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natlacentral · 10 months ago

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Bending the Costumes: Avatar: The Last Airbender with Costume Designer Farnaz Khaki-Sadigh

After many years of anticipation, Avatar: The Last Airbender has finally hit Netflix. Being such a beloved franchise, there was much pressure for the team behind this adaption to get things right. It’s a move that has already been rewarded with two more seasons on the way! One of those artisans who felt that pressure was Emmy-Award-winning costume designer Farnaz Khaki-Sadigh. In an interview just before the series’ release, Farnaz talked with me about the Avatar: The Last Airbender costumes, sharing insights into how she brought the iconic characters to life, the real-world inspirations behind the designs, and her hopes for what audiences will take from the series.

Special Note: Our friends at CAFTCAD are hosting a conversation with Farnaz Khaki-Sadigh on Saturday, April 20th, 2024. From sketch to screen, Farnaz and her team will dive into the creative process, inspiration, and craft that went into developing the costumes for this beloved series. Follow this link to purchase your tickets for this online and in-person conversation.

Spencer Williams: I am so excited to welcome costume designer, Farnaz Khaki-Sadigh. I’m so excited to talk to you!

Farnaz Khaki-Sadigh: I am so excited to be here.

Spencer Williams: Well, I just have to warn you. I’m a big nerd, and I especially love Avatar: The Last Airbender.

Farnaz Khaki-Sadigh: I’m glad to hear. I’m a big fan of the show myself, so I love talking about it.

Spencer Williams: Well, let’s start from the beginning. Avatar: The Last Airbender is such a beloved story, obviously, and I don’t think I know anyone who has seen the original series and doesn’t like it. What was your initial reaction to taking on this project? Was there excitement, a bit of nervousness, maybe all of the above?

Farnaz Khaki-Sadigh: I’m a huge fan of the show. I watched it when it first came out and have probably seen it dozens of times since then. When the live-action adaptation was announced, I knew I wanted to work on it more than anything else. I kept saying that’s the show I want to be a part of, and when I finally got the interview and the job, it felt surreal. Even now, it feels incredible to wake up and realize I get to work on a show I’m so passionate about. It’s like a dream come true.

Spencer Williams: I can’t even imagine that feeling. It’s such a big show. A key part of this is staying true to the authenticity of the original animation. How did you balance maintaining the established designs while adapting them to a real-world setting? Since what works in animation doesn’t always translate directly to live-action filming, were there any specific challenges you faced in this process?

Farnaz Khaki-Sadigh: There were numerous challenges in adapting the show. While everything can be easily achieved in illustrations or animation, it’s much harder to translate those designs to real life and put them on an actual person.

There were many adjustments to be made, such as dealing with different fabrics that don’t move in the same way as illustrated or animated versions. Given that the show involves a lot of movement and technicality with the bending art form, we needed to choose fabrics and materials that moved and flowed with the bending while ensuring the actors were comfortable performing in them.

We also had to align the designs with the real-world inspirations, cultures, and periods the show is based on, such as mid-to-late 19th-century Southeast Asia, East Asia, and Indigenous cultures of that era. This required extensive research, testing, mock-ups, and blending of different materials to create a unique and cohesive look.

At the same time, we aimed to honor the original animation and stay true to the characters that fans loved. It was about finding the right balance to keep the characters and their designs as close to the original.

Spencer Williams: With that, you’re looking at characters, and you’re looking at the animation. Do you feel like there were moments where you could take creative liberties as well?

Farnaz Khaki-Sadigh: There were a lot of those moments! There were many elements we wanted to retain from the original show because they are iconic to the characters and important to include in the live-action adaptation. For example, Katara’s necklace, Sokka’s necklace, Aang’s cape, and color palette are crucial to their characters. Gyatso’s necklace also plays a significant role in a pivotal moment when Aang realizes Gyatso is gone.

We wanted to stay true to these iconic elements, but we also had to consider the cultural and historical aspects of the nations that inspired the story and world. It was important to base the looks on real-world cultures and maintain authenticity while staying faithful to the original animation.

Spencer Williams: That brings me to my next question. I never really thought about this until preparing for this interview, but the original animation was inspired by real-world cultures. Can you share insights into your research process for translating the animated world into a live-action setting? What were the key cultural and historical inspirations that influenced your costume design for each nation?

Farnaz Khaki-Sadigh: I started by examining the original inspirations for the animation. I looked at the different cultures the creators considered when designing the characters, and from there, I delved further into research. I expanded on the nations they chose and conducted a more in-depth study of their historical aspects, including the materials they used, their trading routes, and the historical events occurring during that period in that part of the world.

I also considered how various factors, such as color palettes, represented different statuses and socioeconomic backgrounds. From there, I built the worlds based on these real-world inspirations.

For example, Omashu is heavily influenced by Indian and Afghan cultures, as well as other parts of Central Asia. We also incorporated elements from Mesopotamian influences. We examined the region’s trading routes and connections with other countries at the time to understand what goods and influences were brought into that part of Asia. This research helped us create a look for Omashu that draws from these cultural and historical contexts.

Spencer Williams: It’s so exciting. The original series came out when I was a kid, and I watched it on and off back then. At the time, I didn’t really think about the influences and history that inspired the show. Now, as adults, we get to rewatch it and see it through a new lens, which is really exciting.

Farnaz Khaki-Sadigh: It was very much a historical lesson for me too! For all of us.

Spencer Williams: Can you tell me about your collaboration with the show creator, Albert Kim?

Farnaz Khaki-Sadigh: Albert Kim and I collaborated closely throughout the process. When I first got hired, I prepared a presentation for him as part of my research to secure the job. Once I got the position, he sent me a detailed inspiration booklet with write-ups, images, and ideas about the direction he wanted to take the show.

We had many discussions about his vision, such as how closely to adhere to the color palettes of the original animation and whether to take a more realistic approach or find a balance in the middle. We spent several months going back and forth on these points.

As I began creating illustrations and sketches and conceptualizing the worlds, we reviewed fabric swatches and conducted tests to find the ideal materials for the characters. It was a collaborative effort to achieve the perfect balance for the series.

Spencer Williams: It sounds like such a thorough process! Each nation has its own unique aesthetic, color palette, and background. What are some of the key elements that make each nation distinct from the others? For instance, Sokka and Katara’s looks feature lots of blues and fur. What elements make each of the nations feel unique?

Farnaz Khaki-Sadigh: Each nation has its own distinct world. The Southern Water Tribe, for example, they are isolated due to the war and have limited connections with other nations. We wanted to reflect that by using materials they have access to, such as animal furs, skins, and bones. We also drew inspiration from the ocean and icebergs, incorporating teals, whites, and blues into their world.

For the Air Nomads, they are peaceful and focused on natural elements. We used only natural fibers and materials like wood, cotton, linen, and natural dyes. Their color palette is based on fall colors, inspired by the changing leaves and the natural earth tones.

When it comes to the Fire Nation, my primary inspiration was the volcano and its eruption. The colors of lava, ash, and smoke were incorporated into their aesthetic, with a mix of dark hues, reds, oranges, and brightness. The Fire Nation is powerful and well-connected, allowing them to access a variety of materials from other parts of the world, which gives them more diversity in their appearance compared to the more insular Water Tribe and Air Nomads.

Spencer Williams: I love it. It sounds like color was a big part of your process.

Farnaz Khaki-Sadigh: Absolutely.

Spencer Williams: I imagine that working with the actors who portray these beloved characters must have involved a great deal of collaboration. Let’s talk about a few of them, starting with Aang. As the main character and the last airbender, the story revolves around him. What was it like working with Gordon Cormier to create his costume?

Farnaz Khaki-Sadigh: We actually designed Aang’s costume before the actor was cast. Once Gordon was chosen, we tested various materials on him to ensure he had the freedom of movement needed for his airbending actions. We wanted the materials to move fluidly with his bending and accurately portray the character’s abilities.

Gordon was still growing at the time, so we went through many variations of his costume. Although the look remained consistent, we often had to adjust his wardrobe—sometimes making new pants or shirts—because he was growing throughout filming. Even within weeks, we would have to build him new pants or a new shirt just because he was growing as we were going.

Spencer Williams: What a task! But all of the work very much paid off. Another character I find endlessly fascinating is Prince Zuko, played by Dallas James Liu. He comes from the Fire Nation, which, as you mentioned, is volcanic, dark, and kind of industrial. But this character that also has a lot of emotions and quite the story arc. So, how did you create a costume for Prince Zuko, and how did it add to the storytelling?

Farnaz Khaki-Sadigh: So we begin with Zuko, who is very much shielded. His armor is both literal and metaphorical, representing the facade he maintains as the perfect son and prince. This is reflected in his stiff and protective appearance.

As the story progresses, he gradually starts to shed these layers. He goes through a journey of self-discovery, trying to figure out who he is, where he belongs, and what he truly wants. He must decide whether to live his life according to his beliefs or follow the expectations set by his nation and his father. He’s a complicated character. But one of the best.

Spencer Williams: Yes, very complicated, for sure. My favorites though, are Katara and Sokka. I mean, they’re just classic characters that I believe everyone loves. What was it like working with these two characters? There is no way you weren’t excited as a fan!

