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wickedpact · 4 years ago

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heres a transcript of that gina & greg interview i mentioned yesterday. literally nothing new is in this, but theres a lot of info in this that was scattered in varying interviews/podcasts and i like having all of it in one place for future reference purposes

(link to vid)

Patrick: Hey everybody, this is Patrick Cavanaugh from comicbook.com here to bring you a very special conversation about Netflix's The Old Guard, which just debuted last week, and everybody has seen it-- I believe people have seen it by now, so that's very exciting. And to dive deep into this film, we're actually very lucky to have the film's director Gina Prince-Bythewood, who also directed Love And Basketball and Beyond The Lights here. Hello, Gina.

Gina: Hey.

P: And we're also joined by the film's writer, as well as the writer of the original comic book series, The Old Guard. Also, you might know him from his DC Comics work, Batwoman, and Lazarus, to name a few of his titles. We have Greg Rucka! Hello, Greg.

Greg: Hello!

P: So this film just first debuted last week, and I know you guys have been inundated with fans, just loving it. And let's just get to what fans want to know, right off the bat; I'm sure you're getting daily questions about this because there's so much for an expanded universe. So let's set the record straight: will there be a Tiger King crossover?

[everyone laughs]

Greg: Uh, we're planning an animated series with giant Mech suits, and, unbeknownst to a certain franchise, we're going to crossover with Transformers and-- no. Come on. [laughs]

P: Okay, alright, we’ll hold onto that big crossover stuff. And I know Netflix, of course, hasn’t fully announced what the future might be for Old Guard, but I'm just kind of curious if you guys have had any recent conversations about what you'd like to do in the future—theoretical, nothing concrete, of course. But since the film has come out and you've seen fan feedback…?

Gina: I will just say, obviously, it's an incredible compliment that people want to see more. It means we did our job in this. It was very important that this film has a beginning middle and end. We wanted to focus on this.

Greg: Yeah.

Gina: And get it right. Having people want more is an incredible gift and I would say those conversations were really… Greg and I, early on in talking through the story... knowing Greg knows where this thing goes --and it's pretty incredible-- helped me in terms of directing this one. So I will say we've had those conversations early on.

Greg: Yeah Gina’s absolutely right. One of the things that I'm really-- one of the many things I am proud of is that the movie is a whole, you certainly leave it going ‘okay, there could be more, I can see how there is more’. But it is a complete work. It is not contingent and does not need anything else. That said, there were plenty of times we were having conversations and would jokingly be like, ‘oh that'll be in the next one, we'll do that in the next one. We had to cut this so we’ll put it in the next one’.

P: I'm sure people would be very thrilled, as would I. So we’ll try to remain patient since it's only been out a week--

Greg: I think that's reasonable.

P: [sarcastic] I mean, fans are nothing but reasonable--

Greg: [very loud laughter] You know what 'fan' is short for right? Fanatic.

P: [laughs] So Greg, I'm curious. You know, since this is a pretty unique situation where you wrote the original books but then also came to write the script-- which doesn't always happen all that often. I was kind of curious what that process was like and if, when revisiting that core story, if you were tempted to kind of go off into a new directions, you know, uncharted territory? And how you managed to stay faithful to that story.

Greg: So when Skydance initially acquired The Old Guard, Matt Grimm and Don Granger were the guys that I was working with. And they were very clear that they had acquired it because they loved the source material. So when I was doing the adaptation, it was ‘adapt this story to be told in a screen format, there are changes that have to be made’. I didn't see it so much as like ‘I can go in a different direction!’ as ‘it's a really rare opportunity to have a second bite at the apple’. Most writers don't get to tell the same story twice. And even with the collaborative nature of comics, making a movie is far more collaborative. So… being able to benefit from a lot of very smart people-- and then when Gina came aboard, and working very closely with her on the screenplay, you know, taking her notes, and talking at length about it was… I mean, I love the comic we made, I'm very proud of it. But I think this is a superior story. Because it allowed me to fix mistakes I had made. And I think that it certainly works as the film that we wanted it to be, but it has a lot more nuance and a lot more ‘shading’ than the comics ever could have had. So yeah, I mean, I'm very proud of the work we've done.

P: Yeah, as you should be, definitely agree with that. And I know, Gina, you've spoken about how you treated the source material essentially as a Bible as the blueprint for adapting the movie. So a question kind of for both of you, I was curious what scene or sequence were you most excited to bring to life? And then what scene were you most apprehensive about whether or not you could pull it off as faithful to that original?

Gina: For me, I mean, there was there were certainly a couple... Joe and Nicky in the van.

Greg: [nodding] Yeah.

Gina: Such a beautiful moment in the comic. And I wanted to get it right. I knew the actors really wanted to get it right. As soon as we started shooting, I was like, 'oh yeah, they're killing it'. Also Booker in the mine, the speech that he gives to Nile, it's everything to his character. It explains both Booker and Andy; where they are, and why they are the way that they are in that moment of time. And I know that as a director, I saw a perfect take. But going into those, you hope that, ‘am I able to evoke what I need to evoke in the audience?’ I think that the hardest really was the Kill Floor, given how iconic it is in the comic. It's just so beautifully drawn by Leandro, it pops off the page. So ‘how am I going to be able to do the same thing on film?’ But it really kind of boiled down to ‘what is the story [of the scene]’ and really focus on that first, but also wanting to really give a bit of a homage to what Leandro did too, which was my use of silhouette throughout it.

Greg: Yeah, I think that… Gina just listed all of the scenes. I mean, I wanted to see the armored car, that was enormously rewarding for me… I couldn't wait to see the killing room floor... You know, when we talk about moments of adaptation, I actually —and I thought this was really well handled in the movie in particular— Nile’s death wasn't wasn't easy in the comic, because it needed to have heart. You know, Kiki's performance and the way it's shot is just, it's phenomenal.

P: And obviously you can't really talk about this movie, which is this big action-fantasy movie, without talking about that scene between Joe and Nicky. I'm curious what both of your reactions have been to seeing that moment hit so hard with so many fans.

Greg: I'm overjoyed that we're able to give that to so many people. I am also frustrated that it's so overdue. While I don't think that either Gina or I felt that this was… It was important and special because it was important and special between these characters. But, you know, I mean I’m in that place where I recognize why we are getting the response that we are, and, I'm frustrated by the fact that it's 2020. And… apparently we're the first people to have done this? And you can say that about a lot of the reactions, you can say that about the reactions to Kiki's Nile. You can say that about reactions about Charlize portraying Andy. There’s a piece of me that's like ‘guys, we didn't invent the wheel here. All we did was show you, THERE’S A WHEEL HERE!’. So.

