#frank voice impressionist

[satanicsanity]

I was thinking... Can please do a voice actor of Frank find out Wally Is a vampire by y/n becase notice the bite Mark and so y/n tale to him and him be worried for y/n becase didn't Know what can do for help them.

I think Will be cool and cute at the same time, Sorry for bother you 🙏

Haha! Of course!! And no no you're not bothering me, dear! <3 hope you enjoy!!

‼️please go support Frank's ACTUAL voice actor, @DaFrankiestein!🩷🩷🩷‼️

The art & characters used are by clown/party coffin!🩷Go support them and donate to their Kofi of you can!

Subtitles, Frank speaking: Ah! Neighbor! I'm so glad I could catch up with you again! How are you doing?? [pause] Oh that's wonderful! I just-...What is that? No no no, don't play dumb. Come here! What the... Did you get bit by something?? Looks like some kind of maybe.. Snake bite, I didn't even know there were snakes in the neighborhood! It wasn't a snake?? Well what else could it possibly have been?! Hold on hold on, I have one of my books here... No nothing fits the profile! Ermm... Huh? Oh, you know what bit you! What was it?? [pause] Huh. Wait... Wait... Wally bit you?! Wait- wait a minute wait a minute, wait wait wait hold it HOLD IT. Wally has Teeth?! [pause] He's a WHAT?! oh that's my last straw. EDDI- [gets cut off]

[twistedtummies2]

ReCount: Top 31 Portrayals of Count Dracula

The day after tomorrow is World Dracula Day. For the occasion, I’m going to do a countdown of my personal five choices for the WORST portrayals of Dracula I’ve personally encountered. However, I’ve always believed in accentuating the positive: there are, in my opinion, more good Dracula portrayals than bad ones. Even if the adaptations and reimaginings themselves aren’t totally up to par, Dracula himself usually is enjoyable to watch, and there are PLENTY of versions to choose from.

With that said, it’s time for a ReCount of one of my largest lists: “Count-Down,” a month-long Event I held in October of 2021, where I ranked my Top 31 Favorite Portrayals of Count Dracula, along with a number of Honorable Mentions. A LOT has changed since I made that list: all across the board of the Top 31, different versions of Dracula have shifted place. Some that were on the list back then are no longer present now, and some that weren’t present then have moved in since. As for those that were there then, and are here now…nearly all of them have shifted positions in the ranks, for one reason or another. Times change and people with them, and revisiting some of these versions has given me new perspective, while renditions I didn’t know about at the time (or, in some cases, didn’t even EXIST at the time) have only added to the challenge of choosing.

With that in mind, it took a while to figure out where various takes on the Count really placed for me, overall, but I THINK the results here are - at least for the time being - the most honest and fair judgments I can give. With that in mind, allow me to present ReCount: My Top 31 Favorite Draculas (plus some Honorable Mentions).

HONORABLE MENTIONS (Left to Right, Top to Bottom)

Adam Sandler & Brian Hull, from “Hotel Transylvania.”

Sandler famously voiced Dracula for the first three films in this animated franchise. Impressionist Brian Hull took over the role in the fourth feature. I know these cartoon comedies are really popular, and I have nothing in particular AGAINST them, but I’ve weirdly never really been THAT into them.

Alan Swift, from Mad Monster Party.

This Halloweentime production by Rankin/Bass features Swift in the role of SEVERAL famous monsters, as a whole band of Gothic icons join forces to try and steal a secret formula from Dr. Frankenstein, so they can - you guessed it - take over the world. Dracula is the leader of the monster horde, fittingly enough.

The Version from “Anno Dracula.”

I absolutely love this novel series, which blends historical fiction with Gothic Horror, and has many bizarre twists and turns. The premise focuses on an alternate universe where Dracula successfully manages to take over England, turning many of the population into vampires. While his role in the series is important, Dracula HIMSELF very rarely appears, so I didn’t think it was fair to give him a place in the ranks: it’s cool when he shows up, but the books are actually more interesting for other reasons beyond him.

Count Chocula.

Ah, yes, because if draining the blood of the innocent wasn’t evil enough, we now have vampires that give you diabetes. As iconic as this cereal mascot parody of the Count is, he’s not ACTUALLY Dracula, so I didn’t feel he counted…plus there’s just not much to say about him.

James Barbour, from Dracula: The Musical (2011 Studio Recording).

There have been several musical adaptations of Dracula. This one was the work of Frank Wildhorn, and is probably the most popular. None of them are all that great, in my opinion, but this one has some shining moments. Several people have played Dracula in this one, but Barbour’s performance on the 2011 Studio Recording is my favorite.

Kamran Nikhad, from V Rising.

This game only JUST came out, and I haven't played it yet (nor am I entirely certain if I ever will). As a result, I don't really feel comfortable placing its version of Dracula in the Top 31 yet. With that said, based on the lore of the game, the videos I've seen featuring the character, and Nikhad's absolutely bone-chillingly breathtaking vocal work, I see no reason why I can't give this version an Honorable Mention. In this game, Dracula is a tyrannical and highly intelligent vampire warlord, who proves a threat not only to humanity, but even to other monsters. He orchestrates things behind-the-scenes to try and regain his throne, with the player's ultimate goal being to destroy him once and for all.

King, from Kamen Rider Kiva.

This was the first Kamen Rider series I ever saw, and it’s probably my favorite (or, at least, second favorite). A Japanese superhero series inspired by classic Universal Monsters? How can I NOT love it? The main villain of the series is the mysterious King; while he’s never outright referred to as Dracula, that’s clearly who he is analogous to in this universe. Much like Count Chocula, I didn’t feel he actually counted for the main list, but he’s worth an Honorable Mention at least. He is played by Shinya Niiro.

Mark Hamill, from Mina and the Count.

Just like Count Chocula and King, this is another case of a vampire who isn’t TECHNICALLY Dracula, but is clearly a Dracula-inspired figure. There are two characters on the main countdown who are in the same vein, but generally speaking, I wanted to save the main countdown for ACTUAL versions of Dracula. In this series, Hamill plays “Count Vlad,” a vampire who ends up befriending a little mortal girl named Mina Harper. Shenanigans ensue.

Michael McCarthy, from…a completely different “Dracula: The Musical.”

Barbour’s Dracula from earlier was in the musical composed by Frank Wildhorn. McCarthy played Dracula for a PROPOSED stage musical, created by the musical trio of Evans, Orton, and Lynn. The musical had a concept album released, as well as a music video for the “big song” of the show, “Within My World,” wherein McCarthy performed in-character as the Count, costume and all. However, the show never got off the ground. Admittedly, I don’t think the musical was that great on the whole, but it’s still a shame.

Orson Welles, from the Mercury Theater Radio Production.

It’s Orson Welles as Dracula. I think that statement on its own explains why he’s so great. Weirdly enough, while I’ve gained more respect and admiration for this radio version on the whole since 2021, Welles’ Dracula has conversely dropped out of the running. He’s good, I just tend to think of many other Draculas more.

The Phantom Blot, from Disney’s Dracula, Starring Mickey Mouse.

I brought up this very weird reimagining multiple times in past lists, so you all know the basic gist of it by now. Disney has done this concept twice - first as a graphic novel, and later as a children’s storybook - and in both interpretations, the Phantom Blot plays the coveted role of the Count. I love the Blot, in general - one of Disney’s most underrated villains, in my opinion - but I think it’s more for his sake that I like his Dracula, than anything else.

Phil LaMarr, from The Grim Adventures of Billy & Mandy.

All I have to say here is…if you know, you know. XD A lot of people are probably sad I didn’t include this Dracula in the rankings, but trust me, he’s a funny one.

CHOICES 31 - 26

31. The Count, from Sesame Street.

One of the two “not technically Draculas” I mentioned in the Honorable Mentions. To be honest, I could rank Count Von Count - my favorite Muppet character from Sesame Street - MUCH higher, if I really wanted to, because I really do love him a lot. However, I felt it was too much of a stretch placing him in the upper tiers, simply because while he’s clearly a parody of Dracula, he isn’t ACTUALLY Dracula, but more his own unique character. However, leaving him off the list completely seemed criminal, and I like him too much to just give him an Honorable Mention…so, compromises being what they are, I decided to place him on the countdown, but at the very bottom of the heap. “That’s one! One difficult problem to deal with! Ah-ah-ah!”

30. Gerard Butler, from Dracula 2000.

I’m still not a fan of this movie, and I doubt I ever will be, but I will say I enjoy both Christopher Plummer as Van Helsing and Butler’s Dracula in the film. The movie makes an intriguing (if rather bizarre) change to Dracula’s backstory, revealing that he is actually Judas Iscariot, and his revulsion towards Holy artifacts is due to his past.

29. Hamilton Camp, from Scooby-Doo and the Reluctant Werewolf.

One of the few “Funny Draculas” on this countdown, and a personal childhood favorite of mine. In this animated special, Dracula changes Shaggy into a werewolf and forces him to participate in an annual race between all of the famous monsters. If Shaggy wins, he’ll be turned back to normal, but if he loses, he’ll remain a werewolf - and Dracula’s servant - forever. It’s basically a spooky version of Wacky Races with Dracula as Dick Dastardly.

28. Rudolf Martin, from Buffy the Vampire Slayer.

I know next to nothing about Buffy the Vampire Slayer: I’ve only seen two whole episodes of the show, along with a few assorted, scattered clips. One of the two is “Buffy vs. Dracula.” A lot of people apparently dislike this episode, which depicts Dracula as a sort of self-aware “vampire celebrity” who buys too much into his own hype, but I actually think this was a fun interpretation. Martin would later play the real-life Vlad Dracula - one of the inspirations for the fictional vampire - in the TV movie “Dark Prince: The True Story of Dracula.” I doubt this was a coincidence of casting.

27. Francis Lederer, from Return of Dracula.

This film came out the same year as Hammer’s “Horror of Dracula,” and it’s not hard to see why one is more well-remembered than the other. While much of this film is honestly rather dry and dull, Lederer really delivers as a decidedly creepy, unsettling take on the Prince of Darkness, and gets a pretty great death scene to boot.

26. The Version from “Return of Evil.”

This teen novel is the first of a series of stories where the famous Universal Monsters get “zapped” into the real world to cause havoc. While the book is overall pretty decent, and actually has some legitimately scary moments, I feel that the portrayal of Dracula HIMSELF is a bit…confused. As a result, I no longer rank this version as highly as I once did.

CHOICES 25 - 21

25. John Carradine, from Various.

Carradine played Dracula in no less than four films, as well as onstage. While his work was always good, the actual movies he appeared in were less than stellar: in “House of Frankenstein” his Dracula is thanklessly killed off before the end of the first act. In “House of Dracula,” he plays a slightly larger role, and is shown as a more sympathetic character - seeking a cure for his bloodlust - but is still destroyed (quite anticlimactically, I should add) around two-thirds of the way through the picture. The comedy film “Nocturna” is just plain bizarre, and the infamously terrible “Billy the Kid vs. Dracula” is widely regarded as one of those classic “so bad it’s good” type of movies. Had he been given better material to work with, Carradine could have ranked much higher.

24. Vlad Garfunkel, from Phantom in the Twilight.

In this anime/manga series, Count Dracula - going by the alias “Vlad Garfunkel” - has reformed and become the leader of a group of monsters, or “Umbra,” who work to protect humanity from more evil creatures - sort of a Gothic Horror/Dark Fantasy version of the X-Men. (And no, in case you’re wondering, I don’t know why the Count would choose a name like “Garfunkel” as his pseudonym.) The franchise is interesting, but unfinished; both the manga and the anime end on cliffhangers and leave a LOT of unanswered questions behind, and this “pretty boy” Dracula is admittedly a little hard to swallow at times. Overall, however, not bad stuff.

23. Javier Botet, from The Last Voyage of the Demeter.

Described as a sort of cross between “Nosferatu” and “Alien,” this horror film focuses on the tragic misadventures of the crew aboard the Demeter - the ship Dracula takes to get from Transylvania to England. Over the course of the movie, Dracula picks off the crew one by one, killing and/or transforming them as he rations them off. While the movie is admittedly flawed, it’s not necessarily bad, and this more monstrous version of Dracula is an intriguingly frightful interpretation.

22. Richard Roxburgh, from Van Helsing.

A ludicrously over-the-top movie with an equally ludicrously over-the-top Dracula: you can’t say the style and the performance don’t match. Roxburgh’s Dracula isn’t well-regarded by many people, but I personally enjoy this version a lot, even if at times he’s unintentionally hilarious in his hamminess.

21. Chris Sarandon, from TMNT (2012).

This Dracula appears as the secondary antagonist of a four-part story arc, wherein the TMNT encounter several of the classic Universal Monsters. If that concept isn’t good enough, the fact Dracula is designed to have the likeness of Bela Lugosi only adds to the enjoyment factor. And if that’s STILL not enough, then the fact his voice actor is Chris Sarandon - Jack Skellington, the Pumpkin King, himself! - doing a Lugosi impression should hopefully seal the deal on why he’s so great. If Dracula had been THE main antagonist of this arc, I think he could have ranked even higher.

CHOICES 20 - 16

20. Nicolas Cage, from Renfield.

Nic Cage has long been a fan of Dracula, and the Count one of his dream roles. You can be darn sure his chance to actually play the King of the Vampires was a treat to watch. In some ways, his performance reminds me of Richard Roxburgh’s, except in this case the humor is entirely planned. At the same time, his Dracula is legitimately menacing and scary. Cage apparently studied various other past performers to help sink into the role, and it works well: you can see little dollops of other Draculas in his work, but it’s still 100% his own take on the character. I honestly feel bad for not ranking him any higher.

