormentors or obstacles to be overcome in some fashion.

Her luck powers are not readily apparent, usually not even to her, and they often simply just ‘happen’ rather than occur by her will. Whether it be from a traveler who just happens to pass by her, surviving something just long enough to spin it in her favor, etc. there’s usually an out for Tomie, especially as her strength grows.

Once she’s powerful enough, Tomie probably could use men to revive herself with - or even those who aren’t ethnically Japanese - but she’s not quite there yet.

Tomie doesn’t like for there to be too many copies of herself at any given time if she can help it. Not only does it put suspicion on her presence in multiple locations at once, it’s something of a mental drain on her to be split into so many different bodies at once.

Similarly, while she hypothetically could leave Japan and go abroad, Tomie doesn’t dare do so out of the fear that at least one version of herself will die for good as her magic might very well be tied to the land itself. But, again, if she were to grow stronger then who knows what she could do...

Miscellaneous

"...Look at me, I'm all the fishes in the sea." - Fiona Apple, “Daredevil” (2012)

If you scrape underneath the surface, there really isn’t much of Tomie from a personality perspective. Even with her immortality, she never really ever developed a personality or interests. In many ways she’s still the terrified little girl cowering underneath her sheets at night, wondering if her mother will find an excuse to hurt her. Her sociopathy is learned, not inherent, but she still lacks genuine interests other than hoarding wealth just the same.

That said, her demand of caviar and foie gras is something of a personal joke for her. They were Chouko’s favorite luxury food items and she would often lament that she could no longer afford them after Abraham’s death. Even after all this time, Tomie is using her powers to spite her mother by obtaining something she knows she can’t have.

Despite the fact she seems virtually fearless on the surface, outside of Chouko, Tomie has developed an intense entomophobia (fear of insects) and helminthophobia (fear of worms) ever since she returned to life. If she’s partially healed like, say, a decapitated head she can still feel something like a cockroach nibbling at her flesh. Despite this, she does feel a spiritual connection so to speak with their hardiness.

The only man she’s ever genuinely loved was her father. She’s less angry at him dying than she is of him leaving her alone with her mother. All others are expendable tools at best to further her own goals.

Her favorite flowers are lilies, owing to Abraham’s childhood nickname for her (also ironic symbolism as white lilies are a common item in funeral arrangements in Japan as symbols of death).

She probably does enjoy sex, but is almost certainly highly selective of which of her thralls gets the ‘honor’ of touching her in that way (though innuendo is likely employed by her to get those who are more hesitant than others to give in to her). Even if she does find her partner agreeable, she probably still puts him down anyway, but playing it off as a kink.

In a break with many other Tomie fans, I don’t particularly think she’s lesbian; I’d personally phrase her sexuality as “doom” more than anything else. Men are her ‘preference,’ if it can be termed that, to stomp their egos into the dirt and ruin their lives, but if employing her usual tricks on women is necessitated in some manner, she wouldn’t hesitate to do so. Any perceived gentleness towards them is more due to having to break down Japan’s traditional sexual mores and get them to lower their guard, however.

She sees herself as personally being above morality, hence why disturbing chapters like “Boy” portray her as being overly physical with someone much younger than herself, while in “Passing Demon” an 8-year-old copy sees no issue with trying to seduce someone much older. That kind of thing is for humans - something she doesn’t believe herself to be anymore.

That said, in the In-Between Place, Tomie has kept Reiko’s spirit ‘alive’ as best she can. Unlike its ‘roommates,’ it’s the closest thing to how she was in life that’s still possible for her in her prison. If there’s anyone other than her father that Tomie can said to have loved, it would probably be Reiko, and she’s the only person Tomie probably romantically had any affection for (not that she would recognize it as such).

The laugh she’s often portrayed as having, a light, airy thing meant to imitate a noblewoman’s speech pattern, is actually something she manufactured. Tomie’s laugh - still possible to coax out of her if you surprise her well enough - is extremely dorky, including snorting and all.