P: Yeah, it's interesting and it is frustrating that it is 2020 and we have to refer to this as an anomaly. That this is not the norm, that as you said, this is we're showing people that the wheel exists. And so Gina, you know, between having a film with two powered, seemingly super-powered characters, in a comic book adaptation, which is largely been devoid of such characters. [I think he meant to say female powered characters?] and being a black woman, directing a comic book adaptation— again, something in 2020 that we have to treat as a shocking revelation— I was curious, if you felt any sort of pressure about that on set, or if it was like just a confidence in the material, and support from your collaborators, that it wasn't even an issue?

Gina: Um, are you talking about the scene-?

P: Just the project as a whole.

Gina: There was a reason I took this film, because it moved me. It has to start there. There's all these things; I love putting a black female in the world, I love putting Nicky and Joe in the world, I love putting Joe’s character in the world. Those are all such incredible driving forces. But foremost, I have to feel and care about the characters in the story. And I did. And so, for me, it felt... I mean I was honored to be able to be the one to give these characters a life up on screen... or in that big screen in your living room. There's, of course, enormous pressure. Not only just doing a film, like the bigness of it. Certainly me being a woman, me being a black woman, and doing this when nobody has done it before… It's about proving myself and proving that women like me can do this, that we do like action, that we can shoot action… Just changing that narrative. So there's pressure to get it right and do a good job, but I feed off of that. It made me work harder because I felt like I absolutely had a responsibility to get it right.

P: And we've talked about Kiki a few times as Nile, of course. And Gina, I know you said it was within five seconds of meeting her that you knew she was the right one to play Nile. I was curious, how did the rest of the casting process go? Did everybody get hired that easily? Or was it a harder search to round out the ensemble?

Greg: Yes. I’m curious too!

Gina: You know, I knew going into this that I wanted great actors for every role and it's pretty amazing how many of my first choices are in this film. I mean Matthias Schoenaerts who plays Booker is an incredible actor and I knew I wanted him from the get-go. We were told he doesn't do films like this, but he wanted to meet, which was the first thing, like, ‘oh my gosh it’s on me, don't blow this meeting’ and he said again to my face, ‘I don't do these movies, but I love this movie’ and he loved the character Booker. And after that conversation and hearing my vision, he was in, which was amazing. Marwan Kenzari, I saw him in this independent film called Wolf—

Greg: Yeahhhhhh.

Gina: Phenomenal. And he was supposed to read for the part. We had a meeting over FaceTime. Then, Zoom was not what it is now. And it was such an incredible meeting. He was so passionate about the material. So passionate about the character Joe. So passionate about wanting to give that speech. His energy… I just said 'you don't need to read, like, you're Joe'. Luca Marinelli, who plays Nicky, I saw his audition. He has this depth to him, those eyes.. where you just, you felt everything, you felt his soul. But I needed to do a chemistry reading, as I would with any love story. And so, we flew him in to read with Marwan. They did this incredible improv, and it was so obvious that these two were Joe and Nicky. It was a really beautiful moment as a director to just… know, and I was so excited to show everybody what they had. It leapt off the screen, their connection; they’d never met before but, immediate connection. Chiwetel Ejiofor, I mean… [awed silence]

Greg: Chiwetel... yeah.

Gina: Yeah. To hear that he wanted to be in this and work with me on this, I didn't need anything else at that point. He's truly a genius. Charlize, you know, there are very few women who can work in the space and we believe them. And that's the thing about her work, and her action, we believe her. And we needed that for Andy. And of course she's a great actress, so it was, you know, that was kind of a no-brainer. So, lastly Harry Melling, you know our villain. It's funny, Don Granger, at Skydance, says you've done a good job with your villain if the audience wants to punch him in the face. Harry brought that reality of those templates of Mark Zuckerberg and Martin Shkreli and really rocked it.

Greg: I had, you know, I'm the screenwriter, right? And I am pretty much involved in the production at the director’s sufferance, and Gina was so gracious to want me present-- and more than that, want me present and say things, right? As opposed to ‘stand here and be quiet’, but I remember when Kiki… when they knew they wanted Kiki, like in that window before all the paperwork was done and so on. Throughout most of the casting I wasn't hearing a lot from Gina, just the occasional update. Like ‘I think we've got…’ and then the Kiki audition came in, and Gina, you called me, Granger texted me, Grimm texted me. And it was all the same thing. It was all ‘we have found Nile, oh my god, there were these two scenes and she had us howling in one and weeping in the other and she is perfect’. And the exuberant joy, you know, I remember you on that call being like ‘NO, THIS IS HER!!’. It's like, this is gonna be awesome.

P: So, and to open things up a little bit more to the actual mythology of the film and the comic book series, I think one of the coolest things is that this film doesn't entirely explore is why these characters come back to life? But we also don't entirely need to know that to just… witness this slice of time in their journey. So I'm kind of curious, maybe Greg you have more insight on this, but I'm curious if either of you have those ideas in your head of what the root of this, you know, blessing or curse, the curse of immortality? Or is that just stuff that's entirely irrelevant to this journey?

Greg: I think it's irrelevant… to the journey of the first film. That the story is a self-contained story and you don't need to know why they are immortal. And I think that the film actually does tell you, not specifically, but the film does provide you with enough information to allow you to draw certain conclusions. Because there are really a limited number of ways that they're going to get this way, right? We do not, for instance, see Nile fall into a vat of regeneration juice, right? That's not why Nile comes back. There is a mythology. We know the mythology. We know the why and that's for later. Yes, maybe it will become relevant to the story, but for this story that was told as it was told? No, you don't need to know why.

Gina: The striking thing, when I read the script for the first time was I didn't… I didn't care. Like, I didn't need it. And that surprised me because I know Greg had talked about another company who was interested in the project [Gina doesn’t say, but it was Sony lmao] kept asking ‘you have to tell us why though, in this story, an audience needs to know why’. He was absolutely right [for disagreeing with Sony]. Because I didn't need to know why.

Greg: It's the Rian Johnson School of, you know, it's Looper. ‘We can spend two hours talking about time travel or you can accept that we're in time travel. Which is it going to be?’ And I think that that is one of the most brilliant storytelling decisions made in the last 20 years in film! Literally 'here it is—DOESN’T MATTER, MOVING ON!’ you know.