19. Zhang Wei-Qiang, from Dracula: Pages From a Virgin’s Diary.

Again, in this combination of surrealist/Expressionist silent film and dance movie, all of the male characters are depicted in a negative light. Dracula himself is no exception, but there is some interesting ambiguity there: in the film, the so-called “heroes” all hate Dracula less because he’s a vampire, and more for petty and repugnant reasons. One hates him because he’s richer than they are, one because he’s more sexually attractive, one because he’s a foreigner, etc. While Dracula is still the villain, the heroes aren’t exactly good people either: they’re prejudiced and perverse, which blurs the line on who the real monster of the story is.

18. The Marvel Version.

I’m specifically talking about the actual comics here, because - as a future list will show - most adaptations of Marvel’s Dracula are…well…not that great. The comic version, however, is actually a pretty interesting character, riding a fine line between villain and anti-hero, as he’s been the protagonist of stories almost as often as the antagonist. Tie this into the fact he’s faced the likes of Dr. Strange, Spider-Man, and Blade (who was actually introduced in Dracula’s title series, “The Tomb of Dracula”), and it’s pretty clear why he’s awesome. 

17. The Version from “Fate.”

In English this take is voiced by Ray Chase; in Japanese he's played by one Ryotaro Okiayu. In the Fate universe, the ties between the real-life Vlad Dracula and the fictional Count are toyed with in a very unique way. In the anime “Fate/Apocrypha,” it’s Vlad III who is summoned to participate in the Holy Grail War, but has the power to physically transform into the legendary vampire. In the game “Fate/Grand Order,” Vlad can be summoned in two different forms: one depicts him as being Count Dracula from Stoker’s novel, while the other is his true self, Vlad the Impaler. In all three of these cases, the relationship the real Vlad has with his literary counterpart, whose name and myth he helped inspire, is…complicated, to say the least.

16. Al Lewis, from The Munsters.

The highest ranking “Funny Dracula” of the bunch (since I placed The Count from Sesame Street far lower). Lewis’ Dracula - typically referred to simply as “Grandpa” - is more like a combination of a mad scientist and a kooky vaudeville magician than anything from Bram Stoker, but he’s certainly a lot of fun to watch.

CHOICES 15 - 11

15. Christian Camargo, from Penny Dreadful.

After being teased for two seasons, Dracula pops up in the third and final season of “Penny Dreadful” as the main antagonist. In the series, Dracula is depicted as the brother of Lucifer himself, and desires the main character - Vanessa Ives - as his Bride, hoping to use her in a plan to, of course, take over the world. The show was rife with darkly Gothic melodrama, as the title implies, but Camargo’s Dracula subverts this: a subtle, sinister, manipulative villain with a silver tongue, whose understated demeanor belies intense power and menace. A surprising and intriguing interpretation.

14. Frank Langella, from the 1979 Film.

When I did this countdown back in 2021, for the first time, Langella’s Dracula ranked MUCH further down. Having revisited the film since, I sincerely have no idea WHY I maligned the movie, or his Dracula, as much as I did. While not perfect, the movie is much better than I remembered, and his Dracula much more impressive: a suave, slick, sympathetic, but still sinister take on the vampire with all the necessary gravity the role requires. I am pleased to now place him in my Top 15.

13. Jack Palance, from the 1973 Film.

Palance’s Dracula was the first of several kinds: he’s the first Dracula to make a direct connection between the fictional vampire and the real-life Vlad the Impaler. He’s the first to be depicted as overtly romantic, seeking the reincarnation of his long-lost bride. And while he is not necessarily the first to be presented in a sympathetic light, he is the first where that sympathy is highly focused upon, making him into a more tragic figure. While not an obvious casting choice, Palance plays Count Dracula excellently, giving him both the elegance of his noble title and a warrior’s vicious ferocity.

12. Klaus Kinski, from Nosferatu the Vampyre.

As of now, there are three remakes of Nosferatu. One is still upcoming, as I type this, starring Bill Skarsgard as the vampire. Another was finished just a couple of years ago, starring Doug Jones as the Count, but has yet to be publicly released. (Perhaps if/when I see both of those, this whole countdown will change again.) The very first was “Nosferatu the Vampyre,” which featured Klaus Kinski as a more sympathetic, but still grotesque, interpretation of the undead Transylvanian. Kinski’s Dracula isn’t a romantic figure, but instead is depicted a lonely, outcast creature who is driven by urges he cannot control; he doesn’t WANT to be a monster, but he HAS to be, which makes for an interesting interpretation.

11. Willem Dafoe, from Shadow of the Vampire.

This was the other version, along with Count Von Count, who I mentioned technically doesn’t actually count (ha ha) as Dracula. However, under the circumstances, I felt this one was worthy of higher placement. In “Shadow of the Vampire,” Willem Dafoe plays “Schreck” - a real-life vampire who coincidentally shares the same name as the actor Max Schreck, and is thus cast under this pretense in the role of Count Orlok in “Nosferatu.” While the film establishes Dracula/Orlok to be a fictional creation, Dafoe is nevertheless playing that character at the end of the day, given the premise, and he does so brilliantly.

CHOICES 10 - 6

10. Duncan Regehr, from Monster Squad.

In this 1980s cult-classic - a sort of combo of “Ghostbusters” and “The Goonies” - a group of teenaged heroes have to face Dracula and several of the other Universal Monsters, when the villains plan to - of course - take over the world. I'm not really sure WHY I love this particular Dracula so much, I just...kind of do. Regehr’s Count is just the right level of over-the-top in the film. Much like Nic Cage and Richard Roxburgh, he’s hammy, yet still manages to have menace and power, and is quite the snazzy dresser to boot!

9. Louis Jourdan, from the 1977 BBC TV Film.

Aside from his role as Dracula in this 1970s BBC production, Jourdan is probably most famous for playing the main villain of the James Bond movie “Octopussy.” So, if you ever wondered what Dracula would be like as a Bond Villain, you’ll basically get it here. Jourdan is debonair, dashing, and deviously devilish, with a coldness and an unsettling calmness that even some of the best Draculas lack.

8. David Suchet, from the 2006 BBC Radio Production.

As usual, not pictured here in costume, because this is a radio version…but I’ll safely say, in this image, one could almost believe it. ANYWAY, Suchet played both Dracula and Van Helsing within the same year, both times for the BBC. In a TV film adaptation he played the vampire hunter, while in this radio version he takes the role of the Count. This is probably one of the most book-accurate takes on Dracula I’ve ever encountered, audio-based or not. Suchet’s work is often overshadowed by Tom Hiddleston’s appearance as Jonathan Harker in this audio play; he’s definitely worthy of more praise.

7. Peter Stormare, from The Batman vs. Dracula.

Inspired by (though not directly based upon) the “Batman & Dracula” Trilogy of graphic novels, this film (set in the universe of the early 2000s animated series “The Batman”) reveals that, after being destroyed by Van Helsing and his allies, Dracula’s remains were shipped off to America, and wound up buried in the middle of Gotham City. When he’s accidentally resurrected by Penguin, Dracula begins a reign of terror, transforming various characters - including the Joker himself - into “Lost Ones”: ghoulish vampires under his command, as he plans to take over the entire city. Interestingly, Stormare would later appear as a totally different vampire, subservient to Dracula, in Netflix’s “Castlevania” animated series. It was weird to see Dracula chewing himself out there, let me tell you��

6. Gary Oldman, from the 1992 Film.

Oldman is to many people nowadays what performers like Christopher Lee and Bela Lugosi were to many audiences of yesteryear: I don’t think any version of Dracula SINCE Oldman’s has been quite as influential and almost universally enjoyed as his. While I do enjoy his performance, and the movie in general, I can’t say it’s one of the first versions that comes to my mind when I think of Dracula, so I therefore don’t feel I can rank this one in my Top 5. Sorry, Lord Shen.

THE TOP FIVE

5. Max Schreck, from Nosferatu.

Often imitated, but never duplicated. The true “OG” Dracula. There’s really not much to say about “Count Orlok” from this silent classic: it’s one of the most iconic and influential versions of the character ever put to the screen, and almost stands in a league of its own. While the silent film itself has some elements that haven’t aged all that well (the movie IS over a full century old now, no joke), Schreck’s work as this repulsive spook is still more than laudable.

4. Alucard, from Hellsing.

I used to say Alucard was one of my Top 3 takes on Dracula, but upon revisitation, I no longer think that’s fair: I just don’t quote him, reference him, or generally think about him as often as the three I’ve placed above him in the ranks. I will, however, still contend that he is one of the scariest versions of the character out there (which is especially impressive, since he’s the main “hero” of this series), and in my opinion the single most unique Dracula of the whole lot: it’s hard to think of a version that does everything this one does, and yet STILL feels like Dracula at the end of the day. Kudos to his voice actors: Jouji Nakata in Japan, and ESPECIALLY Crispin Freeman in English dubs.

3. The Version from Castlevania.

There are no less than three separate continuities for the Castlevania series, and Dracula is a constant figure in all of them…and in all of them, he’s pretty awesome. The “Classic” era, as I like to call it, has evolved over the years, and Dracula with it: starting off as a straightforward villain but gaining more layers and complexities (perhaps a few TOO many complexities, one could argue) as the series went on. Interestingly, Crispin Freeman - Alucard, our previous pick - somewhat recently got to play this version of Dracula in remastered versions of the games “Rondo of Blood” and “Symphony of the Night,” as well as the game “Dracula X Chronicles.” In the “Lords of Shadow” reboot trilogy, Dracula is reimagined as an anti-heroic protagonist, voiced by Rumpelstiltskin himself, Robert Carlyle. My personal favorite version of him was the Animated Series, voiced by Graham McTavish…who, incidentally, appeared in the aforementioned TMNT “Universal Monsters” story arc, playing the demon Savanti Romero. I’m a huge fan of Castlevania and its take on Dracula, and I reference these games and this take on the Count pretty frequently: it didn’t take long for me to realize this version earned placement in my Top 3.

2. Bela Lugosi, from the 1931 Film and Abbott & Costello Meet Frankenstein.

Lugosi may seem somewhat “hokey” by today’s standards, but there’s no denying that he is almost inarguably the most iconic version of Dracula: anytime someone does a Dracula impression, or a Dracula parody, or dresses in a Dracula Halloween costume, it’s Lugosi they pay homage to before all others. It’s fair to say that no other Dracula is quite as recognizable, even if you haven’t seen either of his appearances onscreen, and for that reason above all others, he earns high marks for me.

1. Christopher Lee, from Various.

I could go into great detail about everything I love about Christopher Lee’s Dracula, because there’s a LOT I could say, but I’m gonna make this as short and as sweet as I can: in my opinion, Lee is the DEFINITIVE Dracula. Considering the fact he played the Prince of Darkness anywhere between ten and fourteen times, depending on how you count, with one of those occasions being (so far) the ONLY Dracula in film to resemble the character Stoker describes in the novel almost identically…yeah. I think it’s hard to argue AGAINST that fact, personally, whether he’s one’s favorite or not. Given the man’s…COMPLICATED relationship with the role, I doubt he’d necessarily be happy to hear it…but Christopher Lee is, nevertheless, My Favorite Dracula.

[peneloperidgewell]

FRANK AND STAR (along with a small video voices done by arts_vaaccount A Eddie dear voice impressionist and more go check him out he’s hilarious)

[manmetaphysical]

It is well known that Sagittarians make great teachers, lawyers, performers, comedians, artists, philosophers, leaders and musicians. And even with Mercury in Sagittarius, great writers too. So that runs the gamut. So this is a comprehensive round up just in case you missed how multi faceted this zodiac sign actually is, its range is wide. Top of the list are the giants like William Blake who straddles poetry, art and mysticism, and Ludwig Beethoven whose work is monumental and will still be listened to in hundreds of years. But there was  also Oliver Messiaen who composed music  La Constellation du Sagittaire which was his zodiac sign.

proteusastrologydotcodotuk.files.wordpress.com

Sagittarians make great magicians like Franz Bardon.  He was much less known than Aleister Crowley, but nevertheless regarded as one of the most important occultists of the 20th Century, and still we have Dion Fortune, let’s not forget, who was also a Sagittarian and an acute psychologist. for a modern Sagittarian magicians look to  Uri Geller. Needless to say Sagittarians also make great astrologers like Robert Hand Nik Kollerstrom and Karen Hamaker-Zondag and these are only the known charts.

Dec 2nd, is the birthday of Britney Spears, who in spite of her wobbly personality is still much loved and, when on form, delivers the goods as a performer. But so many Sagittarian singers. Note also Christine Aguilera, Taylor Swift, Miley Cyrus, and Nicki Minaj- who all love to perform. But before them some of the greats of old include Frank Sinatra, Dionne Warwick and thunder thighs (Sagittarius is linked to the thighs) herself, Tina Turner who became the ultimate Buddhist fulfilling the yearnings of her spiritual nature.

There are also some oddball singers Little Richard, Frank Zappa, Ted Nugent and Tom Waits, and there are two outstanding opera stars Maria Callas, whose voice no one can match, and Jose Carreras.

