#Next Biopic Film | Explore Tumblr posts and blogs

jtl-fics · 1 year ago

Text

Fluent Freshman - Part 40

The Winter Banquet.

Where the Spring Championship announcements happen for Collegiate Exy. A formal event meant to allow the ERC to showcase how their stars weren’t just brutes on the court. Look at how beautiful and handsome they all were. Look at how they danced together. Look at the smiles and laughter and-

Wait.

No.

Put that down.

Who had the great idea to put the Jackals next to the Terrapins? Things have been tense between the teams since the Captain of the Terrapins stole the Captain of the Jackal’s date during the Fall Banquet!

I thought we all agreed that there would never be any more steak knives! What was the point of paying for all the pre-cut tenderloins if we’re just going to give them steak knives?!

Really gotta find an intern to pin this fiasco on.

Oh great the Foxes are leaving! Did we even get a picture of Kevin Day in his suit? Fuck it’s going to be a two intern firing kind of day isn’t it.

Someone get an eye on the Ravens before they try and grab some hapless idiot and sacrifice him to revive Riko Moriyama. If there’s even one more damn tabloid with a blurry photo of ‘Riko Moriyama’ to prove that his death was faked then heads will roll.

Honestly, the biopic that some Edgar Allan Film student is making about him seems pretty interesting. The ERC just wishes people would stop taking pics of the ‘lead actor’ and sending it to tabloids as proof that the King hadn’t died.

Fuck, the Foxes left before we got any decent pictures.

Well just great.

You’d think that after all these years of the Foxes leaving early they’d have learned that getting pictures as they arrive is the most important thing.

Oh thank god it looks like the Trojans are starting to mediate the fight. You can always count on good ol’ Jeremy.

Fuck.

A Raven got too close to Jean Moreau and now Jeremy Knox has punched a Backliner. Great. The Trojans have formed ranks around Moreau but the kid’s just too damn tall. Someone has hit him in the head with an especially saucy meatball, he’s not injured, just confused. The Trojans are acting like it’s a gunshot he just took to the head.

The refreshment table just seemed to collapse in on itself and god wasn’t that just an allegory for this entire damn evening.

Anita Flores sighs as she watches yet another banquet go down in a riot. Honestly, she doesn’t know why they think these will end up differently. She finds herself often missing when she used to coordinate banquets for football teams.

She sighs and thinks about her least favorite interns.

Alex had been getting a bit too cocky lately. He’d make a good sacrifice.

***

(Three hours earlier)

The Palmetto State Foxes were on their way to the Winter Banquet. From what FF understood it was categorically always a 90% chance of a shitshow. Honestly FF was surprised that the percentage was that low.

There was a general tenseness in the air surrounding it that went beyond the Banquet’s propensity to become a fight.

This year the Winter Banquet was going to be held up at the Binghamton Bearcat’s stadium. The nation knew the story from the news and FF knew the story from both that and from the Foxes themselves who were there at the time in bits and pieces.

Captain Neil had been kidnapped from this stadium and then he’d been tortured. FF hadn’t even been on the team when it had happened and he was anxious about Captain Neil going anywhere near the stadium.

“He was just…he was just gone.” Matt had said, “Neil was gone and Kevin said that he was probably dead when Andrew got back with his phone.” He continued as the two of them sat up late in the living room of the dorm one night back in early October.

“I thought Andrew was going to kill me y’know.” Kevin had said bottle in hand as FF tried to help him up the stairs because apparently he would 100% guarantee vomit if he was in the nausea box. “I thought that maybe I deserved it, since I didn’t help Neil. I just let him walk to his death.” He said and despite assurances that he wouldn’t puke FF’s shoes did not make it through that journey unscathed.

“We called…we called everywhere.” Nicky had stared up at the ceiling of his hospital room, “Andrew was adamant that he was still alive even though Kevin kept saying he was dead and that dead was the nicest thing he could hope for. I thought that was a terrible thing to say.” Nicky curled up closer to him.

“I told you, Andrew dragged me like I was nothing to get to Neil. I don’t think he even noticed the guns.” Wymack said to Abby as the two sat on the back porch during Aras’ going away party. “His eyes were on Neil.” he gestures towards where Andrew was watching Captain Neil wrestle with Matt.

“He looked like shit.” Aaron had said unable to stomach a diagram of different degrees of burn in his medical book. “At least he was alive.” He adds.

“A hero.” Andrew’s voice had been what could be considered teasing from Andrew, “Someone who looks like her.” he had said touching Captain Neil’s burn scars as they drove away from the stadium after coming back to pick FF up.

Captain Neil had come to him the day before they were set to drive out, “Take me somewhere no one will find me for an hour.” FF hadn’t quite understood what Captain Neil meant, he never hid anywhere. People just failed to realize where he was.

“Ok.” he says instead of trying to explain because being unnoticed means no one hid codes from him.

The roof of the Library wasn’t that much different from the roof of the Tower, only that it was taller and bigger. Captain Neil had shut his phone off after texting something, likely to Andrew, and then put it into his pocket.

FF settled on the roof, sat with his back against a heating vent to stay warm. Captain Neil settled next to him and they sat in silence. It felt like back at the start of this where Captain Neil and Andrew would come find him and just sit in silence.

It was nice. He had missed-

“They act like the stadium is the thing that kidnapped me.” Captain Neil says.

Oh okay, quiet time is over apparently.

FF doesn’t say anything, figuring that nothing he could say right now would be the right thing and maybe Captain Neil just needs to talk through some stuff.

“That stadium is where I thought I’d have my last good memory.” Captain Neil explains, “I’m not scared of it and yet Andrew’s acting like I’ll die if I’m left alone for more than 2 seconds while we’re there. Every time we go there they all act like the most important thing in the world is that I get on that bus at the end of the night.” Captain Neil explains.

FF does remember how Andrew had grabbed Captain Neil after their October game up in Binghamton. How Captain Neil had complained bitterly but had gone after looking at Andrew.

“He’s dead!” Captain Neil exclaimed and FF couldn’t help but look over at the entrance and hoped no one heard them. “He’s dead! I watched him get shot! He can’t kidnap me again!” Captain Neil continued to yell and FF couldn’t help but worry that they’d be heard below, or worse bother a student trying to study below.

FF reached out and touched Captain Neil’s arm and bright blue eyes turned to him, “We’re on a library. Don’t yell.” FF said and Captain Neil looked at him incredulously.

Then he laughed. He laughed and laughed and FF was worried that he’d gone and broken his Captain.

He suddenly felt bad about his own bout of hysterical laughter a while back.

“Thanks Smith.” Captain Neil had said with a smile.

They had sat up there until it was dark and Andrew had started calling FF’s phone and Captain Neil took the call to say he was coming back.

Now they’re on the bus, dressed nicely, and on their way up to Binghamton’s stadium. Captain Neil and Andrew are hidden in the far back of the bus with Andrew looking far more like a watchdog than anything else the closer they got to their destination.

Captain Neil had seemed largely resigned to this treatment at this point. Eventually they were at the stadium and shown to their seats. They were sat across from the Trojans and it seemed like the rest of the team was quite pleased with that.

“Smith!” Captain Jeremy Knox is smiling at him, “Nice to see you again bud, nice name change too.” he says.

“It’s nice to see you too, Captain Jeremy.” FF says and doesn’t notice how Captain Neil’s head whips around to look at him.

“You two know each other?” Nicky asks looking between the two of them with excitement.

“Of course! We offered Smith a spot at the USC Trojans.” Captain Jeremy says and FF feels his stomach cramp at the memory.

That had been terrifying.

Coach Rheman and Captain Jeremy wanted to sit down to make their offer with his parents. He was still 17 and unable to sign anything legal without their permission. He’d tried to decline and move past them and Captain Jeremy had put the final nail in the coffin at the time for any thought that he could go to college on the power of his apparent Exy capabilities.

“I saw in your file that you have brothers! USC always gives a second look at student applicants who already have siblings in the university. You could go to school with your brothers!” he had smiled brightly like he wasn’t issuing FF one of the most terrifying threats he’d ever heard in his entire life.

He had given the firmest ‘No thank you, I’m not interested in playing Exy in college.’ he could and was running to his Grandma’s to breath into a bag for twenty minutes.

“I see you changed your mind about playing Exy in college.” Captain Jeremy said with the same smile that still feels like a threat.

“Coach Wymack and Captain Dan were convincing.” he says and looks to see if there’s any way he can move further away from Captain Jeremy’s attention.

“Can I ask what convinced you to be a Fox?” Captain Jeremy asks, “I’m always trying to see what support we should be offering. I found out last year that we missed out on Andrew because we didn’t offer spots to Aaron or Nicky. I thought since you had brothers that’d be the thing that got you.” Captain Jeremy leans across the table but stops when he notices the Foxes all tense. “Whoa, what’s up?” he asks.

Jean Moreau sighs from next to Captain Jeremy, “Not everyone wants to go to college with their family, Jeremy.” Jean says, “Did it not cross your mind that he changed his entire name?” he asks with a raised brow.

Jeremy blinks, “Oh,” he looks at FF, “I guess that wasn’t the right thing to offer.” he says leaning back in his chair.

“I guess I should thank you for offering that?” Nicky says wryly before turning to look at FF, “You look better in orange anyways.” he says.

“Thank you Nicky.” FF returns loyally.

The banquet gets started shortly afterwards. Food is served. The bar is opened. People are talking. FF finds himself relaxing the longer the conversations around him go on. Matt is talking with a backliner on the Trojan line named Todd in good cheer. Captain Neil, Kevin, and Jean are all talking about the latest updates with Ichirou in French with the occasional gesture towards FF. Jean Moreau looks at him with a raised eyebrow but gives him a single nod when Captain Neil explains what happened.

Jeremy is chatting with Jack and even Jack was finding it hard to maintain his usual level of rudeness in the face of such unbridled positive energy. Nicky was talking with Katelyn and Alvarez. Aaron was chatting with a fellow med student college athlete who was an offensive dealer.

It was shaping up to be a good night.

MASTERPOST FOR ALL PARTS OF FLUENT FRESHMAN AU

#Fluent Freshman AU #Jeremy Knox essentially threatening FF on accident #With a huge smile #Fucking kills me #Winter Banquet getting into full swing #Ya'll know where it's heading but not all the parts that happen #Foxes are on high alert #No one likes Neil being in Binghamton #There was definitely an all-hands meeting about how Neil is not allowed to go anywhere alone #That if a security guard approaches Neil you treat that security guard like an active threat #Nicky just thinks it's Andrew wanting an excuse to hold his BF's hand all night #Andrew: “Smith you're on covert operations. Keep an eye out for threats.”#FF: “Aye aye Captain.”#Neil: “OH SO NOW HE'S A CAPTAIN TOO? WHAT'S NEXT?!”#Neil is butt hurt about the whole “Captain Jeremy” thing #He could accept it for Dan #But JEREMY?#Neil's gonna need a lot of TLC to get over this betrayal TBFH #In adult news #My closing is next week Friday!#Wooo #I really speedran the whole owning property thing #Thank you bullshit luck #AFTG #AFTG AU #AFTG OC #Andreil #Wow 40 parts on this thing #Still wild #Thanks for joining me on this ride

235 notes · View notes

aphroditeslover11 · 1 year ago

Note

Hi what do you think about a Neil Lewis with a actress reader? Like they met before and he has already a crush on her and then he watch movie and see her ?

Another tought (not q request just something in my head) so I'm from Göttingen, an we have here q tradition if someone has his PhD they have to kiss the Statue of the goose Maid ( "Gänseliesel") he is not common with this tradition and so when reader ask him when he is planning do the kiss he assumed she wanna that he kiss her

I hope this is something along the lines of what you were thinking of. I’m not at my best at the moment so I’m sorry if there are any glaring errors. I hadn’t written for Neil before, but he’s actually very fun! Thanks for your request. Also, that is a fabulous tradition, it might get slotted into one of my other Oppie requests, I’m not sure yet though as it’s in the idea phase at the moment.

A Surprise Encounter

A/N: the classic films mentioned are all free on BBC iPlayer, go and give them a watch! I also have no idea where the store is, so I made it up.

Neil was absolutely beside himself when the invite arrived in the post. A new film that he couldn’t wait to see was premiering soon, it was low budget but contained a few big names who had decided that they wanted to promote the more independent side of the industry. He had been asked to attend an event aiming to promote smaller video shops like his rather than the huge, commercial ones that were taking over. When he read that you and the director alone were going to be on the panel he felt like he had never been luckier, finally a chance to meet his favourite actress in the flesh. Although he did admire your talents, he’d be lying if he didn’t admit that he also found you wildly attractive.