P: Yeah. It's definitely a bold direction to take. And to have an issue with 'oh, well, we never learn [about the] immortality!' proves that you just miss the point of what the movie is, and that that stuff is kind of irrelevant for right now. Although I do kind of hope that because it's on Netflix someone's expecting like a post credit scene, but it's the autoplay feature, right? [Greg and Patrick talk over eachother, laughing]

Greg: We did talk about that button as a post-credit scene, the Booker [scene]—

Gina: That was originally supposed to be a tag.

Greg: And there was, for a while, the contemplation of ‘maybe we can still [put the Booker scene in as a post-credit scene] and really that'll be like a great big reward for those people who actually watch credits on Netflix. It’s like, you got a bonus scene!’

P: So another, you know, people are loving the characters, they're loving the performances, but also the action is so cool in it, and it feels reminiscent of some other films. But the urgency and efficiency of all of the action sequences always feel like they have a point, and they're not just ‘look what we can pull off this week!’ You know, it's not John Wick on a horse fighting motorcycles because we don't need to do that. It's, you know, always to a point. So I'm kind of curious Greg, what does an action scene look like in your script? And then Gina, what was your whole motivation for putting these action scenes together?

Greg: I had two approaches in this script and used both. Sometimes I would write the sequence as you know, as a series-- this is what is happening, ‘he swings and then his head goes flying’ or whatnot. But knowing very well that unless the script needed to see-- because the script has to specify what is a must. It's a must. It's a must document. ‘We must see this’. ‘We must know this information’. So for a lot of the time, I would sort of drop into a narrative voice and say, ‘okay, now we watch the five of them proceeded to kick every ass and take every name that they come across and please bear in mind you are watching over 10,000 years of combat experience, combined between them’. And then that's the description of an action sequence, right? The screenplay… it's a construction document. It's not the interior decorator’s document. It's not even the Foreman's document. It's an architectural document. And then you give it to the Foreman of the whole production, who then goes, ‘I agree, these are the important things’, and then you get out of their way and watch them do the thing that they have, you know, become an expert at doing to make it happen.

P: Gina, what's your reaction when you read Greg’s script saying, ‘oh, you know, just five immortal warriors demonstrating 10,000 years of combat experience’?

Gina: It's like ‘oh shit’. [everyone laughs] Like that's a very cool thing to read—

Greg: But how do you film it?

Gina: Yeah, exactly! Then you start at the beginning of the scene and 'what character can we reveal in the scene'? And when you start like that, it's less overwhelming. Because the best action sequences for me, when I go to the movies, are those that have a story to them and that are character driven, that have an emotion. So I really started there in the vision of what they should be and just working with my incredible, incredible stunt team, Jeff Habberstad and Danny Hernandez and Bryson Counts[? I dont know who that is]. Designing these fights to tell this story, to showcase this part of character, to further the story. And that was important as well, that we never wanted this film to feel like… rushing through the story to get to each action sequence. All of this works seamlessly. The quiet moments are just as important as the action moments. And so that was exciting to me. But being able to tell the story, reveal character, that was fun. And then it's ‘yeah, how do we choreograph so it feels as if these characters finish each other sentences, so to speak, in terms of action, knowing where the other is going to be, knowing when somebody's out of bullets and need another clip?' Like all those things, the way that they're always picking up used guns and used clips, just this dance. And it was very cool, you know, to really put that together and see what the team came up with. And then to see the actors embody that, bring character, bring performance to that. Which is why it was so great that I had the actual actors doing most of the work, so that we can see that performance.

Greg: I think you used a word that I think clearly came from what Gina’s describing and talking about with working with Danny and Jeff and Bryson. Which is 'efficient'. Like, if you watch the film, you will see that there is only one sequence where Andy is ever firing more than twice, and it is on the killing room floor. After that, whenever she fires a gun, it's one bullet. It goes exactly where she wants it to go. Everything she does becomes an issue of ‘her style is efficiency—‘

Gina: Yeah, that was a big—‘brutal efficiency’ is a term we talked about often, where they know a kill shot. They are not the type that are going to go in an environment and spray. It's lazy and not who they are. They are not going to ever hit someone by accident. They are too good. And their moral code is not like an ordinary For Hire who are just trying to get the target by any means necessary.

P: Yeah, and also speaking to what I feel set these action sequences apart from other action films is, we're used to, you know, like thumping techno or hard rock or something kick in. You know, I don't think anyone had like, you know, Frank Ocean being in an action film on Netflix on their 2020 Bingo cards. So I'm just kind of curious how you put that soundtrack together and what that process was like.

Gina: Yeah. I love music so much. It's so much a part of me as an artist. And for me, I love songs for scores, songs that can evoke an emotion, and elevate a scene or the emotion of a scene without taking it over. And music for this film was so important, to the tone. It was such a balance. This is a violent film, yet I never wanted it to feel like a celebration of violence. The fact that there was a cost to the killing and then motion to the killing. So always wanted to keep that in mind-- and music really helped with that. There's also a thing of, you know, I'm the first audience and I actually don't like heavy metal. So, it annoys me when I watch a movie and it's this non-stop thump. In the rectory —spoiler alert— when Andy kills 19 people, the music I chose was important because it took away the sting of that. I didn't want an audience to revel in ‘oh my God, she killed 19 people’. No, it was ‘she killed 19 people and you see on her face that this was not fun, this was not easy’. You see that on Nile’s face when she walks out, and the music helped that. I wanted the music to feel operatic, because what happened in that room did have that depth of emotion, so music again— so important for vibe and tone and it was fun to find these songs that could do exactly what I wanted them to do.

P: Greg, the narrative is definitely very faithful to the first two Old Guard series and, you know, blends together in this compelling and unique way… Just as a —you know, we are comicbook.com— so coming from the purest sense of interpreting the narrative... [Greg laughs] like there's definitely the flashback with Achilles from the comic book, and then also the flashback to Booker's hanging scene. Those are our absent from the film. And I was just curious if those were ever in the script or if you want to rework them for the future…?