Sagittarians can even be great hedonists crazies who go off piste from time to time, but are still entertaining. There’s Jim Morrison of the Doors, Ozzy Osbourne of Black Sabbath, Jay-Z and wild man Billy Idol. Some Sagittarians in this category can come across with a certain edgy swagger like Keith Richards of the Rolling Stones.

Then there are philosopher teachers, leader and gurus like Osho, Bruce Lee and B.K.S. Iyengar also embody many quintessentially Sagittarian traits as ultimate teachers all offering some form of physical practice yoga and martial arts-which marries the higher and lower self. Iyengar said ‘my body is my temple and the asanas are my prayers’ but he also said, as a true Sagittarian, that ‘honesty is essential’ in teaching. With Mercury in Sagittarius he could sometimes be difficult to understand when speaking. But there’s also wiseacre, Noam Chomsky, who functions in dual areas as linguistic philosopher and political activist, and then there's author who popularises 'Life School' philosophy, Alain de Botton.

Then we have the artists and painters from Masaccio, to Kandinsky, Paul Klee, Jan Toroop to Lucien Freud and the ever controversial, Marina Abramovic. But one mention must go to French artist and teacher of painting, William Adolph Bougereau, His name was tarnished as being too traditional, not  being ‘modern’ enough by Picasso and the art gallery owners who ganged up against him and cast him into the margins of art history as an old fuddy duddy, but he was was as skilled and technically accomplished as any of the Renaissance painters, ran his own school and more hard working and prolific than any of the Impressionists or Post-Impressionists or Cubists.

Then we have the visionary Sci Fi writers  Philip K. Dick author of the stories that made it into film: Blade Runner, Minority Report and The Adjustment Bureau. Dick spoke of visions of the future that have if not come true, then are resonating widely. His imagination was as fertile as any and he worked at top speed even bringing downloads of Gnostic wisdom into novels like Valis. Also Arthur C. Clarke and C.S. Lewis were both Sagittarians. These are the big names in the field whose legacy remains strong.

And the film directors can’t be bigger Fritz Lang, Stephen Spielberg and Ridley Scott who directed some of the best known films in past decades and has just directed Napoleon. But working on a smaller, more intimate scale we should not ignore Woody Allen, John Cassavetes, and the lesser known Argentinian film director, Marco Berger.

And who is the most loved actress in the UK?  Yorkshire born, Dame Judi Dench as talented and versatile as any actress can be. But world renowned actors include Liv Ullman, John Malkovich, Christopher Plummer, Brad Pitt, Kim Basinger, Julianne Moore and Jake Gylenhaal, most of them known around the world not just in their home countries.

Finally the athletes. Sagittarius is a fully developed physical sign – the hybrid centaur- so we have runner Florence Griffiths-Joyner, Donovan Bailey, and Oscar Pistorius, and football player Kylian Mbappe, along with Tennis players Boris Becker and Monia Seles.

See who else you can recognise in the collage of famous Sagittarians and in the list.

And now to end with comedian Bill Hicks, a Sagittarian, capturing the essence of a daily thought in the minds of these fiery, idealistic spirits:

“The world is like a ride in an amusement park, and when you choose to go on it you think it’s real because that’s how powerful our minds are. The ride goes up and down, around and around, it has thrills and chills, and it’s very brightly colored, and it’s very loud, and it’s fun for a while.

Many people have been on the ride a long time, and they begin to wonder, “Hey, is this real, or is this just a ride?” And other people have remembered, and they come back to us and say, “Hey, don’t worry; don’t be afraid, ever, because this is just a ride.” And we … kill those people. “Shut him up! I’ve got a lot invested in this ride, shut him up! Look at my furrows of worry, look at my big bank account, and my family. This has to be real.” It’s just a ride. But we always kill the good guys who try and tell us that, you ever notice that? And let the demons run amok …

But it doesn’t matter, because it’s just a ride. And we can change it any time we want. It’s only a choice. No effort, no work, no job, no savings of money. Just a simple choice, right now, between fear and love. The eyes of fear want you to put bigger locks on your doors, buy guns, close yourself off. The eyes of love instead see all of us as one. Here’s what we can do to change the world, right now, to a better ride. Take all that money we spend on weapons and defenses each year and instead spend it feeding and clothing and educating the poor of the world, which it would pay for many times over, not one human being excluded, and we could explore space, together, both inner and outer, forever, in peace.”

If you think the world is accelerating towards a collective psychosis, you are not alone but it could be a  magnified reflection of our own fears. According to author Paul Levy to recognise that there’s a dream-like quality to reality is the first step to activating your creative higher self, and to use the Daimon- the inner genius or ‘higher’ self- is a way to counter the wetiko mind-blindness that appears to have become virulent in the world. This means taking a ‘quantum’ perspective and Sagittarius is at home with the quantum world and the weird and multiple perspectives and dimensions it brings to bear on the old solidified way of seeing reality.

#Sagittarius #Sagittarian #Jupiter #Zodiac #SagittarianWriters #SagittarianArtists #SagittarianLeaders #SagitarianSingers #SagittarianComedians

0 notes

manmetaphysical

[iconuk01]

I'm reminded of Mark Evaniers article on Frank Nelson from 1995 (yes, the anecdote has lingered with me for that long)

Frank Nelson was a LEGEND amongst voice actors, he created one of the most recognisable voices going in the 1940's and used it on radio and TV, as well as being a gifted comedian in his own right. He was still working in the 80's, though he sometimes found it dificult to get work because people thought he was dead. Mark Evanier made it a personal mission to make sure he got more gigs, and he earned every single one of them. However, one story sticks in my memory;

During a break, the actors got to talking and Frank mentioned something that is always a sore point with voice actors.

"On the way over," he said, "I heard a radio commercial and someone was doing me…imitating my voice. Not very well, I might add." He did an impression of someone doing a bad Frank Nelson imitation. We all laughed but Frank didn't find the matter funny. Nor would you if you made your living with your voice and someone had just made some money imitating you.

"I'm around," he said. "I'm available…they could have called me." All the other actors nodded in sympathy. "And what burns me," Nelson continued, "is that some actor didn't say no. They asked him to imitate me and he didn't have the professional courtesy to suggest they hire me instead." He told the story about Hal Smith phoning him and said Hal had acted as a pro.

All present agreed with Mr. Nelson. But as he told the story, I noticed one of our other voice actors — a very fine mimic — getting smaller and smaller, quieter and quieter. And I realized why.

I wandered over to him and whispered, "What's it worth to you for me not to tell Frank who the actor was in that commercial?"

"I'll bear you a child," he whispered back to me…and I could see he felt awful over what he'd done.

That evening, he called me to get Frank Nelson's phone number. He'd decided to call him, confess, apologize and offer to give his fee for the commercial to Frank or the charity of his choice.

He called…and Nelson was very gracious about it, even admiring of the guts it took to own up to the deed. The offer of the fee was declined. Mr. Nelson settled instead for a promise that the impressionist would never do it again.

So yeah, no replacing voices just to cut costs!

WE LOVE TO SEE IT!!!!!

from: https://www.syfy.com/syfy-wire/futurama-hulu-revival-voice-actors-support-john-dimaggio

[celtic-cd-releases]

https://www.mairearadgreen.co.uk/

https://www.facebook.com/mairearadgreen/

https://mairearadgreen.bandcamp.com/album/hearth

https://open.spotify.com/album/5ycma2NYxATj8NMfVSivnB

[first-impressions-gaming]

11-11: Memories Retold

Developed by DigixArt and Aardman Animations 

Published by Bandai Namco

Release Date 2018

Tested on Xbox Series X

MSRP 29,99 USD

Live the great war in an impressionist live-painting

The war. War never changes. Wars are catastrophic, devastating and traumatic happenings. They never get easier over time. What takes place sticks with you, through the generations. Nobody can get over them, it lives with and within you as if a parasite multiplies inside you. Taking over you. 

When you look at gaming market and browse recent releases and most popular franchises you’ll most probably come across action ‘war’ games, such as Call of Duty and Battlefield most prominently. Or other less-known games and series which are fueled by combat, fighting, physical action. As the player, we feel empowered, victorious and invincible when we defeat our opponent, regardless of against an AI or a real player. Yet, what we forget is that, we do fail over and over until we succeed, for example you fail at a mission in a game, let’s say you are fighting a boss, you try again and again until you feel get everything right and defeat your enemy. Do we have a second, a third, or a fourth chance to beat somebody or something in real life? Didn’t think so.

It’s never easy or simple to tell a heartwarming story in a game. Games are different from movies, TV series and books in this aspect: the players take an active role in a game, whereas you are in a passive position in those mediums. A game should be letting the player to explore and figure out itself to some extend if it aims to captivate the player, otherwise the ‘game’ you are trying to develop would turn into an animation.

11-11 gets so many things right in this sense. First of all, art direction is wonderful in this title, advocating an impressionist art style in a unique and daring way. I cannot really remember the last time I got hooked up to an art style this much. Graphically the game reminds me of Loving Vincent (2017) and it builds the style in a way that fits in a game. I adored the style so much that even rotating your character around in an environment becomes a joyful thing to do. As you are walking, running or rotating, it gives you the feeling that what you’re seeing on the screen is sort of alive, it is dynamic, it responds to you. This artistic choice also shows itself during elegant scene transitions, during which the scene ends and screen freezes for a short time and paint feels swiftly and the next scene is created as if it’s being painted.

Let’s dive into the game, shall we? Two main protagonists, Harry and Kurt are voiced by Elijah Wood and Sebastian Koch, respectively. From the beginning, you can feel the high-quality voiceovers, this was a pleasant surprise to me, which pushes narration quality and art to the next level, making you feel like you are watching a movie in narrative-heavy cutscenes.

The story is linear, there’re zero side missions or any optional quests, to be frank. The game progresses at its own pace with almost zero player-based decisions. Except for when you are writing letters as Kurt (a German technician) to your family or you are sending photographs to Julia as Harry (a Canadian photographer).

The game excels at presenting a down-to-earth plot, witnessing personal lives and intimated character development, experiencing the great war from the eyes of soldiers of enemy nations and this humanises them, rendering them firstly as people, sons, siblings, fathers as such who left a life behind and came to the trenches, people who, simply, don’t feel like they belong here. What we are seeing is not ‘soldiers’, they are strangers, citizens, ordinary people, just average men who try to get by. A third of the game shows us that Harry and Kurt can accompany each other as close friends, which underlines that the nations can be enemies towards each other yet ‘soldiers’ of said nations are not, they are portrayed as extensions of those nations. Kurt and Harry (and dozens of soldiers) are not there to fight to the death, they all have a reason to be there. For instance, Harry enlists to be a photographer in the war and get recognition by the photos he takes, Kurt enlists hoping to get news from his son, Max (from whom Kurt has not heard for a long time), maybe to be in the same division with him, making sure that he is doing okay or not dead at least.

The story grows on you over time, getting accustomed to Harry and Kurt, their families, friends, lovers at home has a good vibe overall. During Part 3, the game takes a turn and Kurt returns to home, to his sick daughter Lucie to be precise and Harry (who becomes a prisoner of war), somehow, locates Kurt’s home in a rural area and pays them a visit. This village lifestyle in the middle of greenery and land is a juxtaposition for what Kurt and Harry have gone through up to that point, emphasizing the war on the horizon, an extreme catastrophe looming afar.

The story wraps up in a touching, sentimental way, clearing your mind, perhaps leaving your eyes with tears. The ending is dependent upon your choice with Harry, either to go Julia and leave for Canada or follow Kurt and accompany him in his pursuit of General Barrett, seeking revenge.

Last but not least, the game got released two days before the 100th anniversary of armistice of the great war, a nice detail tributing to all the lives lost. 

[all-action-all-picture]

Michael Crawford, born Michael Patrick Smith on 19 January 1942.

Best known as Frank Spencer in Some Mothers Do 'Ave 'Em, a BBC sitcom created by Raymond Allen that ran for 19 episodes and three Christmas specials between 1973 and 1978. Crawford wasn't the first choice to play Frank but its hard to imagine anyone else in the role now and Frank's voice and mannerisms became a goldmine for impressionists over the years.

Frank was well meaning but spectacularly inept at nearly all tasks and usually oblivious to the damage he caused. Despite this he was a very endearing character...unless you were his neighbour or employer.

There was a lot of physical comedy and Crawford did all his own stunts which remain impressive today. Arguably the most well known one is where Frank's trip to an indoor roller skating rink goes spectacularly wrong and he ends up taking to the streets.

[satanicsanity]

Welcome, My darlings!

(read below to find my boundaries & rules)

Before reading please note that I'm not really doing voice impressions anymore, as of right now! However if I ever decide to pick them up again, these rules still stand!

If I don't get to your request, keep in mind it could be for many reasons! Boundaries, current priorities, whether I can even do it due to the filter I have to use, time management, efficiency, whether I understood it or not, (which is very common for me to not be able to.. Understand alot of things-) it could be a variety of reasons! I'm not mad at you or upset, and I hope you're not upset with me! And if i don't do your request, please don't message me personally and complain! It's very hurtful, I cannot do everyones unfortunately! If i could, I would!

I would prefer only peeps ages 13+ to interact with this blog, Unless it is a little-space/younger listener directed audio or just a regular post! (Fellow age regressors can interact, however... Know that I do a lot of gore art at times & unsettling audios! So please read trigger warnings!) And for those who don't know/understand... here is an info document on pet and age regression!