#tomie #junji ito #tomie kawakami #horror #manga #head canon #random notes

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aman798282 · 2 years ago

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Most Photogenic Female Celebrities in November 2022 – Indian TV actresses are beautiful, talented, and popular among the audience with a huge fan base. They take care of their fitness and looks along with the hard work they put in for the audience. Most of these stars maintain their looks and stay fit to look photogenic and appealing.

#Most Photogenic Female #Most Photogenic

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heavyarethecrowns · 7 years ago

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Royals that married in to the Royal Families since 1800

Monaco

Grace Patricia Kelly Born November 12th, 1929 and died September 14th, 1982

Grace Kelly was born in Philadelphia, US, 12 November 1929. Her father, Jack Kelly was a self-made millionaire, and also three times Olympic gold medallist in sculling. Her father Jack made a fortune from ownership of a successful east coast construction company.

Grace had two sisters Margaret (Peggy), Elizabeth and a brother John. John followed in the athletic footsteps of his father competing in the 1948, 1952 and 1956 Olympics. He won a bronze medal in rowing 1956. Despite the sporting prowess of her family, Grace was never really interested in sport being more interested in acting and modelling. Although she did not fit seamlessly into her family, she later expressed gratitude to her parents for their open-mindedness and inspiration to aim for perfection.

Grace attended Ravenhill Academy, a Catholic girl’s school, and later Stevens School in the North West of Philadelphia. They were both socially elite private schools. Grace was not academically gifted and failed to gain admission to Bennington College in 1947 due to failings in Maths

However, after this rejection, she was motivated to try and pursue a career in acting. Her father was initially disappointed, believing acting to be a poor second choice for his daughter. Though ironically, Jack Kelly had two brothers – Walter and George Kelly (Grace’s uncles) who made an impact in cinema and drama. George Kelly won the Pulitzer Prize for drama for his comedy-drama The Show Off (1924-25), however, he became estranged from his family due to his homosexuality.

In 1947, Kelly gained admission to the American Academy of Dramatic Arts in New York (helped through the influence of her uncle George). In October 1947, she began her acting studies, diligently practising in her room at night; she would frequently use a tape recorder to practise her voice. She stayed at a local women’s hostel in Manhattan, and gaining little financial support from her parents, supplemented her income through taking on modelling jobs with the John Robert Powers modelling agency. She had begun part-time modelling since she was 12, and was frequently in demand for her photogenic good looks, poise and blonde hair. She was reported to be one of the highest paid models in New York at the time.

She made her Broadway debut aged 19, in The Father, by Strindberg. Her stage productions attracted the attention of TV producers, who were beginning to branch out in the post-war golden era of TV drama. Delbert Mann chose Kelly to play Bethel Merriday, a drama adaption of a Sinclair Lewis novel. Kelly exposure on TV and the stage led to offers of roles in films. Her first film role was a minor part in Fourteen Hours (1951). The film gained Kelly little critical interest, however, the famous actor Gary Cooper was taken with the young and charming actress, stating that he felt she had something special that other actresses didn’t. With Cooper’s recommendation, she gained her first big role co-starring in High Noon (1952), with Gary Cooper himself.

In 1952, she was given a seven-year contract with Director John Ford. Her first film under Ford was Mogambo (1953), shot under location in Kenya. This won Kelly a Golden Globe Award for Best Supporting Actress and her first Academy nomination. She starred opposite Clark Cable and the success of the film helped cement her growing reputation.

In 1954, she starred in Alfred Hitchcock’s classic Dial M for Murder. Hitchcock and Kelly became close and developed a mutual admiration

Encouraged by Hitchcock’s enthusiasm for the project, she accepted a role in his film Rear Window (1954) with James Stewart. Her role as a rich socialite (Lisa Fremont), slowly warming to L.B. ‘Jeff’ Jefferies (James Stewart) is considered one of her finest roles. The film was a commercial and critical success, becoming one of the highest ranked films of all times. Another landmark film in her career was The Country Girl (1954), where she played the role of a Bing Crosby’s wife. Her performance led to her receiving the Academy Award for Best Actress, narrowly beating Judy Garland. Her prolific run of successful films continued with her last Hitchcock film – To Catch a Thief (1955), starring with Cary Grant, who later paid tribute to the enjoyment of working with Kelly.