Greg: No, I mean we also had, in the original series, the flashback that sort of accounts the Joe and Nicky, ‘we killed each other’, ‘many times’ sequence as well. There were drafts where all of that was there. And sometimes in greater detail than others. There was a version where that hospital scene— [in the movie] you get just the right amount of… when Booker's relaying it to Nile in the mine. But, you know, there was more to that, and you can see sort of Achilles' story’s presence in the mine, right? There's a glimpse of the painting. So those things weren't erased as much as… when you make a comic, every choice you are making is an efficiency choice. ‘You have X many pages, how are you going to spend them?’ And I'm not a filmmaker. I'm the guy who wrote the thing. But one of the things I can tell you when watching is that it's the same calculus but exponentially. It is— every single thing you are doing is asking if it's serving your narrative. And I think the trade —because it is a trade— of the Achilles backstory to build the Quynh story has a benefit that the Achilles story alone didn't have, in that the Quynh story —especially as it's relayed in the movie— not only does it illuminate Joe, Nicky, Booker, and of course Andy, but it's also Illuminating to Nile, in a way that… talking about Achilles would have been repeating a beat. Because as beautiful, and as important, Achilles is to Andy's character… Booker conveys that heartbreak with his story, right? So it becomes an efficiency question as much as anything else. I mean, that that's really what it comes down to.

P: Speaking to some of the changes again, I don't want to get to spoiler heavy but there's definitely a big change with one character and their possible fate. Don't want to ruin anything for anyone, so trying to play it safe.

Greg: [laughing] Yeah, how are we supposed to answer this, Patrick?

P: Why don't we just text each other? [everyone laughs] Well, I'm kind of curious. One character's trajectory has changed a little bit. What were the discussions like over, you know, altering their trajectory and what that could mean, you know, for their future adventures?

Greg: Well, how do we talk around this?

P: Also, if anyone's been watching this for 40 minutes and hasn't seen the movie, they've got to adjust their priorities.

Gina: I would say, it was about adding more jeopardy and stakes. It absolutely did that. What I love so much about the story and what Greg created is that these characters are mostly immortal. So there is always that threat. But it just added another level to that. But it also crystallized so well… the fact that the moment that Andy is truly saying ‘I'm done’ a new Immortal shows up in Nile. So it just seemed to work really well and, you know, obviously having Greg be so on board with that and take it and run with it was really important.

Greg: It externalizes the conflict beautifully. And I believe I think David Ellison at Skydance likes the term downward pressure, I believe. [Gina smiles, Greg sees] Did you hear that? Did you hear that during editing? [Gina nods] But it does. Look, here's a fundamental problem; it's actually one of the problems at the heart of Force Multiplied: what's jeopardy to an immortal? Cuz it's kind of, you know, as Joe says, ‘what are you gonna do, tough guy? Kill me?’ You know, ‘if I go, I go. I don't know when I'm going’. So you you need to be able to inject into the story some level of jeopardy. You want to heighten the stakes. And it also externalizes that particular character’s conflict.

P: Gina, hopefully I don't put you too much on the spot with this question. But, you know, any time there's a big comic book project announced its, you know, fans start saying, oh, I'd love this person who's done action movies to do it’ or ‘this person who’s already done 10 Sci-Fi movies…’, you know, like Taika Waititi can't direct every movie.

Gina: I would love him to!

P: I'm just actually kind of curious, Gina, if there are any directors that you're particularly a fan of who don't necessarily have the same, you know, Marvel DC, Star Wars experience that that you'd love to hear get announced as tackling, you know, a big budget comic book movie.

Greg: I would like to know too.

Gina: Certainly, I'm excited about what Victoria Mahoney's going to be doing-- she just did second unit [director] on Star Wars, first woman to ever do that. I dig her brain so much and her aesthetic. I'm really excited to see what she's going to do in the action space, certainly.

P: Yeah, very cool. Really looking forward to her career for sure. And I think we're just about out of time here. We were down—

Gina: [raising her hand] Can I ask a question real quick? Sorry, I just need a definitive answer on this because I got called out on Twitter and I asked Greg--

Greg: [laughing] Ohhhhhhh—

Gina: So is Old Guard, is it a graphic novel? Or is it a comic?

Greg: You got to answer that Patrick.

P: Oh boy.

Greg: [laughing] Literally he's watching all credibility start to evaporate if he doesn't get this right. [holding up a comic of Opening Fire] This is a what?

P: I mean… part of me, knowing that it is part one of a three-part overall series… You know, my brain goes to ‘trade paperback’, you know, like it's a volume collecting a certain amount of issues. But if you ask me before volume 2 came out, it would be collected as a graphic novel, but… they're all comic books. They're all just comic books, everybody. Let's just take it easy.

Gina: Okay, thank you.

P: That's my answer.

Greg: Thank you. Thank you. I think that is the appropriate answer.

P: They're all just comic books. Take it easy.

P: Yeah, but I am curious. Of course, one of the interesting things about the film is that over the course of hundreds… thousands of years, these characters, the old guard have kind of influenced humanity in some definitely interesting ways… And ultimately for good, is a little bit of what we're seeing in the film. And I can't help but wonder… is it possible that the old guard could have unintentionally influenced the world for bad? And have some negative ripples come from their actions, or do I have to wait for a sequel for that?

Greg: I think that is a very reasonable and logical question to ask, especially when you know, there are 19 dead bodies lying in a church. You know what I mean? There is a certain amount— and it's almost fatuous to talk about it but there is always the doctrine of unintended consequences. I will say this goes to something else— and I'll say it really quickly because I know we're running out of time. I think one of the things that I really, really loved about what's being said, in the movie, is that at the end of the film… The definitive statement is, if you take away everything about immortality, what it's saying is that… our choices matter and our actions matter and they matter in ways and to people that we will never see and never know of. We try to put right in the world by doing right. And we do that without ever seeing what the ramifications of it are. And sometimes we're going to succeed, gloriously, and sometimes we're going to fail and we may never know that either, right? It's the choice paralysis that that you get from cheating in The Good Place, right? I can't eat or drink or move because morally it's all wrong, right? But the takeaway from the film is that, ‘yeah, your life matters and what you do with it matters and it matters to people that you're never ever going to see.’