Boundaries for my audio requests, Tw for SH, SA, and Abuse mentions:

---------------------------------------

- Yes, you can request audios! But I strictly ONLY do non-sexual, mostly sfw content. Nothing nsfw (as in sexual or suggestive) I'm an asexual-minor and that makes me uncomfortable! I can do scary stuff, horror, etc... Things are bound to get gorey because I'm partially a gore artist... But nothing sexual. Anything sexual is a BIG NO.

- I cannot do any singing or screaming audios in wally's voice unfortunately, because the filter I require to use in order to do those impressions, does not work with singing! (Yes, I have to use a filter!)

- I Can do comfort audios, but i cannot make anything related to s3xual assult or self harm, as it's a personal trigger for me and I can't make videos like that for many other reasons! I'm unsure if I can do anything related to topics of death as well, please respect that I may not do everyones requests, for personal reasons of my own!

- please be nice! I'm not perfect at wally's voice, but I do work hard to make them sound as close as I can! So please, no hurtful criticism or hurtful comments please!

- Be patient with me, I will work to post as often as I can but i cannot promise every day! I have other things going on outside of tumblr!

- please keep in mind that the creator of welcome home and wally is PARTYCOFFIN, all the characters belong to party coffin, and I am NOT the original voice actor! Go support wally's ACTUAL voice actor, @DaFrankiestein!

- I'm not 100% sure I can do audios related to petregression for some personal reasons, so I'm sorry about that! That's no fault on any petregressors out there, I'm sure you're wonderful! I'm sorry! I hope you get the comfort you need and have a wonderful day! Big hugs for you all!

- I know this may upset some, but please no requests for physical abuse related comfort! That's a very triggering topic for me, and a very heavy subject. Please talk to someone close to you who can help if you are being abused, not a wally impressionist. I hope you are all alright, please get help if you're in a dangerous situation if you can

- Please keep in mind none of the things I do or say are cannon to the welcome home story!! I do not work with clown or any of the VA's! These are simply meant to be fan-made and fictional!

- If I'm on break, or simply not posting impressions often... I apologize! It's most likely because of real life issues or affairs! Please do not rush me or pry for information on why! I'm not quitting, I may continue eventually, but impressions ain't the only thing I do and I wish to move on! I'll try my best to keep up with some type of content whether that's impressions or artwork, chats, etc etc!

- If you are lgbtqia+ phobic, don't support dissociative systems, don't respect age/pet-regressors, don't support furries, or anything along these lines and furthermore... Please DNI! I myself am very gay, an age regressor, and a furry! Keep scrolling on by if you don't like that, hon!

- Posting voice impressions is not all that I do! It is a hobby I partake in when and if I want to, so I will post other things at times or not post impressions for a bit from time to time! I do not force myself to make audios, I will make them when I make them!

And again, Yes! I use a voice filter for all my voices! I cannot naturally fluctuate my voice into how it is in my videos, I can stretch my voice range however! I still do all the editing, layering, MOST of the sound effects, and everything else you see in the videos I make!

[maturemenoftvandfilms]

Frank Welker Born: March 12, 1946, Denver, CO Physique: Average Build Height: 5' 8" (1.73 m)

Franklin Wendell Welker is an American actor, voice actor, impressionist, and comedian, with a career spanning nearly six decades and hundreds of credits. He is best known for voicing Fred Jones in the Scooby-Doo franchise since its inception in 1969, and Scooby-Doo himself since 2002.

The voice of my childhood. Now I strangely want to fuck Fred Jones and Scooby Doo.

[philomelas-tongue-says]

@dionysus-complex tagged me in a thing; thank you friend! here, have some fun facts. 

Nickname: Alex. which is technically a nickname but it’s also like. my name. 

Zodiac: Scorpio. 

Height: 5′3″ish

Hogwarts House: I’m extremely done with JKR right now, for obvious reasons. that said, Ravenclaw. 

Last thing I googled: “ancient Roman concrete”

Song stuck in my head: Neko Case - Nothing to Remember

Amount of sleep: uhhhh hmm. I think I managed like 7 hours last night? 

Lucky numbers: I can’t say I actually have these! I like prime numbers and anything ending in 7, though. 

Dream job: academic, unfortunately 

Wearing: comfy green sweater. leggings. 

Favorite song: I can’t tell you, like, an all-time favorite because I am literally incapable of picking one. currently, though, (in a kind of long-term sense) I have been vibing with “Dear April” by Frank Ocean. 

Favorite instrument: hm. well, the only one I “play” is my voice. in terms of sound, have always been partial to strings. viola or cello perhaps. 

Aesthetic: string lights, knitted blankets, gold, dresses with tights, books in dead languages, impressionist art, over-steeped tea, american road trips, orange and teal and olive green. 

Favorite author: ooh. also tricky in a very similar way to favorite song. Terry Pratchett. 

Random: I have one tattoo and three piercings (either ear + an extra in one ear). 

[aion-rsa]

Rick and Morty: A Guide to Every Voice Actor

https://ift.tt/eA8V8J

The world of Rick and Morty has grown to absurd proportions. The show spans multiple planets, galaxies, timelines, and multiverses, meaning there’s always an opportunity to meet strange new people and creatures. 

As such, Rick and Morty’s voice cast has grown along with the adventures of its titular pair. While co-creator Justin Roiland, Chris Parnell, Spencer Grammer, and Sarah Chalke have reliably voiced the central Smith-Sanchez family this entire time, the show also relies on a large crop of other voice actors. Some actors recur while others pop up only a time or two as very special guests. But all contribute to the rich aural tapestry of Adult Swim’s very ambitious animated series. 

Gathered here is a list of (to the best of our knowledge) every voice actor who has popped up on Rick and Morty, who they played, and where you may have heard (or seen) them before. 

Justin Roiland

Rick, Morty, Mr. Meseeks, Mr. Poopybutthole, Mr. Always Wants to Be Hunted

Justin Roiland is not just the co-creator of Rick and Morty but also the vocal engine for how much of the show sounds. Roiland portrays Rick, Morty, Mr. Meseeks, Mr. Poopybutthole, and countless other distinctively voiced characters in the show’s weird world. From the pilot on, Roiland’s tic-filled voice patterns have driven a lot of the humor behind the show. 

Roiland has been an animator and a voice actor for quite a long time, getting involved with his eventual Rick and Morty co-creator Dan Harmon and his Channel 101 imprint back in 2004. There he made Internet-only cult animated series like House of Cosbys, and 2 Girls One Cup: the Show. His voice was previously well known as Earl of Lemongrab (“Unacceptable!!!”) in Adventure Time. 

Chris Parnell

Jerry Smith

Former SNL cast member Chris Parnell has had a prolific career in comedy both as a live-action and voice actor. Parnell is best known for playing Garth Holliday in Anchorman: The Legend of Ron Burgundy, Dr. Leo Spaceman in 30 Rock, and many more roles in film and television. In the animation world he’s voiced characters on Archer, Robot Chicken, Gravity Falls, and beyond. His voice is often perfect for the “everyman” role and as such he has only been required to embody the sad form of Jerry Smith on Rick and Morty thus far. 

Spencer Grammer

Summer Smith

The daughter of Kelsey Grammar, Spencer Grammar got her start as Casey Carywright on the ABC Family college dramedy Greek. Since then, she has done chiefly live-action work on shows such as CSI, Chicago PD, and Grey’s Anatomy. 

Sarah Chalke

Beth Smith

Canadian actress Sarah Chalke brings two enormous roles from TV comedy’s past to her work on Rick and Morty. At first she was best known as the “second Becky” on ABC sitcom Roseanne. She would then go on to portray Dr. Elliot Reid for nine seasons of the classic Scrubs. Chalke is still chiefly a live-action comedic actress today but has done some more voice work in the past, including on Clone High and American Dad. 

Kari Wahlgren

Jessica, Cynthia, Samantha, Mother Gaia

Kari Wahlgren works extensively as a voice actress for animated movies, TV shows, and video games. As evidenced by her character list above, she is often Rick and Morty’s go-to voice to portray one of Summer’s teenage peers. 

Brandon Johnson

Mr. Goldenfold

Brandon Johnson is a familiar face and voice to Adult Swim audiences. He has previously popped up on NTSF:SD:SUV and American Dad. On Rick and Morty he voices Mr. Goldenfold, who is seemingly the only teacher at Morty and Summer’s school. 

Phil Hendrie

Principal Gene Vagina

Philip Hendrie is best known for hosting The Phil Hendrie Show, a proto-Comedy Bang Bang-esque talk radio show in the 1990s where he portrayed both a fictionalized version of himself and many other wacky characters. He broke into animated voice acting in the late ‘90s, voicing dozens of characters on King of the Hill and popping up in Futurama as well. On Rick and Morty he plays the unfortunately named principal of Morty’s school. 

Ryan Ridley

Frank Palicky, Lighthouse Keeper, Concerto

Ryan Ridley is a writer and producer on Rick and Morty, and like many of the show’s writers is sometimes called upon to lend his voice to a character or two. His best known creation is the Lighthouse Keeper on the Purge planet obsessed with his terrible screenplay. Ridley has also written for Ghosted, Blue Mountain State, and Community. 

Rob Paulsen

Snuffles, Centaur

Rob Paulsen is a legendary voice actor best known for voicing two Ninja Turtles (Raphael and Donatello) and several Animaniacs characters. His filmography is truly impressive and includes the important role of Snuffles the Smith family dog on Rick and Morty.

Jess Harnell

Scary Terry, Ruben

Harnell is another Animaniacs veteran. After voicing Scary Terry and some additional voices in season 1, Harnell has yet to return to Rick and Morty. 

Patricia Lentz

Joyce Smith

Patricia Lentz provides the voice of Jerry’s mom. She’s had a long, impressive career of live-action and voice acting with some highlights including Runaways, Sabrina the Teenage Witch, and Happy Days. 

Dana Carvey

Leonard Smith

The voice of Jerry’s dad is provided by one of SNL’s better known alums in Dana Carvey. A master impressionist, Carvey was an important figure on SNL during the ‘80s and would go on to star in Wayne’s World, The Master of Disguise, and Trapped in Paradise. Shortly after his SNL career, he hosted The Dana Carvey Show, which did not last long but is notable in TV history for having an incredible cast of writers including Louis C.K. Charlie Kaufman, Jon Glaser, Robert Carlock, and frequent Dan Harmon collaborator Dino Stamatopoulos. 

Echo Kellum

Jacob Philip, Brad, Triple Trunks

“I throw balls far. You want good words? Date a languager.” So sad that we had to leave Brad behind in C-137. Echo Kellum provides the voice of Brad and several other Rick and Morty characters.. Kellum is a UCB grad who has appeared in Key & Peele, Comedy Bang! Bang! and most notably Arrow as Mister Terrific. 

John Oliver

Dr. Xenon Bloom

John Oliver now carries on the legacy of The Daily Show in his superb HBO news series Last Week Tonight. Prior to finding his perfect comedy news niche, Oliver had a lengthy comic acting career starting in his native England and extending into his new home in the U.S. Oliver previously played an important recurring role in Harmon’s Community and pops up just once on Rick and Morty. 

David Cross

Prince Nebulon

David Cross is one of several sketch comedy legends who lent their voice to Rick and Morty as part of their lengthy careers. Cross created and starred in sketch series Mr. Show with Bob and David alongside co-creator Bob Odenkirk (how has he not popped up on Rick and Morty yet?). Since then he’s had a successful stand up career and been a part of some impressive TV ensembles such as Arrested Development. 

Dan Harmon

Birdperson, Kevin, Mr. Marklovitz, Davin, Ice-T, Dr. Glip-Glop, Nimbus

Dan Harmon is the co-creator of Rick and Morty alongside Roiland. The two share a long history going back to the Channel 101 days. While both Roiland and Harmon are skilled storytellers, Harmon has truly delved into the science of story throughout his career. Harmon is best known for creating and showrunning Community, which became an onscreen sensation for fans and an offscreen nuisance for NBC due to Harmon’s at times difficult behavior. On Rick and Morty, Roiland and Harmon deploy Harmon’s deadpan delivery to good use, with him often playing monotone characters like the beloved Birdperson. 

Tom Kenny

King Jellybean, Squanchy, Conroy, Million Ants, Etc.

Tom Kenny is an incredibly successful voice artist who you likely best know as none other than SpongeBob SquarePants. On Rick and Morty, Kenny’s roles are decidedly less wholesome than the sponge who lives in a pineapple under the sea. Kenny was a big factor in season 1 playing King Jellybean and Sqaunchy. He’s popped up sparingly in seasons 2, 3, and 4 as well, most notably as Million Ants of the Vindicators. 

Cassie Steele

Tammy Gueterman, Tricia Lange

Somebody’s gotta play Tammy Gueterman, that traitorous monster. And that “honor” goes to Cassie Steele. Steele’s name is recognizable to Canadian (and some American) audiences due to her role as Manny Santos on Degrassi: The Next Generation. Rick and Morty was her first voice acting role. She will continue her voice acting career as the lead in Disney’s upcoming Raya and the Last Dragon.

Claudia Black

Mar-Sha/Ventriloquiver

Claudia Black has turned up on Rick and Morty twice, once in season 1 and once in season 4. It’s a surprise she hasn’t done so more often as she’s built up quite the voice acting career. After becoming well known in sci-fi series like Farscape and Stargate SG-1, Black continued on into a successful gaming career, providing her voice to Uncharted, Gears of War, and Dragon Age. 