The next few weeks were spent planning everything. He rewatched a few of your films so that he could ask some decent questions of you at the press event and reading every article that he could on the making of your new one, a biopic of Julie d’Aubigny. He went out and bought a new suit for the occasion, had his hair cut. As far as he was concerned, there were going to be no disasters, not when he was going to meet one of his idols.

The day of the event had finally come. All of the invitees, including Neil, had been piled into an auditorium where they had been given an early viewing of the film, then being moved into a press room with rows of chairs set out in front of a platform. He was happy with his seat, about half way back in the crowd, not too conspicuous but with a good view of the stage. The previous hubbub died down as soon as the panel made their way up, the director taking his place, yet Neil’s eyes were fixed on you. Your hair was down and curly, framing your face, and that smile that everyone always talked about. You were wearing black heels a red dress that dipped down just enough to give a small view of your cleavage. He was transfixed.

Questions started being asked, the general types of how you had enjoyed working with the rest of the cast and what you had taken away from playing your character, some conversations were had about wanting to make sure that the smaller side of the film and cinema industry wasn’t dwarfed in the future. For some reason, all of the eyes in the room suddenly focused on Neil, it was only then that he realised that he had drifted off, his arm leaned on the armrest of his chair in such a way that you had thought he was asking a question.

“Uh, the gentleman in the blue suit there, do you have a question?” The sentence was coming from you, quickly drawing him out of his reverie.

“Um.. yes,” he never was much good at thinking on his feet. “I know that you’re promoting this film today, but do you feel as if classic cinema has been forgotten. My shop specialises in older, more hard to find movies and… well, yeah,” he trailed off. He was like a deer in the headlights, speaking as if he was full of terror. A few people around him were scoffing and hiding their laughter. Great, he had embarrassed himself in front of you.

“Actually, I do think that we’ve forgotten about classic cinema. Not only the thrillers and comedies, but for me the least talked about are the romance films. I grew up on Astaire and Rogers musicals, I know some people don’t like them and find them a bit politically incorrect know, but they still have a special place in my heart. If you think about their influence on modern cinema, we wouldn’t have ‘Sleepless In Seattle’ if it hadn’t been for a 1939 film ‘Love Affair”. What was your name?” Why the hell did you want to know who he was?

“Neil Lewis.”

“And where’s your shop?”

“California, its called Gumshoe Video.”

“I’ll pop in next time I’m in town, maybe you could give me some recommendations.” And that was the end of that conversation.

About three weeks later everything had returned to normal. Neil was back to running the store and the gang were still practically living there. It was a completely normal day when Lucien, who had been manning the counter, came around to the back to find him.

“Neil, you might want to come inside, there’s a customer asking for you.”

“Can’t you handle it?” He just wanted a bit of time to himself, making is response more huffy than he had intended.

“Trust me, you want to come and see this.”

He followed Lucien back into the shop, only to be caught in shock as he saw you standing there in front of him, dressed a lot more casually than the last time he saw you, but still with your hair down in its beautiful curls. He never thought that you would actually make true on what you had said, but here you were.

“Is there anything that I can help you with Miss y/l/n?” “I came by to see if you had any suggestions for me, you know, classic films like you said you specialised in.” You actually seemed a bit nervous, though he had no idea why. “And please, call me y/n.”

“Right, y/n,” it just felt so right when he said it. “What kind of thing are you looking for, any genres in mind?”

“I always love a romance movie, the press don’t know yet but I left my boyfriend last month after he cheated on me. I’m down here to get away from it all, so a romance to take my mind off everything would be good, yeah.” He could see the sadness behind your eyes as you explained.

“He must have been an idiot then,” he said, immediately regretting it and walking past the stunned Lucien towards the romance section, beckoning for you to follow.

“So, you said that you liked Astaire and Rogers, but have you ever seen ‘The Sky’s The Limit’?”

“I don’t think I have, no.” He reached out for the dvd, showing you the front of the case.

“It’s Fred Astaire and Joan Leslie, came out in 1943. A musical about a fighter pilot who falls in love with a girl who wants to make it as a journalist, sounds like the sort of thing you might be looking for.”

“I think I’ll take that then, sounds perfect.” Something lit up inside him, you were smiling and it was because of something that he had done.

“Right, I’ll go and sort out a membership card so that you can rent it then, do you have any ID on you. Driver’s licence or something?” You followed him over to the till, rooting around in your bag to find what he had asked for. He busied himself, quickly handing over the card and the movie.

“What do I owe you?” you asked, reaching for your purse.

“Nothing, it’s on the house.”

“Are you sure, because…”

“Yeah, in return for having me at that panel a few weeks back. It was amazing.” “Well, in that case can I pay you back in another way?”

“What do you mean?”

“Maybe we could watch the film together?”

“That sounds like a fair means of payment, I think I’ll accept.” You slipped him your number, telling him to call when he was free before walking out of the store, Neil wondering what the fuck had just happened.

#cillian murphy #cillian murphy x reader #tommy shelby #peaky blinders #neil lewis x reader #neil lewis #watching the detectives #fanfic #requests #classic films

130 notes · View notes

skitskatdacat63 · 4 months ago

Note

pls complain as much as you want about the eff won movie, i agree with all your tags and i'm sure you have more to say 👀

Hello here I am, ready to complain!!! I did in fact have more to say so thank you for asking

*Sorry Grace if you read this and I accidentally stole any of your talking points lol

ALSO DISCLAIMER: If you disagree with me, please do not fucking bug me about, I do not care, let me be a massive bitter hater in peace, thanks

I. Disinterest

First of all, who asked for this? To me the appeal of F1 is how exclusive and confined it is. There are only 10 teams and 20 drivers you have to learn about which makes it very easy to become super invested. If you want to step outside that, you can learn more about the lower formulas or past seasons(there’s many of them!!!!) So why would I, someone extremely invested in the people and narrative already taking place, even remotely care about some made up drivers? Especially since they’re not JUST made up drivers, they’re made up drivers in the background of REAL drivers. I am highly invested in the results of current F1, so why would I want to watch a movie where those results and drivers are in the background. I’d rather just watch DTS, which is a crazy statement within itself.

I’ve actually thought a lot about how one could mesh real and fake within a sport like F1. Cause I daydream about my OCs in F1 haha, but then start thinking too hard about the logistics of it all. I came to the conclusion that putting fake F1 drivers into the real story is just not a great idea. Because you’re disrupting the actual results and inserting yourself into them, and also as I said, putting real life people in the background out of self interest. It just complicates things so much to add outside elements to such an insulated sport. If this movie had made up a completely fake grid, I’d honestly be all for it and probably would be pretty interested. Like, wow, give me a whole franchise of this!!! Give me a movie about every fake team!!! Get me invested!! But at the end of the day, I’m always going to care about the real life drivers more

In other racing movies, that are biopics, there is a focus of maybe one or two drivers. And those other drivers that were in the grid at the same time become background characters. BUT it’s in service of a real life story with real life people many may already be emotionally invested in. They’re not just turning the rest of the drivers into background characters in order to prop up their own fake F1 drivers, but rather just putting the focus on a story that deserves to be told. There’s so many stories that deserve to be told in F1, literal decades of stories. Why are they putting so much money and effort in service of a story that no one knows or cares about.

Also I can already tell this movie is gonna be like…60% action, 40% plot. Again, if I wanted any of those things, I’d watch actual F1. It feels like a male power fantasy for men who wish they could try driving F1 cars.

II. Invasive

I really dislike how involved it is with F1. You know, F1, something that is people’s legitimate job? It’s already a very flashy sport with so much publicity around it, why do you have to unnecessarily add to that? Their cars being on the actual grid, the fake drivers being in the media pen. I just find the whole idea of them inserting themselves into modern F1 to be so weird.

All those clips of Brad Pitt alongside the actual drivers genuinely make my skin crawl, it’s soooooooo fucking weird. Like that one clip of him standing alongside them for the anthem. Imagine you work your whole life and put so much blood, sweat, and tears into getting into F1, and then this rich asshole is allowed to roleplay next to you. There’s already enough pressure with the netflix cameras around all the time. And now they’re forced to be in a movie as well. Maybe I’m self centered but I’d be so annoyed if they were making a film about my sport and then I find out I’m only there to be a background character in a story about made up drivers. It just makes me cringe so much to imagine him pretending to be an F1 driver next to the actual drivers, like is that not embarrassing???

The social medias….very strange. Like the stuff with them using Paul Aron as their rookie. Even if they did get his permission, which I’m still not sure about, it’s so weird to me. Like oh the main characters are made up but you’re still willing to use other drivers in the pursuit of your own story. I’m sorry but is that not weird to anyone else???? I dislike how much this movie blurs the line between fiction and reality, involving real life drivers whenever it’s convenient. Looking at their socmed makes me cringe so much. I’m sure a bunch of self insert writers or novel writers would do the same but they’d get bullied. Yet a bunch of grown ass men are allowed to literally roleplay on twt/insta and it’s suddenly fine and normal? Lmao their most recent post is the FP1 results from Hungary. Is it not so fucking weird for them to make up placements, and thus just ignore the actual drivers who got those positions? Imagine you’re Lando and you got P6 and you go on instagram and suddenly discover that you did not in fact get P6, but rather Sonny Hayes did! Wow that 60 yr old sure is a good driver.

And let us not forget to mention them making memorial posts for Senna and Jules Bianchi. That actually made me feel sickened, especially the Jules one. Imagine using a real life tragedy for publicity on your roleplay twitter. Is that fucking creepy???? Like why of all things would you choose THAT to play along with. They’re a made up team that is in no way associated with either drivers, so why are they talking about them? What is the point.

Okay but that clip of Fernando staring at Brad Pitt, I’m fucking dying. I wish he could give his actual thoughts on it. Like what is it like to see a guy older than you, pretending to be an F1 driver, while you are there, doing your actual job. I like to think he had a dementia moment and was like, “hey wait when did that guy join the grid? I thought I was the oldest!?”

III. Dramatising

There already is a pretty big issue in this community where the drivers are treated like characters, and not real people. There’s so many people out there who just watch DTS and treat F1 like a soap opera. People who only know about F1 in the context of made up drama, and now there's gonna be a movie about made up drama. This movie further blurs the lines between fiction and reality. Again, they’re literally turning the F1 drivers into background characters of a movie. Like, wow you’re not real people anymore, your lives exist in the back of this story now. Imagine how confusing this would be as a new fan.

I know they’re all a bunch of rich privileged guys but, at the end of the day, this is still their job, not just fodder for drama. I want the sanctity of F1 to be respected okay. It's such a cool sport to me and I love all the real stuff about it, and I don't like the way media treats it and changes it.

IV. Old Man Self Insert

I basically covered this in my other categories but I just want to complain more. I really really despise that this movie just feels like some old guy really wanted to drive F1 cars and had to come up with a reason to justify it. I feel like someone who is a serious F1 fan would want to honor the actual history and context of the sport more, y’know? Not just make a blatant self insert film, inserting himself in the literal daily life of the actual drivers. It annoys me bcs this is a sport where people start getting called old when they hit 30, not that I agree with that but I’m just saying, it’s a very ageist sport where youth seems to be valued over most other things. My resident GOAT old man, who is 18 years younger than Pitt, constantly has people saying how he should retire to give younger drivers more of a chance. So why the hell in a sport with this environment are we getting a movie about a 60 YEAR OLD driver. It’s just so clearly a self motivated passion project, and Domenicalli and others want to milk F1 for all the money it's worth. Okay so a made up team is allowed to be 11th and yet you keep shunning actual teams that could join and bring in more publicity/money? Okay, okay…

V. Misc

I’m ngl it feels like a made up team would have an easier job getting into F1 if they really wanted to, because of the publicity. And yet Andretti cannot. Imagine a docu film about a brand new team joining F1 for the first time ever and the trials and tribulations it takes to be a new team in such a historical, bloodthirsty sport. But nah let’s put all that money and effort into a make believe story.

But yeah they’re not really doing anything inventive anyways. Wow an old man driver who they’re probably gonna pretend is not completely age inaccurate for this sport. And the supposed dynamic of it. Isn’t it supposed to be Brad Pitt’s chara coming back to mentor a rookie prodigy?? When are teammate relationships ever that nice?????? The only similar relationship I can think of is Seb and Micheal but they were on diff teams, and RBR was a lot better than Merc atp. I feel like the only time you see mentor-like relationships is either when the two are on diff teams, the car is an absolute backmarker, or the mentor absolutely outclasses the rookie.

The fucking “who cares about safety” line, who authorized that????? Thinking about how I almost got ripped to shreds on here for talking about how refueling was interesting, and yet a blockbuster is allowed to disregard safety??? And weren’t they saying in that trailer that they have to make the car for battle? Is their strat being terrorists??