P: So yeah. Yeah. Well, I mean, I think that's a great positive, you know, message for us to leave on. And I definitely think that comes across in the film, especially, you know, from the characters like Joe and Nicky just professing… you know, it's about the time that you have. And you don't know when your number is going to be up. So you just try and do as many good things before that happens as you can, and hopefully the world responds to that. So I really connected with that message in the film. Thanks so much for taking the time to chat with me. The Old Guard has been out for… five days. So I look forward to reuniting--

Greg: Does it feel longer to you. Gina? It feels like it's longer for me. [Gina laughs]

P: I look forward to reuniting in maybe 10 more days to talk about the sequel and spin-off and the prequel and all that sort of thing. [Greg laughs] But for now, The Old Guard is still on Netflix. And of course don't be tricked into watching any post-credit scenes because you might end up watching, you know, The Great British Bake Off. Well, thanks so much guys, it was a pleasure.

#tog interviews #i dont remember the tag i use for transcripts

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gothhabiba · 6 years ago

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hello miss najia, first of all if this is too loaded a question feel free to tell me to fuck off. that being said, i recently came out to my family and its...yikes. theyre doing their best to deal with it but in the meantime, theres something i wanted to ask you. my dad is really religious, and he cant grasp the two (seemingly) contrasting realities of his love for me and his religion. ive heard from a lot of christian gays that the sodom and gomorrah story is not a clearcut damning of- (1/?)

-homosexuality, but as i tried to do research on the muslim versions, all i come up with is incriminating. i have never read the quran before, and my religious stance has always been personal and centered around love. now that ive faced this difficulty, i want to read the quran, but the problem of translations has been bothering me. do you have a version that you would suggest to me? im all very new to this. and if it is not too much to ask, could you share your opinion of the two cities of sodom and gomorrah? and again, feel free to ignore the second question, id really be content with your suggestion of the translation, if you choose to respond. thank you in advance, and congradulations on submitting your thesis! please take care

1. it actually bothers me a lil bit when people say things like ‘tell me to fuck off’, I feel it attributes a sort of malice or potential malice to me that I’ve just never demonstrated (this post is abt white people but it’s the general kind of thing I’m talking about)

2. the translation of the Qur’an that I’ve read in English is one by M.A.S Abdel Haleem which is pretty standard / widely recommended, quite readable & has occasional notes where they’re helpful. he’s also published books on understanding the themes & rhetorical devices used in the Qur’an (which can be a bit confusing if you’re expecting the stories to be like, completely linear)

3. I don’t know which sect you are but from anything in Islam recommending any kind of earthly punishment for ‘homosexuality’ is in the hadiths....... not the Qur’an. frankly I don’t bother myself with it at all because I don’t believe in god & am just here for a laff. I’ve encountered plenty of clarifications / other interpretations of this story tho’, largely centring around the idea that the crime was not ‘homosexuality’ or ‘sodomy’ but in fact attempted r*pe, inhospitality, denying the authority of god or the prophets, &c. from some quick searching:

Islamic Texts: A Source for Acceptance of Queer Individuals into Mainstream Muslim Society

What Does Islam Say About Being Gay?

The Qur’an, the Bible and homosexuality in Islam (tho’ this one claims that 4:16 is about ‘lewdness’ specifically between men, which interpretation is rejected by almost everyone)

this all came up with search terms “Sodom and Gomorrah” “Islam” and “LGBT”--likely you’d have less luck on a search if you used a term like “homosexuality”. you may also have luck with “q*eer”. & some of my followers may know more than I do.

#rape m /#homophobia m #Anonymous

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basically-an-artist · 6 years ago

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Part one of my #nanowrimo entry... Feedback welcome

I had to give myself a second to process what i thought i was seeing. Lamont, my brother, in my living room. His hair had grown alot longer since the last time id seen him. Though, i could tell by the way hed tied his locs that it was him. Messy but functional, and somehow always stylish. For him, though, as with everything, it came naturally.

He looked magical, bathed in the blue light of the tv; as if there was such a look. He scanned one of the posters on the wall, apparently facinated with world war z. I wondered how he was able to see them at all with only the pale light from the tvs reflection to distinguish them. In his black trench coat and kangol cap he was out of place amongst the empty beer cans, macbooks, assorted drug paraphernalia, and Harry Potter dvd box set scattered over the floor. It didnt help that he was drenched and dripping water over everything. A puddle collected slowly on the rug beneath him. It wasnt raining outside, though, so i could only guess how he'd been so thouroughly soaked.

Either way, he left a puddle under him as he stood, and by the size of it hed been here a while.

"You arent going to say hello to your brother?"

He didnt even turn around to speak, he kept looking at the pictures and posters lining the walls. I jumped slightly at the sound of him. I hadnt realized hed seen or even heard me;i couldnt even hear my own steps as i walked down the hall. It was a few seconds before i answered, roiling over his last visit before i said anything.

How did he get in? Were on the third floor.

"What are you even doing here dude, i told you i didnt want to see you." My voice fell off at the end. Im sure it gave away at least a peice of my inner monolouge.

Id actually kind of wished hed just show up like this, as he tended to do when he was unwelcomed. I hoped the prompt would give him a reason to apologize for our last meeting, or at least offer an explanation.

He completely ignored what id said.

"You know ive actually seen one of these before," he paused as he pointed at the tv, "What did they call them in the books... dementors?" He shuddered slightly before shaking his head. Now he spoke in a hush, like he was talking to himself, "Those things are not done justice by the movies." He looked away now, another shudder shaking his coattails. Water droplets flying.

"Why are you here? How did you get in?" Silence.

The questions hung in the air. My heartbeat rang in my ears for every second that passed

More silence.

The whole room seemed to breathe with my brother as he sighed. He finally turned to look at me and i froze. Half of me wanted to run to him, but the other half was screaming to jump out the window.

Has face bore the scar of a grotesque burn. As if hed peeked into the nozzle of a flamethrower as it turned on.

his eye underneath the scar looked normal enough. It didnt look misshapen or damaged in any way. But he no longer had an eyelid, top or bottom. His right eye almost cartoonish, exposed, and surrounded by the muddied burgundy of the charred skin in the pale blue light. He kept a straight face as he looked at me, but his eye gave his gaze a manic intensity.i had to stop myself from looking away.

I tried to keep my face as neutral as possible, failing apparantly as he chuckled at me in that way he did. The crooked grin on his face saying more than he'd said in any conversation between us. That smile always held secrets.

"I came back to give you something," he began," a souvenir from my travels." He went back to looking at the posters. Staring at them as if taking in some hidden meaning from their images. He did always seem to see some unseen message in everything. You can always learn more the second time around.