In 1955, she met the Prince of Monaco – Prince Rainer III whilst visiting the principality as part of the Cannes Film Festival. Later in December 1955, Prince Rainer visited America and again met with Grace Kelly. After meeting her family and spending just three days with Grace Kelly, he proposed marriage – which Kelly accepted.

The marriage would effectively end Grace Kelly’s film career because marrying into European Royalty, she would undertake many new Royal duties, which precluded being a film star. Kelly had mixed emotions about retiring as an actor. Part of her disliked the Hollywood treadmill, (she had turned down some lucrative film options). She was also critical of many aspects of Hollywood,But, she also had put a lot of time and effort into training to be an actress. Hitchcock, who eyed Kelly as starring in his future films was particularly disappointed as he loved working with Kelly.

The wedding took place on April 19, 1956, and was dubbed the “Wedding of the Century” generating intense media interest and speculation. Kelly’s family had to provide $2 million as a dowry to marry Prince Rainer. The marriage gave Kelly 142 titles (counterparts of her husbands). Titles which were read out in the ceremony. The title most used was Princess Grace of Monaco; she also received the title “‘Her Serene Highness The Princess of Monaco”. The wedding ceremony was attended by many of greatest celebrities of the day and was watched by record viewing figures on TV. 20,000 people lined the streets of Monaco to see the couple. Her final film ‘High Society’ (1956) was released that year – filmed during her engagement. The couple had three children – Caroline, Princess of Hanover; Albert, (current ruler of the Principality of Monaco) and Princess Stephanie.

After her marriage, she founded AMADE Mondiale, a Monaco based non-governmental organisation. UNESCO describes AMADE as promoting the spiritual well-being of children throughout the world. She also was active in promoting the arts institutions of Monaco and founded the Princess Grace Foundation to support local artists. Grace Kelly played an important role in revitalising Monaco as a centre for culture and the arts. Although moving to Monaco was a big upheaval after her life in Hollywood, Kelly grew into her new role.

The Princess Grace foundation also aimed to help those with special needs but who were neglected by ordinary social services. Despite her new Royal duties, film directors tried to tempt Kelly out of retirement. In 1962, Hitchcock tried to get Kelly to play the lead role in his film Marnie. It appears Kelly was keen to resume her acting role but was discouraged by public opinion in Monaco and her husband. She never returned to the screen. On 13 September 1982, Grace Kelly was involved in a serious road accident, after having a stroke whilst driving. Losing control of the car, she crashed down a mountainside. She never recovered consciousness and died the following day. Her daughter Stephanie, who was in the car, was injured but survived. She was buried in the Grimaldi family vault on 18 September 1982. 400 international guests attended the funeral, which included representatives from foreign governments and the Hollywood community.

#princess grace #grace kelly #1800 #monaco

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pallabbose-blog · 3 years ago

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URVASHI‌ ‌RAUTELA‌

FACE 2 FACE- the success story

She is undoubtedly one of the hottest sex symbols in the Indian Glamour industry, whether it’s the big screen, TV Commercials, Advt shoots or the social media. Needless to say, she has millions of followers online.

Yes, I am talking about Urvashi Rautela .

Born in Haridwar on 25 February 1994 to Meera Rautela and Manwar Singh Rautela, her hometown is in Kotdwar, Uttarakhand. She further graduated from Gargi College, University of Delhi.

She has been decorated with several awards like the Zee Cine Awards for the Best Female Debut.

Tete-a-tete with the glamourous star-

Hi. Do share with your fans about your background before everyone came to know you as a Bollywood Diva?