VI. Javier Bardem

GAAAAAAAAHHHHHHHHH WHY DOES ONE OF MY FAVORITE ACTORS HAVE TO BE IN THIS SHIT FUCKING MOVIE GOD DAMN YOU JAVIER YOU MOTHERFUCKER!!!

It is very painful to me that he’s gonna be in this movie, and that his doppelganger who you may know as Fernando Alonso will also guest star. Like I don’t want to give this film money nor do I want to watch it. But the fact that there’s the possibility of seeing Fernando Alonso beloved on the big screen…it’s so tempting.

It’s just irritating cause his chara in the trailer DOES seem like smth I’d actually be interested in. Like I think he’s gonna be a dubious team owner or TP and man….that’s so perfect. But not in the context of the full movie lmao. So who will be the brave soul and make the Javier Bardem and Fernando Alonso cut for me? Maybe I will ask my brother to write down the timestamps for me.

I digress. There’s probably some things I forgot to complain about but this is what I came up with <3 I hate you Brad Pitt and I hate you Domenicalli and I hate you MBS, etc etc. Lmao you know what this feels like? When you're in a fandom for a fandom for a franchise like the MCU or SW, and nrw shows/movies come out and you feel like they're bastardizing the whole franchise. This is what this movie is to me.

#im normal do you guys still want me?#NO FUN!! NO FUN IS ALLOWED!!!#I would rather read fic god bless #i have nightmares abt a fandom being created for this movie solely #f1 #formula 1 #catie.rambling.txt #catie.asks.

34 notes · View notes

denimbex1986 · 1 year ago

Text

'If Peaky Blinders made the Irish actor a household name, will Christopher Nolan’s nuclear blockbuster send him into the stratosphere? He talks about extreme weight loss, hating school and why his next character won’t be a smoker.

Cillian Murphy is struggling with what he can and can’t say about his title role in Oppenheimer, the latest Christopher Nolan epic, such is the secrecy surrounding this film. Murphy is under “strict instructions” not to talk about the content. Which is awkward when you’ve flown to his home in Ireland to interview him specifically about playing the physicist who oversaw the creation of the atomic bomb, later detonated over Hiroshima and Nagasaki. It’s not clear who issued these instructions. Nolan? The studio? The US government? All I know is that as well as Murphy being gagged by hefty NDAs, I am not allowed to see it (“bit unfortunate”, he concedes).

So, yes, here we sit in an empty upstairs room of a restaurant near his house in Monkstown, Dublin, working out how to do this. The room is dark, the sun shining through a solitary Velux lighting his features like a Géricault. The only background noise is the low hum of a wine refrigerator. Murphy loathes interviews, looks visibly tortured at points. But he relaxes when I ask if he’s pleased with Oppenheimer. “I am, yeah,” he says. “I don’t like watching myself – it’s like, ‘Oh, fucking hell’ – but it’s an extraordinary piece of work. Very provocative and powerful. It feels sometimes like a biopic, sometimes like a thriller, sometimes like a horror. It’s going to knock people out,” he adds. “What [Nolan] does with film, it fucks you up a little bit.”

Nolan wouldn’t disagree. The director recently told Wired magazine that some of those who’d seen it were left “absolutely devastated … they can’t speak”. Which sounds like a bad thing, but is related perhaps to the thought of the 214,000 Japanese people, overwhelmingly civilians, who lost their lives when the bombs were dropped. Kai Bird, the historian who co-authored American Prometheus, the 2008 biography of J Robert Oppenheimer upon which the film is based, said he was still “emotionally recovering” from seeing the film, clarifying that it was “a stunning artistic achievement”.

Murphy’s portrayal is said to be astonishing (“Oscar-worthy” is the buzz). This is not unbelievable. While Hollywood might not know him as a leading man, this quietly intense actor has long been celebrated in the UK and Ireland, most notably for his nine-year stint as Tommy Shelby in Peaky Blinders. When he first appeared on our screens, looking like a renaissance painting of Saint Sebastian – chiselled head contrasting with translucent blue eyes – it was impossible not to be distracted. He appeared first on stage in Enda Walsh’s Disco Pigs, then the screen adaptation. Then 28 Days Later; Intermission; Ken Loach’s The Wind That Shakes the Barley. Previous collaborations with Nolan include the Dark Knight trilogy, Inception and Dunkirk, “significant milestones in my career,” he says, adding that Nolan “might be the perfect director”.

It was Nolan’s wife, the producer Emma Thomas, who called Murphy one afternoon at the home he shares with his wife, artist Yvonne McGuinness, and two teenage sons. Nolan doesn’t actually have a telephone, or an email, or computer for that matter: “He’s the most analogue individual you could possibly encounter.” So, Emma said Chris would like a word and passed the receiver, then the director came on the line. “Cillian, I’d love you to play the lead in this new thing,” he said. Murphy tries to recreate his response to this news. “I was lost for words. But thrilled. Like beyond thrilled.” It is characteristic of Murphy that the modulation of his voice barely changes as he expresses this. He was so stunned, he had to sit down. “Your mind explodes.”

In the absence of the three-hour feature, I scrutinise Oppenheimer’s three-minute trailer. It’s a rush of snapshots against the crackling of a Geiger counter. There’s Murphy, short back and sides, lifting 1940s eye goggles; blue and red atoms coming at him fast; orange light; white light; blackout; silence. Massive explosion against the backdrop of space. Overlaid is Murphy’s narration, “We’re in a race against the Nazis / and I know what it means / if the Nazis have a bomb.” There’s Matt Damon looking porky as army general Leslie Groves, director of the Manhattan Project: “They have a 12-month head start.” Murphy, pointing with cigarette: “18.”

He has put back on some of the weight he lost for the part, I’m relieved to see; his skin isn’t quite so taut over his skull and there are freckles over those eagle-wing cheekbones. He was determined to nail the scientist’s silhouette “with the porkpie hat and the pipe”, testing himself to see how little he could eat. “You become competitive with yourself a little bit which is not healthy. I don’t advise it.” He won’t say how many kilograms he lost, or what food the nutritionist told him to cut out. NDA? “Ach, no. I don’t want it to be, ‘Cillian lost x weight for the part’.”

Then again, the hurtling speed at which Nolan worked, crisscrossing the US, made it easy to skip meals. Murphy began to forget about food in the same way he began to forget about sleep. “It’s like you’re on this fucking train that’s just bombing. It’s bang, bang, bang, bang. You sleep for a few hours, get up, bang it again. I was running on crazy energy; I went over a threshold to where I was not worrying about food or anything. I was so in it, a state of hyper …” he gropes for the word, “hyper something. But it was good because the character was like that. He never ate.” Oppenheimer subsisted on little more than Chesterfield cigarettes and double-strength martinis, rims dipped in lime. “Cigarettes and pipes. He would alternate between the two. That’s what did for him in the end,” Murphy adds, a nod to the scientist’s death from cancer in 1967. “I’ve smoked so many fake cigarettes for Peaky and this. My next character will not be a smoker. They can’t be good for you. Even herbal cigarettes have health warnings now.”

I raise method acting and Murphy tilts his head and frowns. “Method acting is a sort of … No,” he says, firm but with a half smile. Oppenheimer had many defining characteristics, not least walking on the balls of his feet and a vocal tic that sounded like nim-nim-nim, but Murphy didn’t want to do an impression. Nolan was obsessed with the Brillo-texture hair, so they spent “a long time working on hair”. And the voice. The real question for Murphy was what combination – ambition, madness, delusion, deep hatred of the Nazi regime? – allowed this theoretical physicist to agree to an experiment he knew could obliterate humankind. “He was dancing between the raindrops morally. He was complex, contradictory, polymathic; incredibly attractive intellectually and charismatic, but,” he decides, “ultimately unknowable.

“Listen, it’s not like a spoiler,” he says, checking himself before he leans in, “but there are incidents in his early life that were quite worrying; very erratic.” They are in the film and the book, he steers. I suspect he is referring to Oppenheimer’s postgrad at Cambridge in 1926, when he placed a poisoned apple on the desk of a tutor towards whom he harboured complicated feelings of inadequacy and jealousy. Arguably, this was attempted murder. But Oppenheimer’s rich New York parents rushed in to bundle him into psychoanalysis. He was diagnosed with “dementia praecox”, a term describing symptoms associated with schizophrenia.

Murphy likes these complex characters; they’re his meat. People that don’t necessarily follow the – yawn – traditional transformative arc of storytelling. Not villains, exactly (although he’s played a few, including Scarecrow in Dark Knight and Jackson Rippner in Red Eye): “Villains are good if they’re well written, but if it’s one note or a trope, then they are dull.” He likes a script to stretch leisurely into all corners of the human condition, “all the shades”. At the same time, you have to understand his exceptional ability to portray interiority, physically manifesting intense human emotion without a word, radiating fierce, consuming energy. Which he does today, actually, when I stray off track.

Although Nolan is usually, shall we say, antiseptic in his approach to romance, Oppenheimer represents a significant shift. He told Wired the love story aspect “is as strong as I’ve ever done”. It features prolonged full nudity for Murphy and Florence Pugh, who plays Oppenheimer’s ex-fiancee, as well as sex, and there are complicated scenes with Emily Blunt, who plays his wife, “that were pretty heavy”. Murphy turns coy: “I’m under strict instructions not to give away anything.”

He asks if I’ve heard of chemistry tests. “They put two actors in a room to see if there’s any spark, and have all the producers and director at a table watching. I don’t know what metric they use, and it seems so outrageously silly, but sometimes you get a chemistry and nobody knows why.” This is a roundabout way of saying his scenes with Blunt and Pugh conjure this magic. His established bond with Blunt (they co-starred in A Quiet Place II) meant “the audience gets something for free”, he says. “You can be immediately vulnerable and open, and try stuff. There were moments where I remember saying, ‘I couldn’t have done that if it wasn’t with you.’”

Murphy, 47, grew up the eldest of four in Cork. His father was a civil servant, his mother a French teacher. They were a middle-class family, musical; his father “can pick up any instrument”, his brother played piano, and they regularly got stuck into “traditional Irish sessions”. Bookshelves were stuffed with literature, the radio often on, the “shitty” TV set not so much. Home life was busy but his parents taught him French and Irish, and sent him to an all-boys academic, rugby-playing private school. “I got all the education” he says, drily.

The story of how much he disliked the Presentation Brothers College, the hard-drinking masculine emphasis, how he found solace playing guitar in a band, is much rehearsed and he says today he doesn’t want “to slag the school off. I hear it’s great now.” Something about this experience seems nonetheless unsettling. He had one friend, who is still his best friend, “so I wasn’t, like, an outcast”. He played rugby for the first couple of years, but abandoned it “because everyone was all of a sudden towering over me.” Was it an unhappy time? He shifts. “It was OK. I was a bit of a messer, like I’d get in trouble and say nothing. It wasn’t the ideal school for me.”

He enrolled in and dropped out of a law degree at University College Cork, which created some friction with his parents (when I ask if his own sons will go to university in Dublin, he says, “Whatever they want”). He continued with the band, his first creative love but the one that got away. When they were offered a contract with Acid Jazz records, he turned it down for a number of reasons, he says, crucially that he didn’t feel good enough. He still writes and plays at home but, no, you won’t be hearing any of his recordings, ever, he says.

It’s a funny thing talking to Murphy. He’s at once garrulous (on the craft, or literature, or ideas) and reticent (pretty much anything else). I sense in previous interviews that he skates over issues close to his heart – such as the expression of emotion in Ireland and the need to teach empathy in schools. But when I try to drill in to these topics, get to the root, he clams shut, emitting energy like a nuclear reactor.

Later, in a different context, he will tell me a truth: “I’m stubborn and lacking in confidence, which is a terrible combination. I don’t want to put anything out that I don’t think is excellent.” But he clearly hates the pantomime of publicity, asking why I am returning to certain topics and repeating lines I’ve read elsewhere. I can almost see him at home with its views towards the Irish Sea, complaining to his wife as they tuck into supper: “Another one, asking the same fucking questions.”

If he could get out of going to Cannes, of standing on red carpets, dressed as is his habit for a funeral, hair shellacked, hands in pockets; if he could turn his back on the coloured-foam mics thrust in his face, he would. He really would. No, it dawns on him now, there’s something even worse than the red carpet; there’s the talkshow rounds. The very word “talkshow” comes out of him like a pain from his ribcage, as if the parcelling out of amuse-bouche anecdotes, offering them up to the forced laughter of that false god of show business, the studio audience, is in itself the most cheapening experience known to mankind.

“I do them because you’re contractually obliged to. I just endure them. I’ve always found it difficult. I’ve said this so many, many times.” Then there’s the double wince of realising that, yes, he’s done it again. He’s laid into the industry that feeds him. His hands raise slowly in surrender. “I want to just caveat this by saying, I’m so privileged. I’m so happy to be doing what I love. I’m really lucky. But I don’t enjoy the personality side of being an actor. I don’t understand why I should be entertaining and scintillating on a talkshow. I don’t know why all of a sudden that’s expected of me. Why?”