"Where have you been?" My voice gave way again. Again i was just the little brother of the infinitely talented Lamont Caldwell. asking questions i couldnt understand the answers to; trying to follow him on his oh-so mysterious adventures. Hed only been in front of me two minutes and hed sent me back 20 years. Again i was a scared and confused 4 year old.

"Dont worry about it. Everything will make sense soon. I told you a long time ago that i had to leave to really discover what it was i was meant to do. There was a purpose for me outside of what our parents had told us for so long." He crossed the room silently towards me, darkening the the floor in wet muddy footprints along the way. He kept eye contact the whole way, that orb of an eye boring into me."Theres a reason for all of this Marion, and i think ive finally found out what it is."

That eye paralyzed me. I was only aware of it because every muscle in my body wanted to back away, to run to my room and lock the door. It felt like minutes passed between each of his steps, like a dream carrying him to me in slow motion.

Stop stop stopstopstop.

He was inches from me now. Eyes still excavating my soul. As i looked into his, though, i could only see the boundlessness of his darkness. He was still an enigma to me; a shadows shadow. Of all the people id known in my life my brother had known me the best, and yet id never felt as if i truly understood him. Now, though, i felt as if i knew what he was thinking. If only for these few seconds.

Slowly, as if his body questioned his own actions, he wrapped his arms around me. His embrace reminded me of dads hugs. He was strong, but gentle. An embrace filled with the love of a long overdue apology. At least thats how i took it.

I accepted it and hugged him back. We stood that way for ten long heartbeats, the seconds passing lazily. I heard a sniffle and questioned for a second if it was him or me that had started crying, but couldnt turn over the thought before he said so low i almost questioned if hed spoken.

" Dont let our secrets burn you."

I felt my face contort in confusion before he ended the embrace. As i opened my mouth to speak the door to a room behind me opened, the noise startling me as it broke the tense silence.

I jumped and turned to see my roommate billie exiting her room in her hot pink bathrobe. Hair tousled, expression caught between annoyance and confusion. Shed just woken from a satifyingly deep sleep.

" dude. Have you seriously been out here watching harry potter this whole time? I know we said wed watch them all straight through but you had to realize that was a suicide run. Go the fuck to sleep. We both have work tomorrow." She shuffled past me to the kitchen turning on the light and then the faucet.

As she filled a cup with water i scanned the room for my brother. He was gone. His absence left a hole in the room, a void of energy where he should have been, but that could have been me projecting.

Of course.

Just like him to come raising a million questions and leave answering none of them.

How the hell did he get in?

I shook the thought out of my head, only then remembering what id come to the livingroom for in the first place. I began to pick up the room, the aftermath of an attempt at a pre-thanksgiving break movie marathon. It was supposed to be an all nighter. Unfortunately, the mixture of wine intoxication and primo bud had most of the participants passing out in their seats before the third movie started.

I picked up the candy wrappers and swept the loose tobacco into the trash. Only seeing the, clearly out of place, bound leather book when i cleared the pizza boxes from the table. This must have been that souvenir he was talking about.

It was dark brown, almost black, and encircled in thick metal bindings. An archaic iron-looking latch and lock protruded from the front. I wasnt sure how he expected me to open this book or if he expected me to.

I turned it over inspecting it more closely. Even in the dim light i could see the textblock was lined in silver. It glow eerily and reminded me somewhat of a bible.

On the back was a post it note:

Hold on to this. See you soon. -L

I rolled my eyes and tucked the book under my left arm. Its not like i hadnt seen my brother in almost 2 years, at least he gave me a completely useless gift too.

Billie crossed back into her den warning me to not make any loud noises on pain of death, which i obliged. I quickly finished straightening the room and headed back down the hall to my own bed. I tossed the book onto my dresser and collapsed under the weight of the night onto my pillow, not even bothering to cover myself with the comforter. The questions still swirling around my head settled in my skull as sleep took me.

As i drifted into the land of dreams a single thought peeked back through the veil before being silenced by the void of unconciousness.

How the hell did he get in?

#nanowrimo #my writing #writing #fantasy #urban fantasy #witch #witchcraft

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realbluntchristian · 7 years ago

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Devotional Into Ephesians: Day3

Hello!

DAY 3! Lets jump in!

Read Luke 8: 4-8

4 While a large crowd was gathering and people were coming to Jesus from town after town, he told this parable: 5 “A farmer went out to sow his seed. As he was scattering the seed, some fell along the path; it was trampled on, and the birds ate it up. 6 Some fell on rocky ground, and when it came up, the plants withered because they had no moisture. 7 Other seed fell among thorns, which grew up with it and choked the plants. 8 Still other seed fell on good soil. It came up and yielded a crop, a hundred times more than was sown.”

Jesus used parables as a way to teach! What a perfect way to communicate your lessons! (in my opinion it also makes the lesson a whole lot easier to remember if theres a story to tell;).

Jesus is literally telling us to prepare our soil, in other words, our HEARTS!

The seed of the word of God that is sown into good soil IS the ONLY soil the BARES FRUIT. So who has the good soil? How do we know if our soil is good enough? The one with the good soil is the one who with hearing the word of God takes it to heart, listens, repents, believes, and obeys. With this kind of heart we are allowing our seed to grow and mature.

From a personal level, I was raised in the church and grew up hearing the word of God my whole life. At the end of the day it was all just a history lesson. Did I believe? YES. Did I know a good amount of Bible Knowledge? YES. Did I have my own personal relationship with Jesus Christ? NO:(. I came to a point in my life a couple months ago where i gave up trying to control my own life. I was desperate for God council. It was then where I decided to listen to the word of God with new ears. I took heart, i believed, and i obeyed. It literally changed my life. Something that meant practically nothing to me became my identity within a good couple months. THE BEST DECISION I COULD HAVE EVER MADE WAS ACCEPTING JESUS. My seeds matured quickly. He literally threw some “quick grow” on my faith! what a blessing! I am now under new management!

Read Psalm 1.

1 Blessed is the one who does not walk in step with the wicked or stand in the way that sinners take or sit in the company of mockers, 2 but whose delight is in the law of the Lord, and who meditates on his law day and night. 3 That person is like a tree planted by streams of water, which yields its fruit in season and whose leaf does not wither— whatever they do prospers. 4 Not so the wicked! They are like chaff that the wind blows away. 5 Therefore the wicked will not stand in the judgment, nor sinners in the assembly of the righteous. 6 For the Lord watches over the way of the righteous, but the way of the wicked leads to destruction.