Farnaz Khaki-Sadigh: I mean… yes! And they’re literally Katara and Sokka in real life. It was amazing. The cast was phenomenal to work with. The moment Ian Ousley walked in, he was Sokka. Even during his initial mock fitting with canvas pieces, he instantly became Sokka. It made dressing him so easy because he naturally fit the character’s essence.

Spencer Williams: Did you feel like there was an energy on set where everyone was as excited to be a part of this?

Farnaz Khaki-Sadigh: Everyone who worked on the show either became a fan during the process or was already a fan going in, so there was a sense of awe every day.

Spencer Williams: It’s so exciting. There were so many costumes in this series, as well as impressive armor. I was blown away. You must have had an incredible collaborative team to manage all of that. How did you all pull it together?

Farnaz Khaki-Sadigh: It was a lot of long days, weekends, and nights, but I had an amazing team working with me to bring these beautiful looks and my visions to life. It was the biggest team I’ve worked with in my career so far—over 92 people just in my department.

That doesn’t include our outsourced vendors; this was just within our studio team. We had a huge group of talented individuals who poured their hearts and souls into the project. Everyone was dedicated to creating a great product, and I believe that really shows in the final result. I’m incredibly proud of everything they’ve accomplished and very proud of my team.

Spencer Williams: You should be proud because it turned out brilliantly. By the way, where did the filming take place?

Farnaz Khaki-Sadigh: It was all filmed in Vancouver. The cast and crew were mostly from Vancouver, with a few from Alberta. We have many talented people here, even if they don’t always get the recognition they deserve. It’s wonderful to showcase their amazing work.

Spencer Williams: Right, Vancouver is a great location with lots of incredible artisans. Farnaz, this is such a great series, and I’m thrilled with how much I love it. There’s a lot of pressure with a show like this. What did this project mean to you personally and professionally?

Farnaz Khaki-Sadigh: Farnaz Khaki-Sadigh: Personally, as a huge fan of the show, bringing the animated world to life meant so much to me. It was a major achievement and a professional milestone. Being a designer is something I’ve dreamed of since I was a little girl. I’ve worked hard to push boundaries, and this was a big step forward in my career. It gave me a chance to show what I can do and what I want to continue doing.

Spencer Williams: That’s amazing. What do you hope the fans will take away from the series?

Farnaz Khaki-Sadigh: I hope the series inspires them and that they enjoy it. I also hope it encourages them to learn more about other cultures and parts of the world to understand and appreciate our diverse, beautiful world. I hope it prompts people to travel, learn about history, and expand their horizons beyond their immediate surroundings.

Spencer Williams: That’s a beautiful sentiment. Thank you so much, costume designer Farnaz Khaki-Sadigh. It’s been a pleasure speaking with you. I’m so happy for you and your team, and I’m excited for the world to see your work.

Farnaz Khaki-Sadigh: Thank you!

#natla #atla #netflix avatar #avatar the last airbender #netflix atla #avatar netflix #atla netflix #farnaz khaki sadigh #interview #the art of costume

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desolateice · 2 years ago

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Headcannon time:

When writing Root Beer Floats and Green Tea I had this genre I wanted to take a crack at which was, dating games. I wanted to have hints at all these other possible routes laid out that I would eventually get to. Which with the cobras was easy but when I got to the second film I tried to figure out how I was going to deal with Chozen. And as I watched the second film very very very slowly I realized how short the timeline was and to my amusement how many costume changes happened in essentially a few days time that made time wonky the way it always is in The Karate Kid universe I tried to figure out why. Why would Chozen, who wears Okinawan formal wear all the time and is upset about Daniel, an outsider being there, be trashing a dojo where his uncle learned karate? Would would he be digging up vegetables and destroying bonsai so readily for his uncle? And the answer I came up with was grief. One of the threads that continues to pull through all the films is grief and how we deal with it. It really cemented as a head cannon when I watched the fourth film, which I did want to include and originally planned to include in Root Beer Floats and Green Tea, however at that point the story was already massive and I was grieving myself and so what ended up happening was hints.

But in the Next Karate Kid, for those who haven’t seen it, Julie Pierce is being raised by her grandmother and she’s angry all the time. Snapping and rude and her grandmother keeps mistaking her for her dead daughter. And I realized while I was watching it again for the first time since I was little, that Julie is grieving. But it’s not a quiet sob in a corner type of grief, it’s an explosive angry grief where sometimes she says things she doesn’t mean and she doesn’t know what to do and she’s lost. And I looked at Chozen, living in a small village on Okinawa whose uncle taught karate, without any parents seemingly being raised by a somewhat distant unhappy uncle (at the time the new season hadn’t come out to confirm that). And the guy who left the village and upset his uncle returns right when the man who taught his uncle is sick and shortly after passes. And I thought oh, there’s no way Chozen doesn’t know Miyagi Sensei. And if you’ve ever lived in a small community and a person dies it tends to effect people. But Chozen isn’t just some village kid. His uncle was supposed to marry Yukie, the person taking care of Miyagi sensei. His uncle was taught by Miyagi sensei, was best friends with Miyagi sensei’s son once upon a time. There’s no way Chozen didn’t know Miyagi sensei better than just the average person in the village. So maybe he’s angry on behalf of his uncle. But what if he’s also angry on behalf of Miyagi sensei, whose son didn’t come home until he was on his death bed? That, to a kid who knew Miyagi sensei and respected him would feel extra cowardly. A level of cowardly that just confirmed and sealed everything his uncle believed. I mean okay the uncle jumps straight to fight to the death, but I mean people used to fight to the death over honor all the time and for dumb reasons. (See Hamilton, The Count of Monte Cristo, countless times throughout history, ect.) But the for all of those is that you usually had an out. A second or someone who could go talk to the other party and try and figure out a solution that didn’t end up in bloodshed. And I truly like to think that the original fall out could’ve been avoided. But Mr. Miyagi was a kid. He was what? 18? The love of his life was going to be married off to his best friend and he panicked? A duel of sorts is kind of a...normal thing for embarrassment of that level. But surely someone could’ve talked it out, come to an agreement of sorts. But from how Mr. Miyagi talks about it, he just ran off. Which I totally get. You don’t want to kill your best friend, you don’t want to even fight your best friend and you don’t want your death to be on his hands either so your best option is to flee. I mean he was 18. (ish) He hadn’t gained all that Miyagi wisdom. But to never contact your family? To never write your dad again? To not say hey pops I fell in love, we’re getting married, we have a kid. Well he probably couldn’t have actually because during the war I’m sure there was a lot of scrutiny on him for being Okinawan and if he wrote home who knows what would’ve happened? And it sucks. But to have never contacted his father again later? After the war? To never even sort of wonder, did my village survive the war? Did my father? Heck, what happened to his mother? Did he miss saying goodbye to her? Did she pass before he left? Anyway, I went on a tangent, let’s go back to Chozen and I’ll set my Mr. Miyagi and Sato and Yukie feelings aside for the moment. (There are so many!) Chozen is close(ish) to Miyagi Sensei. Just through his connections. It’s one degree separation at most. Not just some dude in the village, a small village, that everyone knows. But someone from stories he’s grown up his entire life with. And then he dies. Chozen already isn’t particularly popular right? Because of his uncle? I assume he’s already a grumpy kid. And then Mr. Miyagi has the gall to return and bring some American kid with him? Mind you, America and Okinawa have a rough history, heck the USA occupies a ridiculous amount of the island still. I know, Sato teaches American soldiers, but I assume based off of how Chozen interacts with Daniel in CK that they didn’t teach Miyagi secrets. But to pass on the knowledge to an outsider? And it could also be construed as Mr. Miyagi brought back up. Like some mob boss returning from the USA. We know Daniel’s not there for that, but Chozen and them know nothing about Daniel and his relationship with Mr. Miyagi. Heck they don’t know what Mr. Miyagi has been up to. And then Miyagi sensei dies. So all that tension, all that “I’m gonna fight you you coward” that Sato’s been fanning these flames of and Chozen is just lost and confused and grieving. Because here’s the thing, what if they were close? Instead of getting to spend time at Miyagi sensei’s death bed he’s got to be out of the way because Yukie is in charge and Mr. Miyagi is there. So he got shoo’d out by this guy who hasn’t been there for 40 years and his American student. Oh he’d be pissed. Heart broken and pissed and it’s so easy to be pissed when you’re grieving. And he’s not mad at Miyagi sensei no, he directs that anger at Mr. Miyagi and Daniel. Outsiders who came, who weren’t there when they should’ve been, and who brought death. Even if it wasn’t their fault at all. But he’s throwing it on them. And he’s backed up by Sato, who probably is also grieving, but that’s a different post. And then Daniel keeps making a fool of him. Poking holes in his scam, winning the bet with the ice, and it’s like salt in a wound. And he’s looking bad in front of his uncle. Who is his only family and all those emotions. Oof. Trying to keep his uncle proud of him and not letting that angry grief his uncle is feeling turn on him? And then his uncle he think dies in a storm and he’s just so lost. Like he’s lost everything. And he’s scared. Because I mean CK cannon, his parents are gone. All he has is his uncle. And he’s filled with so much grief that he’s just frozen because it’s stunning to have lost both Miyagi sensei and his uncle in such a short time. But then Daniel is out there, going into the storm saving people. Being a hero. And so is Mr. Miyagi. Proving Sato and Chozen wrong. They’re not cowards, they’re heroes and they’re brave. And the final straw is his uncle being alive and saved and rather than a reunion or a hug which I think he desperately needed because I doubt they’ve talked or worked through their individual grief, Chozen is cast out. All he has left that he is clinging very tightly to is fighting to the death, something I think got skewed terribly in his mind as the only option after hearing about it his entire life and it being Sato’s primary goal for the film. Because if he wins his uncle will see him again, if he looses, well his uncle will still see him. Because his uncle hasn’t seen him the entire film.