There’s an awkward silence. I say that he reminds me of Naomi Osaka, the tennis player who refused to talk to journalists after the French Open in 2021. He says he feels “100%” sympathy with her, “because why should she have to perform?” Then he relents. “But I get it. I get it’s a kind of ecosystem where the film feeds the publicity which feeds the talkshows which goes back and feeds the film, so, like, that’s how it works. I suppose I’m just not good at it. At interviews, at this stuff,” he gestures at me. He says after he leaves me today he’ll be going down the stairs thinking of all the things he’s said and worrying it’s come across all wrong. “Do you know what Sam Beckett said? ‘I have no views to inter.’ I love that. That should be the interview.”

We return to his art, the tension falls away and he’s back to his charming self, charged air evaporating. Since Oppenheimer, he’s also wrapped Small Things Like These, an adaptation of Claire Keegan’s brilliant novella set in 1985 in a small Irish town on the edge of which is a convent and “laundry”. Murphy is a huge fan of Keegan. He remembers reading her 2010 novel Foster on a train and having to pull his hoodie over his face because he was crying so hard. Anyway, he’d wanted to work with the Peaky Blinders director Tim Mielants and they were throwing ideas around in his sitting room when Murphy’s wife suggested Small Things. “No, there’s no way,” Murphy said. “That’s going to be gone already.” But when he called the agent, he found it was available. “I went, ‘No, you’ve got to be fucking kidding.’” Murphy pitched the idea to Matt Damon, who has set up a studio with Ben Affleck. “From there it all just happened really quickly.”

Murphy plays Bill Furlong who, funnily enough, is a man of few words. Keegan’s light-touch writing is everything he loves in art – the sense that you are not being bashed over the head by an idea. That’s how he tries to act, he adds. “I’m always trying to cut lines in scenes, because I feel like you can transmit it. Like when you see a person on a train thinking, or driving a car, and you are purely observing someone and feeling the energy that is vibrating from them. That’s the sort of acting I love. In a lot of film and television, they want to cut those bits to go to the action. I like films that pose the big questions and then leave it to the audience.” Perhaps this is at the heart of his reticence in interviews? That he doesn’t feel the need to explain.

He still finds it “nuts” that the last of the Magdalene laundries closed in 1996, that it was illegal to buy condoms in Ireland until 1985, that divorce was made legal only in 1996. He remembers vividly thousands of people still going to see moving statues in Cork when he was growing up. “Crazy. But, like, how far the country has come since then, we’re so socially advanced now compared with where we were. But you must look back. And art is a better way of doing that than reading all these reports [into the laundries].” (Afterwards, he emails me: “The nation is actually dealing with an unresolved collective trauma. Who knows how long this will take to heal, but I feel strongly that art, film and literature can help with that process. It’s a kinder and gentler sort of therapy. I hope that our movie can help with that in its own little way.”)

Because he’s a nice man, because he doesn’t want me to feel bad about our encounter, and because he’s generous and hospitable, Murphy finishes by telling me some of the best places to visit in Ireland. He and his family are staying here for the summer. They’ve had it with air travel and his home town of Cork is only a couple of hours away. He supplies me with other recommendations: a great book he’s just read, Brian, by Jeremy Cooper, oh, and there’s the Francis Bacon studio exhibition I should catch on my way out.

But before I go, what has he learned from playing Oppenheimer? Foremost, he says, that scientists think differently. He knew this already from playing physicist Robert Capa in Danny Boyle’s Sunshine (2007) and hanging out in Cern, home of the Large Hadron Collider in Geneva, for research. “I had dinner with all these geniuses. I’ll never understand quantum mechanics, but I was interested in what science does to their perspective.” He sought their opinions on subjects that matter – love, politics, our place in the universe, “infinity, or whatever the fuck. Because they have a completely different way of taking in information than we do. I remember one scientist saying, ‘I don’t believe in love. It’s a biological phenomenon, the exchange of hormones between the female and the male. That’s all. Love is a nonsense.’” Murphy taps the table with his hand. “I couldn’t go along with that, obviously.”

176 notes · View notes

batsplat · 4 months ago

Note

if you were to direct a motogp movie (or make a one season of television) what season or rivalry would you make it about? and more interesting what artistic liberties would you take? it doesn’t have to be a straight up biopic bc imo those are often boring, instead it could be something like velvet goldmine (1998) aka fictional characters whose real life counterparts are pretty obvious, veering in like rpf territory. anyways👀

did you know. one time this guy put a curse on this other guy. and he never won a race again

anyway, look, I do feel like by this point that's the BORING answer from me, but obviously it's where my mind first went. I'm not sure I'd actually want it out there in film form because by now it's badly enough remembered that it's like, my cute little niche story, and I think there's something fun about the Wider World even within the motogp fandom not exactly getting how bonkers the whole thing was. (I know other humans have canonically watched motogp 2004 but I swear even journalists have forgotten some key key details and it's kinda annoying but also fun.) bold words from someone who's been blogging about it!! weird gatekeep-y instinct. but basically my job here is done as far as outreach is concerned - I wrote a very long post, now I get asks about it twice a week that allow me to think about it some more with the four other people who care, perfect balance. that rivalry doesn't need to go mainstream!! the whole point of it is that it's kinda cruel but narratively pleasing that it's gone under the radar, because it's another sign valentino won. but obviously, I cannot literally make a film about this, so the hypothetical repercussions I think maybe we can put aside for a moment here

okay I came back to this bit of the post after I increasingly got into of the spirit of coming up with dumb ideas, but it did make me flesh out what I'd even WANT from something like that. I'm with you anon, a lot of biopics are boring!! if you want to just know what happened, please just literally go and 'watch the races' and 'read books' like what are we actually getting here. you kinda want to give it a purpose for existing, right, a way of portraying real/mildly fictionalised events in a manner that is also taking some kind of stance on the material AND is doing stuff you can't do 'in real life'. thing is, look, you could make 2006 into a film, and I'm sure it'd be perfectly nice because it's fundamentally a solid underdog story (well, inherently winning a title with repsol honda is NOT being an underdog but you can write it that way), but also what are you doing beyond just telling people what happened? I feel like that generally about single seasons, they're not really doing anything for me. I was also turning around the biaggi/valentino rivalry in my head in part because that's the one valentino gave as his answer for 'rivalry he would turn into a film' (marc big wet eyes sitting right next to him), but like. a film about that rivalry from valentino's pov is fundamentally not something I'm interested in. you have all these isolated very memorable moments that make it work as a rivalry, like you can absolutely spin them into a dramatic yarn that goes through the genesis of their conflict to middle finger gate to punching gate to assen + donington + sachsenring + phillip island 2001 and it's basically *insert rousing music* successful coming of age. at most you can lean into the fact valentino became successful at being a dick. like idk it's fine but also what's the point? valentino is challenged in a sports context by biaggi, he's challenged because he realises his words have consequence and the press actually reports the words he says to journalists (the horror), but he is fundamentally not challenged on a personal level. that's the entire point, right? it's the ultimate comfort zone rivalry - biaggi is a dick who it is quite easy to hate and also reacts poorly to valentino's initial provocation. the animosity escalates and it is inherently fun to beat him. valentino is mean to him, but it's not like he even really crosses any lines to beat him. like you can make it into a film, and if you twisted the material a little bit you could make it satisfying, but I don't want to!

now the way the writing process of this post worked was that I was going to breeze through a bunch of non-sete/valentino rivalries and explain why I think some of them don't work for our purposes here, but then I ended up writing myself into changing my mind. so my take on the biaggi rivalry is that actually, you CAN make it work but it has to be from biaggi's perspective. basically, I think you've got to amadeus it (a web weave I have been thinking of making at some point btw). so,,, it's a meditation on talent and how unfair it all is, maybe minus the bit where salieri poisons amadeus (I know that doesn't happen in the film) or dresses up as amadeus' father to, y'know, make him write a requiem on his death bed. and it's not amadeus in that HERE, the clown prince gets a happy ending! but it's more like, in thematic terms, I think you have to zero in on this bit. biaggi didn't have parents who shoved him on a bike when he was three years old, he didn't have parents who were invested in his motorcycling career (or even necessarily particularly invested in him), he started the sport late and discovered that, yes, he did have a prodigious amount of skill in it - but one that he started honing far later than valentino did. he approached his career with a sort of grim resolve, surly and irascible and not interested in making friends with any of his competitors but very, very good. he goes away from the race track and dates all these models, he irritates fellow riders, he's not part of the gang and he's happy about it. he's very successful! four 250cc titles, wins his first ever race in 500cc at a time when doohan was very much winning everything. he's also just like,,,, an interesting and spiky enough character it's not hard to make him come alive

but then of course you have this gradual emergence of the amadeus character, the one who challenges his established position in the court of,, well... motorcycle racing, and also as the guy italians rooted for! and valentino's obviously, y'know, in so many ways the exact opposite from biaggi, and he's super young and cheerful and lively and is doing all his silly celebrations and is being a bit camp and goofy and treats motorcycle racing as a party (you really want to lean into the culture clash here, like in amadeus it's because you have stuffy austrian court vibes but here it's because everyone is having their bones broken every two minutes and just how... kinda grim a lot of motorcycle racing was). and he's also this innocent! yes, he insults biaggi, and yes, in retrospect we know valentino is kinda evil, but at the time he was a kid with a big mouth who was a little taken aback by how that biaggi feud sort of escalated beyond what he'd actually intended it to do! and biaggi just, hates him. and I think, sorry to the real man max biaggi here, but you've got to play with how once they're actually competing with each other, it's miserable how there's just this unbreachable gulf in talent. like, whatever biaggi does he cannot win! he isn't going to defeat valentino over the course of a full season! which is depressing and horrible and CRUEL, because there's this inevitability to the whole thing... and also! because valentino doesn't DESERVE it. and you don't have to go full salieri pleading with god to explain how god could give this CLOWN all this talent, but it's kinda the same vibe! how is it valentino, who is constantly just having a laff and canonically maybe wasn't the biggest gym-goer in the paddock and is just generally seen as, y'know, a bit of a dandy, this foppish clown who everyone loves and who doesn't have to work hard to be good - how is he the one who is winning so much!! it's miserable and unjust... and I think how you portray this is that you really emphasise the kinda, repetitive nature of the defeat. like, I think you probably want to make this into a non-linear narrative where all this biaggi backstory is communicated somehow but you don't just start it when he was born or whatever - you start it in 2001 when they're competing for a title and already hate each other. and then you heavy on the time loop vibes. the whole cinematic language and all that other shit should emphasise how all these weekends are structured in exactly the same way and if you're losing to this one guy, all these different weekends can start feeling the same. it bleeds into each other, it feels inescapable, you're trapped in this narrative you can't change... worst of all, you even return to the same places again and again - like play with that! biaggi keeps coming back to where they had the fist fight, to where valentino first insulted him all those years back. you play up the disorientation and the misery of it all, plus biaggi canonically gives us all this kinda messy freudian shit to play with like how he was dating 'valentina' and his relationship with her was falling apart because of how miserable valentino was making him. it's all there!!