Urvashi- I had been always crazy about modelling and movies since school days. At the age of 15, I got my first major break at Wills lifestyle India Fashion Week featuring top designers and models. I started participating in beauty pageants too.

I also won the title of Miss Teen India 2009. I think Pallab, you were the Anchor and Trainer of this pageant then, I remember (smiles!)

As a teen model, I started doing runway fashion shows regularly all over India, I was the show stopper for Lakme Fashion Week and also walked the ramp at Amazon Fashion Week, Dubai Fashion Week, Bombay Fashion Week etc;.

In 2011, I won Indian Princess 2011, Miss Tourism World 2011, and Miss Asian Supermodel 2011. I also won the title of Miss Tourism Queen Of The Year 2011 that was held in China with participants from 102 countries and became the first Indian woman to win the pageant. In 2012, I won the coveted crown of I AM She — Miss Universe India as well as the special award for Miss Photogenic. However, I had to leave the ‘I AM She’ crown as I was underage at that time.

In 2015, I joined the Indian pageantry again and reclaimed the same title. Thus I became the first and only woman in history to win the Miss Universe India crown twice (giggles). Additionally, I also won the title of Miss Beautiful Smile at the Yamaha Fascino Miss Diva-Miss Universe India 2015. Finally the big moment came when I represented India in the Miss Universe 2015. So from Beauty pageants to Modeling… and then Bollywood movies.(smiles)

Q. Do tell us about your association with the Film industry so far?

Urvashi- I was fortunate to make my debut as the female lead opposite Sunny Deol. After Singh Saab The Great, I appeared in Yo Yo Honey Singh’s international video album Love Dose. Soon after, I joined the South film industry and made my Kannada debut with Mr. Airavata. Then I did two films, Sanam Re and Great Grand Masti as well as two music videos in 2016. The first was Laal Dupatta with Mika Singh and Anupama Raag and the other was Gal Bann Gayi along with Vidyut Jammwal.

Then I featured in a special dance number Haseeno Ka Deewana in Kaabil. Then finally my biggest hit came in 2018, in the revenge drama Hate Story 4. My latest being Anees Bazmee’s comedy film Pagalpanti.

Q. Who is your dream Director whom you would like to work with?

Urvashi- Sanjay Leela Bhansali anyday…He showcases his actresses beautifully.

Q. What is your biggest strength?

Urvashi- Just be humble, and being myself. Yeah, just being myself…no matter what they say.

Q. Tell us about your acting process, How do you prepare for a role in general?

Urvashi- One has to work hard, on your role, the script and understanding what the Director wants. I normally do one film at a time, so that i can concentrate and do justice to my role.

Your biggest inspiration?

Urvashi- My mom for sure. She has always been my strength right from the word Go. Whatever I could achieve so far, has been due to her constant support. Thanks Mom.

What are the five things you surely carry when you move out of your house?

Urvashi — Hmm. I love perfumes..so 2–3 perfume bottles for sure- Dior, Harrara etc.My mobile phone, lipstick as per colour of the day, my credit cards (laughs) and of course some of my favourite earrings, I love carrying them around..

What are your favourite films?

Urvashi- My films (giggles) Honestly speaking, I like all kind of films.

What’s your favourite colour?

Urvashi- RED and PINK. All feminine yet hot colours. (laughs).

What is your style statement?

Urvashi- Very glamourous and colourful. I think the new Indian woman is all about colours that can show off her sexuality and freedom.

What irritates you the most?

Urvashi- Hypocricy and liers. I just hate them.

When did you sign your first autograph?

Urvashi- I don’t really remember. Hmm. Lemme think. Well, it was around the time I won the Miss India Universe Pageant I AM SHE. Yeah, around that time…

What is the strangest Autograph request you have ever had?

Urvashi- (Laughs!) oh! yesss. I remember.. this was a few years ago at an event in Jaipur. When this crazy guy comes up to me and insists me to sign on his cheek. Intially I said No. But when I saw him following us, and insisting for his dream come true. I obliged. He said he will never wash that part of his cheek for years. Gosh !