If your heart delights in the Lord, Praise and thank him! This is such a special gift. Nurture and be consistent with it, do not let it dwindle away. If your Heart struggles with taking the bible to heart, its all about prayer baby. Humble yourself and ask him for help. Do not give up or walk away from this. Not one person can change their own soil on their own. Ask God to forgive and cleanse your heart of all Unrighteousness.

Over the next couple weeks ask God to help you take his word to heart by faith and act it in obedience. Find that Identity in Christ!

Love you all! Till 2maro<3

Dont Forget about the Prayer Request Email!!! He answers and Im always willing to help<3 Just message me!

[email protected]

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thosemintcookies · 6 years ago

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Ok so it's like 5:40am bit it's just... so much Christian discourse is about sexual chastity and it's like.. to what end do you abstain?? Because I feel like more than sexual chastity (other than for health reasons- idk what the situation was about venereal diseases and safe sex practices were back in the day) I feel like adultery was more about betraying vows and partner trust? The first sin was brought into this world through deception and lack of trust in the partner where eve was made to doubt Adam and Adam did lie to eve (I mean other people have different opinions and interpretations and I can adopt other views but I think this is what I'll adopt for the sake of this argument)

So like idk man like theres a lot of writing about lustful feelings or coveting for people who arent your partner and I gotta say the modern versions might be talking in sexual terms but emotional fidelity is more the pressing issue here imo? To cover is deeper than physical want, it's like yearning. Can bad interpreters stop thinking with their genitals and think about how covetousness plays out in the real world? Jesse's girl isnt just about wanting to fuck her. It's about the holistic woman. Let's not forget jesus spent his time with women, and sometimes without the presence of men. He himself, and early Christians (let's not forget Paul wrote all of Roman's 16 commending women he knew, not merely as wives of servants but servants of christ themselves) saw autonomous value in women. Respecting wives has been a huge theme throughout the bible.

But then theres sexual chastity for the sake of chastity which has become popular in Christian discourse and the other day I just had the thought like... to what end? I get that sex itself with many partners can be unsafe (see above) but things like premarital sex? Gay sex (okay here's the thing: the famous verse in leviticus was also written amidst like anti incest works about what counts- sisters (mom and dads side) cousins, in laws etc etc but kinship worked differently for the Israelites necessarily because they were not a particularly monogamous culture I guess at the time it was written- we cant simply transfer our ideas of relationships onto the verses 1:1. And also we have to remember that there are many stories of figures actually marrying their sisters (though only through one parent, oft the same father) and cousins and such and these were not particularly seen in the bible as morally contestable. The meaning of marriage and love and familial bond and stuff- marriage doesnt have the same connotation as it did then (people are quick to say God made Adam and eve so one woman and one man was the divine design but also forget about the rampant nonmonogny?? Hello?? Pick a consistent way to exercise theological concepts and frameworks??) And marriage also had a different connotation and cultural meaning for people living under Roman rule in the day of jesus.

I dont know it just seemed important to note. Also extra marital relations were also seen with a different weight. Like even take the case study of hagar and Ismael?? Abraham was promised many descendants and that was a covenant fulfilled through Ishmael who who also multiplied and also became a nation. Sarah was made a separate promise, and theres an interpretation that goes more like isaac was the fulfillment of the promise with Sarah, not abraham. I think that's significant both in realizing 1. God also recognizes women as significant agents and human beings (like how do we keep disavowing Mary, mother of jesus, and stripping her of that same kind of majesty, there is precedent for God wanting to honor women) and 2. Hagar's relations with abraham as legitimate and consensual because Sarah had consented to that union, and (she only grew to hate them after becoming bitter (to jealousy?) once the child was born

Anyway this all to say that I dont think sexual chastity and premarital sex (esp considering marriage as the legal institution we know now is not God-centered and again the cultural context is so off) arent necessarily as black and white as Christians tend to think it is. Sexual relations and behaviour (by which I mean more specifically romantic entanglements involving partner trust and mutuality) I think was "policed" more as a way to talk about honoring your partners and like basic tenants of respect for other human beings? Consent being the main issue here. You dont need to tie your balls down at the hint of desire as puritan Christian discourse kind of advocates for. It leads to bad sex later on in life. Just dont partake in the dissolution of trust and respect each other.

Oh shit its daylight now I have to be up in an hour fuck

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dailyaudiobible · 6 years ago

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02/13/2019 DAB Transcript

Exodus 35:10-36:38, Matthew 27:32-66, Psalms 34:1-10, Proverbs 9:7-8

Today is the 13th day of February. Welcome to the Daily Audio Bible. I am Brian and it is a pleasure and a joy to be here with you around the global campfire that is nice and warm and bringing light and life and good news, and we just gather around and allow God's word to speak, which is what we're about to do. We’re reading from the Contemporary English Version this week. Exodus chapter 35 verse 10 through 36 verse 38 today.

Commentary:

Okay. It’s hard to talk about anything else but what we were reading about in the book of Matthew today. And it's pretty hard to talk about that because for the first time we experienced the crucifixion of Jesus in our reading from the Scriptures this year. And, so, there’s not a whole lot else to say. And we know it's the story of our salvation but if we would just sit with the humanity of the scene. It's so heartbreaking. It is so profoundly sad to think that the Creator who fashioned beings in His own image with the idea that a mutual relationship could be formed and bound by covenant, that this creator would come and become one of us only to be killed by us. This is profoundly sad. And it doesn't feel like it's been that long ago since we began our journey but within the first couple of days of our journey we saw everything get blown apart in the book of Genesis. And in the scene that we’re seeing in the book of Matthew today we’re able to see just how far, just how twisted, just how backward an upside-down things had gotten among the human race. And to be honest, we could just look around now and say things are still pretty upside down and backward but now we don't really have an excuse because there is a way. This bloody scene that we’re seeing play out on a cross and the gasps of an innocent man, His blood was shed on our behalf and we were restored to God in the process for those of us who believe. We have no business and no excuse for living backward and upside down anymore. It's not supposed to be our reality anymore. So, if there's a thought, if there's something for us to live into today, it would be to sit with the brutal scene that is before us and what it cost to bring freedom into our lives and then to consider the ways that we’re living far less than free.