He’s not really family, he’s a lackey, a yes man, and he’s now a ghost. And it’s not like he has anyone else to go to. As Sato’s yes man he was already sort of not liked and then Miyagi Sensei is gone and he’s hurting and that makes you do dumb stuff. And I think he’s self destructive. He’s got all this anger and nowhere to direct it so he picks a choice. The story he’s heard over and over again. The fight that was supposed to happen but never did and that will solve everything. Sato versus Mr. Miyagi. But instead it’ll be Chozen versus Daniel. If he wins then he was right. If he loses then, he won’t be in pain any more. And maybe he’ll see Miyagi sensei again. But either way he won’t be a ghost. He’ll be able to move forward again in a straight line.

And I think Daniel showing him mercy in a playful way like Mr. Miyagi shocks him to his core. It’s an option he hadn’t thought of. He hadn’t thought he deserved mercy. He probably was looking for someone to punish him for not being there when the people he loved needed him, his uncle in the shrine, Miyagi sensei at his deathbed. And instead he’s allowed to live and no longer is a ghost. He’s been freed and his uncle isn’t the same as he was, and I like to think that they’re made the better for it. That they figure out how to grieve and grow and how to make things for the village and island better. Because they’re no longer in pain and full of hatred. And Chozen might get the chance to be his own person and not just a yes man, because he’s finally seen and no longer a ghost. TLDR: I view Chozen’s entire actions of the second movie propelled by grief stuck in the stage of anger and denial. That he was close to Miyagi sensei and blocked from being by his side at his death and it propels him to self destructive and projection.

#headcannons #buku buku tea #buku buku cha #the karate kid #I've got a whole other one I could go on about Terry and Chozen too 😂#long posts #originally with buku buku cha Chozen was going to get that self destructive behavior #that burst of absolute gut wrenching anger after miyagi sensei passes #but instead I realized because he'd been seen and because he had Johnny who understood even just a little that it wasn't as explosive

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cleverhottubmiracle · 10 days ago

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Keke “The Gag Is, I Hope I Don’t Sound Ridiculous, I Know It Ain’t, I Know It Ain’t The StAAllion, Sorry To This Man, That’s A Slave Hymn” Palmer is the funniest person on the Internet. At just 31, Keke Palmer an industry veteran, having starred in her first film (The Barbershop 2: Back in Business) when she was only 11. Since then, she’s been accumulating jobs like Thanos collects infinity stones—doing everything from hosting a talk show, to voice acting work, and even performing in the Broadway version of Rodgers and Hammerstein’s Cinderella (yes, the iconic and underrated musical originally starring Brandy and Whitney Houston). After a few years playing characters in more serious drama and horror films (Pimp in 2018, Hustlers in 2019, and Nope in 2022), Palmer is returning to her comedic roots. Set in Los Angeles, One Of Them Days is a buddy comedy wherein Dreux (Palmer) and her best friend and roommate Alyssa (SZA) are as close as they are broke—which is to say, very. When Alyssa gives the girls’ rent money to her “stank-ass boyfriend Keshawn” (Palmer’s words, not mine!), the two work together to scrounge up $1500 by the end of the day to avoid eviction. The movie is as funny as Palmer is in real life. The recipe of bad luck, good jokes, physical stunts, and hilarious hijinks creates an absolute treat of a film—the type that has been sorely missing in Hollywood for awhile. When I went to see it in theatres, no one really ever got the chance to stop laughing. Lingering giggles would run into new laugh-out-loud moments constantly. Rounded out with a cast of comedic heavy-hitters like Lil Rel Howery, Janelle James, and Katt Williams—and an unexpected but delightful performance from Maude Apatow—One of Them Days is a film that you know you’ll comfort-watch for many years to come, when you’re having one of them days. A couple days after the film’s hugely successful release (According to Deadline, the film earned back its budget of $14 million in its opening weekend), Unbothered caught up with Palmer over Zoom to talk about the movie’s success, working with Issa Rae and SZA, and the power of original and authentic stories. And yes—I was giggling the whole time. Unbothered: I’m gonna start with, of course, a viral interview clip of yours that’s recirculating now. You’re talking about how much you hate the patriarchy. You’re like, “You’re done! You’re done!” [Laughs]. You say that you want the opportunity to be in a buddy comedy like Will Smith. What does it feel like to have finally done that and to have achieved that goal? Keke Palmer: Oh, my gosh! The way that the internet brings back the things that I don’t even know, I’m like, What have I been doing? [Laughs]. It’s so insane! I have to find that one. But I’m honored because, honestly, I was that girl that was just like, “I want to do the stuff that the guys are doing.” I don’t know why it can’t be equalized. So it was exciting to get to do this with SZA—she’s amazing. I feel like even in the comedy and the buddy-ness of [the movie], it’s still so unique to our perspective as young women. It’s an original story, but it also feels so nostalgic in so many ways. For me, I don’t mean to sound biased because, obviously, I’m in the movie, [but] when I first watched Lawrence [Lamont’s] director’s cut, I immediately was like, “I want to watch it again.” Because I like Dreux and Alyssa! With One of Them Days, to see that impact, it just proves that people want to see original storylines and good characters. keke palmer I watched it yesterday and I was dying the whole time. The theater was dying the whole time. It was so funny. And what I loved is that it feels so Black like capital-B Black. There are so many moments that feel so unique to our community. Dreux not having her hair fully done the whole film— KP: He didn’t even dip the ends! [Laughs]. And everyone has done that ponytail when their hair is not done in the middle! [Laughs]. Now it’s the #1 movie in America. How does it feel that a film that’s so unapologetically Black and so for us, by us is achieving this much success? KP: It means what I feel like I’ve always known, which is that everybody likes original and authentic stories, you know what I’m saying? I know we live in a world where there’s so much misogyny, racism, et cetera. But the reality is nobody wants to see the same thing all the time. We all want to see [something] different and outside of our cultures especially. That’s the reason why Black folks love the movie Selena. [Laughs] KP: We’re not Latinx, but we love the storyline because it’s a good movie and she was a beautiful person. I feel like it’s the same thing with One of Them Days. To see that impact, it just proves that people want to see lives. They want to see original storylines and good characters. As long as the script is strong and the movie is put together well, Black, white, women, men—we all should be able to thrive. You’re not only the star of the film, you’re also an executive producer. Issa Rae is also a producer. I know you two worked together for a hot second on Insecure. Having spent more time with her now, what’s something that you feel she does really well as a producer that you try or hope to emulate? KP: [Issa] knows how to bring people together really, really well. She’s able to put the [right] people in the [right] positions [and] really entrust them. When it’s time for her to step out, she’ll step out, but she doesn’t step on anybody’s toes. She’s [also] quite bold and daring, meaning she’s willing to try things and throw things out there. She wants to push, which I love. I loved seeing her get her hands dirty in terms of also being on set and pitching things in real-time. “Hey, they should say this. Hey, she should do this. Let’s add that.” But [she is] also respectful to the director [and to] protocol. A lot of times when people are coming up in any field, they just want to get in and do it [but] there’s a system. There’s a way it works. I love and respect that [she follows it]. Are there any specific examples or moments you can remember where she jumped in with something like a note that ended up in the final cut? KP: Oh, a lot of times! “You looking really alopecious today.” There was stuff in the payday loan scene. [The] tumbleweave. There was a lot. I can’t remember every single one [because] there was so much improv going on. Every scene that we did, she was in the back fishing for something funnier. I love that. Speaking of being on set, SZA did so well. I know that none of us had seen her act before. She was incredible. Your chemistry together was so good. It felt like you guys had been knowing each other for a long time. KP: [Nodding] It got to the point where me and her were like, “Damn, did we know each other in another life?” [Laughs] Did you have any advice for her on jumping into the acting world? KP: I don’t know if I had advice, I just want her to know that I had her back. For me as an actor, that’s what matters the most. Whether it’s two romantic characters or just any character that you’re playing, that person needs to know that you got their back 1000%. I think that’s the main thing. I wanted her to know that we ain’t going to be looking crazy, that we’re about to kill this role, and she can depend on me. I don’t know that she needed me to tell her anything about acting. She came prepared. She showed up and showed out. She’s a natural. It got to the point where me and her were like, ‘Damn, did we know each other in another life?’keke palmer on working with sza I want to play a quick game before we wrap up. Because we’re R29 Unbothered, I want to play a quick game of “Bothered or Unbothered.” I’m going to give you a scenario and you tell me which one. KP: Okay! Your braider cancels last minute, bothered or unbothered? KP: Bothered. She’s done. She’s done. Okay, this happens to Dreux in the movie. Your crush catches you looking crazy outside, bothered or unbothered? KP: I’m unbothered. He has to see me ugly someday. If he can pass this, then great. Okay, your crush has a criminal record, bothered or unbothered? KP: Well, what kind of criminal? Let’s say petty crime. Let’s say petty crime. [Laughs] KP: Petty crime? I’m not bothered. Unbothered. Okay. Last one, when your fans say your quotables back to you, bothered or unbothered? KP: This is the thing. I’m not unbothered because I’m living! Living and loving it. The gag is? KP: The gag is. Like what you see? How about some more R29 goodness, right here?Keke Palmer Only Wants One Thing This SummerExclusive: Make It Make Sense Premieres on KeyTVLike Keke Palmer, I Have PCOS: My Fertility Story Source link