Maurice LaMarche

Morty Jr. Brad Anderson, Abradolf Lincler, Crocubot

Maurice LaMarche’s smooth baritone is quite familiar to many animation fans. LaMarche has voice acted in everything from Animaniacs to Futurama. He’s got a killer Orson Welles impression and that seems to be the starting point for many of his Rick and Morty characters. 

Alfred Molina

Mr. Needful

Many of us know Alfred Molina from his incredibly successful film career in projects like Boogie Nights, Spider-Man 2, and The Da Vinci Code. But Molina has also had quite the career as a voice actor as well. In the past couple decades, Molina has lent his sturdy voice to Rango, Monsters University, Ralph Breaks the Internet, Frozen II, and more. He was clearly a shrewd choice for the Lucifer-like Mr. Needful. It’s a wonder why he hasn’t turned up on Rick and Morty more. 

Richard Fulcher

King Flippy Nips

Richard Fulcher is best known as the unofficial third member of British comedy troupe The Mighty Boosh, though he himself is American. Fulcher wrote and acted in every incarnation of The Mighty Boosh. He has also had a prolific career in comedy acting outside the troupe. As of late, Fulcher has leaned into his voice acting abilities including this sadly one-off role on Rick and Morty as King Flippy Nips, ruler of Pluto. 

Nolan North

Scroopy Noopers, Multiple Others

Nolan North has done extensive videogame work in franchises such as Uncharted, Assassin’s Creed, and the Arkham series. That’s right: the voice of shrimpy Plutonian Scroopy Noopers on Rick and Morty is both Nathan Drake and Desmond Miles. North also voices many other characters in positions of authority for the show. 

Aislinn Paul

Nancy

Aislinn Paul is another Degrassi: The Next Generation alum who has broken into the voice acting world. On Rick and Morty, Paul plays only Nancy, Summer’s nerdy classmate who everyone is always mean to. Hopefully one day there will be justice for Nancy. 

Alejandra Gollas

Lucy

Alejandra Gollas is a bilingual Mexican actress who has acted in films, TV shows, and stage productions for decades. Her only Rick and Morty role was that of creepy Titanic enthusiast Lucy. 

Scott Chernoff

Revolio Clockberg Jr.

Originally referred to as “Gearhead,” Revolio Clockberg Jr. is one of Rick and Morty’s most recognizable recurring characters. Embodying this important role is veteran voice actor and TV writer Scott Chernoff. Chernoff has lent his voice to dozens of animated properties and has even written for many successful comedies including BoJack Horseman, The Tonight Show with Conan O’Brien, and School of Rock. He is one of many Channel 101 veterans involved in Rick and Morty and pitches in with some other background voices on the show here and there. 

Keegan-Michael Key

Schleemypants

Keegan-Michael Key is likely best known as half of the ultra successful sketch comedy duo Key & Peele. (Wonder whatever happened to the other guy!) Key has had an enormously successful career as a comedic actor on television. On Rick and Morty he plays testicle-looking time cop Schleemypants. 

Jordan Peele

Second Fourth-Dimensional Being

Oh, here’s Peele! Schleemypants’ unnamed partner is the only character Peele has played on Rick and Morty. 

Jemaine Clement

Fart

New Zealand comedic actor Jemaine Clement is best known for being half of the Grammy award-winning comedic musical act Flight of the Conchords alongside Bret McKenzie. Clement has also worked extensively with fellow Kiwi Taika Waititi to produce recent classics like What We Do in the Shadows. His deadpan delivery was a perfect choice monotone gaseous being “Fart.”

Andy Daly

Krombopulos Michael

Krombopulos Michael is Rick and Morty’s Boba Fett: he looks cool but ultimately does nothing. Playing K.M. was one of the most sought-of “character voice actors” in the industry. Daly’s cheerful everyman delivery has proven useful on dozens of comedy shows across the entertainment landscape. Perhaps best known for his starring vehicle Review with Forest MacNeil, Daly has also lent his voice to series such as Harley Quinn, Bob’s Burgers, and Big Mouth. He can also be heard as a crucial role on Roiland’s Solar Opposites. 

Christina Hendricks

Unity

Christina Hendricks is best known for her role as Joan Holloway on Mad Men. In addition to that, however, she’s appeared in quite a few genre films and shows like Firefly, Life, and The Neon Demon. Hendricks has done some voice work here and there and her only role on Rick and Morty to date is assimilation expert and one-time Rick Sanchez paramour Unity. 

Patton Oswalt

Beta-Seven

Patton Oswalt is basically the dark matter of the comedy universe. He and his voice turn up just about everywhere. Perhaps his best known voice acting role is that of lead character Remy in Ratatouille. On Rick and Morty he has played only Beta-Seven thus far and is surely due for some more appearances. 

Keith David

The President

Even if you’ve never heard of Keith David, you have surely heard his voice. An unmistakable baritone with gravitas, David has leant that voice to projects such as Gargoyles, Halo, and Spawn. David has worked with Harmon before on the final season of Community. Surely, there is no better voice for Rick and Morty’s unnamed President…or its Reverse Giraffe.

Kurtwood Smith

General Nathan

Not sure if you recognize Kurtwood Smith’s voice? You would if he called you a dumbass. Yes, Smith is best known to TV audiences as Eric Forman’s ornery dad Red on That ‘70s Show. He provides that same ornery spirit to the role of General Nathan on Rick and Morty in “Get Schwifty.” 

Stephen Colbert

Zeep Xanflorp

Stephen Colbert is of course a longtime comedic actor, host of The Colbert Report, and now host of The Late Show on CBS. The Late Show understandably takes up most of his time nowadays but he was nice enough to portray the intelligent alien living inside Rick’s flying saucer’s Miniverse battery. 

Nathan Fielder

Kyle

“The Ricks Must Be Crazy” has quite the star power among its voice cast. In addition to Colbert’s Zeep, the episode also introduces another Microverse populated by Kyle. Kyle is played by Nathan For You’s cringe comedy maestro Nathan Fielder. 

Jim Rash

Glaxo Slimslom

Jim Rash is another frequent Dan Harmon collaborator, best known for his role as Dean Pelton on Community. Rash is an accomplished comedic actor and an Oscar award-winning screenwriter. He’s the perfect choice to play alien couples counselor Glaxo. 

Matt Besser

Fungo

Matt Besser is an improv comedy specialist who is a founding member of the Upright Citizens Brigade comedy troupe. Over his long career, he’s appeared in just about everything. On Rick and Morty he portrays alien diplomat Fungo, who tries to convince Jerry to donate his penis to Shrimply Pibbles. 

Werner Herzog

Shrimply Pibbles

Werner Herzog might be the strangest inclusion in the Rick and Morty voice canon. Herzog is a towering figure in the cinema world as a director, screenwriter, documentarian, and occasional actor. His German accent and generally serious and pessimistic disposition has made him a natural target for comedies looking to inject a bit of weird humor into the proceedings. 

Chelsea Kane

Arthricia

Chelsea Kane has appeared in several TV series targeted to tween audiences like Disney Channel’s Jonas and Freeform’s Baby Daddy. Her brief role as the Purge planet’s Arthricia was a jumping off point to try more voice actor roles on shows like Hot Streets, Regular Show, and DC Super Hero Girls. 

James Callis and Tricia Helfer

Pat and Donna Gueterman

James Callis and Tricia Helfer portray the parents of double-agent Tammy Gueterman for a very specific reason. Callis and Helfer are best known for their roles on Syfy’s classic series Battlestar Galactica, with Callis playing brilliant scientist (and traitor to humanity) Gaius Baltar and Helfer playing Cylon model Number 6. Pat and Donna Gueterman on Rick and Morty look just like the actors playing them, which should have been our first clue that something is amiss.

Nathan Fillion

Cornvelious Daniel

Who is Nathan Fillion if not nerd culture’s best friend? Fillion came into prominence by playing Captain Mal Reynolds on Joss Whedon’s beloved Firefly. Since then Fillion has had a solid career on shows like Castle and The Rookie. In his spare time, however, he provides his voice to animated series like Rick and Morty and Big Mouth, often playing a thinly-veiled version of himself. Cornvelious Daniel is notable for being the first character onscreen in Rick and Morty to enjoy that sweet, sweet McDonald’s Szechuan sauce. 

Tony Hale

Eli

Tony Hale won two Emmys for playing the Vice President’s bagman Gary Walsh on Veep. Before that he was the youngest Bluth child, Buster, on Arrested Development. As of late, however, he’s getting more into the voice acting scene. You (or your kids) may best know him as the beloved Forky in Toy Story 4. But prior to that, he popped up as a cheery Mad Max-style biker named Eli on Rick and Morty. 

Joel McHale

Hemorrhage

Joel McHale is, of course, another Community alum. He played lead character Jeff Winger on Harmon’s old NBC series. In addition to that, McHale has had a lengthy career in comedy, having hosted The Soup and Netflix’s recent Tiger King special. He was also a tight end of the University of Washington football team but that’s neither here nor there. He voices bucket-wearing post-apocalyptic warlord Hemorrhage on Rick and Morty.

Susan Sarandon

Dr. Wong

Perhaps no character on Rick and Morty has delved deeper into Rick’s psyche than Smith-family psychologist Dr. Wong. Lending her voice to Dr. Wong in the infamous “Pickle Rick” episode is legendary actress Susan Sarandon a.k.a the Louise in Thelma and Louise. 

Peter Serafinowicz

Agency Director

Peter Serafinowicz is a British comedian and actor who used his role voicing Darth Maul in The Phantom Menace as a launching pad to befriend some truly talented creators and get some truly fascinating roles. Serafinowicz has popped up in Shaun of the Dead, Guardians of the Galaxy, Parks and Recreation, and more. He also portrayed the titular Tick in Amazon’s The Tick. His role in Rick and Morty is briefly that of a Russian villain agency director who tries to take down the ever-elusive Pickle Rick. 

Danny Trejo

Jaguar

“Pickle Rick” really has quite the impressive guest voice cast. Danny Trejo joins Peter Serafinowicz and Susan Sarandon in lending his voice to this episode. Trejo plays Rick’s loose canon action hero ally, Jaguar. Outside of Rick and Morty, Danny Trejo may be one of the most recognizable faces in entertainment. A frequent collaborator of Robert Rodriguez, Trejo has leveraged his fascinating upbringing and tough guy appearance into countless roles. 

Gillian Jacobs

Supernova

Another Community alum! Superhero team The Vindicators requires a lot of guest voice talent and clearly Dan Harmon knew one place to turn. Jacobs played Britta on Community (she’s the worst). The Pittsburgh-born actress has also appeared in Girls, Don’t Think Twice, and Ibiza. 

Christian Slater

Vance Maximus

Christian Slater is a big get for Vindicators leader Vance Maximus. While he’s best known to modern audiences as the titular Mr. Robot in Mr. Robot, Slater got his start as an actor with popular roles in movies like Heathers, Interview with the Vampire, and Broken Arrow. Slater has had a fruitful voice acting career as well, having previously played “Slater” in Archer. 

Lance Reddick

Alan Rails

Alan Rails is another one of the hallowed Vindicators crime-fighting team. Playing the ghost train-summoner is Lance Reddick. Reddick has been a mainstay on television for decades, turning up in Oz, Fringe, Lost, and more. Most notably he played Cedric Daniels for the entirety of The Wire’s run. 

Logic

Logic

Logic is one of the few Rick and Morty guest stars who gets to be an animated version of himself.  This Maryland-based rapper has released five successful albums and enlisted Rick and Morty to help promote his sixth mixtape Bobby Tarantino II. 

Clancy Brown

Risotto Groupon, Story Train passenger

Talk about a guy with a commanding voice. Clancy Brown has been a successful actor for a long time, going back to his roles in Highlander, The Shawshank Redemption, and Lost. He’s undoubtedly best known to animation fans, however, as the voice of stingy Krusty Krab owner Mr. Krabs in SpongeBob SquarePants. On Rick and Morty, he’s played alien restaurant manager Risotto Groupon and a Story Train passenger in season 4’s “Never Ricking Morty.” 

Thomas Middleditch

Tommy Lipnip

Thomas Middleditch is likely best known to television audiences as overmatched tech tycoon Richard Hendrix on HBO’s Silicon Valley. That’s just the tip of the iceberg for Middleditch’s comedy career. The prolific improviser played Tommy Lipnip in Rick and Morty and must have impressed Justin Roiland enough to give him a lead role on his Hulu comedy Solar Opposites. 

John DiMaggio

Multiple Minor Roles (Death Stalker, Leader, Knight, etc.)

John DiMaggio is an incredibly busy voice actor. If you’ve ever enjoyed an animated comedy, there’s a good chance DiMaggio contributed his voice to it. His best known roles include Bender on Futurama, Jake the Dog on Adventure Time, and Scotsman on Samurai Jack. 

Sherri Shepherd

Judge

Sherri Shepherd is an actress, comedian, and TV personality best known for being a co-host on The View for seven years. Since then she’s turned up as an actress or talking head on many shows and lent her voice to portray a judge that deals with Morty in the season 4 premiere. 

Sam Neill

Monogatron Leader

In addition to having one of the best Twitter accounts in the world, Sam Neill is also an actor best known for playing Dr. Alan Grant in Jurassic Park and Jurassic Park III. The New Zealander has continued to work quite a bit in recent years, turning up in Thor: Ragnarok and Peaky Blinders. On Rick and Morty he plays the leader of the  Monogatron alien race in “The Old Man and the Seat.”