ANYWAYS the way you conclude this story is!! welkom 2004!! so again we can artistic license this a little bit and, uh, ignore sete (though I do also think it's fun if you lean into biaggi being displaced as a rival and staring at them being friendly and happy with each other from the outside) - but the key bit is that valentino is finally making the big error. biaggi wasn't winning titles on a yamaha, since he left yamaha has gotten worse, now valentino is making this big mistake out of his own hubris. language of cinema that shit and make everything brighter and more hopeful.... the time loop is finally over, biaggi has escaped, this year will be different!!!! everyone in his circle agrees, valentino is fucked. step off the plane at welkom (pre season testing didn't happen in this universe) and it's literal dawn of a new day... staring out at the sun and finally, biaggi can move on, can live a new and different life. anyway. obviously we all know what's coming next - you have this big dramatic climactic race where biaggi throws himself at valentino again and again and again and he comes so close to winning it... but he doesn't. and you have valentino living his best life, being delighted, but the film is focusing on how like,,, we're bleaching the joy back out of biaggi's life, how actually he's returning to what he already knew. and it ends on the podium, with the camera focusing on biaggi on that fucking second step or zooming in or whatever (idk how cinema works) and it just finishes on this shot of biaggi dead-eyed in a bleak world, trapped again for eternity aka until the end of the 2005 season. done!! I'm not sure this is quite what valentino had in mind, but. well. that's how I'd do it

this is from the pushkin play from 1832 not the 1984 film but like. low key pushkin already kinda nailed the essence of sports rivalries in the 1830s and we just have to acknowledge that sometimes

right. so the casey rivalry is where I'm going to go completely off the wall. skip this bit to get to the slightly saner stuff. this is also one I fully admit to sometimes playing around with in my mind anyway, but. uh. I'm gonna be taking this one in just. well. places. I do have a vision here but I also don't quite know how to explain it in a way that doesn't make me sound like I've lost my mind, but well if you're still reading this then that's on you. so lemme get this out of the way: the classic sports biopic formula would work well with casey. if I had to point to a single rider I would sports biopic-ify, it's casey. so you have all this kinda,, obvious adversity that's easy to get across, and it's a narrative you can follow chronologically without too much trouble. you've got all the childhood stuff, the australian racing club not letting him join them, the move to britain, the rising through the ranks, it's also this very biopic-friendly 'nobody ever believed in him apart from like three people' stuff. and the premier class is also narratively satisfying, from the rocky rookie season to the kinda shock success to then all the lows of 2008 and 2009 and the physical ailments and the anxiety and then the switch to honda and the title and then him deciding to retire... that's all good stuff! you can absolutely biopic-ify it! gun to my head and sure, I can walk you through exactly what bits of his life I'd focus on and put in what order and so on, and I think ultimately you could make a very good sports biopic from that

[some mild gore to follow in this next section]

but also. thing is. that's fine. it's just not where I want to go here, because again I feel like at that point you can also pick up his autobiography and just read it - because what you're basically doing here is just filming that. and I get how this stuff works, you're bringing the story to a wider audience, you can show stuff in a different way in that medium etc etc, and that's all great but also I don't care about bringing stuff to a wider audience. I care about doing fun stuff in my brain. so what I'd actually do here is just, basically, go in the exact opposite direction and ditch all the realism. genuinely, ditch the live action stuff, we're going animated - what I'm interested in here is stuff where we need to be able to fully suspend our disbelief and lean into some surreal shit. I'm not going to bury the lede here: my idea is that you take that thing where casey said he hated how ducati was ruining the bike by letting valentino's yellow encroach on it and, basically,, just go all in on that bit. like come on, that is so singularly visually evocative, it truly captures a lot of what's going on thematically in that rivalry. (see also x and x for the most relevant casey posts.) casey sees valentino as the malevolent force, this infection! he associates him strongly with a specific colour, one that can be sickly or unnatural or just... evil. malignant, malicious, malevolent, all the m words. to casey, valentino is a personification of everything that is wrong with the sport. valentino is literally the walking manifestation for so many of his issues, from the dangerous riding to the lack of respect to the lying to the cult of personality to the obsession with image and the media to the backroom games to the politics to the injustice of how different riders are treated differently, like!! he's literally all of that! this is a topic for another post, but this plays out in a lot of kinda, weird and funky ways where it's a two way street and sometimes when casey talks about motogp you go 'actually I think that's just valentino?' (btw he also does this about 'europe' right I don't think those are europeans you hate casey that's literally just valentino) and sometimes when he talks about valentino it's kinda? this feels like it's about a little more than the bloke himself? and basically, right, I think you need to take this to its natural conclusion where casey used to admire him and look up to him and want to emulate him on track and then gets disillusioned when valentino's worshippers turn against casey and casey is the one to bring valentino down to earth and... listen, I think you need to play around with valentino being a literal god. and I think you need to have casey stab him to cover up the yellow on the ducati with blood

okay. look. the idea here, right, is that we're basically making the subtext text, and just digging into that process of 'bringing valentino back to earth', of taking on a god and having the audacity to succeed, and also treating valentino as this sort of. infection in his own mind. the bike is literally being infected!! casey may have left the ducati but he STILL has some fidelity and love for this project, those were his people he worked with, and now valentino is coming in and just twisting everything around himself!! but also I think how this functions is that, okay, so you have all this normal stuff that's the actual 'plot' in the 'real world', but the ISSUE with the real world is that there's a lot of stuff that just. isn't possible there. like the thing casey wants in that rivalry but is never going to have is... a captive audience. a big problem casey has in that rivalry is that he doesn't get the chance to actually say a lot of stuff to valentino. he starts using the media more and more and plays the game on valentino's level, but there's still this disconnect where mr straight talking is the valentino rival who valentino never really blanks or freezes out like... there's a disconnect! there's valentino the person, who casey never quite figures out how to just straight up hate, and then there's valentino the character, the racer, the rider, the god who casey DESPISES. but when they're doing small talk at pressers and podiums, casey doesn't get to talk to that version of valentino! he just talks to valentino the person, who obviously isn't literally a different person but is also not going to explain to casey where he's coming from, is he, and also isn't someone who casey can explain to where HE is coming from. and that gulf... it does bother casey. I don't think he can quite verbalise why either, but there's just... this creeping tension. I think it'd be easier for casey if valentino really were more of a caricature, just kinda a dick in all walks of life. and there's just these canonical hints of that... the way casey talks about how he's sure valentino as a guy is fine, but he never knew valentino like that, the whole 'I'd like to go with valentino for dinner to tell him where I was coming from in that rivalry' thing, like!! it's there

so basically EYE think what you should be doing is using the wonders of storytelling to actually. embrace that element. and just leave realism behind now and again. valentino is a god, he is literally worshipped, he's part of this pantheon that casey is trekking to reach. casey is brave enough to take him on in combat, he is the first one who is truly able to draw blood. he sees how valentino isn't just a god of joy or battles or speed or the SUN or any of that other stuff - he's a disease, an illness, a god who is also a false prophet... the worship never quite goes away, because who ever truly gets rid of their valentino rossi complex, but casey eventually is given the chance to face a chained valentino and kinda,,, ritualistically publicly humiliate him using the ducati as both this sick thing that has to be 'cured' and this symbol of valentino's failure. I'm sorry, visual language goes brr here, like chain him up, do weirdly eroticised torture idc!! (psst psst valentino's fucked up shoulder also extremely goes brr here, casey low key a teensy bit weird about valentino's injuries? his thing after the 2010 leg break where he goes 'why's everyone making such a big deal about this other people break their limbs too' and then after 2011 jerez immediately asking whether valentino's shoulder is okay in just a very obviously passive aggressive way. literally he opens with that, valentino isn't using it as an excuse or anything, for some reason it's already on casey's mind and I would politely contest it was out of genuine concern for valentino's wellbeing!! it's just kinda? I'm so compelled by it? I suppose it is kinda about how valentino's suffering gets taken more seriously than his own? how those absences are received differently by the motogp world? idk I find this fun because casey does know this is one thing valentino can't really be blamed for himself, so it just slips out a bit? but yeah, casey + valentino's injuries, nobody's talking about it but I sure will, let casey get weird and mean and a teensy bit sadistic about valentino's injuries in an artistic manner.) crucially I like animation as a medium here because I think it's easier to lean into surrealism when you don't have to hand hold the audience so much through the suspension of realism, also there's just some imagery you can do in cooler ways through animation where in live action it may just look. weird. (I think you can also do one of those things where you have a live action film with only those specific bits animated but also... why? it just feels like in live action you need more 'justifications' for things, like am I saying casey is having some weird hallucinations and is losing his mind? no I just want to have weird vision sequences ffs.) the colour stuff!! valentino/casey is big on the colour coding as a rivalry, to the extent casey is even, y'know, drawing attention to it in the literal text!! yellow and red are banger colours, valentino is big on imagery himself with all his sun + moon motifs, it's kind of all there to make the easy next step to kinda zany surreal imagery. ritualistic stabbing works better in animation, you can kinda get the blood to like. drip down and overwhelm the yellow illness that's slithered out across the bike

and. AND of course what this entire set up allows you to do is.... give them an opportunity to talk. they can't talk in real life! casey CAN'T give him his real thoughts on anything, and fundamentally valentino can't either. they're opponents. they're strangers who chat sometimes. it's not just that they aren't friends, it's that fundamentally they cannot be friends - because their ability to do their actual jobs depends on a certain level of professional distance. valentino of course does have a decent read on casey, and vice versa, because when you're figuring out how to defeat someone then (if you're valentino) you're looking to play the rider too. valentino's entire approach depends on focusing in on his rivals and attempting to throw them off, to make them unravel. he's watching casey closely!! the entire journey of casey's first three seasons in the premier class essentially becomes like, this god of their world focusing in on him. figuring him out. trying to gnaw away at him. obviously, animation also allows you to go big on the panopticon-y imagery which is kinda fundamental to their rivalry, because of their fundamentally oppositional stances to 'performing' for the ever present cameras where there IS a little bit of common ground in they have both struggled with it. but valentino isn't going to ever say that to casey! casey isn't going to open up to valentino! so if you give them,, you know, a different arena to express themselves, where casey actually has this external figure to talk to (as he's like, cutting him open I guess) whereas valentino actually is put in a position where he's allowed to respond, where he can taunt casey a little bit, where he can interrogate casey's approach and also the similarities between the two of them and how casey has been forced to become a little more like valentino to challenge him... because the thing is, right, valentino is so big on message discipline with his rivals and has completely stopped talking about that rivalry post mid 2013 that, first of all, you have this complete imbalance in who's been telling this story for the past decade, but second of all you kinda don't have a sense of what valentino would respond? idk!! I think this is mainly fun as a thought exercise for me specifically but also I do think it's kinda, digging into some of the bits that make this narratively work as a rivalry, how valentino in this rivalry is actually just kinda... removed. like he's not really emotional about it!! at most he's a bit bitchy, but even that just feels about The Game. it's the most extreme in this regard followed by jorge - but with valentino's other feuds you kinda... see a bit more an unguarded moment, see something a little more real there. the casey rivalry feels so uncomfortable precisely because valentino is a little... inhuman in this one. I mean, if you want to have valentino as some kind of cross between a deity and a monster in any of his feuds, this is the one. casey's just an obstacle to him. idk don't you think casey kinda wants to chain valentino down and stab him and make him see casey a little more... well, I think he should want it and I think it'd be fun to see and get them to talk to each other. ugh and also all the implications of making the faith vs non-believer elements more literal... casey the heretic!!!

there's some obvious stuff here you'd have to figure out, like 'how do you make this work as a narrative even to people who aren't familiar with casey stoner at all' and 'who the fuck do you think the target audience is here' and 'you do know this is not the kind of thing that would ever be made, right, go back to the casey stoner sports biopic like a sane person' but!! I do think it's material you can make work if you're just,,, efficient and smart in how you're actually telling the 'real life' version of the rivalry. also in my head this is. idk. an animated limited series not a film, which then brings in other stuff like 'episodic structure' because I'm fundamentally opposed to tv shows that think they're films. and look, I'm not going to write an entire film script treatment here, I just think a good writer can figure this stuff out. blood on the ducati is the framing device for everything else, simple. lots of animated floating eyes I reckon, first casey is watching valentino and then valentino is watching casey and the whole world is watching them... and it does bleed into real life just a little, where you're wondering whether casey is actually imagining/dreaming this stuff or valentino is or if they both know it somehow... you can get away with more ambiguity in animation. anyway, if you do want more thoughts on this one specifically for whatever reason, let me know because this one I do actually have more on

also laguna 2008 is a bit tortoise and the hare coded if you really think about it