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norajworld · 10 days ago

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Keke “The Gag Is, I Hope I Don’t Sound Ridiculous, I Know It Ain’t, I Know It Ain’t The StAAllion, Sorry To This Man, That’s A Slave Hymn” Palmer is the funniest person on the Internet. At just 31, Keke Palmer an industry veteran, having starred in her first film (The Barbershop 2: Back in Business) when she was only 11. Since then, she’s been accumulating jobs like Thanos collects infinity stones—doing everything from hosting a talk show, to voice acting work, and even performing in the Broadway version of Rodgers and Hammerstein’s Cinderella (yes, the iconic and underrated musical originally starring Brandy and Whitney Houston). After a few years playing characters in more serious drama and horror films (Pimp in 2018, Hustlers in 2019, and Nope in 2022), Palmer is returning to her comedic roots. Set in Los Angeles, One Of Them Days is a buddy comedy wherein Dreux (Palmer) and her best friend and roommate Alyssa (SZA) are as close as they are broke—which is to say, very. When Alyssa gives the girls’ rent money to her “stank-ass boyfriend Keshawn” (Palmer’s words, not mine!), the two work together to scrounge up $1500 by the end of the day to avoid eviction. The movie is as funny as Palmer is in real life. The recipe of bad luck, good jokes, physical stunts, and hilarious hijinks creates an absolute treat of a film—the type that has been sorely missing in Hollywood for awhile. When I went to see it in theatres, no one really ever got the chance to stop laughing. Lingering giggles would run into new laugh-out-loud moments constantly. Rounded out with a cast of comedic heavy-hitters like Lil Rel Howery, Janelle James, and Katt Williams—and an unexpected but delightful performance from Maude Apatow—One of Them Days is a film that you know you’ll comfort-watch for many years to come, when you’re having one of them days. A couple days after the film’s hugely successful release (According to Deadline, the film earned back its budget of $14 million in its opening weekend), Unbothered caught up with Palmer over Zoom to talk about the movie’s success, working with Issa Rae and SZA, and the power of original and authentic stories. And yes—I was giggling the whole time. Unbothered: I’m gonna start with, of course, a viral interview clip of yours that’s recirculating now. You’re talking about how much you hate the patriarchy. You’re like, “You’re done! You’re done!” [Laughs]. You say that you want the opportunity to be in a buddy comedy like Will Smith. What does it feel like to have finally done that and to have achieved that goal? Keke Palmer: Oh, my gosh! The way that the internet brings back the things that I don’t even know, I’m like, What have I been doing? [Laughs]. It’s so insane! I have to find that one. But I’m honored because, honestly, I was that girl that was just like, “I want to do the stuff that the guys are doing.” I don’t know why it can’t be equalized. So it was exciting to get to do this with SZA—she’s amazing. I feel like even in the comedy and the buddy-ness of [the movie], it’s still so unique to our perspective as young women. It’s an original story, but it also feels so nostalgic in so many ways. For me, I don’t mean to sound biased because, obviously, I’m in the movie, [but] when I first watched Lawrence [Lamont’s] director’s cut, I immediately was like, “I want to watch it again.” Because I like Dreux and Alyssa! With One of Them Days, to see that impact, it just proves that people want to see original storylines and good characters. keke palmer I watched it yesterday and I was dying the whole time. The theater was dying the whole time. It was so funny. And what I loved is that it feels so Black like capital-B Black. There are so many moments that feel so unique to our community. Dreux not having her hair fully done the whole film— KP: He didn’t even dip the ends! [Laughs]. And everyone has done that ponytail when their hair is not done in the middle! [Laughs]. Now it’s the #1 movie in America. How does it feel that a film that’s so unapologetically Black and so for us, by us is achieving this much success? KP: It means what I feel like I’ve always known, which is that everybody likes original and authentic stories, you know what I’m saying? I know we live in a world where there’s so much misogyny, racism, et cetera. But the reality is nobody wants to see the same thing all the time. We all want to see [something] different and outside of our cultures especially. That’s the reason why Black folks love the movie Selena. [Laughs] KP: We’re not Latinx, but we love the storyline because it’s a good movie and she was a beautiful person. I feel like it’s the same thing with One of Them Days. To see that impact, it just proves that people want to see lives. They want to see original storylines and good characters. As long as the script is strong and the movie is put together well, Black, white, women, men—we all should be able to thrive. You’re not only the star of the film, you’re also an executive producer. Issa Rae is also a producer. I know you two worked together for a hot second on Insecure. Having spent more time with her now, what’s something that you feel she does really well as a producer that you try or hope to emulate? KP: [Issa] knows how to bring people together really, really well. She’s able to put the [right] people in the [right] positions [and] really entrust them. When it’s time for her to step out, she’ll step out, but she doesn’t step on anybody��s toes. She’s [also] quite bold and daring, meaning she’s willing to try things and throw things out there. She wants to push, which I love. I loved seeing her get her hands dirty in terms of also being on set and pitching things in real-time. “Hey, they should say this. Hey, she should do this. Let’s add that.” But [she is] also respectful to the director [and to] protocol. A lot of times when people are coming up in any field, they just want to get in and do it [but] there’s a system. There’s a way it works. I love and respect that [she follows it]. Are there any specific examples or moments you can remember where she jumped in with something like a note that ended up in the final cut? KP: Oh, a lot of times! “You looking really alopecious today.” There was stuff in the payday loan scene. [The] tumbleweave. There was a lot. I can’t remember every single one [because] there was so much improv going on. Every scene that we did, she was in the back fishing for something funnier. I love that. Speaking of being on set, SZA did so well. I know that none of us had seen her act before. She was incredible. Your chemistry together was so good. It felt like you guys had been knowing each other for a long time. KP: [Nodding] It got to the point where me and her were like, “Damn, did we know each other in another life?” [Laughs] Did you have any advice for her on jumping into the acting world? KP: I don’t know if I had advice, I just want her to know that I had her back. For me as an actor, that’s what matters the most. Whether it’s two romantic characters or just any character that you’re playing, that person needs to know that you got their back 1000%. I think that’s the main thing. I wanted her to know that we ain’t going to be looking crazy, that we’re about to kill this role, and she can depend on me. I don’t know that she needed me to tell her anything about acting. She came prepared. She showed up and showed out. She’s a natural. It got to the point where me and her were like, ‘Damn, did we know each other in another life?’keke palmer on working with sza I want to play a quick game before we wrap up. Because we’re R29 Unbothered, I want to play a quick game of “Bothered or Unbothered.” I’m going to give you a scenario and you tell me which one. KP: Okay! Your braider cancels last minute, bothered or unbothered? KP: Bothered. She’s done. She’s done. Okay, this happens to Dreux in the movie. Your crush catches you looking crazy outside, bothered or unbothered? KP: I’m unbothered. He has to see me ugly someday. If he can pass this, then great. Okay, your crush has a criminal record, bothered or unbothered? KP: Well, what kind of criminal? Let’s say petty crime. Let’s say petty crime. [Laughs] KP: Petty crime? I’m not bothered. Unbothered. Okay. Last one, when your fans say your quotables back to you, bothered or unbothered? KP: This is the thing. I’m not unbothered because I’m living! Living and loving it. The gag is? KP: The gag is. Like what you see? How about some more R29 goodness, right here?Keke Palmer Only Wants One Thing This SummerExclusive: Make It Make Sense Premieres on KeyTVLike Keke Palmer, I Have PCOS: My Fertility Story Source link

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twistedtummies2 · 1 year ago

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Fifteen Days of Disney Magic - Number 3

Welcome to Fifteen Days of Disney Magic! In honor of the company’s 100th Anniversary, I have been counting down my Top 15 Favorite Movies from Walt Disney Animation Studios! We’ve reached the Top 3 on the countdown! Today’s entry is a FAIRY good film, indeed. (AUDIENCE BOOS AND HISSES) OH, YOU’RE JUST JEALOUS ‘CAUSE YOU DIDN’T THINK OF IT FIRST! Number 3 is…Sleeping Beauty.