Taika Waititi

Glootie

Playing another Monogatron, this one named Glootie, is New Zealand actor/director Taika Waititi. Waititi got his start in the New Zealand comedy scene alongside other Rick and Morty guest star Jermaine Clement. Since then he has only gone on to become one of the most in-demand filmmakers on the planet. Waititi is behind Thor: Ragnarok, JoJo Rabbit, and an upcoming Star Wars film. 

Kathleen Turner

Monogatron Queen

Kathleen Turner is what you would call a “get” for Rick and Morty. Turner has won two Golden Globe awards and been nominated for an Oscar and several Tony awards. She is best known for her roles in ‘80s movies Romancing the Stone, Prizzi’s Honor, and The War of the Roses. Turner has also been working as a voice actress since the ‘80s, voicing Jessica Rabbit in Who Framed Roger Rabbit and going on to act in The Simpsons and King of the Hill as well. 

Jeffrey Wright

Tony

Jeffrey Wright is no stranger to sci-fi, having toiled away as sad robot Bernard on Westworld for three seasons. Wright got three-quarters of a way to an EGOT in one role by playing Belize in Angels in America. Since then he’s acted in several Daniel Craig Bond films, Boardwalk Empire, and The Hunger Games. On Rick and Morty he plays the role of an alien who vexes Rick into an existential crisis by continuing to use his private toilet. 

Elon Musk

Elon Tusk

Elon Musk is a South African/Canadian/American engineer and industrialist who serves as the founder and CEO of SpaceX and CEO of Tesla, along with numerous other ventures. Presumably he did not call anyone behind the scenes of Rick and Morty a pedophile but you never know. 

Justin Theroux

Miles Knightley

Justin Theroux has had quite the career in Hollywood. He first came to prominence acting in the David Lynch films Mulholland Drive and Inland Empire. He then continued to appear in major films while also writing some for good measure like Tropic Thunder, Iron Man 2, and Rock of Ages. On television he played Kevin Garvey in HBO’s The Leftovers. For Rick and Morty, he played the role of “heist artist” Miles Knightly in “One Crew Over the Crewcoo’s Morty.” You son of a bitch, I’m in. 

Pamela Adlon

Angie Flint

Pamela Adlon is the rare case of an actor who was first best-known for voice work breaking into the live-action arena in a big way. Adlon is best known for giving voice to Bobby Hill on King of the Hill, while also voice acting in other animated projects like Recess, and 101 Dalmatians: The Series. A longtime collaborator of Louis C.K. (though not so much anymore), Adlon appeared on FX’s Louie and got a well-received FX show of her own, Better Things. On Rick and Morty, Adlon portrays Angie Flint – a lock-picker who Rick recruits to his heist team.

Matthew Broderick

Talking Cat

Matthew Broderick is a longtime stage, film, and television actor best known for his roles on Ferris Bueller’s Day Off, WarGames, The Producers, and much more. Most recently he turned up on Netflix’s sadly-departed post-apocalyptic comedy Daybreak. On Rick and Morty, Broderick plays a Talking Cat with a secret so heinous it will drive anyone to near insanity. 

Liam Cunningham

Balthromaw

To portray the voice of a wizened dragon, Rick and Morty turned to an actor best known for a series filled with them. The Irish actor Liam Cunningham is known to most people as Ser Davos Seaworth from Game of Thrones. Though not usually a voice actor he must have enjoyed his role on Rick and Morty as he turns up again briefly in Roiland’s Solar Opposites. 

Phil LaMarr

Multiple Minor Roles

The first two things most people (and by most people I mean me) think of when they think of Phil Lamarr are his time on Mad TV and the moment his head explodes on Pulp Fiction. But aside from sketch comedy and head explosions, LaMarr has had a remarkable voice acting career. He portrayed the title character in Samurai Jack while also providing his voice to Justice League, Static Shock, and countless video games. It’s surprisingly hard to figure out what voices Phil LaMarr plays on Rick and Morty but given his talents it’s certain to be quite a few.

Christopher Meloni

Jesus

When Rick and Morty briefly presented the savior of mankind in season 4’s sixth episode, surely there was only one choice to play him. Christopher Meloni has had one of the more fascinating careers in entertainment. After playing the deadly serious role of Elliot Stabler on Law and Order: SVU for years, Meloni has re-embraced his comedic side in projects like Happy!, Harley Quinn, while reprising his role in the Wet Hot American Summer franchise.

Paul Giamatti

Story Lord

Paul Giamatti once joked in a late night talk show interview that his role in any given heist or action movie would be the guy wearing a headset in a van, typing on a computer, and telling the hero to “get out of there, man!” He has since parlayed that character actor sensibility into a remarkable, multi-award-winning career. Giamatti is best known recently for portraying Chuck Rhoades on Billions and producing AMC’s Lodge 49. Prior to that he played lead roles in American Splendor, HBO’s John Adams, and much more. The guy has a good handle on stories and therefore makes perfect sense as Rick and Morty’s Story Lord. 

Alan Tudyk

Chris, Observant Glorzo, Multiple Minor Roles

Alan Tudyk is a nerd culture mainstay. Very few comic-cons come and go without Tudyk involved in at least one project presenting within them. Tudyk has played Hoban “Wash” Washburne on Firefly and its spinoff movie Serenity, Mr. Nobody on Doom Patrol, and many more beloved characters. His live-action appearances are just the tip of the nerd iceberg, however, with Tudyk providing his voice to everything from Solo: A Star Wars Story (K-2SO) to Harley Quinn (Clayface/The Joker). On Rick and Morty, Tudyk plays several unnamed characters. 

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Rob Schrab

God

Rob Schrab is a Channel 101 veteran and longtime Harmon collaborator. Schrab is best known for his work as a director of projects like Monster House, Community, Parks and Recreation, and more. On Rick and Morty he plays none other than God…or at least the Zeus-like god of a remote planet. 

Jim Gaffigan

Hoovy

Jim Gaffigan is a wildly successful standup comedian who co-created and starred in a TV show about his life for TV Land called The Jim Gaffigan Show. While he’s appeared sparingly in films, of late he’s dabbled in voice acting, lending his voice to Hotel Transylvania 3, Playmobil: The Movie, and Luca. His kindly Midwestern accent lends itself nicely to the helpful but doomed Hoovy on Rick and Morty.

Planetina

Alison Brie

Five seasons in and Rick and Morty is still finding old friends from Community to make their debut. Alison Brie played Annie Edison on Dan Harmon’s classic series. Since then she’s become quite the star, serving as a lead on GLOW and voice acting in BoJack Horseman and The Lego Movie 2. She even provided the voice of Natasha Romanoff a.k.a. Black Widow in the video game Marvel Avengers Academy.

Steve Buscemi

Eddie

Steve Buscemi is a prolific and talented character actor known for his classic roles in Fargo, Reservoir Dogs, The Sopranos, and more. That he plays such a relatively minor role on Rick and Morty suggests that he might be a fan of the show and just wanted to stop by and say hey. Buscemi is also notable for being a New York firefighter prior to his acting life.

Christina Ricci

Princess Ponietta

Once known as a talented child actor, Christina Ricci has continued her creative work into adulthood. The actress has starred in films like Speed Racer, Black Snake Moan, and the upcoming fourth Matrix movie. Bless her for dropping by Rick and Morty only to play an CHUD horse-person princess pregnant with Rick’s heir.

Kyle Mooney

Blazen

Kyle Mooney is an SNL cast member and writer who specializes in offbeat characters and sketches. He also wrote and starred in 2017’s Brigsby Bear. His role hasn’t been officially confirmed on Rick and Morty yet but it seems as though he voices the Mortal Kombat-esque faux badass Blazen.

The post Rick and Morty: A Guide to Every Voice Actor appeared first on Den of Geek.

from Den of Geek https://ift.tt/2TZnSGJ

[gotham-ruaidh]

Pas De Deux - A  Moodboard (Three Part) One-Shot

@iamnottrisha​ thank you for organizing!

Chapter 1

Claire Beauchamp – Miss Claire to her students – sighed and rolled her stiff shoulders, squinting at the pile of lab reports yet to be graded.

 Another Thursday night working late in her cramped office at PS 345, recognized for six straight years as one of Brooklyn’s top-performing middle schools. Two months ago she had started her fourth year as a seventh-grade science teacher, her creative approach to topics ranging from biology to buoyancy winning accolades from students and a precious tenure slot the year before.

 She truly loved the school – so much so that after leaving Frank she’d bought a co-op just a ten-minute walk away, on the border of Cobble Hill and Carroll Gardens. The charming brownstones and tree-lined streets were the perfect antidote to her years living in a Manhattan high-rise, all cold steel and glass and cold neighbors and a cold husband married to his deals.

 When she realized she’d been looking at the same diagram for five minutes, she sighed, feeling deflated. No use continuing tonight.

 Quickly she organized the papers on her desk, shrugged into her blue peacoat, and slipped the remaining lab reports into her satchel. Already thinking about the Lebanese food she’d pick up on the walk home, and how Adso would wrap his furry gray body around her ankles as soon as she unlocked the front door.

 She stepped into the hallway and locked the door behind her.

 Faint music drifted from the direction of the arts wing.

 Intrigued, she padded down the quiet hallway, passing lockers and darkened classrooms and walls covered with flyers of all colors and sizes. Turned at the corner –

 Ah. Light blazed from the art studio, where Jamie Fraser hunched over a sink, his back to her, washing paintbrushes, fast-paced orchestral music blaring from speakers mounted at two corners of the room.

 This wasn’t the first time that she and the second-year art teacher had found each other working late – and truth be told, seeing him there tonight made her smile.

 Shaking her head – damn, she was just like her students sometimes, mooning over a ridiculous crush – she knocked loudly on the classroom door.

 Jamie startled, turning to face her. Then smiled broadly, wiping paint-streaked hands on his denim smock.

 “What’s it tonight?” she teased.

 He fished a remote control out of his back pocket and dialed down the volume. “What did you say?”

 “I said,” she smiled, slowly walking into the studio, “what are you listening to tonight?”

 “Ah.” He leaned back against the sink. “Tchaikovsky – Swan Lake. I just got my hands on this great new recording from the Bolshoi, in Moscow. It’s amazing.”

 “Ballet?” Claire’s eyebrows quirked, and she set her satchel down on one of the classroom tables – careful of the coffee cans full of paintbrushes.

 Briefly Jamie turned away to set out the damp paintbrushes to dry on a towel beside the sink. “What – can’t a man have many tastes?”

 “Well – whenever I’ve found you in here blasting your music before, it’s been anything from rock to folk to country music. I thought all of you artistic types were into the indie stuff.”

 Jamie reached behind his back to untie the strings of his smock. “I only like the classics. Too much of art and music these days is bullshit. If you have to be told that it’s great, or told what political statement the art is making, then it’s not art.”

 She smiled. Feeling refreshingly alert. “So, Mr. Artist – what is art?”

 He hung up the smock on a peg beside the sink. Crossed the room to stand just a few steps away. Looking a bit tired in his flannel and corduroys – his eyes, however, so alive.

 “Art is something that stirs you, and resonates with you, and that you know is beautiful.”

 She swallowed.

 He ran paint-stained hands through his short, thick red hair. “And, well – my sister is a professional ballet dancer.”

 Claire laughed – tension suddenly relieved. “What?”

 “Yeah.” Why did his voice sound so shy? “I grew up going to her practices and recitals. So I’ve got a bit of a soft spot for ballet.”

 “Who was the Impressionist that was particularly enamored with drawing ballet dancers?”

 “That would be Edgar Degas. The Met has rooms dedicated to his pastels.” Jamie tilted his head a bit. “Since when do science teachers know anything about art or ballet?”

 She lifted her chin. “My uncle raised me after my parents died – he worked very hard to give me a well-rounded education.” She balled her hands into fists, safe within the pockets of her coat.

 Jamie sat on the edge of the table. “My parents died too.”

 Claire’s hand flew to her mouth. “Oh, I’m – ”

 “Don’t apologize – please. Mom was an artist – she encouraged me, and my sister. After she died, my father did the same. And now, here I am.”

 Claire swallowed. Wanting nothing more than to keep talking to this man.

 “Do you like Lebanese food?”

 --

 “I can’t believe I’ve never been here before.”

 Jamie wiped his mouth with a napkin before diving back into his piping-hot lamb sandwich.

 “I love this place.” Claire took another bite of falafel, digging deep into the paper bag for another slice of pita. “It’s been owned by the same family since the turn of the century. And you saw all the grocery items, right?”

 Jamie nodded, re-crossing his legs on the bench, watching the cars whizz by on Atlantic Avenue. “Do you live close to here?”

 “Yeah. I love it. What about you?”

 “I’m up in Greenpoint. I inherited Mom and Dad’s brownstone. It’s silly to be in such a big house by myself, but – ”

 “But you can’t part with it. I understand.”

 He turned to look at her. Really look at her – crazy curly hair pulled back in a messy bun, falafel crumbs on her coat, a smudge of white sauce on her chin.

 Why hasn’t some lucky man snapped you up?

 It took five seconds for his tired brain to realize he’d spoken the words aloud.

 How he wanted to sink into the sidewalk.

 But Claire set down her styrofoam tray. Pursed her lips. Really looked at him.

 “One did,” she whispered. “But he threw me away.”

 Chastened, Jamie reached across the bench. Wiped the sauce from her chin with the flimsy paper napkin from the take-out bag.