[end of gore]

so. on to jorge. hm. the thing about jorge is that he was kinda writing a coming of age film in his own head, so like - yes, that's what you do go for? you can play it straight and follow how jorge has cast his rivals, or you can pin the whole narrative on the fact that jorge has cast them - the kinda artificiality of the narrative, the way jorge is this storyteller who isn't being recognised as much as he thinks he should be, isnt adequately appreciated. the way there's this three way discourse between what jorge thinks the story is and what the public thinks the story is and actual. you know. reality. I think this is a bit more light-hearted, like you know how the best stories about teenagers take their emotions seriously but also let them be kinda silly? because young people are silly! jorge was silly! he's got a lot of CHARM because he's so cocky and naive and full on and intense and awkward and kinda off-putting and tactless and a bit all over the place and so painfully, painfully young, like he's a good protagonist because that's a KID. but also, obviously there's also a lot of extremely not light-hearted bits of his story - everything about his father, his manager... idk this one's another one where, I don't just want to make it a generic sports biopic, and I'm trying to figure out the clear narrative arc here? I mean, you can point to the end of 2010 and really lean into him choosing victory on-track over popularity off it. the problem with 2010 is that it does not work as a dramatic season, yeah sure with the magic of biopics you can hack at it to shit but also. idk. what are we getting out of it. I think for narrative purposes you want to maybe narrow in, and end it at the end of 2008, with the switching of the numbers this kind of moment of emancipation? but also! this feels like we're straying a bit too far away from the fun sports elements and I don't want to REALLY suggest all the ways in which you could mine jorge's personal trauma in a jokey tumblr post, so I'm gonna move on from this one

the problem is 2015 just straight up doesn't work as a jorge-centric narrative, except in a very kinda comic way that leans into how absurd his role in that season was. 2012 as a season is a bit... y'know, it's fine. okay it's mostly terrible, but that's fine too. but it doesn't have a great narrative hook. which kinda leads you to the problem that I do think the valentino rivalry is more... juicy from jorge's pov, because for valentino, jorge is just kinda? an obstacle? idk he's more normal about it, it's just his job to destroy the guy, you know how it is. but also 2009 does work better narratively from valentino's pov, like it's the build up to catalunya specifically you can dramaticise... idk though, I do love catalunya but my heart isn't really in this exercise because I think valentino isn't really being... challenged here? it's a title fight where he's fundamentally using a set of tools he's already perfected, to beat a guy he doesn't really give a shit about. when the italian press is down on him pre catalunya, it doesn't spark any genuine self-doubt - it's just a handy source of extra motivation. there's no epic highs or lows that season, not real ones. and yes I know I was talking about making valentino who gets stabbed repeatedly to cover up an infection a moment ago, but that reflected real EMOTIONAL truths!! I'm committed to thematic fidelity more than I am to literal fidelity

genuinely I think the best way to tackle jorge is with the jorge/dani parallel journeys... what, film? tv show? maybe show actually - you don't have one coherent narrative Statement per se but you're constantly charting those journeys in reference to each other, really rooting it in their respective points of views, no neutral detached cinematic language like I want everything to be very much written to be from their eyes!! going from one to the other and back again. and you're charting these different journeys, right, and how they both captured different flavours of like... emotional successes and failures. I think it's actually about failure, yeah, about having to accept there's something you can't have and might never be able to get - whether that's universal love or a premier class title or whatever - but Actually, that might not be the end of the world. and during this process, they go from being enemies to tentative friends!! guys who realise they can maybe actually understand each other better than they thought!! this real moment of interpersonal connection. you have all these media narratives and the managers and so on and the fact they're competitors as these built in reasons why they've just been pitted against each other from the start... but y'know, again, it is also just a bit about maturing, about being able to set that aside, about making your peace with defeat and failure as an element of growing up. you can't win everything, maybe there's something you really really really want and you're just not going to get it, but at the end of the day it's kinda... yeah. self-acceptance. idk this is the nice one

so with marc you can go several different ways here I guess, and again he's also perfectly decent sports biopic material, probably second to casey in that category like yeah sure do the comeback story. but also, we do already have a very good self-produced documentary about what he thinks the narratives of his career are? idk this is also just a personal taste thing, I'll leave him to doing all the injury stuff himself, I don't have much to add there. we'll get to the obvious one in a second, but I was trying to figure out if there were other places I massively felt like you need the cinematic touch. and, again, the 2013 season is obviously very exciting!! but also, you have it covered in.,,,, multiple documentaries, I don't feel I have a take their either? his rivalries with dani and jorge aren't really substantive enough to sustain a bit of cinema. dovi... I mean, what are you saying there? what's the arc? I feel like if I tackled dovi, I'd go somewhere else and really go all in with the ducati stuff, and make it a bit more... you know, stark, stripped back, basically just the emotional component of how much he gave to that project and how he managed to beat away one rival after the next and how it all ended up falling apart in a kind of anti-climactic way? he's also good sports biopic material, but in a way I think the marc rivalry is the bit of his story I have the least to say on. so eg, 2017 is a dramatic season, but he's also kinda fine after it? he always knew it was a long shot, he tried his best and he got really close and then he lost. you can't amadeus it because dovi isn't (fictional) salieri. basically, I think what I'm saying here is that dovi is too well-adjusted to feature in this post. though I'd totally watch a film about his 250cc seasons, like it's a bit annoying because HE is the underdog who loses both title fights to jorge, but it'd still be kinda fun idk. I wouldn't really know what to do with the material but if someone made the film I'd absolutely watch it

right then. the thing about sepang 2015 is... yeah, sure, of course you can do it, it already exists as a narrative but... yeah, what are you adding!! idk I always think when you're adapting something, you kinda need to have a reason for it? I mean, what are you doing that's not already there in the footage? idk maybe this is just a sign of having been a fan of this sport for one too many years but to me the idea of sepang 2015 can get a bit boring (or maybe just repetitive) where I need a new TAKE on it to really get into the idea of fictionalising it. like where's the auteur's touch y'know, what can I still add to this!! but it also needs to WORK for someone who is new to the story, which kinda just makes you want to tell the story straight.... y'know the story is strong enough and COMPLICATED enough to stand on its own and it IS good but I don't really have anything interesting to say beyond 'yeah sure that'e be neat'. I can't tell you why, but I also don't think the casey approach quite works here? the idea of providing a framing device with which valentino and marc can actually talk to each other... eh. don't like that. hm. okay wait actually I just turned it around in my head for... a while and I think I've got an idea to make the worst motorcycle racing film of all time. so, my central stupid film-making gimmick here is just. centring the fact we're completely reliant on a few guys and what they're telling us in making up our minds, and our removal from that story and the imperfection of their perceptions and so on. so I think you kinda make a point of... not actually showing the motorcycle racing? like, you always show it by showing other people watching it, you're showing the tv screen rather than the actual racing. even in the cinematic medium, you're centring the theatrical aspects, where you drill it down to just a few characters. valentino. marc. uccio. marc's fuck ass manager. maybe a crew chief or two. keep it limited though, all the others are kept at a distance - you're constantly focusing in on the same few characters. and very early on you basically just like... get them to fourth wall break by telling you, the viewer, with their actual words how racing works for them, what meaning they take out of it - and again it's this remove because we're never allowed to actually feel the racing for ourselves (no helmet cams), and it sets up that as the tragedy unfolds, again and again we're just hearing from them what happened. it's all zoomed in on how claustrophobic the entire situation is, like doing the race direction room after the sepang 2015 is perfect for that kind of thing, and crucially they're only ever addressing the audience because they can't address each other. but fourth wall breaks also obviously draw attention to artificiality! I realise they are very much like, lame gimmick central, but also are these men not inherently about lame gimmicks... idk it's basically the same story but at least it feels like a kinda interesting way of telling it. kinda trite, but cinema allows you to get to the point and let valentino actually play with the camera... so literally take it into his own hands and lead it around and tell the story from his point of view. and you can play with how they do both change in what stories they think they're telling, how they're constantly revising their own stories, how their stories completely clash with each other... like. make them literal narrators. that's my pitch

so. one interesting pattern that has come up with my approaches to these rivalries is that with the exception maybe of the 2015 stuff, I feel like I'm more naturally inclined to treat valentino as a narrative device and centre his rivals. a big part of this is that valentino is a fantastic narrative device. he's kinda. this looming presence in every narrative in this sport where you can just sort of use him as a sort of way to poke away at all these other riders. the monster everyone loves who you are trapped with. BOO!! he's gonna eat you! which is fun! but ALSO, crucially, several of these rivalries aren't that emotionally challenging for him!! again, with casey right, he wants to beat him, but he's not having a crisis of faith over losing to casey. he thinks casey is annoying, he wants to beat him because he wants to win. valentino is casey's foil, but casey is not valentino's. valentino makes for an excellent personal antagonist to casey, but the reverse just isn't true. casey isn't forcing valentino to reexamine his approach except 'ramping up the levels of being a dick on-track' - like, yes, that's a serious competitive challenge, but also valentino is very comfortable in his own skin in that rivalry. sure, you could have valentino have some kind of massive revelation about the casey rivalry, but like. he doesn't in canon. he changes his behaviour towards casey in pretty predictable ways depending on what the relationship demands from his perspective at any given time. there's nothing more there

now, obviously you know where I'm going here. there IS a rivalry where you can make the argument he changes as a result of it, there IS a rivalry that tips him over the line and makes him to do stuff he hadn't done before that, there IS a rivalry that happens to coincide with a period of his competitive life that challenges him both personally and professionally. now, look, I have already talked about the sete rivalry. you know what I think about this rivalry - and if you don't, I really already have told the story here and here and here and here and also here. I think this works perfectly well as a narrative in its own right, and it's one you can tell from either perspective... but you kinda need both. I think again you probably naturally lean towards starting it from sete's perspective and that first proper meeting (I mean, idk if it is their first actual meeting, but it's the logical obvious place you start this story) with sete giving valentino advice during his first 500cc test and valentino just, y'know, ignoring him and being a cocky shit and then crashing. so you get to see sete being kinda exasperated by the whole thing. also, obviously ibiza is like, a key framing device here, like it's the most obvious in-your-face way of tracking their relationship with each other. I don't actually know how often they partied there together, but it must have been at least twice and if the commentators are to be believed it must have included 2003. artistic license and you can add one or two more times, but mainly you want to focus in on 2003 onwards right. so you've got this 2002 one where it's, y'know, high point of their friendship and in the name of narrative efficiency, you establish here that sete is looking to make the honda switch. the emphasis is on how valentino has been winning everything but on the flip side you're getting the first insight into his discontent. and there's a bit of a vibe of, what could you possibly have to complain about? like you are winning so much? so it's late one night where they've had this slightly unguarded alcohol-fuelled moment of genuine vulnerability but in the end it's actually characterised by how... unsubstantial the link between them is, because they wouldn't talk about this kind of thing with each other and they might both be similar in some ways but also don't gettttttt each other. it means you can return there as a location in 2003, where you've just had sachsenring and valentino's dramatic loss but they're still partying together and it's like. obviously In The Air that not everything is quite right... their relationship is already gradually altered and twisted because you're introducing this element of actual stakes and competition (obviously in 2004 they do NOT spend that time together, as far as we know anyway, and you can show them being very much not together at ibiza as a very obvious Oooh Things Will Fall Apart and maybe already haveeee)

and I do think basically I've already said what I think the themes here are,,,, several times by this point, so I'm not going to belabour the point. I think all of this fundamentally works as a narrative with like, minimal massaging and rearranging of the elements for dramatic effect. it's all there already, everything from sete's arc with the [insert non-tasteless way of covering a real life tragedy that fundamentally alters the course of sete's career] and how that leads to sete becoming the challenger and how he does want to win and his eventual downfall. with valentino, you have the element of liberation and self-discovery and... well, growing into your own but also kinda having the narrative drawing attention to how 'growing into your own' can involve becoming a fully realised character who is essentially quite cruel? you have this kind of... build up, right, towards this moment of revelation, where you lay bare who these two people actually ARE at sepang 2004, and then again at jerez 2005. valentino has gone his own way, he has freed himself from the chains of honda, he has embraced individualism and the chance to define himself and his own legacy and stand on his own two feet and not rely on the strongest bike or all this stuff within honda where they chose him as their flag bearer, for better or for worse... like he comes to his own here! he takes the step from 'great rider' to 'legend' because he gets to this dramatic moment of stepping into the unknown, he takes this massive risk that could have cost him so much, and it ends up elevating him. but it also puts him under duress, and in that moment he reveals himself - whatever sete did or did not do at qatar 2004, EVEN IF sete did all that shit, what you are left with is valentino vowing to ruin this man. valentino uses sete to make himself 'better', to fuel himself as a competitor. valentino turns sete into a tool in his own story. and again, thematically you've got all this stuff about how sete was managing the image of the rivalry and how valentino took advantage of that - how sete needed it to remain respectful and valentino was completely willing to abandon that. like, you have two protagonists who really are similar in quite a few ways, who think they have this shared understanding with each other, but when it comes down to it? they end up being super painfully different

now I can go on about this and how to play it straight, basically, you can just do that rivalry and I think it'd be cool and fun and very easy to arrange in a good narrative way. BUT I've kind of already. done that. like I don't want to suggest a film that is basically a nicer version of my tumblr posts. so I want to take this in a slightly different direction, and I think what we need to consider with this rivalry is this: what if you made the curse literal? basically, what's always kinda charmed me about this rivalry is that the curse should not work and all the misfortune that befalls sete after that is so comical that it's kinda... what do you do with that? and the answer is you just lean all the way in. my pitch is this: what if valentino sells his soul to the devil?