Any special message to your fans?

Urvashi- Be yourself, no matter what others say, is my motto. And best wishes to all Autograph collectors for your interesting hobby.

Thank you !!!

visit www.ifdainternational.com now

#ifda #nagpur

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digitpakistani123 · 3 years ago

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Aamina Sheikh

Aamina Sheik is one of the most generously compensated entertainer, a model of Pakistan. She is likewise well known universally as representative of "L'Oreal" which is a renowned French corrective brand, sold around the world. She was brought into the world in New York City, USA. her dad was a drug specialist and has their own material business. She got her initial training from Mama Parsi School, Karachi and afterward from American International School, Riyadh, Saudi Arabia. A short time later, she again returned to Karachi and got her O' level and A' level from O and A levels from St Joseph's Convent School, Karachi and The Lyceum, Sri Lanka. Presently she check out film creation and concentrated in movie form video creation from Hampshire College, Amherst, Massachusetts, USA.

Profession Journey

She was begun her profession as an aide at a multi-media organization, Curious Pictures. Nonetheless, her showbiz vocation began as a design model in the Pakistani showbiz industry. In any case, she procures global prominence after her work as representative of L'Oreal. She likewise made her acting presentation as a main entertainer in a telefilm named a "Baarish Mein Deewar" in 2008 interestingly. This was the socio-political comic telefilm, featuring with Mohib Mirza. After the ubiquity in the "Baarish Mein Deewar, around the same time, she likewise depicted in "Aasmaan Chu La". In this film, she assumes the part of a cart driver who brought in cash to help her family. This film was delivered by Syed Ali Reza.

Following the years, Amina likewise showed up in one more heartfelt dramatization "Daam" featured with Sanam Bloch and Adeel Hussain in 2010, circulated on the ARY Digital. This show telefilm recounts an account of two dearest companions of an alternate class. Amina assumed the part of a young lady who had a place with the high society family while Sanam Baloch had a place with a lower-class family. After that Amina depicted consecutive in numerous heartfelt shows of TV. She likewise showed up in the honor winning change dramatization sequential of a similar name, "Armaan" featured with Fawad Khan in 2013. This dramatization recounts an account of an oppressed young lady, Zarnaab who lived with her stepmother and stepsister.

She later wide perceived to assume the main parts in numerous dramatization serials, including:

1. 2008 Wilco Megha PTV Home

2. Qisson Ki Chadar

3. Mera Naam Hai Muhabbat

4. Boltay Afsanay Razia

5. 2009 Dil-e-Nadan

6. Agar Tum Na Hotay

7. Qisson Ki Chadar

8. 2010 Haal-e-Dil

9. Daam Maliha

10. Saleena Bushra ATV

11. Tere Liye Simran ARY Digital

12. Ishq Gumshuda Neha Hum TV

13. Murmur Tum

14. Uraan

15. Mera Saaein

16. Principle Abdul Qadir Hoon

17. 2011 Maat

18. Umm-e-Kulsoom

19. Kuch Kami Si Hai

20. Mora Piya

21. Ek Hatheli Pe Hina Ek Hatheli Pe Lahoo

22. 2012 Mera Saaein 2

23. 2013 Mirat Ul Uroos

24. Silvatein

25. Kitni Girhain Baaki Hain

26. Kuch Is Tarah

27. 2014-2015 Jackson Heights

28. 2016 Pakeezah

29. 2017-Present Khudgarz

30. 2018–Present Nibah

Aamina Shaikh telefilm:

1. 2007 Gurmuch Singh ki Waseeyat

2. 2008 Baarish Mein Deewar

3. Waapsi

4. 2009 Bibi Jee

5. Aik Jaise Khuwab

6. Yeh Bakra Nahi Chalega

7. 2010 Mera Mian Bolay Maen

8. 2011 Bhaag Aamina Bhaag

9. 2014 Kanebaaz

10. 2011 Arrange Shadi Ki Love Story

Furthermore, she additionally made her presentation on a big screen. She acted in the social film named "Seedlings" in 2012 which was a film industry hit film. This film is about the tale of a glad couple who unintentionally leaves from one another and their life is changed until the end of time.