MALEFICENT. Ahem…sorry, I…anytime this movie comes up, that’s my immediate gut reaction. Let me try again: today we’re talking about Sleeping Beauty-MALEFICENT. Drat. Um…okay…one more try: todaywe’retalkingaboutSleepingBeautyafilmthat-MALEFICENT! …Yeah, uh…Maleficent’s a big part of why I love this movie. ‘XD I suppose that is neither a surprise nor necessarily a bad thing. A villain can do a lot for a movie’s power, and it’s no secret that Maleficent is not only one of Disney’s most popular and well-known antagonists, but also my single favorite Disney Villain of all time, as well as one of my favorite villains ever made, period. So, naturally, having that character is a boon to the picture, because that character’s presence is automatically something that draws me to it…and vice-versa, I suppose, since while the original fairy-tale of “Sleeping Beauty” has been around for centuries, it’s Disney’s specific take on the Evil Fairy from the story – Maleficent, the Mistress of All Evil – that this movie gave birth to and made so grand. However, I don’t really want to spend this entry jabbering on about how good Maleficent is. I have had and likely will have plenty of opportunities to do that. And truth be told, she is far from the only reason I love this movie. “Sleeping Beauty” is one of those magnificent films that really does try to show the artistry of animation. If you ever want proof that animation is truly art in itself, this is a movie that can probably prove that to you. The look of the film is absolutely gorgeous, from the backgrounds to the characters in play, it’s all magnificent to behold. This was actually one of the first animated films ever made in a widescreen format, and this was no accident: when Walt Disney assigned his team of creators to the film, he wanted them to make something he called “a moving tapestry.” Everything had to be bigger, bolder, and more illustrative than ever before. This meant not only hiring the work of a brilliant artistic director and background designer, Eyvind Earle, but also stretching out the scope of the film so that every bit of animated beauty could be displayed, like a great moving painting for the audience to behold. The soundtrack matches this ideal, as well: originally, the film was going to have a more typical Broadway-or-pop-tune-esque song list and likely a matching soundtrack to go with it. However, at some point the suggestion was made to use Tchaikovsky’s ballet of the same name for the soundtrack. Nearly every piece of music in the film is either directly taken from the ballet, or riffed off of some section from it. The use of the ballet music only helps to further heighten the film’s atmosphere, emotional power, and sense of grandeur. “Sleeping Beauty” is essentially designed to be the ultimate fairy-tale story; the greatest expression in art of the endless struggle between good and evil, with a simple but well-executed fantasy to give it life.

In a way, I see Sleeping Beauty as a sort of cousin to an earlier Disney feature, “Fantasia.” It feels very much like a segment from Fantasia, but given a voice cast and stretched to feature length. Some elements of the plot are a bit iffy, but the movie worries less about plot and more about emotion and the strength of its characters. And, generally speaking, the characters are strong: while Aurora may not be the best of the Disney Princesses, in my opinion, she’s not an unlikeable character. Indeed, she’s not even REALLY the main protagonist: the true main characters of the story are the Three Good Fairies, and all of them are fun and interesting in their own right. I’ll even throw a bone to Prince Philip; in my opinion, Philip was the first REAL Disney Prince, by which I mean, he was the first who felt like he HAD an actual character. The ones in “Snow White” and “Cinderella” were barely present in their respective films and really felt more like plot devices than actual characters in their own right. Philip may not be as fascinating as characters like Aladdin or Simba, but he’s at least got his own unique personality and motivations at play. Heck, even the two kings, who barely have anything to do with the story in general, are memorable and fun characters! And of course, I’ve already made it clear how much I love Maleficent. Watching Sleeping Beauty is like watching a classic opera, but without the loud singing in a language you may not be able to understand. (Ha Ha.) It’s an emotional and artistic experience above anything else, which gets more intense than most films that came after it ever even tried, at least as far as Disney goes. It was the last film of its kind, at least for the studio...literally. Disney physically doesn't make movies like this anymore, just on a technical level; "Sleeping Beauty" is a work of pure and genuine craftsmanship, the peak of its kind and the end of its own era at the same time. Later films used different techniques to create their animation, which proved more cost-effective, but lacked the remarkable amount of effort it took to create something this polished and resplendent. It's rare you'll find something like Sleeping Beauty in our modern world, and it represents something special as a result: the work of incredible passion, time, and cost that created what many would consider to still be a masterpiece. I guess I can understand if it’s lower in the ranks for other folks – when you compare it to the complex storytelling and characters of some later films, there are definitely elements to pick apart – but for me, there’s no doubt that it’s in my Top Three Favorite Disney Movies. Tomorrow will be the penultimate post! I shall be presenting my 2nd Favorite Disney Movie! HINT: It Took a Truly Concerted Effort to Create.

#disney #disney 100 #disney 100 special #list #countdown #top 15 disney animated movies #fifteen days of disney magic #number 3 #sleeping beauty #maleficent

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themovieblogonline · 9 months ago

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Everything You Need to Know About the New "Jason Universe"

Calling all horror fans! Hold onto your sleeping bags because Camp Crystal Lake is about to be crawling with activity once again. We're talking about everyone's favorite hockey-masked maniac, Jason Voorhees, and his upcoming return in a brand new "Jason Universe." Wait, a Jason Universe? That's right! Get ready for a fresh wave of terror as Horror Inc. announced a multi-platform expansion of the iconic "Friday the 13th" franchise. This isn't just a new movie, though. We're talking video games, immersive experiences, merchandise, and a whole lot more – all designed to take us deeper into the blood-soaked world of Camp Crystal Lake. So, what can we expect from the "Jason Universe"? According to IGN, the details are still under wraps, but we can look forward to new "activations" that will span the entertainment world. This could include anything from movies and TV shows to terrifying video games that will put you right in the shoes (or should we say, running shoes?) of hapless camp counselors. But wait, there's more! Imagine stepping into Camp Crystal Lake yourself. The "Jason Universe" might just include immersive experiences that will have you dodging machete swings and running for your life. Sign us up (maybe)! Diehard "Friday the 13th" fans can rest easy – Horror Inc. says they're committed to honoring the legacy of the franchise while also giving it a fresh twist for modern audiences. That means scares that will have you jumping out of your seat, but also new stories and experiences that will keep things interesting. Here's the icing on the cake: Horror Inc. is working with Victor Miller, the screenwriter of the original "Friday the 13th" movie. This is a big deal for fans who want to see the spirit of the original film captured in this new era. So, when can we expect to see the "Jason Universe" come to life? We don't have an exact date yet, but Horror Inc. is promising more announcements throughout 2024. Keep an eye on their social media and the official "Jason Universe" website to stay in the loop. A Brief History of the "Friday the 13th" Franchise The first "Friday the 13th" movie slashed its way onto screens in 1980. The film introduced us to the now-iconic villain, Jason Voorhees, a seemingly unstoppable killer who terrorizes teenagers at Camp Crystal Lake. The movie was a surprise hit, spawning a franchise that includes twelve films (and a reboot) to date. The "Friday the 13th" films are known for their graphic violence, jump scares, and of course, Jason's signature hockey mask. While the franchise has been criticized for its gore, it has also gained a devoted cult following who appreciate its dark humor and campy charm. Whether you're a longtime fan or a horror newbie, the "Jason Universe" promises to be a chilling good time. So, grab your flashlight, check the doors and windows, and get ready to return to Camp Crystal Lake...if you dare! https://www.youtube.com/watch?v=3iKWeRPDsaE tune share more_vert Read the full article

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kimmyyang · 4 years ago

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210408 Zhang Zhehan's interview with Elle Magazine

"I want to be like Ah-Xu, be a gentle yet strong person."

On the day of the photoshoot, it was a rare windy day in Bei Hai. The weather forecast reported it will rain, which made everyone slightly heart-stricken. "Can we still take photos by the seaside?", "how about changing the location?", we were worrying, but fortunately it didn’t rain, only left with steer drop in temperature and roaring wind.

On the way to the photoshoot location, Zhang Zhehan recorded the sound of wind outside of the window. To be able to use the last bit of daylight before the sun sets completely, after filming, he only had one hour and a bit to go back to the hotel, have dinner, change clothes, and get his makeup done. And now, when we have done everything, he uses the time in the car to chat with the long-waited fans in the drama interactive zone.

Busy is an expected state. But when we saw him at the location, you can’t tell any trace of being busy from his face. The strong wind blew the gravels on the beach in the sky. During the interval of the photoshoot, everyone couldn’t help but complained about the cold wind and getting sand all over their faces. Only Zhang Zhehan looked more relaxed as if he came back from a different beach as us.

When we moved to the coffee shop, we finally had time to sit down and talk. He asked the staff to give him a cushion for his back, at that moment, it was probably the first time that made us realize that he is actually very tired. "It’s tough and tiring to be an actor, right?" we haven’t even finished the sentence, and he disagreed, "it’s all the same, every job is tough and tiring."

It seems that he has a big heart.

He chose to ride to Tibet with his friend for his graduation trip. Like his mum said he always has the spirit of seeking out suffering. Speaking of this journey, he said: "we’re living too happily, most families don’t have to worry about clothes and food, don’t need to go through a lot of hardships. I like what Huang Lei teacher once said, ‘people will only have faith after suffering, people will understand kindness after suffering.’ I think after seeing the suffering in the world and feel the suffering yourself - you will be kind to others."