Prayer:

Jesus, thank You. And even as we say it the words fall flat because what can we say? We had no way to untangle the mess in our species created in Your image. We were irreversibly lost and then You came and rescued us and we didn't earn it and there's nothing that we can do. You’re giving it to us as a gift and so often we find ourselves not even taking the gift that cost You Your life and living into it and being transformed by it and being shaped into Your likeness. So, often we’re busy trying to make You in our image and make You do the things that we need done instead of the other way around and we’re repenting and were sitting with the starkness of the scene that the Scripture has brought into our lives today and contemplating it because there is no other story to tell. And, so, we invite Your Holy Spirit, come. Make this scene matter to us. Show us how to embrace it and show us how it is to transform us because of the work that was accomplished there, the victory that was won. Come Holy Spirit and let us sit with the weightiness of what we’ve read today and appreciate with a heart of gratitude and help us to look at the world through Your eyes. You looked at the world and loved it even though that hated You. You died for people who wanted You dead. What kind of love is that? Lead us deeper into that love we pray in Jesus’ name. Amen.

Announcements:

dailyaudiobible.com is the website, its home base, it’s where you find out what’s going on around here.

I thank you for your continued prayers over our journey to actually walk in the footsteps of Jesus and experience the land of the Bible coming up here next week.

If you want to partner with the Daily Audio Bible, you can do that at dailyaudiobible.com. There’s, of course, a link on the homepage or you can use the app, or the mailing address is PO Box 1996 Spring Hill Tennessee 37174.

And this is a community experience and if you're shouldering burdens that are too heavy and shouldn’t carry them alone then we do a good job of loving one another even though we’re spread out all over the world. There’s a number you can dial, 877-942-4253 is that number.

And that's it for today. I'm Brian I love you and I'll be waiting for you here tomorrow.

Community Prayer and Praise:

Hi, this is Amber from California. I’m a new listener and I just wanted to call in and say that the Daily Audio Bible has really blessed my life. I tend to have difficulties finding the time to sit down and just soak in the word and it’s really been an awesome experience for me to listen to Scripture and then reflect and have my own study. So, just wanted to call in and say what a blessing it was. I also wanted to share a prayer request with you all. I’ve been married for some time and have children with my husband and I’m just calling to ask our community to reach out and pray for my husband who has been struggling with a sleepwalk and really just a lot of spiritual warfare within our home and marriage and specifically with him. So, just wanted to call and ask the brothers and sisters to lift him up prayer and me up in prayer. Really trying to strive to be the mom and life that God has called me to be. So, thanks so much for listening and I look forward too much more in this community.

Hello everyone, this is Peggy in Texas. And first I want to thank Brian for doing an excellent job day after day, such a blessing to me personally. I’m calling…I’m asking for prayer for my precious grandson Xander. This is…I’ve called before, and he’s troubled, he’s alone, he’s manic-depressive, he’s drinking, he doesn’t have a doctor. So, he’s not getting any help. He hasn’t sought Christian friends. In fact, I don’t think he has one. Today he called, and he was frightened and afraid something might happen to him and afraid someone was out to cause him trouble. And I think he’s trying to reach out and say a call for help and yet I don’t know for sure. He’s in school and is working, an engineer student. So, as a grandmother I’, trying to keep the lines open to him and I’m trying to communicate love and guidance and, you know, personally I think he needs to be in a treatment center but financially that’s…that’s not possible. Anyway, you’ve got the picture. I’m a very concerned person, a very concerned grand mom. I don’t want to be a worrier, I want to trust the Lord, but I’m week. And, so…and I don’t have a great support system right now and I’m just calling on someone to pray with me. So, anyway I’m feeling a tad lonely and I just need you all too. And, so, I’m turning to you. Sometimes it’s just hard to pray. Maybe all of you have experienced that at some time but I’m in that boat tonight. And, so, I’m asking for you precious people to pray for my precious grandson, Xander. Thank you.

Hi, this is Victoria Soldier just calling. Wanted to say thank you Brian for all the fire that you’ve been putting out on the web and through your word and it’s been really blessing my soul and I just wanted to call and bless some of the other souls more abundantly. And I just wanted to pray for Prodigal and Rebecca and I wanted to pray for Hamm and Jamie and Tyler and I wanted to pray for the lady who wanted a friend and she was going through. I wanted to pray for those who have gone through depression and trying to help them to take away that precious life of the precious life through wanting to commit suicide. Lord, I just ask You to fill them with so much joy that they will see what You have before them, that the enemy is trying to take away them feeling not only the joy but knowing that they have salvation in You, knowing that they are going to be with You. Oh Lord You’re coming back soon. The world act like they don’t remember that You said You were coming back, they don’t remember that You are the way the truth and the light, but Lord You said You’re coming back __ without spot or wrinkle. You said we shall not all sleep but we shall be all changed in the moment, in the twinkling of an eye, when the sound is gonna sound and You gonna hear…and the mighty archangels…and the dead in Christ will arise first and we that are alive will be caught up to meet Him in the air. Lord I pray for my brothers and sisters today that the enemy’s trying to trick. You fill them with Your joy, You equip them with what You need to make this mighty journey. Oh Lord You bless those that need a friend, You bless those that need a spouse, You bless the one who is looking to have a baby and they couldn’t conceive but God You are…it all comes from You. Lord I just ask You to bless that womb Lord, that they will produce the baby that You have…

Hi this is Tony from Germany. I’m actually in Minnesota visiting my family and I just wanted to call in to….I’ve been listening to the Daily Audio Bible during my commute to their place…they’re in a nursing home, my parents. So, but for Tito, I want to tell you that I have tithed for many many years and I’m gonna tell you that the Lord has opened amazing doors for me and I believe that is because I tithe. For example, even going to Germany, it was just very miraculous and many many other things. And I just wanted to relay that to you because I wanted to give you a little bit of hope so you can continue onward. And then for Pelham, you know what __ ice. Not ICE but EIS, as you know, is just amazing amazing Italian ice cream. And, so I feel the Lord is steering you in the right business and perhaps at some point in time in planting a seed you will travel to Italy to learn different recipes, experiment with different recipes so one day you could do your own, come up with your own Italian ice recipe. So, remember you are not alone. I know that you’re reaching some low points. We are your family and we do love you. So, just remember that. Thanks for sharing your story with us and your faith and your faith journey. The other thing I wanted to say is I have played the Daily Audio Bible to my parents. My dad keeps his eyes closed a lot but when I have played the Daily Audio Bible his eyes open and he listens and at one point he took off his glasses, laid them down and blessed himself with this big…

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