In the following year, she featured in the Pakistani thrill ride secret film "Josh: Independence Through Unity", with Mohib Mirza and Khalid Malik. Aamina Shaikh acting the job of a teacher what nanny's identity is mysteriously vanished. She got an honor and business accomplishment after this film. Sheik was generally adulated for her part in another film "Activity 21" with Shaan Shahid. It is the main government operative activity thrill ride film of Pakistan and Aamina won the honor likewise for this film in 2015. The film spins around an activity of 21 hours to save the two nations (Afghanistan and Pakistan) from disturbance.

She has accomplished print work for different popular publicizing organizations, like Deepak Perwani, Amir Adnan, Nomi Ansari, Niche Lifestyle, Khaadi, Teejays, The Men's Store, Fahad Hussayn, Hang Ten, Maheen Khan, Umbereen Sharmeen, Chinyere, Crossroads and Limited Edition. She has likewise worked with the most famous Bollywood Pakistani artist Atif Aslam in the photoshoot for Niche Lifestyle. Sheik has additionally debut runaway in a manner show with Rehana Saigol in 2014. She gets an opportunity to join the Pakistani Academy Selection Committee in 2015.

Accomplishments

The Super Model has gotten four Lux Style Awards from 9 selections and numerous public and worldwide honors. Lux Style Award for Best Model was won without anyone else in light of the fact that she is considered as one of the top models of Pakistan. Sheik was additionally granted on the first Veet Celebration of Beauty Awards and she got the Miss Photogenic Award. She additionally won the Lux Style Award for the best dress female twice in his life.

She has additionally gotten the Lux Style Award for Best Emerging Talent because of her super hit execution in the Geo TV show series "Dil e Nadan" in 2009, Tarang Housefull Award for the best on-screen couple with Fawad Alam for "Armaan" in 2013 and Galaxy Lollywood Award for best supporting entertainer in "Activity 21".

Because of her film industry hit film debut in "Seedlings" she has won a public and two worldwide honors, including the Lux Style Award for Best Film Actress, New York Film Festival Award for best execution by an entertainer and SAARC Film Festival Award for best entertainer in a main job.

Shaikh has likewise gotten two honors and one designation for the best entertainer for the value applauding acting in the film "Josh: Independence Through Unity" in 2013 and 2014. One is the Silent River Film Festival, one more was Pakistan Media Award and selections at the Lux Style Awards.

#aamina sheikh

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bringinbackpod · 4 years ago

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Interview with Sevana

We had the pleasure of interviewing Sevana over Zoom video!

Born Anna-Sharé Blake in Jamaica’s parish of Westmoreland, Sevana coined her name after Savannah-La-Mar, the picturesque coastal town where she grew up. Her musical awakening began at eight years old over a hearty Sunday morning breakfast, when she broke out in an impromptu rendition of Celine Dion’s “A New Day” for her family. She has come a long way since this epiphany at such an early age to now fulfilling her passions to the fullest.

The 28-year-old singer, who is also an actress and model, is a quintessential triple threat of talent. Her burgeoning abilities are now backed by reggae star Protoje’s management and label company In.Digg.Nation Collective. Sevana recently signed with Six Course/RCA Records as part of In.Digg.Nation’s partnership to release her major label debut. Hailing from Jamaica gives any artist a certain legitimacy, but it also brings certain expectations — ones which Sevana lives up to and exceeds. While reflecting the island’s musical sensibilities in some ways, her vocals are strongly influenced by modern R&B, evoking such soul queens as Beyoncé, Jazmine Sullivan and Adele.

