#eng translation

[pochiperpe90]

[ENG] PARDO - Interview with Luca Marinelli

“Luca Marinelli is a true phenomenon!” This is how Paolo Virzì, who directed him in Tutti i santi giorni in 2012, defined the actor a few years ago. He was absolutely right. Throwing himself body and soul into each of his roles, Luca Marinelli does not limit himself to playing a part, but manages to transform himself completely, creating intense, charismatic, unique characters. From the young introverted mathematician in La solitudine dei numeri primi (2010) by Saverio Costanzo, to Roberta in L’ultimo terrestre (2011) by Gipi; from the criminal in Non essere cattivo (2015) by Claudio Caligari to the cult character of the Zingaro in Lo chiamavano Jeeg Robot (2015) by Gabriele Mainetti; from the proletarian intellectual in Martin Eden (2019) by Pietro Marcello, to the King of Terror in Diabolik (2021) by Manetti Bros; from Nicky, the immortal warrior, in The Old Guard (2020) by Gina Prince-Bythewood, to Pietro, a fervent mountain enthusiast in Le otto montagne (2022) by Felix Van Groeningen and Charlotte Vandermeersch; Luca Marinelli has been able to give life, thanks to his prodigious versatility, to an extraordinary range of characters who all bear the unmistakable sign of his talent.

Maria Giovanna Vagenas: In your current career as an actor there are two important works coming out soon: the television series M. Son of the Century by Joe Wright and The Old Guard 2, by Victoria Mahoney. While waiting to be able to see them, I would like to start by addressing a perhaps less well-known but equally essential side of your work: your debut as a theater director in 2023 with Kafka's Una relazione per un’accademia, for the Festival dei Due Mondi of Spoleto. How did this project, on which you collaborated with the German actor Fabian Jung, come about?

Luca Marinelli: The first idea for this project dates back to ten years ago when I saw Fabian at his graduation performance at the Ernst Busch Academy of Dramatic Art in Berlin. I found it extraordinary, and on that occasion I had already told him: "In my opinion you should recite this text!" Then there was a ten year gap. Towards the end of the pandemic, I proposed to him that we work together on Una relazione per un’accademia. At the beginning we had to be both on stage a bit, later I understood that it would have been more sensible to mount this piece with just one actor and I asked him if he would like to be directed by me.

MGV: What was your approach as a director? 

LM: At the beginning of this project I was more of a kind of acting coach - Fabian acts in Italian, even though he doesn't speak it - then I began to understand what it meant to be a director, to take responsibility for everything the public will come to see, to make many decisions and to take care of an entire team. In this context, the exchange of ideas with Fabiana Piccioli, who deals with the light design of the show, was essential: the theatrical piece is in fact a kind of dialogue between the actor and the light, the space and the audience. Being a theater director is also a question of trust. In the cinema the director is very present until the end of the production process, but in the theater you get up to a certain point and then that's it, because the real work, evening after evening, falls to the actors and technicians, that is, to those who are in the scene and around it. The director is no longer part of the performance, he’s almost the first spectator of his own work. It was a very beautiful experience for me, because being "outside", that is, not being on the scene but in front of it, is truly something completely different! In February-March 2025, we will take this show on tour around Italy.

MGV: Do you plan to continue along this path in the future? Is it an experience that has opened up new perspectives for you?

LM: It's a road I'd like to explore, that of theater. I would like to return to the stage as an actor-director, a bit like a master, let's say. I feel that theater is much more accessible to me, while I know very little about the technical side of cinema and for which I have great respect, so for now I don't feel like it.

MGV: You come from a family close to the world of entertainment. It seems that as a kid you watched a lot of movies with your grandmother. I would be curious to know how your desire to become an actor was born in this context. 