so, you know faust, right, and you know the bit at the start of goethe's faust where god and mephistopheles are basically making a wager over how corruptible this one human is. and faust is like... he's kinda disillusioned, he feels that everything he's dedicated his life to in academia is fundamentally hollow, gets very close to committing suicide. and faust has gone a bit new age-y, gotten into all this mystical shit and he's got this pentagram that ends up preventing mephistopheles from leaving his presence in their first meeting... and basically what the devil can give him is like, the chance to attain some true pleasure, and for that faust is willing to bet everything - so if faust can just have that, then maybe eternal damnation is worth it. and look, I'm not going to summarise the entire plot of faust here and it does go off the wall a bit with all the gretchen stuff, but the point is you have this version of the devil who is fundamentally a cynic and is attempting to win an argument with god by making this human succumb to his own nihilism. and what faust basically does is like, abandon his normal life where he's trying to live by normal virtues and goes off on this journey with the devil. and there's this little moment where mephistopheles,,, pretends to be faust and takes on the role of an academic adviser (you know how it is) and seduces this random student away from the word of god and sends him down a wretched path, which ends with this bit:

like, a big part of faust's tragedy is supposed to be about... well, hubris, of the relationship of god to man, of no longer being afraid of the devil... and obviously, this is all framed very much in terms of religion, but at the end of the day it's also about, you know, having purpose - faust is living a life that no longer has any meaning to him, all of his knowledge and studies now no longer fill the void inside himself. his nihilism opens the door for mephistopheles, and is what makes him willing to accept the devil's terms. now, and I am so very sorry to goethe here, I think we have some material we can use here to explore the valentino/sete rivalry. obviously, you can't do a one-to-one, you need to get rid of some of like, the depression and all that - there were times when valentino was feeling 'a bit low' in 2003, but not 'faust thinking everything he'd done in his entire life was pointless' low, yeah? also, unless you want to do a real long view here and even then it can't really be justified, there obviously isn't really a 'tragedy' here from valentino's perspective. like, he wins! this isn't valentino's tragedy, it's sete's! I was being a bit facetious when I said he was 'selling his soul to the devil', and you can kinda parse mephistopheles' motivations in different ways depending on what flavour and what interpretation of him you're dealing with here. you don't 'damn' valentino, you essentially just turn him into a tool of the devil!

so, this is how this works out in my head: the devil works more broadly as the manifestation of competitive impulses, the kind of 'how far would you go to win' question as a bloke who shows up and literally talks to the characters about it (magic of cinema). he's also engaging with valentino feeling like his victories no longer having meaning, with being disconnected from honda and from the entire culture there and just feeling like he's going through the motions. there's this element of like... opening the door to what is essentially a journey of self-actualisation, bringing him closer to being a 'god' but also allowing him to fully come into his own and become himself. to win on his own terms. I reckon ibiza is my preferred narrative device where the devil talks both to sete and valentino there (separately), first literally as a mysterious stranger and then... maybe not? he's talking to them at times of their lives when they're not at ibiza and it's not happening there in the physical world and they both end up kinda having to confront they're dealing with some potentially malevolent supernatural entity. but the important elements of the devil is that a) he's not going to do anything the humans don't actually ask for themselves, and b) everyone knows he's following his own agenda and you should be careful of the requests you make of him. so it's kinda like... essentially, the backdrop of this rivalry unfolding is they're constantly being challenged to decide what lines they're willing to cross. which culminates at qatar... and maybe you do have sete making like. a teensy mistake. a teensy error in judgement, one that is both real and deliberate but he could not have known would get that reaction and instantly regrets. and valentino, who is I think inherently sceptical of the devil coming to offer to help him and maybe does crank out the pentagrams (remember, the whole point of faust is that he was too arrogant to be scared of the devil, or one of the points anyway), in a moment of fury does decide - no, actually. I will take that step. I will curse sete. now the thing is, dramatically this is a teensy bit tricky because when you're talking about being damned by the devil, usually the consequences are a bit more severe than 'not winning a motorcycle race again' (yes, you can get into how sete did also seem genuinely cursed after that, cf his ambulance/bus crash situation, but again we are flirting with being in poor taste in this tumblr post). but the thing is, right, you have to lean into the silliness here! qatar 2004 is inherently silly, a CURSE is inherently silly, like real life is already silly here! you have to engage with the people where they are, and for these athletes all this shit is so heightened that the emotions are full on. like, valentino would've sold that guy to the devil! and to him not winning another race is basically the worst thing that can happen

so, obviously, you get to do the actual curse stuff. curses are inherently campy fun, the devil doing curses is campy fun, getting valentino rossi to crank out the pentagrams is inherently campy fun. you get to play around with this, right, like you know that bit in the brno 2005 race commentary where the commentators are talking about how valentino might as well have a little radio to talk into sete's helmet to remind him of how sete had fucked up at the sachsenring. OBVIOUSLY obviously obviously it is just so... idk scrunchy and fun to have this idea of valentino becoming a malevolent enough force to literally do that.... like damn the commentators did kinda eat with that?? ughhhhhh do you ever think about sete leading the qatar 2005 race for most of the way???? like that's SO fucked up because you literally have articles from about the race going 'hey maybe sete can break his curse' and then the commentators are talking about curses having one year expiration dates but obviously they!! do not!!!!! there's one race where sete goes off track and the commentators are talking about how valentino will surely have smiled into his helmet like that's so fucked!! it's so fucked!! but idk I think basically you have all this creeping curse-y stuff and devil stuff and then you get this twist and then it just becomes misery zone for sete until you sort of. compress the timeline and have him retire without getting into what happened at the end of 2006. and valentino just relishing in all his very worst emotions. and you've got sete who was the better man after jerez 2005, who took the high ground again and again and again and it did NOTHING for him.... and then he's cursed and his career is finished and the devil has had his fun getting mixed in with mid noughties motogp. and now obviously this is inherently kinda dumb and corny and silly but it's the devil!! mephistopheles to me is allowed to get up to dumb shit sometimes, let him have some fun!! idk I like curses being literal idc

I think the obvious critique here is 'this doesn't really feel like it gets the message of faust'. which, yes, is true - and obviously the way narratives are structured, a satisfying resolution isn't 'well selling your soul kinda slaps, actually'. and my statement to respond to this argument is as follows:

this is essentially canonically what happened. valentino DID do something kinda evil and it DID work out 100% for him and it DID kinda slap. at least when you add in the devil, you're making explicit the bit where it is a little bit bad. also, is sports not inherently about selling your soul for success... the story of valentino and sete is essentially about how we are twisted by competition, how pretending that we don't wish ill to our opponents is inherently dishonest. it is about lifting a facade for something that is already inherently there in the souls of men. this is obviously inherently a deeply cynical stance, but this is also a deeply cynical story beyond all the fun battles and camp dramatics. the devil is a cynic and he is basically the point of view character of goethe's faust - he's the one who is positioned closest to the audience. sports is all about living out some of humanity's worst instincts in a relatively low stakes setting, which means we get a free pass to have fun with a deeply cynical story that goes 'maybe selling your soul to the devil is fine, actually'

do I stand by this stance? not really, but the whole fun of storytelling is that sometimes you can just be kinda mean. I think goethe would get it... you can tell which character he enjoyed writing the most

the OTHER way you can do this is centre everything around qatar 2004 as like,,, the mystery box element...... okay look I have now made two posts that go WAY too deep on the 'what really happened' element but I do loveeeeee the whole thing like I would just make a film about that very end of the season and we show it from all these different angles as different characters narrate what happened... like fuck all the riders I want to hear from whichever mechanic used the scooter... the gresini mechanic who gave evidence to race direction.... various honda higher ups the crew chiefs like this is jb vs juan martinez it's war!!! obviously you still have the same emotional/thematic hooks as the general rivalry does but idk I would have a LOT of fun figuring out how to structure that, I loveeee mysteries... maybe I'd write it as a mockumentary yeah..... this one's just fun

anyway. a lot of stuff going on in this post, huh! you can probably tell I didn't edit this much. my classic tell when I edit my tumblr posts is I remember how 'paragraphs' work. unfortunately all I have energy for are like. a bunch of rants about things in my brain. I think when tumblr tells you that you've reached the maximum number of characters per paragraph and you need to figure out where to put a break, it's probably a bad thing? on the whole, my stance is I don't have anything AGAINST mildly fictionalised versions, but for me I'm always more of a.... well I want to take advantage of the full specificity of the events as they happened or just come up with a completely original story. kind of person. I know this ask probably wasn't looking for my 'what if you bled out valentino as he's strung up above a red motorcycle' vision but yeah. with a lot of biopics I'm always a bit 'well you could just read about this couldn't you' like I need stuff to take some kind of a stance on the material it's using... all my stuff takes a stance. that's all I've got. obviously all these stances mean that basically none of these things could ever be made. and I know what I said above but if they called me up to write the casey stoner biopic script treatment, I would also do that. if you've actually read to this point, give me a shout - you're a real one and I love you

#would an insane person write this #//#brr brr #batsplat responds #spec tag #curse tag #heretic tag #morale tag

25 notes · View notes

choupistickfaitdesbetises · 1 year ago

Text

10/06/2023

“Challengers” is set for release next year. He’s also finished shooting “Queer.” He’s directing Bret Easton Ellis’ “The Shards” for HBO. Then there’s his “Scarface” remake, which has a screenplay penned by the Coen Brothers.

Guadagnino also confirmed that a “Call Me By Your Name” is in the works, with Armie Hammer and Timothee Chalamet.

Finally, his upcoming adaptation of “The Lord of the Flies” is currently in pre-production mode.

#armie hammer #timothée chalamet #charmie #call me by your name #luca guadagnino #sequel #choupistick

143 notes · View notes

turn-to-me · 1 year ago

Text

I rewatched The Social Network for its 13th anniversary. One of my favorite films of all time, and one that convinced me of Armie's extraordinary acting skills. The film is a masterpiece on every level, one of the greatest biopics of the 21st century. In my opinion also David Fincher's magnum opus, together with Se7en, if one could have more than 1. With an inimitable performance of the KILLER soundtrack.

And Armie Hammer was in it!!!

A few review quotes about Armie's performance:

* Hammer and Garfield make the glue that hold it together.

* Although the stand out award I'd like to give to Mr. Armie Hammer. His role is just Tailor fit, literally as his jacket. From his statuesque as a rower all through out as a dapper at Harvard, he is just believable in that field. He is after after all the Winklevoss BrotherS.

* Armie hammer is a best combination of grace and conceit how he played wealthy twins.

* David Fincher's cool, stylish direction and great performances by Jesse Eisenberg, Andrew Garfield and Armie Hammer make The Social Network a worthwhile watch.

* Now that some of the dust has settled, there’s one name that keeps coming up as a comic scene-stealer and awards dark horse: Armie Hammer, who plays entitled twins Cameron and Tyler Winklevoss. In the movie, a Winklevoss twin declares, “I’m six-foot-five, 220 pounds, and there’s two of me,” but since there’s only one of Hammer, that meant the actor was often acting opposite a body double whose face he’d be digitally grafted onto in postproduction (and when you consider the notorious amount of takes that an exacting director like David Fincher requires, Hammer’s nimble pair of performances is all the more impressive).

* My favorite description of the twins in the film comes from Alison Willmore's review, in which she writes, "Hammer is infinitely amusing in his dual role, exuding privilege and looking like something grown in a vat of J. Crew catalogs and Aryan race propaganda."

* No one could have played Sean Parker like Justin Timberlake, and Armie Hammer playing the Winklevoss twins is fantastic too.

* The quasi-pair of performances generated Hammer Oscar buzz at the time, and he has been a marquee mainstay ever since, appearing in films like J. Edgar (2011), The Lone Ranger (2013), The Birth of a Nation (2016), Call Me By Your Name (2017), Cars 3 (2017), Sorry to Bother You (2018), and On the Basis of Sex (2018).

* What makes Armie Hammer’s acting performance outstanding is his use of specific body language with each of the two characters.

The different way he moves, his vocal cadences , and facial expressions makes it so easy to believe that these were two different people on the screen.

When Armie played Cameron Winklevoss, he played him more uptight and more formal. The formality also came out in his dialogue. His diction was more precise.

When he played Tyler Winklevoss, he leaned back and was more laid back. His speech pattern was more fluid and he even used curse words as Tyler’s character.

I think that Armie’s performance was so great that I would easily see him being a contender for best supporting actor at the next Academy Awards ceremony.

youtube

This scene is epic! Great visual metaphor emphasised by this music piece.

#'In The Hall of the Mountain King' #Trent Reznor and Atticus Ross #Henley rowing scene

#armie hammer #the social network #david fincher #2010 #winklevoss twins #facebook #mark zuckerberg

125 notes · View notes

storiesforallfandoms · 1 year ago

Text

history repeats itself ~ gwilym lee

word count: 2836

request?: yes!