Although Sevana got her musical break in 2008 with the girl group SLR, placing third place on Digicel Rising Stars (Jamaica’s equivalent of American Idol), it was not until years later that her career came into focus. In 2014, she impacted the chorus of “Sudden Flight” from Protoje’s album Ancient Future. She made regular live appearances alongside Protoje and his band Indiggnation. Instantly comfortable, confident and engaging in live performances, she flourished on stage. In July 2015, she joined the Ancient Future Tour across Europe where she got her first taste of life on the road.

Her 2016 self-titled EP was a six-song project that shared honest stories from her childhood, feelings of love and thoughts of letting go. Sevana’s first European solo tour followed. Two years later the singer delivered her infectious anthem “Sometime Love.” The single received heavy rotation in Jamaica and the U.K. (featured as BBC 1Xtra’s Mista Jam’s “Jam Hot” Record of the Week). Sevana has also recorded live sessions for BBC in Jamaica with David Rodigan. In Summer 2019, she dropped her upbeat dancehall-flavored jam “Nobody Man” (released via Easy Star Records/In.Digg.Nation Collective), which showcased her “stunning vocal range” (COMPLEX). Later in the fall, she joined a cast of Jamaica’s leading singers – including Jaz Elise, Lila Iké, and Naomi Cowan – on the all-female riddim compilation Rock & Groove. Sevana’s contribution “Haul and Pull” was selected as the Coldest Record for BBC Radio 1 with Toddla T.

Over the past year, Sevana landed festival performances at Boomtown (UK), Reggae Geel (Germany) and Rototom Sunsplash (Spain), Sole DXB (Dubai) and joined Protoje on some of his major shows, including BRIC’s Celebrate Brooklyn! NYC concert and Jamaica’s largest annual music festival Reggae Sumfest. Sevana has earned notoriety by The FADER, NYLON, COMPLEX, VICE/Noisey, BBC (1Xtra), LargeUp and graced the cover of RIDDIM Magazine's SPRING 2019 issue. In addition to her singing career, she played the starring role in the groundbreaking Jamaican web series, Losing Patience, which aired on the country’s most popular TV network TVJ. Her photogenic, naturally radiant look has made her a favorite of photographers and fashion labels. Most recently, she was included in PUMA Middle East’s 2020 campaign along with labelmate Lila Iké.

Be Somebody, Sevana’s 2020 EP is the next chapter in her song book. This latest release consists of all-new tracks that peel off Sevana’s layers in a metamorphosis of self, reflecting on personal growth, love and relationships.

The EP’s title track “Be Somebody” sets an aspirational tone of Sevana becoming an individual and reaching one’s full potential despite overwhelming feelings of doubt amidst the pressures of the world. “Let me be greater than this,” Sevana wails with intensity. One of the album’s crown jewels is “Set Me On Fire,” produced by Protoje, J.L.L. and Paris Lamont Dennis II. It is a tale of revenge in a relationship where she turns her tragedy into triumph. On the more flirtatious track “Mango” produced by J.L.L., Sevana has space to flow in her sultry Jamaican accent over a minimal backdrop of airy synths and tickling guitar notes. Sevana’s benediction of how far her love and loyalty would travel on the EP’s first single “If You Only Knew” is even more contagious sung in her falsetto. Kelsey Gonzalez, producer and guitarist for Anderson .Paak’s Free Nationals band is at the helm of this track.

Sevana’s Be Somebody EP captures her quest to self discovery, complimented with minimally eloquent stripped-down production that gives room for her soaring vocals and emotive lyrics to take center stage.

“For the EP, I wanted to add songs that covered various thoughts and my beliefs. I took the bars off my mind. I did not want to compromise sonically, so I just wrote, in an honest way, honoring the melodies as they came out of me. I wanted to take the listener on a meaningful journey and I think I did that,” Sevana says about her latest body of work.

We want to hear from you! Please email [email protected].

www.BringinitBackwards.com

#podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork

source https://bringin-it-backwards.simplecast.com/episodes/interview-with-sevana-yK0Qv1C0

#podcast #interview #bringinbackpod #music #aspn #americansongwriter #americansongwriterpodcastnetwor

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