LM: My father is first and foremost an actor who is also dedicated to dubbing and my grandmother, as you said - a great cinephile. I owe a lot to every member of my family, whether they work in the arts or not. However, I cannot tell you where this desire comes from, each of us has a drive within us, and is attracted by something. Indeed, I grew up watching many films and, thanks to my father, I happened to know this work in various forms. But when you are very young it is difficult to say: I want to do this! I felt very attracted by the world of theater and cinema, by the idea of ​​expressing myself in a way that went beyond words, which approached images, sounds, the body. I wasn't fully aware of it from the beginning, but now I feel that it's exactly this: I love observing an interpreter's body, listening to their voice. I love seeing a group working together and I love teamwork. The profession of actor contained within itself a bit of everything that nourished my curiosity. This desire has been growing more and more. My family has always been very supportive and has never hindered me in anything. Rather, I was the one who hindered myself, until, at a certain moment, I gave myself permission to approach this profession and entered the Silvio D'Amico National Academy of Dramatic Art. They were three wonderful years during which I gave free rein to all my curiosity and desire for expression. The relationship with my class was fundamental and magical. From there, little by little, I moved forward. Almost immediately, cinema arrived with Saverio Costanzo who hired me for La solitudine dei numeri primi together with Alba Rohrwacher. I auditioned while I was still at the Academy and was acting in the final recital Dream of a Summer Night directed by Carlo Cecchi. I finished the Academy and immediately went on set for the first time.

MGV: You found Carlo Cecchi again as an actor on the set of Martin Eden (2019) by Pietro Marcello many years later. 

LM: Of course, and it was wonderful to meet again! I consider Carlo my teacher, he is the first who truly made me understand the importance and urgency of this profession. 2012 was the last time I was on the boards of a stage and was with him. Carlo Cecchi had become very fond of us all and with this graduation essay he managed to take us on tour. Basically we did two theater seasons from 2010 until February 2012.

MGV: Are there other directors, among all those you have collaborated with, that you consider to be your teachers?

LM: I met some great directors during my journey, each had their own vision of art, so it's as if I had many different teachers along a single professional journey. I would practically name them all, but I would also name the actors I simply observed in films.

MGV: Between the actors who inspired and influenced you, who would you quote?

LM: For the sake of equality, I only mention the actors of the past. There are many who have struck me but I always evoke Anna Magnani, Silvana Mangano, Marlon Brando and Massimo Troisi. These are the first huge names that come to mind. When I 'met' them on the screen I immediately realized I was faced with something unique and great. I like to mention these four names also because they belong to a moment in my life in which I still didn't know what I would do, but I was drawn towards them.

MGV: Non essere cattivo (2015) was Claudio Caligari's last, poignant and wonderful film, released posthumously. What are your memories of him?

LM: Claudio Caligari was a gigantic meeting for me, from him I learned how important expression and communication, sharing and respect are. I understood how much this profession is life and how much life can be put into it. I witnessed enormous courage and a great knowledge of filmmaking. I also learned the dedication and immense respect that one must have for the public, for what is proposed, for how one interacts with those who come to see a film, without ever putting oneself on a pedestal but being all together. Caligari taught me to never judge myself, nor others, nor the stories one tells nor the characters one plays but that one must stay with them, inhabit them. These are the few things, fundamental for me, that come to mind. Beyond this, every single memory is a source of inspiration and guidance for me. And then the certainty that love and passion are the only things that really keep us here and now, alive.

MGV: In 2019 you played the complex character of Martin Eden in the film of the same name directed by Pietro Marcello, and you won the Volpi Cup at the Venice Film Festival. What did this role mean to you? And what was it like working with Pietro Marcello? 

LM: The collaboration with Pietro arose from a secular prayer which has been fulfilled over the years. I was a great observer of his work and his art and finally being able to work together was a great gift, a true exchange based on trust. We all found ourselves in a moment of grace, in a state that allowed us to work with great concentration and dedication together. As for the role, I think Martin Eden is one of the most beautiful male characters of the last century, in one of the most powerful novels ever written. I owe a lot to this character, not only a very prestigious award, but also important artistic and personal growth.

MGV: You have played an extremely wide range of roles, spanning from one film genre to another. Beyond your exuberant talent and the extreme versatility of your performances, what is striking about your acting is the generosity with which you embrace each character, offering your all. How do you prepare your roles? 