After hearing what he said, you will realize that ‘big heart’ could have been a misunderstanding. He can’t dilute ‘sufferings’ more than others, instead, in the moments of ‘seeking out sufferings’, his feeling towards ‘sufferings’ is stronger and more abundant compared to most people.

He has a very meticulous side, he feels, understands, and hides his ‘sufferings’. Then, those experiences and feelings related to sufferings become something that is hard for others to spot on him.

He said, "when we’re going through a hardship, we can only see the hardship itself, you don’t realize that it’s actually reminding you something and teaching you something else." This is also his understanding of being mature – you can see the many sides of one thing.

‘Bruce Almighty’， ‘The Pursuit of Happyness’， ‘The Bucket List’ are his favorite movies. He said, "there’s a line from Bruce Almighty that left a deep impression – do you really hope God will give you happiness? Maybe everyone’s interpretation of happiness is different, but in the movie, the protagonist only realized it at the end, God was giving him happiness, but not the so-called happiness, God taught him the ability to gain happiness." He pressed his thumb again his chin, slightly looking down, earnestly sharing his impression of the movie.

He added, "you’re actually changing your perspective of the problem." Like what he wrote before, "being mature is being able to see the things that you couldn’t see before."

Maybe if the settling time is long enough, you will be able to stay calm in the change of tides and guard yourself in the quicksand under your feet. Speaking of popularity, he was calmer than we expected.

He said, "popularity is very important for an actor. I think it’s complementary, when you’re popular, you will receive more attention. You will be able to carry some things on your shoulders, first, it can prove that you have the ability, second, it can prove you’re acknowledged by the market."

He continued, "as actors, we also need to be acknowledged by the market. I have seen some amazing actors, they put so much effort into every character but maybe haven’t been acknowledged by the market yet, so they remain unknown. Therefore, a lot of great characters won’t fall into their hands.” It sounds cruel but it’s an undeniable fact. He added, “if you’re not popular, good scripts won’t even land in your hands."

The success of ‘Word of Honor’, to Zhang Zhehan, is like winning the lottery.

He said, "the success of a drama depends on timing, geographical and social conditions, none of these is dispensable. There are hundreds and thousands of dramas filmed each year, but in the end, there will only be one or two that everyone would love. That kind of feels like winning the lottery."

Working hard is very common, it’s nothing special, he thinks it’s unreasonable if you just use ‘working hard’ and ask why you are ‘under appreciated’. Just like how everyone praises him for being an experiential actor and praises his immersive acting. But he thinks, this is the passing line to be an actor, this is what actors are supposed to do.

He said, "if you’re an actor and you don’t experience the character, how could you portray it well, if you don’t get into the character, how could you make the character come to life?"

Working hard, experiencing, and immersing… he views them as a refined definition of actor, these are the preconditions of the lottery ticket. As for whether you can win the lottery in the end, no one can predict it. At least in his experience, he waited for 11 years for that winning lottery ticket.

After the filming ended, he wrote ‘jianghu, goodbye’ on Weibo, when the last episode aired, it was exactly 6 months after the last day of filming. His Weibo is on the setting of showing only the recent 6 months’ posts, as if it was a ‘long been destined’ farewell.

Perhaps the character Zhou Zi Shu is destined to be his. During the four months of filming, he had to gradually reveal Zhou Zi Shu’s two thousand layers of gray, he had to find him, become him, and lastly live the rest of his life for him.

Actors are probably all like this, they always must pour in their own life, emotions, and experience to make the character come to life. The process of making the character come to life means the actors get to experience life and emotions once again.

"Life is experience, you need to put some of your experiences into your characters."

Hegel mentioned in ‘Lectures on Aesthetics’ - 艺术通过供观照的形象可以缓和最酷烈的悲剧命运, 使它成为欣赏的对象。(thank you @sixteenthshen for providing the original quote!)

the specific lines zzh mentioned is bolded: If we are in a general way permitted to regard human activity in the realm of the beautiful as a liberation of the soul, as a release from constraint and restriction, in short, to consider that art does actually alleviate the most overpowering and tragic catastrophes by means of the creations it offers to our contemplation and enjoyment, it is the art of music which conducts us to the final summit of that ascent to freedom.

The reason why those so-called pains are endowed with aesthetic tension may lie in ‘being watched with pleasure’. Those most beautiful things aren’t been torn in our real lives, they become one ‘tearing performance’ after another, being shown on the stage, shown on the screen. The existence of aesthetic distance made ‘those so-called pains’ into something that can be bearable, having its own appreciation.

That so-called ‘pain’ experience comes more direct towards actors, there’s not much room for leeway. In his previous interview, he commented that Zhou Zi Shu is the most memorable character, the character that hurt him the most. Talking about ‘getting hurt’ again, he thinks that is unavoidable.

"I say that an actor has to get into the character and get out of character quickly. But when you’re acting in a happy scene, that happy feeling might last for a day or few days. When you’re acting in a sad, heart-broken scene, even you say it’s ok, it’s fine, it won’t affect me. But it will affect your mood, including your actions. When I go back to my room, I can’t help but to think about that scene, I might not be willing to go out and walk around."

"So, do you think acting is a process of wearing yourself out and wearing emotions down?"

"Of course, of course, of course, it’s wearing myself out." He said of course three times consecutively, "it’s not just wearing my emotions down, it also wears my physical strength out, wears my experience out, and a lot of my own things. So, if I want to do well in a piece of work, I can’t go into the next crew right after I have finished filming. Because you will have traces of the last piece of work, it’s actually hard to accept and get into the next character."

"I personally really like to stay in the filming crew, the reason why I said Zhou Zi Shu is great is that we couldn’t have any other work due to COVID-19 restrictions. I was in the crew for 4 months, in peace. I was looking into and experiencing the character carefully."

On the day of the interview, the Q&A part about acting was the most ‘unrestrained’. Every time we throw out a question, we would always get a powerful and resonating reply. From the perspective of a bystander, you could feel that he is the kind of person that is shining in his professional field.

At the end of every drama/ film, he would choose to leave that environment, and go out to have fun for few days. "I’m not insisting that I need to disengage from the drama/ film, I just want to relax, return to myself, return to Zhang Zhehan’s life."

"So, when you’re looking at Zhou Zi Shu again now as a viewer, do you have any different sentiment?"

"Of course, I would think of the funny parts and incidents. A lot of interesting bits that I’ve added in myself, you can see it in the character." Fortunately, as an actor, he can also feel the happiness that ordinary viewers have.

In our conversation, the words that he mentioned the most were 'gentle yet strong'.

"I really like netizens' comments that Zhou Zi Shu is gentle yet strong."

"The quality that I admire the most now is gentle yet strong."

"I feel like now I want to be like Ah-Xu, someone who is gentle yet strong."

"I want to be like Ah-Xu, become a bit gentler."

He thinks this seemingly contradictory combination is very interesting, "strong describes a person who is strong, whereas gentle is soft. These two words may seem to have no connection, but when they’re put together, it’s also a perfect connection."

"I didn’t feel this way before. I used to think people have to be strong, powerful, how can you be gentle yet strong? I think that’s something I need to learn now. This person must make everyone around them feel comfortable and think of others, but at the same time he/ she is also an individual who’s very strong and full of capabilities."

"Like water, it’s like this when it’s calm, it’s like that when it’s surging high."

He used as many hand gestures as he could as he wanted to express what’s on his mind as much as possible.

Gentle yet strong, this is what he saw, felt from Zhou Zi Shu, and it’s also the character experience he most wants to leave behind.

"Speaking of what hasn’t changed for 11 years, is that I’m still acting; speaking of changes there are a lot. All these years of experience, it became my understanding of each character, in contrast, 11 years of acting experience allowed me to learn a lot from my characters."

To him, every big or small character he had in the past 11 years is a mutual encounter, he gave something to the characters, and the characters also left him with something.

Those who have seen his acting praise him that he truly understands Zhou Zi Shu, so we asked how he could stand in the perspective of Zhou Zi Shu to understand his words and actions. He doesn’t think that it was understanding, it just naturally happened.

"I didn’t deliberately try to understand him, I think what he did was just following his heart, that’s how I feel, so that’s how it should be. I would ask if it was myself, can I do that? Is it acceptable? If I think it’s ok, then it’s right. If I think it’s unacceptable, I will definitely tell the director - 'I don’t want to act this way.'"

"I read another book today, the main idea is the most important thing for people is to know themselves. Know yourself, know what kind of person you are, then you will know the world. You need to learn how to reconcile with yourself, learn how to communicate with yourself, tell yourself when you need to keep going, when to compromise, when you need to understand, when you need to be strong… you need to keep being yourself and convince yourself at certain times."

Meeting Zhou Zi Shu, to Zhang Zhehan is also the process of meeting and knowing himself. "But I’m probably not as mighty as Zhou Zi Shu," he laughed.

He thinks that he’s not at the age of looking back, the things that have happened, just let them go. "There’s nothing to remember in particular, there’s nothing memorable. And my occupation, a lot of people will remember for you, they will remember your good, remember your various moments, so I don’t need to remember. What I need to do now is to live well, my current life, future life, and get into the next role."

"When I can’t act anymore, I think I will look back more."