“hey, i saw you wrote for Ben Hardy so I was wondering if you would write for Gwilym Lee? If not ignore this lol. I was thinking something like he meets the reader on set and they immediately hit it off, and the resemblance of her to Brian May’s wife is uncanny (let’s pretend he’s had just the one) and it’s kinda like a history repeats itself thing? idk if that made since. maybe Brian and Roger noticing and just being so amazed seeing that happening in front of them? thank you, and obviously since i have no explanation skills take complete control!”

description: when she gets cast to play the wife of a rock legend, everyone realizes how similar she and her on screen husband look to the originals

pairing: gwilym lee x female!reader

warnings: swearing, rpf

masterlist (one, two, three)

It was such a small role, one that didn’t even have any lines. But to me, it was huge. It was a small role in a massive blockbuster movie: the Freddie Mercury biopic. It would be the biggest job of my career. Up until that point, I had only been an extra in a few sitcoms. Having a small, silent role as Brian May’s wife in a Freddie Mercury biopic may seem like a small step up from what I’m used to, but the scale of the movie made it a massive deal for me.

I wasn’t sure if I’d get the role. There were hundreds of other actresses just like me - desperate for even the smallest roles in such a big film - were lined up to meet the director and casting director. It was such a small chance of getting it I thought. Until I walked into the room and both of their eyes widened when they landed on me.

“Holy shit,” the casting director breathed. “She looks just like her.”

I was cast on the spot. I nearly sobbed in happiness. I managed to keep the tears in until I got to my car and could call my parents to give them the news.

A few months later, I was preparing for my day on set. It was a party scene that was taking place at Freddie’s mansion at the height of their career. The other band members - Brian, Roger, and John - were there with their wives/girlfriends. The scene mostly required us to sit by our assigned on-screen husbands while they conversed. It was an easy day, and it was only going to take one day of filming, but I was still nervous. I had already met up with the director and some of the cast involved in the scene, but today I was going to be meeting the main four actors and two members of Queen.

I was just finished with wardrobe and was on my way to hair and makeup when I came across one of the main actors, Gwilym. I had been told about him after being cast, since he was the one playing Brian May, but I hadn’t met him yet. I suddenly felt nervous as I approached the hair and makeup trailer, where Gwilym was stood outside the door also waiting. He looked up as he heard me approach and smiled.

“Hi,” he said.

“Hi,” I said back. “I’m (Y/N).”

“Gwilym. Nice to meet you.” He reached out and shook my hand. I hoped he couldn’t feel how my hands were shaking. “You’re playing Brian’s wife, right? Well, my wife I guess.”

I chuckled and nodded. “Yeah, that’s me. I’m getting all dolled up for my one day on set to film my one, dialogue-less scene.”

“Hey, there’s no such thing as small parts remember.”

I made a face at him. “You sound like my old theater teachers.”

Gwilym cringed. “That’s the last thing I’d ever want.”

I laughed. The door to the hair and makeup trailer opened and two other extras came out. The stylist greeted us and told us to come in. I sat in one chair while Gwilym sat in the one next to me. I watched the stylist grab a long, brunette wig and place it next to Gwilym.

“I’m gonna have to do Gwilym’s wig firs since that’ll take the longest,” she told me. “So, sit tight, and try not to mess up your wardrobe too much.”

I nodded and gave her a thumbs up.

I watched the process of applying Gwilym’s wig. It really did take a long time. First, a bald cap had to be applied to Gwilym’s head. Then, the wig was placed on his head in a few different ways to figure out the best placement. Once that was figured out, the wig had to be pinned down in a way that made it look natural on his head, and not like a wig.

“So,” Gwilym said, trying his best not to move his head. “Since we’re going to be here a while, and since we’re playing a married couple, I suppose we should get to know one another.”

“Sure,” I said with a laugh. “What do you want to know?”

“Is this your first movie?”

“It is. Until now I was just an extra in a few sitcoms. I had one line once, that’s the extent of my career.”

“Well, extras are important. Without them, a scene would look so stupid if it was just the main characters.”

I shrugged. “I know that, and I know every actor has to start somewhere, but I’ve been doing this for roughly five years. Performing Arts schools are expensive and I sometimes worry I made a mistake persuing acting.”

I saw Gwilym’s eyes quickly look over at me before looking back at the mirror in front of him. “It’s never a mistake to chase your dreams. It just takes time. You have to play the small parts in order to get experience for the big ones.”

“You’re right. It’s just taking so long. But I’m here now, so that’s a step up.” I shook my head. “Anyways, away from my career insecurities. Tell me a bit about you.”

We talked throughout his wig applying process. We exchanged embarrassing childhood stories, talked about how we got into acting, general details about one another. I had forgotten about the fact that I was waiting to have my own hair and makeup done by the time Gwilym stood from his chair.

He looked at himself in the mirror before turning to me. “How do I look?”

I tilted my head as I looked up at him. “Scarily like Brian May.”

He chuckled. “That’s good, then. They won’t fire me anytime soon. I’ll see you on set?”

I nodded and watched him go. I felt a little disappointed by the fact that he was leaving. I had really enjoyed talking to him. The next time I’d see him would be on set for the scene, where we wouldn’t be able to talk, and then once that ended I’d never see him again.

The stylist started going my hair and makeup. She showed me a picture of Brian and his wife in the early 80s, which was when the scene was set, as the inspiration for my look in the scene. It was subtle, but it was clearly 80s. It didn’t take as long as Gwilym’s had, and soon enough, I was on my way again.

I stepped out of the trailer just as Gwilym was walking up again. He was now in his costume, looking so much like a young Brian May that it was scary.

“Right on time,” he said. “I was coming back to walk you to set.”

“Oh, you didn’t have to do that,” I said, but I was touched by the offer.

“I didn’t have to, but I wanted to, so I am.” He offered an arm to me, like a gentleman. I took it and we started walking to set. “Besides, it’s a big scene with a lot of people. It might be nerve wracking to walk on set by yourself with all those people.”

“It is. Especially with meeting the rest of the main cast at the same time.”

“Oh, they’re all a bunch of wankers, you don’t have to worry about meeting them.”

I giggled. “You can’t say that about Brian May and Roger Taylor, though. And they’re going to be on set, too.”

“No, you’re right. But they are very kind. You don’t have to worry about meeting them. I’m sure everyone will like you. Even if they didn’t, who cares? You won’t have to see them again after today.”

He had a point, but it was still sad to hear out loud. I had been preparing for this day for so long, excited for my first big project. And now, within a matter of hours, it would all be over. I’d be sent back home, waiting for the next role to come up, hoping that maybe this movie could help with that role being a bigger one than just an extra. Back to my normal, boring life.

Saying goodbye to Gwilym.

I had managed to shock myself with that thought. I had only known Gwilym for maybe an hour and a half, but the thought of only having this day with him brought on a bit of sadness. He was so kind, and he seemed so genuine. I had never been on a set where the main actors even acknowledged that the extras existed, let alone be nice enough to walk one to set after talking to her for some time.

Not to mention he was extremely handsome. Especially when he smiled, like he was smiling at me now.

God, don’t develop a crush on the guy you’ll never see again after today.

My heart rate jumped the second we walked on to set. Gwilym wasn’t lying when he said there was going to be a lot of people in the scene. The mansion set was packed with people, so full that there was just barely enough room to move around. I was hoping this was the only amount of extras that were set to be in the scene, or else I think my nerves would go into over drive.

The director spotted Gwilym and I almost immediately and led us over to where we were set to be for the scene. Rami, Joseph, and Ben were already sat around having a laugh as we walked up. They happily greeted Gwilym, and he then introduced me to the lot of them. They were very nice and welcomed me in almost immediately, but it was still pretty surreal to be there with them. Especially Joseph, who I had seen in Jurassic Park when I was just a kid. I almost felt out of place there, but I could tell I wasn’t alone. I introduced myself to the other girls who were playing Ben and Joseph’s on screen love interests, who also looked just as out of place as I felt.

We were all sat around together when the buzz in the room suddenly turned into a hush. It wasn’t hard to know what had just happened: they had arrived.

Brian May and Roger Taylor themselves.

Rock and roll royalty.

I looked over and my heart leapt into my throat at the sight of them. It was hard to believe that they were actually real. I had been listening to Queen’s music all my life, but it wasn’t until this moment that I truly realized that these legends were actual real people.

Actual real people who were walking towards us.

I jumped when I felt a hand on my arm. I looked over to see that it was Gwilym’s hand. When I looked at him, he smiled. I couldn’t help but smile back, the nervousness in my stomach being replaced with butterflies. His hand moved down my arm and squeezed my own. I squeezed his hand back.

“My God.”

I looked up to see Brian and Roger stood over us. I tried to put on my best smile, hoping it wasn’t as obvious as I felt it was that I was shaking. Brian was looking between Gwilym and I, a look in his eye that I couldn’t quite place. Reminiscent, maybe?

“They did a spot on job casting for this movie,” Brian commented. “It feels like I’m looking into a mirror with you two.”

“If there mirror were about 50 years younger,” Roger teased.

“You speak from experience, don’t you old man?” Brian retorted. I couldn’t help but chuckle at their banter. Years of friendship and knowing one another, and they were still cracking jokes and poking fun. I hoped to be like them with my friends when I got older. “What’s your name, love?”

It took me a moment to realize he was talking to me. I opened my mouth to respond, but nothing came out. In fact, there was nothing going on in my head at all. It was like I had completely forgotten every little thing I had ever learned in my life. How does one continue to function after Brian May calls them “love”?

“This is (Y/N),” Gwilym said, saving me from my colossal choke.

“Yes,” I finally managed. “Sorry, my name is (Y/N). I’m a little nervous.”

“Nothing to be nervous about, darling,” Brian said. “You already have the look of my wife down. And it seems you and young Gwilym here have already gotten quite acquainted.”

I didn’t realize that Gwilym and I were still holding hands. I expected him to let go at that moment, as if he were just realizing as well, but he didn’t. Instead, he kept hold of my hand, giving it another reassuring squeeze. I wondered if the blush on my face was noticeable under the makeup.

The director called for places, so Brian and Roger took their places off set. I let out a sigh of relief after they were gone and moved into place with Gwilym.

“See?” he whispered to me as we were passed glasses of fake champagne. “They’re not that bad.”

“Their presence alone is a little terrifying,” I whispered back.

“But you got through it. Seems Brian’s taken a liking to you. Although, that’s not surprisingly considering how lovely you are.”

I was convinced this was all some sort of very long, very detailed dream. I was going to wake up at any given moment.

The scene went by very smoothly. It wasn’t hard to just look between the boys as they spoke, smiling when I was supposed to smile, offering a sour look when Rami arrived, acting as a rather rude Freddie. It felt like Gwilym was moving closer to me with each take that we did. First we started off sitting in separate chairs, until the director asked if we would switch and sit in the couch that Joseph and his lady friend had been sat in. Gwilym had moved towards me at the start of that take, and by the final take of the day our bodies were touching and his arm was around me. I was glad I didn’t have any lines, or else I would’ve likely forgotten every single one of them.

When the director called cut and said it was a wrap on the scene, I tried not to let my sadness show. The extras started to file out of the room, going to get read for a different scene that they were filling for. Not me, though. I was going to wardrobe to get my outfit taken back, and then I was going home. If I was lucky, I would be invited to the premiere, otherwise I would never see any of these people again.

I wouldn’t see Gwilym again.

Ben, Joseph, and Rami were kind enough to give me a hug and tell me they were happy to have met me. I told them likewise and started my way back to the wardrobe trailer.

“(Y/N)! Wait!”

I turned to see Gwilym rushing up towards me.

“Aren’t you supposed to be getting ready for your next scene?” I asked him.

“Yes, but I wanted to talk to you before you left,” he said. “Look, I know this is a bit presumptive to ask because we only really spoke to one another for that time in hair and makeup, and I have no idea if you’re even single so maybe I’m about to make an ass out of myself, but I wanted to ask you if you’d like to go out this evening once I’ve finished on set.”

Everything in my brain? Gone.

Every last bit of it.

Gone.

I couldn’t believe this was happening. It had to be a dream, right? There was no way it was real. I would’ve pinched myself if it wouldn’t have made me look like a total idiot in front of Gwilym.

“Yes,” I said. “ I mean, yeah, sure, I - I would love that.”

His face lit up. “Yeah? Okay. Here, let me give you my number.”

We both realized we didn’t have our phones, so we had to do it the old fashioned way - Gwilym found a pen and paper, and wrote down his number for me. I took the paper and shoved it into my pocket.

“I’ll text you once I’m no longer part of the 80s,” I said, gesturing towards my outfit.

He chuckled. “And I’ll do the same.”

We both stood, just looking at each other for a moment. It wasn’t until Gwilym was called back to set that we finally, reluctantly, broke away to go out separate ways. I put my hand in my pocket and closed it around the piece of paper containing Gwilym’s number. I smiled to myself, having to restrain myself from skipping happily towards wardrobe.

I guess history really does repeat itself, I thought with a laugh.

#gwilym lee #gwilym lee imagine #gwilym lee x reader #imagine #one shot #request #bohemian rhapsody #fanfiction #fanfic #fandom

124 notes · View notes