LM: It's like a kind of love at first sight; I fall in love with the story, with the character and from that moment on I begin to see everything in that direction. It is an almost routine behavior that I have never schematised. If someone were to ask me, "How do you approach a character?" I would answer that I have no idea, but every time I do it more or less in the same way. There is certainly a certain affinity with the director and an involvement in the script and the character. Little by little I'm starting to eat all the information I can find. I am often offered films to watch, and then I discuss them with the director. I love working with imagination and thinking about every element of the character. I like being with the costume designer, working on the costume and then creating the look of my character with makeup and hair. I'm very happy when I can have my say too. As I said before, I fall in love with the character and I begin to see everything in that light. My wife always tells me: "You've already started!" I don't notice but she does! "You've already started!" it means that everything has started to take on that colour, but I don't do it on purpose, I believe that there is a more intelligent, unconscious part inside me that organizes my work. It's a bit like this!

MGV: A few years ago Paolo Virzì, who directed you in Tutti i santi giorni, said of you: "Luca is a phenomenon, he's intelligent, witty, but at the same time he's crazy, he becomes what he's doing. All the great actors have a kind of lack, a defect, they know who they are and therefore they are enthusiastic about becoming the one who proposes to them!" What do you think? 

LM: I agree with him, all this is said with deep love and therefore I accept everything he says about me. I love Paolo so much and I think he understood me more than I understood myself. In fact I think none of us really have a clear focus on who we are and what we can be. Of course this is an interview from a few years ago, perhaps now I know slightly more - but only slightly [laughs] - who I am because I am closing, so to speak, the first act of my life, given that this year I will be turning 40!

MGV: Being an actor is a collective profession. Over the course of your career, a very significant bond has been created between you and Alessandro Borghi, with whom you collaborated for the first time in Non essere cattivo and who you met again on the set of Le otto montagne of Felix Van Groeningen and Charlotte Vandermeersch, Jury Prize at Cannes. Could you tell me about your working relationship and your friendship?

LM: I'll start from the beginning of what you said; for me this isn’t a job we do by ourselves. This art doesn’t exist without the other. Even a monologue is not done alone but with the audience. Acting is always a way of expressing oneself and communicating. I adore, as I said before, teamwork, over the years I have happened to work with many wonderful colleagues who have become important friends and then there was this magnificent meeting with Alessandro during Non essere cattivo, a film that carries within itself something sacred due to how it was approached, and due to the strength of the great Claudio Caligari who created it. The two of us found ourselves actors in this extraordinary work which united us so much, creating a deep bond between us which at that moment was needed, let's say, for the film but which the film then gave us for life. Since then this friendship has continued and gone forward, without interruption. After Non essere cattivo for six years we were no longer able to work together, then suddenly another wonderful film arrived, full of love: Le otto montagne and thanks to two fantastic directors, Felix and Charlotte, we managed to make this friendship coincide again on the screen too. Alessandro and I are good together. At work, to put it in a football metaphor, for me it's like I always know where the other guy is so I can make a cross almost with my eyes closed because I know he gets the ball, stops it and shoots it towards goal! We have great chemistry and on set, we don't need to worry too much. I hope we can work together again soon. I happened to see an interview where we said that we promised ourselves not to wait another seven years to do it, but now it's been almost three years already so we have to hurry!

MGV: For a few years now you have also started an important international career by participating in important productions such as The Old Guard by Gina Prince-Bythewood with Charlize Theron which was a huge success on Netflix, the series Trust (2018) by Danny Boyle, written by Simon Beaufoy and starring, among others, Donald Sutherland, and a production for German television: Die Pfeiler der Macht (A Dangerous Fortune, 2016), by Christian Schwochow. How did you experience dealing with all these new production realities?

LM: In every latitude there is a slightly different type of approach but essentially the work is always the same. The thing that always excites me is that, ultimately, we all find ourselves in the common language of acting, of art. I was lucky enough to work with some wonderful international casts, not only every single actor but also the technical departments and directors were wonderful people. Ultimately, the place changes geographically, but the work remains the same.

MGV: As a member of the Jury of the International Competition, what will your evaluation criteria be?

LM: I was just looking at the list of films in competition and judging by the images that accompany them I already like them all, so maybe I'm off to a bad start! [laughs] I don't actually have any specific parameters. I certainly won't judge only the performers, but I will look at the film as a whole. However, for me it is essential to start from the assumption of great respect for the film itself, because every film is a work that requires great efforts from many people and for this reason must be evaluated with consideration. Having said that, I would like to have a good dialogue with the film, an intelligent dialogue on an intellectual and emotional level. In short, I hope that a film leaves me with a thought, a sensation, an emotion.