Now, he wants to challenge a new area, "I really want to act in movies, act in more movies. 40 episodes of acting and 2 hours of acting are different, condensed acting is the quintessence. I still need to learn how to act well in the 2 hours."

And "I hope I can be a director one day."

The beautiful scenery in spring is as deep and wide as the sea, it’s fortunate that we get to meet.

"My occupation, many people will remember every moment of yours."

"Immerse into my next character, and live well - that's what I need to do now. "

Translation by: KIMMYYANG

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sourholland · 4 years ago

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Ooooh angst “what about us?” “there is no us, there never was.” with tom plssss! Really love ur work 🌸

Last Kiss || Tom Holland

Summary → After a fling you and Tom had started while filming a movie together, he tells you that you two can’t be together anymore. Once you get home, Tom let’s you know that he made a mistake.

AN → This was supposed to come out yesterday, I just got lazy and waited to edit it. I can’t tell if I like how this came out or hate it, either way, I hope you guys like this. Also in honor of the Fearless re-record!!

Pairing(s) → Tom Holland x Fem!Reader

Warnings → Strong Language, Suggestive, Alcohol Use

Prompt(s) → 38

Word Count → 1.9k

The ringing of your phone sounded through your apartment loudly, the sound of the rain pattering loudly against the windows out-looking New York City. You set down the remote, feet padding against the cold hardwood while you looked for your buzzing cellphone.

You didn’t bother glancing at the caller ID, picking it up bringing it to your ear all in one quick motion.

“Hello?” You said, pulling a wine glass down from the cabinet.

“Y/N?” Tom’s voice came through the phone.

Your heart dropped, a breath catching in your throat while you stood in your kitchen. He was across the country, wanting nothing to do with you. He repeated your name through the phone, asking if you were there.

“Yeah, I’m here,” you answered, pouring more wine than you’d originally intended into the glass.

“Isn’t it like one in the morning in England?” You asked, listening to the muffles coming through the speaker.

“Yeah—yeah, it’s late here. I just couldn’t sleep, and I started to think of you. Sorry, I probably shouldn’t have called.”

You sat at one of the barstools, swirling the red contents of the glass around. You wanted to yell at him, or maybe you wanted to tell him how much you loved him. You sat silently for a few moments, bare legs cold from the draft.

“Tom,” you started. “I just don’t get why we have to rehash the past, you know? I came back to New York, just like you told me I should. You’re working on whatever new movie, I’m doing the same. I don’t know—I just think we should leave whatever happened between us alone. You made it very clear that it was me that you didn’t want,” you mumbled, pulling at the sleeves of your sweater.

He audibly sighed, the ruffling of sheets coming through the phone. He was probably in bed, if he wasn’t so far away you’d have asked him if this was a sad attempt at getting you to sleep with him.

“I was fucking stupid, and I’m sorry, Y/N. I’m so fucking sorry, I’ve said that a million times,” his voice was hoarse and tired.

“I’ve already forgiven you, Tom. I just can’t keep doing this—this thing with you.”

You both went quiet for a minute, the only sound being the noise from outside in the bustling streets of the city and the rain. You knew you should hang up, block his number and forget about anything you two ever had. You’d tried a few times, unable to bring yourself to doing it.

“What about us?” He asked lowly, a twinge of hurt in his tired voice.

“There is no us, Tom,” you replied. “I’m not even sure there ever was.”

He didn’t say anything, you wanted to let out the repressed cry and tell him you didn’t mean it. That you were sorry and that you thought about him more than you’d like to admit. Something in you knew if you didn’t do your best to cut it off, you two would continue down the same everlasting cycle.

“Okay,” he said.

“Okay.”

The line went silent for a moment, and then your home screen lit up. The call had been ended. You downed the remainder of your wine, ditching the cup and just going for the bottle. You thought about calling him back, about apologizing and booking a plane ticket like some lovesick teenager.

You opened Instagram and began scrolling through your feed of posts, liking and commenting occasionally. You weren’t anywhere near drunk, merely tipsy and heartbroken. Your finger lingered on the button to go live, wondering if you really wanted thousands of people to see you in this state.

You left the kitchen and instead propped your phone against the couch, taking a seat on the white rug of your living room. You wearily pressed the go live button, raising the bottle to your chapped lips once more. You are pathetic, you thought.

“Hey guys!” You smiled at the camera and outpouring of greetings in the comments. Within a few minutes you’d racked in a few thousand viewers. You grabbed the guitar sitting against your wall and strummed the cords lightly while it sat in your lap.

userone: you are so adorable

usertwo: can you please say hi?!!!??

userthree: it’s my birthday y/n!

“I’m sorry I haven’t been very active on social media, guys. It’s been super crazy traveling back and forth from London to New York and then having to leave again in a few weeks. And now I’m sitting on my living room floor with a bottle of wine,” you laughed. A few familiar people popped into the comments of the live, some you’ve worked with and some you’ve yet to meet in person.

florencepugh: y/n!!!

gracieabrams: might just bust out the wine just for u

“Florence, I can’t wait to see you soon!” You smiled, “Gracie, I swear it’s making everything like a hundred times better.”

userfour: i’m in love with her

userfive: y/n saving 2021???!!!

“I’m not even sure what I’m supposed to be singing,” you flushed. You did sing, before getting into acting you’d post a lot on Instagram and TikTok. It’d always been more of a hobby, something you loved to do, but weren’t good enough to pursue.

“I’ve had a little too much to drink,” you added. “So don’t get upset if I’m a little pitchy, guys.”

usersix: if she’s pitchy i’m not sure what i am

userseven: sing taylor swift!!!

“Okay, okay!” You chuckled, scrolling through the hundreds of comments saying to play Taylor Swift. You’d only just been crying to like three of her albums a few hours before.

“How about the chorus—and maybe the bridge too, yeah, that’ll work,” you mumbled to yourself, fiddling with the strings. “Alright, guys, Last Kiss it is. I won’t bore you all with the whole thing, though. I could never do Taylor justice.”

“And I’ll go sit on the floor, wearing your clothes”

Getting involved with him was singlehandedly the most stupid decision you’ve ever made, you thought. Late nights in his flat after long nights on set, ordering in and just talking, you two would talk as if you’d known each other your whole lives. It was something about the way he’d let you wear his clothes, or the way he’d tuck your hair behind your ear while you told him about whatever insignificant thing that had happened that day.

“All that I know,

I don’t know how to be something you miss”

The car ride to the airport was the worst, it was grey and cold outside. There was makeup running down your face, mascara covering your eyes generously. You’d wrapped filming a week earlier, unable to bring yourself to walk away from him.

You couldn’t tell the driver to turn you around, or could you? Tom had already made it clear that you were both in different places in your career. This wasn’t what he wanted. You weren’t what he wanted.

“I never thought we’d have our last kiss”

He had held you just a little tighter, you ran your fingers through his hair for just a second longer. The taste of each other lingering on the both of your lips. Like you knew it would be the last time he’d hold you without knowing.

His stupid smiled, the way he pulled away and ran his thumb over your swollen bottom lip. You were almost wrapped around his finger, absolutely sickened with desire and infatuation for him.

“I never imagined we’d end like this,

Your name, forever the name on my lips”

The day you’d left to come home to New York started with a huge argument between the two of you. He’d basically just told you that you’d both known from the beginning you wouldn’t last together. It wasn’t a matter of how much you cared for one another, but that it was impossible, as he put it.

His eyes glossed over and bloodshot, you a complete and utter mess. Slamming the door behind you as you left was one of the most painful things you’d ever endured. Even more painful, the fact that he never came after you.

“So I’ll watch your life in pictures like I used to watch you sleep”

“I can feel you staring at me, love,” he murmured against the pillow.

Your face heated, eyes averting to the stream of light through the sheerness of the curtains. He leaned into you a moment later, his lips soft on your own. He was warm, he was always so warm. You cupped the side of his face gently, pulling him in a bit harder.

“And I feel you forget me like I used to feel you breathe”

You dropped your bags, stepping into your apartment after months of being away. It felt quieter than usual, desolate and empty from your being away. It was dark out, the illumination of the bright city lights from your windows.

You glanced down at your phone for a moment, not a missed call, not a text, not even a fucking notification. He’d simply told you to go home, nothing more nothing less.

“I keep up with our old friends just to ask them how you are,

Hope it’s nice where you are”

You’d texted Harrison a few times, regretting it almost immediately after. He was sweet, telling you that Tom would come around eventually and to just be patient. You’d relied on those kind words for some time, eventually deleting them all together.

After Tom’s first text, you’d realized he wasn’t coming around or regretting what he’d said to you. He was lonely, maybe even a bit desperate. For months you had been there to listen to him and hold him, and now you were gone.

You’d fed into it the first few times, sitting on the phone with him for hours at a time. Then you started to feel worse hearing his voice, silent sobs escaping as you’d listen to him ramble. Then your finger would linger over the decline button a little longer than usual when he’d call, until eventually you started to use it.

“And I hope the sun shines and it’s a beautiful day,

And something reminds you,

You wish you had stayed”

Once you started to go out with other guys, Tom’s ‘I miss you’ texts became more infrequent. Paparazzi would snap pictures, and the next morning they’d be plastered all over the internet.