 “I’m sorry.”

 “Don’t apologize – please. I’ve got my own life now. My students – a job that I love.”

 He didn’t say anything for a long time – watching her, and the taxicabs gliding by, and the hundreds and hundreds of people hurrying past on the sidewalk.

 She cleared her throat. “Anyway. We got some baklava for dessert, right?”

 “What are you doing tomorrow night?”

 She blinked. “Friday? Um…nothing, I guess.”

 He nodded. “Good. I want to take you somewhere, if that would be all right. Wear something halfway nice – we’ll leave from school.”

 She raised her eyebrows. “Are you taking me out on a date, Jamie?”

 He smirked. “Just returning the favor, Claire.”

[dweemeister]

Movie Odyssey Retrospective

Bambi (1942)

In the early 1920s, Austrian Felix Salten began working on his best-known novel. Salten, a prominent Jewish author, was an avid outdoorsman who closely observed the habits of wildlife in the Viennese countryside. His experiences led him to write Bambi, a Life in the Woods, which became a bestseller in Europe. It was a bestseller in the United States, too, but Salten’s work had somehow been recategorized as a children’s book when exported across the Atlantic. Metro-Goldwyn-Mayer (MGM) producer Sidney Franklin (1942’s Mrs. Miniver, 1942’s Random Harvest) purchased the film rights, but he experimented and failed to find a satisfactory way to adapt Salten’s novel. Frustrated, Franklin handed the reins to Walt Disney. While Disney took on this new project, the Nazi Party banned Salten’s novel – claiming it to be, “a political allegory of the treatment of Jews in Germany.”

Salten, who soon fled for neutral Switzerland (never to return home to annexed Austria), may have inserted some such allegories, but that is not his novel’s primary intention. In one of the novel’s most memorable passages not present in the Disney adaptation, Bambi’s father shows his son a poacher’s corpse – another human has shot this poacher. In realizing humanity’s fragility and its sameness to the animals of the forest, a frightened Bambi, while examining the poacher’s body, declares, “‘There is Another who is over us all, over us and over Him.’” Salten’s novel and the 1942 Disney adaptation directed by David Hand are about the inevitability and universality of death – subject matter not exclusive to children.

Bambi was slated to be the second animated feature by Walt Disney Productions (now Walt Disney Animation Studios). Due to production delays, narrative confusion, aesthetic difficulties, and especially the Disney animators’ strike of 1941, it is the fifth and last entry of the studio’s Golden Age. Whether because of or despite these delays, Bambi seems an outlier in the Disney animated canon. It bears scant artistic resemblance to any of its predecessors or successors. To the bewilderment of viewers who believe that a great movie requires plot, Bambi dispenses of such notions. If conflict appears, it is resolved immediately – with one continuous exception. As Walt Disney insisted on the animation being as realistic as possible while retaining anthropomorphic qualities, the True-Life Adventures series (1948-1960; fourteen innovative nature documentaries that continue to influence the subgenre’s narrative and visual grammar) remains Bambi’s closest cousin in the studio’s filmography. Bambi – wildly innovative, underappreciated upon release and today – completes a consecutive run of five animated features for a Golden Age. Rarely matched today are the standards set by those five films.

This film is a coming-of-age tale; more specifically, it is about a male fawn’s experiences and observations on the natural life cycle. It begins with Bambi’s birth and concludes as Bambi inherits his father’s role as Great Prince of the Forest. This animated Bambi is less pedantic than Salten’s book, which focuses on Bambi’s survival lessons from the other woodland creatures. Instead, story director Perce Pearce (1940’s Fantasia, 1943’s Victory Through Air Power) and screenwriter Larry Morey (primarily a lyricist; 1937’s Snow White and the Seven Dwarfs) adopt a free-flowing episodic structure where Bambi lives life innocently, with violence puncturing through the idyll rather than being omnipresent. We see him befriend the rabbit Thumper and skunk Flower, learn to observe his surroundings before grazing in the open meadow, and play in the snow and on the ice come his first winter. There are comic misunderstandings and warnings about men, neither of which dominate the film.

Bambi also takes time, for a minute or a few, to avert its concentration from its protagonist to other animals. In a less disciplined film, these decisions might undermine the film’s goals – in this case, to portray nature as faithfully as possible within the bounds of a loose narrative. But each of these scenes focused away from Bambi either strengthen Bambi’s characterization, the liveliness of the forest, or the film’s messaging.

A handful of scenes including the elderly Friend Owl introduce us to Bambi and his mother as well as those adolescent, animalistic romantic tinglings he calls “twitterpation”. Friend Owl moves the film forward in ways that abided by the censors at the time, as well as introducing concepts to Bambi and friends in just enough time that is necessary. The most graphic moment during the first scene featuring the hunters (who are never depicted, aurally or visually) does not concern Bambi and his mother, but a few nameless pheasants. Covered in shadow by the long grasses, one of these pheasants speaks of the impending danger, and the audience hears the terror in her tremulous voice. Flying out of the underbrush in a desperate attempt to flee, she is shot by the hunters, and drops to the ground. The frame shows the pheasant’s corpse, but does not linger. This is the only depiction of a dead animal in the film – contrary to the recollections of many viewers. For younger and older viewers alike, this scene emphatically communicates the dangers that Bambi’s mother has warned about, priming the audience for what is to come, and doing so without sensation.

It leads directly to a scene that has become a sort of childhood rite of passage. The death of Bambi’s mother in a later scene has traumatized multiple generations of viewers – intrepid, timeless cinema. As Bambi and his mother are grazing on early Spring grass in the meadow, the latter senses movement and pokes her head up, turning her head realistically as if on a swivel. Her eyes are wide, unnerving. She looks straight at the audience; this would be the stuff of fourth wall-breaking comedy in any other context, but here it is almost inquisitive. Bambi is one of the few Disney canonical films in which what is happening off-screen is equally (if not more) important than what the audience is seeing – something most evident here. The film stubbornly fixes its perspective on the deer and the snow-blanketed backgrounds that emphasize how exposed they are. They flee. There is no cover as the editing becomes more frantic, closing in on the deer’s terrified faces as they rush back to the thicket. A shot rings out. The film’s score – a constant presence throughout Bambi until now – decrescendos from broadening string lines to a chorus vocalizing pianissimo (mimicking the wind-blown snow drifts), and disappears completely when the Great Prince of the Forest appears.

The Great Prince is obscured by the falling snow.

“Your mother can’t be with you anymore.”

Silence. Stillness.

Bambi sheds but a single tear. He walks away with his father and, mirroring his deceased mother, looks towards the audience – this time, not in accusation or inquiry, but faint hope. Cynical viewers label this scene as anticlimactic due to Bambi’s lack of expression. But the filmmaking preceding it – a combination of the editing by Thomas Scott (1939’s Beau Geste, 1948’s So Dear to My Heart); the compositional decisions by composers Frank Churchill (Snow White, 1941’s Dumbo) and Edward H. Plumb (1944’s The Three Caballeros); the attentive character animation by artists too numerous to single out here; and the moody lighting and brushstroke textures to the backgrounds set by Tyrus Wong (1956’s Giant, 1969’s The Wild Bunch) – helps justify Bambi’s reaction. Some of the most important, at times traumatic, moments in life are silent and still. There is just enough pathos here without being anticlimactic or maudlin, or to be patronizing towards young viewers.

And yet the next scene shows Bambi grown up, in the middle of Spring, at play. There is no allusion to the tragedy on-screen a few minutes prior. The filmmakers are not minimizing Bambi’s trauma or nature’s violence, but saying that life nevertheless continues. There is growth, the acceptance of grown-up responsibilities, romance, love, child-rearing. Stags – like Bambi and the Great Prince – mate with does, but do not participate in the lives of their fawns. Unlike other Disney films where animals assume greater anthropomorphized qualities (1967’s The Jungle Book, 2016’s Zootopia), Bambi’s naturalistic approach contradicts any application of human norms and values onto its animals.

For years, this meant struggling to animate wildlife – especially deer. Rendering deer in appealing ways is difficult, due to the shape of their face and the positioning of their eyes on either side of the face. In the end, the animators went with character designer Marc Davis’ (Davis also led the character design of Thumper, Flower, and Cruella de Vil from 1961’s One Hundred and One Dalmatians) outlines: maintaining realistic deer anatomy, but exaggerating the face with a shorter snout and larger eyes. The Great Prince’s antlers proved most infuriating due to the intricate perspectives in animating them. When the animators resolved that they could not animate antlers from scratch, a plaster mold of deer antlers were made and was Rotoscoped (projecting live-action film onto an image for an animator to trace it) the film’s animation cels.

But the most remarkable contribution to Bambi comes from Tyrus Wong. Wong, a Chinese-born American artist, established the look of Bambi’s painterly backgrounds. Based on landscape paintings from the Song dynasty (960-1279; a Chinese historical period when landscape painting was in vogue), Wong’s concept art caught the eye of colleague Maurice “Jake” Day. Day, a photographer, illustrator, and naturalist, spent weeks in Vermont and Maine, sketching and photographing deer and the woods surrounding them. His sketches, however, were deemed too “busy”. By comparison, Wong’s concept art – using pastels and watercolors – is impressionistic, deeply atmospheric. Disney, impressed by Wong’s work, appointed him to be lead production illustrator, and instructed the other background animators to take inspiration from Wong’s concept art. Wong’s lush backgrounds have graceful dimension (a hallmark of Song dynasty landscapes), seemingly extending the forest beyond the frame. A brushstroke implies dimensions to the forest unseen. Wong’s sense of lighting – whether soaking in sun-bathed greens or foreboding black-and-white, blues, or reds – helps Bambi smoothen otherwise abrupt tonal shifts.

Nevertheless, history downplayed Wong’s enormous contribution to one of the greatest animated films ever made. The studio fired Wong shortly after Bambi’s completion as collateral damage from the aftermath of the Disney animators’ strike – by the terms of the agreement with the strikers, Disney recognized the animators’ union but would lay off a union-approved equal ratio of strikers and non-strikers. Wong later found work as a Hallmark greeting card designer and a production illustrator for Warner Bros. Retiring in 1968, Wong was contacted by Disney to serve as a sketch artist for Mulan (1998) – Wong declined, stating that animated films were no longer a part of his life. Only within the last decade has Wong, who passed away in December 2016 at 106 years old, received due recognition for his contributions that his on-screen credit does not reveal.

Perhaps inspired by his meetings and collaboration with conductor Leopold Stokowski and music critic Deems Taylor for Fantasia, Walt insisted on a film score to be present across Bambi’s runtime. Composers Frank Churchill and Ed Plumb take inspiration from the Silly Symphony shorts made prior to Snow White – Bambi’s score and soundtrack occasionally blends with the sound mix and it liberally uses “Mickey Mousing” (the synchronization of music with actions, most notably footsteps, on-screen). With the writing team periodically revising Bambi, Churchill and Plumb waited until the final structure of the story was set before composing the music. Transcripts from the Disney Archives also reveal an emboldened Walt – again, perhaps inspired by his experiences from Fantasia – to insert his own preferences in how the music should sound. Walt, a man who once professed that he, “[didn’t] know beans about music,” was more musically articulate than he had been before Fantasia, and was unusually influential in the film’s orchestration. In the end, the Churchill and Plumb score is largely framed by the opening credits number, “Love is a Song”.

Love is a song that never ends. Life may be swift and fleeting. Hope may die, yet love's beautiful music Comes each day like the dawn.

In a few short stanzas, the composers begin a score that falls silent only two times: when Bambi’s mother mentions “man was in the forest and when the Great Prince of the Forest appears shrouded in snow. If one did not already associate it with the actions of the film’s characters, Bambi’s fully-orchestrated score sounds like a lengthy, motif-filled tone poem that can be heard in a concert hall. Listen to the string harmonies supporting the “Love is a Song”-vocalizing chorus during “Sleep Morning in the Woods/The Young Prince/Learning to Walk” beginning from 4:19-5:20. That sort of harmonic density would not be out of place in a late Romantic-era concert hall. Occasionally, that tone poem of a score gives way for the limited musical soundtrack like “Little April Shower” – the film’s best song, and one where instruments and vocalizing humans serve to simulate the sound of rain and wind. Bambi contains some of the tenderest music, reflecting the film’s thematic content, in the Disney canon.

Upon release, many critics and audiences found Bambi a step backward for Disney, caring not that the studio’s namesake and its animators agonized over its realism. Disney had upended the moviegoing world’s expectations with Snow White and spawned competing studios looking to replicate that alchemy. But in doing so, the studio also coded audience and critic expectations that animated film should only be fantastical. To strive for realistic animation to reflect nature was, “boring” and “entirely unpleasant” – for these critics (who say nothing about how animation can guide emotion), animated fantasy was innovative because it bent reality in ways live-action cannot portray. Echoing the most vehement criticisms hurled towards Fantasia, Bambi’s then-contemporary naysayers implied that even attempting to animate nature realistically and ignoring fantasy would be a pretentious exercise. In columns and tabloids, the American media also devolved into a mud-slinging debate over whether Bambi – because of its off-screen portrayal of humanity – defamed hunters.