As usual, sorry for any mistake and my English

[nekofra]

Does anyone know where I can read IDOLiSH7 part6 of the main story?

Fortunately I found @/sevenboarproduction blog but it's only translated up to chapter 6.6

[chadsuke]

Books Read in 2023:

I Want to be a Wall Vol. 2 by Honami Shirono (2023)

The Villainess is a Marionette (Season 1) by Han Yi Min & Manggle (2021)

Delicious in Dungeon Vol. 1 by Ryoko Kui (2017)

Delicious in Dungeon Vol. 2 by Ryoko Kui (2017)

Frieren: Beyond Journey’s End Vol. 1 by Kanehito Yamada &  Tsukasa Abe (2020)

Frieren: Beyond Journey’s End Vol. 2 by Kanehito Yamada &  Tsukasa Abe (2020)

The Apothecary Diaries Vol. 1 by Natsu Hyūga, Itsuki Nanao &  Nekokurage (2017)

The Apothecary Diaries Vol. 2 by Natsu Hyūga, Itsuki Nanao &  Nekokurage (2018)

The Apothecary Diaries Vol. 3 by Natsu Hyūga, Itsuki Nanao &  Nekokurage (2018)

[ID: Covers of the above books. End ID.]

[yourboyveggies]

Eng translation of my favourite song right now 

 De kommer alditg va över för mig - Håkan Helström

 I am 16 years old

 I am the place they never discovered

 I am the storm that comes ute of nowhere 

 I can brake your heart 

 Like a hurricane I can sweep you away

 But I don’t think I am going to die now, no

 It will never be over for me

 I will love you when the earth ends 

 Because I think I am never going to die, no

 It will never be over for me

 I am 24 

 Just a little spark

 Just a world can start a forest on fire

 I can love you just like that fire

 No, I don’t think I’m going to die, no 

 It will never be over for me

 I can burn you like you never did yourself

 If you play whit me 

 It will never be over for me

 I am 39

 I am a loss of confidence 

 A boy from the bast is back agen

 He just stands there and stares straight into my soul

 We would love each outer until the world ends 

 We would love each other until the world ended

 And you were never supposed to die, no

 It would never be over for you

 I will love you until the world ends 

 Becos I’m never going to die, no 

 It will never be over for me 

[lestcat-de-lioncourt]

Please English translations for Talk Me Down what happpennned it’s all released, can someone take it on? Why hasn’t it been fully released anywheree liek why 13 chapters n that’s it whaaa

Some call it I want to fall asleep next to you, or the original title is 네 곁에 잠들고 싶어

[mary-is-writing]

~Mini update - I'm back at it again

Aaaaaand I'm officially on vacation!!!

After thinking about this for a while, I'm gonna be reviewing what I have done and then continue the Eng translation in early February.

So like I said before, I'm thinking of streaming thru discord as I do the translation to interact more with you, and since I also need more beta readers to feel comfortable before publishing this book, I've decided to mix both ideas into one.

Thus, the server will be private for beta readers, and the streams will serve as writing sessions to check the writing, and more importantly the grammar and punctuation in the translation.

At the end of the translation, beta readers will get a copy of the book to review it as a whole, and after they're done with their notes on it, their names will be added in the Thank you section of the book.

I can't offer you money for your work, but if you do decide to do beta reading, I can offer this:

Beta reading for you for free for one of your wips (short stories or standalone novel)

Help you with reviewing a Spanish translation if you have one.

Boosting your wips here on Tumblr with reblogs and so.

If you're interested in being a beta reader and help with the translation of my standalone, urban-fantasy, suspense novel about a duo of teacher and student, please send me a DM about it and I'll send you an invite for the server once February starts!!

Also, consider checking out the wip intro for this.