There was no doubt he was seeing you going out with other people, watching article after article about who you were dating surface. Would he be jealous? No, you thought. Tom was probably doing the same thing as you. Hopeless hookups, meaningless blind dates.

“You can plan for a change in the weather and time”

One early morning, you found yourself in a sweatshirt you’d stolen from one of his drawers and forgotten to return. Listening to the morning rush of traffic and hugging yourself, noticing the lingering smell of his cologne.

You wondered if he knew you’d taken it, if he would think you were pathetic wearing it months after you two had broken things off. This only made you clutch yourself a little tighter, closing your eyes and trying to remember.

“But I never planned on you changing your mind”

#tom holland imagines #tom holland #tom holland imagine #tom holland x reader #peter parker imagine #peter parker x reader

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merakiui · 3 years ago

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MERA! Sea glass was so SO good omg I swear u never disappoint w ur fics. I don’t even know where to start w the praise. It may seem like I’m exaggerating but it rly is so good. Ur defo my fave yandere writer on Tumblr! I love the mystery, suspense, and unease in ur fics, especially Sea Glass, it had me on edge the entire time it was so addicting to read I couldn’t put it down! And I hope I’m not pressuring u in any way but I hope that u will continue to write for twst I’d love to see u write more for it! (I mentioned praise and so I will deliver) I love in sea glass that u incorporated the dreams the MC/Yuu faces in the game, the foreshadowing of the angel in the glass box (the way I gasped when I kept reading, at first I thought it was just symbolic of the situation reader is in but then it played into the reveal ltr), and idk if it was ur interion but it felt like reading a more twisted (lol), darker retelling of the little mermaid but in reverse. Like instead of a mermaid becoming human, the human became a mermaid instead. And like i said idk if that was ur intention but I like how it’s a twisted, yandere version of the octo trio since the game is also a twisted version on the Disney films a lot of ur grew up w. In a previous ask by another anon, u said u would make a part 2 that goes deeper into the relationship reader has w the octo boys, and I wanna ask something bc I love theorizing. So it seems like the trio has a rly deep attachment to reader, and the previous ask asked if they acc have a history w reader and if the met when they before. And if that’s the case is it possible that reader isn’t acc a random sacrifice that was picked, but someone that the trio manipulated the man to take under the guise of a sacrifice, in order to finally obtain reader? Ofc don’t reveal anything about part 2 but like am I close w this?

AAAA OMG THANK YOU!!! I hope the story conveys my love of ocean aesthetics and Octavinelle trio!! But I’m really so honored to receive such high praise. >0< it means a lot to me, so thank you once again for the love and support!! ♥️ ✨

I will be writing lots of stories for the twst characters! As of now, I have ideas for Malleus, Lilia, Idia, and Riddle (whose fic is in the works as of now). I want to write something for Ruggie and Leona as well! We’ll see what ideas my brain comes up with for them. ( ˘ω˘ )

I’m happy you enjoyed those aspects! There were so many small details and scenes that I loved writing. I had lots of fun writing Azul’s dialogue hehe!! But I actually didn’t intend to write it like a reverse of The Little Mermaid. I think it was there in the back of my mind since the man has a specific name in the story. It will be officially mentioned in part two, but I’m sure it can be guessed easily!

Sea Glass had a very different ending from the one in the published version. Originally I had planned for the reader to drown when the tweels were dragging them into the sea, which would then ruin everything Azul had carefully planned up until that point. But I felt like it would be more interesting if the reader was turned into a mer like them!

As for your theory, they do have some history together and reader isn’t just a sacrifice as it was originally intended! The trio like to think their relationship with the reader is really deep and you’ll get to see how it blossomed in part two. If I had to explain it, I would say it’s a sequel that focuses on the complex relationships between reader and the trio and between the reader and the man! I’m very excited to write it! I hope you will look forward to it!!

#sweet messages #twisted chit chat #yandere twst #ty ty ty for your kind words and praise !!!!! <3 T_T i’m so flattered

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elrondsscribe · 3 years ago

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So like, please don’t go and look this post up and/or harass anyone, but I saw this …

… oh boy.

So here’s the thing: as someone who is currently writing an Avatar/Star Wars crossover right now, I thought it was a great opportunity to stop and talk about where my headspace is regarding both narratives.

So just let me make sure nobody’s confused: I am sharply critical of the prequel-era Jedi: their approach to the Force, their place in the Republic, and their handling of children generally (and Anakin specifically).

This doesn’t mean I think that the Sith are the good guys or that Palpatine was right: obviously they’re bad and villainous. But I also think there’s a lot wrong with the Jedi’s systematic approach to, well, most things. And I don’t think there could be a more apples-to-oranges comparison than the one OP makes here between the Air Nomads and the Jedi in terms of how they raise their children.

So! About this ‘communal family space’ vs ‘nuclear family’ thing: I get the point that OP is making here, that the heteronormative lens through which we view love and family is restrictive, and the way it dominates our perception allows for a lot of harm, and we need to be critical of it and destabilize it. But let’s not kid ourselves -- real-world institutional care, which is what the Jedi do, is not a daring critique of authoritarian child-rearing structures, it is a form of authoritarian child-rearing in and of itself. Again, not saying the Jedi are the real bad guys -- they’re not, and I love them -- just that as per the text of the films and the Clone Wars series, this ain’t nobody’s ‘found family.’

From what I can see, the Air Nomads are collectively raising all their children, unconditionally, no-holds-barred. I can’t tell whether all Air Nomad children turn out to be airbenders, but if they’re not, it doesn’t seem to affect how fully they’re accepted by the adults or how much Air Nomad philosophy they’re taught. The Jedi Order accepts Force-Sensitive children only, and then either passes them to Knighthood, puts them into the service corps, or kicks them out -- I mean, returns them to their blood family. That they’ve had absolutely no contact with for years. From whom the Jedi originally ‘accepted’ them. Can you maybe see where I��m coming from when I say that I don’t see the Air Nomads and the Jedi Order as comparable?

Hell, it’s in the names! The Jedi Order is an order, a religious order in which people with special abilities are raised to serve a religious and political purpose. The Air Nomads are a people group, either a collection of clans or a single clan, where interdependence and individuality are not mutually exclusive, and where your status in the community doesn’t hinge on any kind of merit.

I don’t know what to make of OP’s sarcastic “loveless cult that stole children” dig. We’re gonna pass by the second half of that statement, as the case of Baby Ludi is not considered canon anymore, though you should check it out if you’re interested. Instead, let’s talk about the first half

Now I’ve observed that whenever someone speaks critically about the Jedi order and their stance on attachment/love, they always get the same few talking points shouted at them: ‘you’re a white Christian imperialist being hateful toward Eastern practices, you’re equating love with unhealthy possession,’ etc. Well, I’m not white, and I have no love for Christian imperialism, though I will confess I don’t know the ins and outs of Eastern philosophies and practices. But to my understanding, I don’t think it’s fair to mention that Buddhism, for example, encourages nonattachment without acknowledging the context that that idea sprang from: namely, cultures of honor in which absolute loyalty and obedience to one’s family and clan and kingdom determined everything. So if you were having a hard time upholding that, the idea of nonattachment in that context really is liberating, straight up radical.

The same cannot be said of the world of the galactic Republic with regard to the Jedi Order. Anakin Skywalker was a child born into slavery, yes, but the text of Phantom Menace makes it very clear that he was a child who was embraced and accepted by his mother. Unless you wanna claim that an enslaved woman was possessive in considering a child she bore to be her own, which would be pretty bold to say to a black woman IRL. Qui-Gon bargained Anakin out of slavery to Watto, yes, but I don’t think it’s fair to say that ‘liberation’ is the best word to describe permanently separating the kid from his mom and allowing them no contact with her to the point that he doesn’t even know if she’s alive ten years later.

(Like, I know I’m saying this as a black American woman which makes me BiAsEd, but being separated from a child that you bore, and then being allowed no contact with him by his new caretakers on moral/religious grounds ... I dunno, that feels a little familiar.)

So it seems to me that the Jedi and IRL Buddhists don’t have the same understanding of what constitutes harmful ‘attachment.’ Because remember: the text of Phantom Menace explicitly states that Anakin missing his mother, and being scared of living in separation from her, equal unhealthy attachment to the Jedi Council; the text of Attack of the Clones explicitly states that Anakin has had no contact with or even news of his mother for ten whole years; the text of Revenge of the Sith explicitly states that Anakin would be wrongly possessive in mourning/missing someone he cared about if they died as far as Yoda is concerned. Whatever the merits of different philosophies of nonattachment in theory, the Order’s praxis as shown in the films is harmful, and yeah, more than a little cultish.

But where were we? Oh yeah, equating criticism of the Jedi to accepting Fire Nation propaganda about the Air Nomads. Well, if after all this somebody still sees me as an unthinking nuclear-family-defending heteronormative white imperialist plant whose thinking is in line with that of a genocidal warmonger for criticizing the Jedi, there isn’t much else I can say. Toodles!

#star wars #nobody asked for this #star wars meta #jedi order #avatar: the last airbender #atla #atla meta #shut up elvella #elvella rambles #jedi critical #star wars ramblings

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wickedpact · 3 years ago

Text

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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