By similarly contradictory logic, animated film in 1942 was mostly perceived as children’s entertainment – an attitude that has been dominant ever since, and one that yours truly tries to discredit with exasperating frequency. With no other rival animation studios attempting anything as ambitious as a Fantasia or Bambi, gag-heavy short films from Disney and its competitors contributed to these widely-held views. With World War II underway, the dissonance of expectations would only escalate. American moviegoers, though wishing to escape from the terrible headlines emerging from Europe, North Africa, and Asia, believed animated films too juvenile for their attention. Bambi – a dramatic film intended for children and adults – faltered under the burden of these wartime contradictions. It would not make back its production costs during its initial run.

This commercial failure, on the heels of the animators’ strike, cast a shadow over Disney’s Burbank studio and on Walt himself. Walt would never publicly admit this, but he believed he had been too focused on animated features. So much of his creative soul and experimental mind had been dedicated to the Golden Age films, but at what cost? The critical and commercial triumphs of Snow White and Dumbo were offset by Pinocchio’s (1940) budgetary overruns and the headline-grabbing negativity (by music and film critics) that financially drowned Fantasia and Bambi. Internal divisions that led to the animators’ strike nearly destroyed the studio; heavy borrowing from Bank of America resulted in runaway debt. Walt – spiritually and physically – would not be present for the rounds of layoffs (mandated by the agreement with the striking animators) that almost halved the studio’s staff after Bambi’s release. He accepted a long-standing offer from the Office for Inter-American Affairs to embark on a goodwill tour of South America to help improve relations with Latin American nations (as well as collect ideas for future animated films).

Bambi remains a sterling example of Walt Disney Animation Studios’ artistic daring. The film pushes realistic animation as far as the technology of its time can. It does so not only for the sake of visual realism, but to reinforce the profound emotions it has evoked for decades. The film’s tragic dimensions are legendary, oft-parodied; yet this does not (and should not) define it. Almost eighty years since its debut, Bambi’s reputation continues to be mired in the contradictions that first greeted its release. There are some who still believe that animated cinema, by its nature, is specifically for children. And by an extension of that thought, some believe tragedy has no place in animated cinema. What a limited view of art that is, an underestimation of humanity’s capacity for understanding.

Bambi concludes the Golden Age of Walt Disney Animation Studios. Since its departure from theaters, moviegoers have rarely been treated to animated cinema of equal or greater maturity – let alone from Disney itself. The artistic cavalcade of Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Fantasia (1940), Dumbo (1941), and Bambi (1942) resulted in five consecutive films resembling nothing like the other, but all united in ferocious innovation. The central figure of this Golden Age, Walt Disney, was personally involved in each of these works; the end of this so-called Golden Age comes as he stops dedicating himself so completely to the studio’s animated features. In their own ways, each film helped define what animated cinema can be and who it is for. That debate remains fluid, one where the principal interlocutors learn from or disregard the lessons of this Golden Age.

My rating: 10/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

This is the seventeenth Movie Odyssey Retrospective. Movie Odyssey Retrospectives are reviews on films I had seen in their entirety before this blog’s creation or films I failed to give a full-length write-up to following the blog’s creation. Previous Retrospectives include The Wizard of Oz (1939), Mary Poppins (1964), and Oliver! (1968).

[oldshowbiz]

John Barbour, Comedian: Frank Gorshin was a wonderful impressionist, but the idiot turned down the Dean Martin Roasts. They wanted him to be the regular impressionist on the roasts and his wife talked him out of it. They gave the permanent spot to Rich Little instead... 

Rich Little, Comedian: Yeah, well, Frank didn't do any politicians at all - ever. 

John Barbour: Rich Little does some nice impressions, but Gorshin was just so good. 

Rich Little: He came along before me and was the first headliner that did impressions. Very talented, but very serious. Not much sense of humor. No one was really too friendly with Frank. He was to himself. He never laughed. 

Will Jordan, Comedian: He was also not particularly nice. I first met him at The Horn in Santa Monica. The first thing he said to me was, "I'm not really a mimic." I said, "Boy, you could have fooled me." Chuck McCann tells the story of how he got Frank his first break on Steve Allen. McCann says Gorshin auditioned as a singer. He wanted to sing because he thought he sounded like Sinatra. 

Chuck McCann, Comedian: It's a funny story because after I helped him The Steve Allen Show booked him and kicked me off to fit him in!  

Will Jordan: Steve Lawrence and Vic Damone were both unquestionably Sinatra copies with excellent voices. Gorshin's singing voice wasn't as good and he looked like a little skeleton - very odd looking little creature. 

Chuck McCann: Anyway, the Gorshin thing happened at a rehearsal of The Steve Allen Show where Tom Poston and I were doing Laurel and Hardy. We were asked to stay after the rehearsal because they were auditioning new comedians and they felt it would help if there was a bit of an audience.

Will Jordan: Story goes that he auditioned and the entire cast would really help you on that show - laugh it up and applaud. 

Chuck McCann: There was a piano with a bunch of hats on it in the hall and there was this guy standing there. I said, "What’s with the hats?" He said, "I do impressions." I asked him to do a couple and they were really remarkable. I said, "Oh, they're going to love this." So I sit down with our little audience. Steve Allen was sitting next to me. Gorshin comes out and starts playing rock and roll. He sings this awful song. He's half way through and everyone is cringing. Steve gets up, "Well, thank you very much. That's terrific. Uh, we'll give you a call and let you know." It was embarrassing. I yelled out, "Wait, what's the porkpie hat for?" Gorshin says, "For my impressions." I said, "You do impressions? Can we see some of the impressions, Steve?" Steve glared at me. Everyone glared at me. But I knew I was safe because he was marvelous.

Will Jordan: Chuck said that as Frank was leaving he said, "What's the hat on the piano for?" Frank said, "Oh, I do some impressions." They all sat back down.

Chuck McCann: He turned around, put on the porkpie hat and became Richard Widmark. It was perfect. He did the voice spot on and everybody's mouth dropped. Then he did Kirk Douglas and so forth and so on. Three weeks later he was on the show. Gorshin never remembered the incident. 

Will Jordan: Of course, this is Chuck's version of the story so Chuck McCann is the hero.

Chuck McCann: In his mind he thought he had done well, but I saved his ass. 

Will Jordan: It's probably not true.

Rich Little: Gorshin ended up doing George Burns on Broadway - which I never ever heard him do in his act, but he did a pretty good job of it. It wasn't bad, but I thought it was dull. 

John Barbour: The problem with Frank Gorshin was the same as a lot of comics. He only had twenty-eight minutes of stuff. Often I came to him with contemporary material and he wouldn't try it. He was so stuck on doing the old stuff that was already proven.

[galadrieljones]

gala’s writing tips: Dialogue Edition

I’ve been thinking about doing this for a while now, so here you go! I’m gonna try to do a series of posts with quasi-abbreviated writing tips, from me to you, on various topics. If you disagree with me on any of my advice, cool! I’m just one teacher, and this is just my perspective. Either way, take what you want and leave the rest <3 And happy writing!!

Advice for...Writing Dialogue!

Forget every awful thing your English teachers have ever told you about the word “said.” “Said” is the ONLY dialogue tag we should ever really be using, with few exceptions. Dialogue tags have taken on too much of the burden these days when it comes to characterizing speech, when they should be near invisible. Especially when used too copiously, flashy dialogue tags can tend to be cumbersome and annoying to read, slowing down your pacing and constantly reminding the reader that they are Reading Dialogue™ when they should just be immersed in the scene. I feel this has a lot to do with the influence of film and television on our writing, and the incessant urging of high school AP Lit teachers that we NEVER EVER REPEAT WORDS EVER. But that’s bullshit. First of all, repetition has a lot of positive functions, and I hate this blanket moratorium on it as if it’s evil. Second of all, fiction is NOT film and television. Keep that in mind forever!! And instead of relying on fancy tags to spice things up and characterize your dialogue, use actions and description to imply your character’s state of mind as they speak.  

When writing dialects, avoid overdoing the phonetic spellings and excessive punctuation. It tends to be cringy, and trust me when I say, you will never capture a dialect perfectly by spelling accents out the way they sound phonetically in your own subjective head. Instead, when writing original fiction, do your best to describe the dialect ahead of time (it’s okay if it’s not 100% perfectly accurate in every way--remember that fiction is not film and it’s not real life--lots more goes into writing a compelling character than just their dialect) and just type the words the characters are saying, as they’re normally spelled. If you’re writing fanfiction, keep in mind that your reader already knows how your character’s voice sounds, so there’s no need to (literally) spell it out for them. Remember that CADENCE (tempo and rhythm of speech) and DICTION (word choice) are much more important in terms of characterizing a dialect and a speaker than simple phonetic spellings in the language. 

When writing dialogue in scenes, don’t forget to address BODIES and ENVIRONMENT. The first thing you really want to avoid is “Floating Head Syndrome,” ie: speaking characters floating in a vacuum who do not have bodies. A good way to solve this is to give your characters something specific to do while talking, which addresses the body and also allows characters to manipulate and/or move through the setting, creating opportunities for description. Mixing action with description of setting in scenes with dialogue will also help you pace your dialogue more effectively, as I know pacing is one of the hardest things to figure out and improve when writing dialogue.

When writing scenes of dialogue, avoid excessive interiority between exchanges. Interior monologue is definitely OKAY, but you don’t want it to be outright replacing writing that focuses on setting and action. Spoken dialogue in conjunction with only or too much inner-monologue will result in Floating Head Syndrome. 

You want your dialogue to move FAST, usually, and the way to make your dialogue feel fast is through efficient pacing. Excessive description of anything in the middle of a dialogue exchange, including setting, exposition, and inner-monologue, is going to slow down your pacing and make your dialogue feel cumbersome. So will overzealous tags. The best way to practice and improve your pacing is honestly just to READ A LOT. Don’t take pacing cues from film and television. Read the masters and read them a lot. A few really great writers to study for pacing in dialogue are Ernest Hemingway, Raymond Carver, Ann Beattie, Raymond Chandler, and James M. Cain. Seriously, read Cain’s crime novel Double Indemnity. You’ve never seen dialogue so thick with tension and so beautifully paced.

Next: How to make your dialogue sound realistic? This is a big question. First of all, it’s best to try and remember that in fiction, dialogue doesn’t have to be “realistic.” Dialogue serves all sorts of purposes aside from simply communicating information, and the way that it sounds or appears on the page can often be a function of the writer’s style as well as characterization of the speaking character. Fiction writing is not method acting. In fiction, our main medium is LANGUAGE, not pictures and sounds, and it’s actually really important to remember this. With language, we can simulate and even mix all five senses. We can create impressionistic images and layer in symbolic or ambiguous meaning as well. There are no rules that say dialogue must be realistic. 

Continued: Instead of focusing on making your dialogue “realistic,” focus making sure each speaking character has their own AGENDA, ie: characters hear what they want to hear and will often respond accordingly. THIS is how real people talk--past each other. Never have two characters answer one another in a repetitive and direct fashion. The least realistic thing ever is the idea that when two people are talking, the conversation at hand is the ONLY thing they’re focused on. A really good exercise for practicing agenda is to write a scene in which two characters are discussing something serious, but only indirectly, ie: they can never overtly refer to or announce the exact thing they’re discussing. Think about it like: The conversation they’re having is right here, but the thing they’re talking about is “over there.” It’s in the room, but it’s not on the table. A really good short story for studying how this can be done well is Ernest Hemingway’s “Hills Like White Elephants.” No, I’m not telling you to write like Ernest Hemingway, but he writes agenda better than any other writer out there.

Moving on: When starting a scene, skip the small talk. When two characters meet up at the bar, it’s not necessary to go through the whole “Hey, how are you?” “I’m fine, how are you?” “Just super. The weather’s been nice.” “I agree.” This is boring. It’s implied. It’s not doing any work. So skip it. Again, fiction is not real life. If you sit and listen to an irl conversation between two people sitting at the next table at Starbucks, you will find yourself bored as hell in about two minutes. That’s because irl, there’s so much filler, and in fiction, we get to cut it out. Because it’s boring. This is just another reflection of how dialogue does NOT have to be “realistic.” Because instead, you can toss off the small talk in a single sentence of description and then get straight to the point: They met at the bar. Frank ordered a gin gimlet while Leonard ordered a vodka soda. After a little small talk, Frank cleared his throat and finally asked the big question. “Are you sleeping with my wife?” he said. Here, we have a little writing to set the scene and establish the setting and context, and then we get right to the tension. 

That said, in conclusion: TENSION is the most important factor to consider when writing a scene of dialogue. Tension can come in all forms. It can be romantic, menacing, ominous, sexual, etc. But there must be something rubbing against the grain, otherwise, your reader is going to get bored. Tension killers include all of the above: small talk, too much exposition (ie: establishing plot points and background context), characters talking to one another in a direct and one-dimensional manner, pacing that is too fast (not enough attention to setting and/or bodies), pacing that is too slow (clunky dialogue tags and too much inner-monologue/description between each dialogue exchange). 

To incite tension, make sure you are always aware of a couple different things: 1.) What is at stake in the scene? ie: What has the potential to be lost and/or gained? It can be small or big, but there must be something at stake; 2.) What do your characters want, and what is keeping them from getting the thing they want?; 3.) Is the passage of time, OR the environment playing a role at all, in terms of adding tension or conflict to the scene?; 4.) What is the ultimate purpose of this scene in the overall text, and how can you deepen that purpose by addressing BOTH plot and character? 

I hope this helps in any way!! As always, if you ever have a writing question, drop me an ask. I have been writing and teaching writing to many different skill levels for a long time, and ll do my best!! <3 -gala