TMOWS taglist +/-: @mel-writes-with-her-dragons @gabelish

[wolfythewitch]

in another life, I would have really liked just doing laundry and taxes with you

[kpoplrcfiles]

[Single] Hwang Chiyeul (황치열) - May you be happy (그대는 행복하길)

황치열 – 그대는 행복하길 (낮에 뜨는 달 X 황치열)Release Date: 2021.11.08Genre: BalladLanguage: Korean Track List:01. 그대는 행복하길Download .lrc file here:Link 1

[cubedmango]

「安達が魔法使いにならなかった世界線の話」 + 「もしもの話」 — english translation

[luxthestrange]

TWST Incorrect quotes#718 He will-

Yuu*Got a text for a Dorm-Leader meeting* Just give me a minute-*Walking towards the door, slaps the head of Fellow, and proceeds to go out the door*

Fellow*holding their head, confused he was watching TV with Gidel and grim*I didn't do anything!?

Yuu*Turns back on heels mid-way to the door*I know ...but you will!

Fellow*Looks at Rollo who is reading calmly next to the window*Flamme!

Rollo*Sipping coffee,Not looking up*...You probably will

Part 3 of:

[dvchvnde]

EXCERPT: JOHN PRICE, WINTER SOLDIER AU.

You're still getting used to the sight of him—bare faced in patches: the beard shorn off into a mere shadow of what it was before; a choice he'd made for himself after scrubbing down in a long shower, refusing any help or medical aid—and he doesn't make it any easier for you in these brief, uncomfortable stages of acclimation you suffer through.

Hands lashing out into dead air. Fingers catching, unyielding and firm, on your skin. Nails—split and jagged; regrown in patches after being ripped off over and over again (for hree years, is the mocking whisper snaking along the nausea when you look at the pinked-tinged beds)—burrowing into your flesh. Anchoring you in place as he bends down, moulds his frame around you. Malleable shadow eating you whole.

Indomitable.

John Price was always an intimidating man.

Towering. Broad. Gruff. Surly. Mean old man was often thrown around amongst the new recruits, ones too scared to voice what they really thought:

Miserable fucking bastard.

His weight thrown around like an extension of himself—all raw, barely contained anger trembling out through the cracks. Lashing thick, brutal lines across his forehead. In the sharp, downward tug of his mouth tucked behind a bed of brunt umbre hair.

He was difficult to deal with on a good day, even when he'd offer that mocking smile of his. A parody of geniality—lips split upwards like a crocodiles maw.

(come, come, put your hand inside this beasts jaws; he won't bite—)

As fucking if.

You've only known him in pieces. Patches. Barely enough to make a whole picture, but you could still fill in the empty spaces with that grizzled anger of his that seemed to roll off of him in waves.

(no wonder he burns so hot—it's all that fury.)

Mostly, he'd come to dress you down in front of everyone watching. Snapping at the sight of your desk—organised chaos a true oxymoron (and for the most part, that seemed to be what he thought of you: a moron)—and how you handled files, and how you waltzed around like you owned the place—

and do you, sweetheart? do you own this place, mm? is that why you never listen to a goddamn thing i tell you?

All-in-all: a miserable fucking man.

And one made of sharp, brutal contradictions. Paradoxes layered over each other. Sealed with fury—of the righteous, pragmatic kind—and reinforced with an utilitarian core. Forlorn hope in the distinct shape of a man, one always readying himself for a pyrrhic victory (but a victory, nevertheless).

Easy, in hindsight, to deal with when you knew how to navigate the frothing gyre of anger and juxtapositions that made up the man who brute force, physicality, to get what he wanted.

By sharp contrast, the version of him who stands before is more enigmatic than the mangled mess of savagery and labyrinthine defenses. Almost unknowable. Unfathomable.

Even more so when he lifts his hand—scarred up, still blistered and bruised from fighting his way through fire and kin to get to you—and presses those mangled knuckles to the swell of your cheek, as tender as a man like him could ever allow himself to be, and runs a soft, shallow line down the side of your face. Eyes—still that same, dizzying blue—darken into liquid sapphire as he stares at you. Inexplicably soft. Lids crested. Half-mast in pleasure as if staring at your face was relaxing. Comforting.

Something swirls in those deep, endless lagoons. Some implacable emotion—all at once too much; too heavy—frissoning over his feature. A paroxysm. You can't catch it. Can't define it.

It's unquantifiable. Unknowable. And yet—

You know, instantly, that John Price would never look at you with something this archaic, this intense, brimming up like geysers in the endless spill of blue that can't seem to look away from you.

This man is not John Price.

But when he pulls you into a kiss—one softer and sweeter than you'd ever imagined the infamous captain could ever be capable of—you let him.

In fact, you kiss back.

And you'd really rather not think about what that says about you.

[pochiperpe90]

[Eng] Elle Italia - Daily Venezia: THE HISTORY IS US

Luca Marinelli is almost unrecognizable in the role of Mussolini in the series M. Son of the Century, directed by Joe Wright. Two greats together to tell one of the darkest and most criminal periods in History

Personal opinion: M. Son of the Century is one of the masterpieces of the 2024 Mostra. It's a shame it can't win, because it's a TV series, even if its director continues to call it a film. A seven-hour long film, which will be released in eight episodes on Sky and Now in the early months of 2025. It’s produced by Sky Studios and Lorenzo Mieli for The Apartment, a Fremantle group company, based on the novel by Antonio Scurati, written by Stefano Bises and Davide Serino. The director is Joe Wright, the protagonist is Luca Marinelli. It tells with historical accuracy the rise of Mussolini and our country's surrender to dictatorship.

Sensitive material, it reminds us that we invented fascism, and perhaps a foreign director, let's say, could have approached it with greater detachment, without our sense of guilt.  Wright looks at me almost with pity, in a good way: “But I share that sense of guilt, I reject national borders, there are no nations: the similarities between us human beings are more than the differences, I feel as responsible as you Italians…I was very careful to tell the truth without being didactic, I tried to understand without sympathizing, maintaining a critical distance... Mussolini was fascinating, he seduced a nation and many others. If I hadn't shown that charm then people might have thought that Italians were all idiots. That balance was my main concern... On a more personal level it's a series about toxic masculinity, which is like nothing else in us, we have it inside us. We have to understand our responsibilities and turn our backs on them, so as not to end up morally bankrupt".

Every day it took Marinelli two hours of makeup and hair to get into Mussolini's shoes. "It was something I brought home with me," the actor confesses, "in the same shape as on the set: the 22 kilos I had gained, my hair cut as you see it in the scenes.  The black lenses. were the things I could leave in the makeup van. Working with all the different departments was fascinating”.

It must not have been easy for him to shoot so convincingly in the fascist salute: “These are filthy and brutal things that the role required of me, but of course there is a big difference between what is considered right and what the role requires. I certainly did not take pleasure in carrying out certain actions or even in expressing myself in that way, but rather the opposite. What I had to face during the production of the project, as a convinced anti-fascist that I am, really cost me a lot. I did not come out of it intact”. But he was in the hands of an excellent director, a master in the cinematic transpositions of great books (Anna Karenina, Atonement, Pride and Prejudice).  How does he approach them? "The film," Wright continues, "is what happens in my head while I read the book. I'm dyslexic and so when I read I think I see beyond the words, I create the scenes and I edit, zooming in on small details that interest me. M. is a mash up between Scarface, Man with a Movie Camera and 90s rave culture." Tom Rowlands' techno music creates the right atmosphere: "I didn't want anything classic, kids have to see it too, they have to understand the roots of fascism." Luca Marinelli is monumental in the role of the "duce." "He's one of the greatest actors in the world, along with Gary Oldman. But, like Gary Oldman, he doesn't know it."

[ningadudexx]

monkie kid season 5 major spoilers!!!!

if you have not seen lmk s5 yet then be warned!!! you can find uploads of s5 on youtube!!!

.

.

.

season 5 got me skipping through meadows and singing with glee

[alicenpai]

DUNGEON MESHI MY BELOVED, OH, THAT DND MANGA, DELICIOUS IN DUNGEON, DUNGEON IN DELICIOUS, DELICIOUS IS DRAGON, DRAGON IN DELICIOUS, DYIN' IN DUNGEON, these sticker sheets are here in my shop until oct 17! shop will reopen next spring/summer

[shinknocks]

Bonus:

When We First Started Dating / The Time When I Just Couldn't Help But Say It [Doodle/Manga]

((since it's kind of hard to read the text by Zoro on the first page, it says "I'm desperately straining to hide my shyness and grin"))

[yukiire]

mammmmmmmmmmmon with that doggo meme going around twitter