#interview: westworld

[shesnake]

Art in Interview with the Vampire // Motion Picture Soundtrack

[idontwikeit]

INTERVIEW WITH THE VAMPIRE main title

Season 1 New Orleans & Dubai // 2.01 Romania & Dubai // 2.02 Paris & Dubai

requested by @weather-mood

[raurquiz]

#happybirthday @ThandiweNewton #thandiwenewton #actress #westworld #missionimpossible2 #Mufasa #ChickenRun #DawnoftheNugget #Wednesday #alltheoldknives #soloastarwarsstory #norbit #riddick #rocknrolla #interviewwithavampire #crash #reminiscence #lineofduty #gooddeeds #bigmouth

[mourningmaybells]

something strange was happening in 1973- i mean 2016

[millaysmaeve]

so the last few days i've committed myself to learn how to edit a fancam/video whatever they are calling these days just to indulge a particular vice of mine: make parallels between louis de pointe du lac and halores from westworld...i promise that once it's done i won't sound so crazy for saying they are quite alike

[keyboard-cowgirl]

jeffrey wright saying there’s nothing definitive yet but he has a feeling in his bones that there will be something to wrap Westworld \W/

[jamespoeartistry]

'Westworld', Retirement, & Jodie Foster: Sir Anthony Hopkins Sits Down

[darknessrides]

AND THE BOY HEARS LOVE | monster | alice munro, face // joan tierney, interview with the machine woman //westworld 2x10 // julian randall, icarus imposter syndrome // florence welch, useless magic: lyrics and poetry

[bwaldorf]

i was tagged by @librapropaganda to make a poll of (some of) my favourite female characters to see who wins — thank you em!!! 🫂💗

tagging: @forever-and-almost-always - @bejeweleds - @joekeerys - @ellewod - @pinktuals - @willowsblues - @omegatual - @homeisfaraway - @therealrashid - @duovxq - @2sgf - @niurd-main - @makiitoh - @griefprophecy - @sunmisbf - @bittersweetbabett - @nedfelix - @neovenoms - @cupidjoy - @honeybearhalsin - @rosedews - @curryaboo - @valiumvenus - @nesmithmike - @devonaoski - @poisongirlbydior - @ghulsona - @serenrdipity - @milfbestie - @latejulys - @fleeceyang - @7bitter - @yvain - @kylegallners - @chlotual - @cupuasu - @rangdeenis - @1adyluck - @duskdolly - @rooh-afza - @whiniest - @lasbrumas - @a-fall-of-stars - @leoseazon - @tittiez - @messmers - @venka - @flowerwebs - @wyrmway & anyone else who'd like to do this! 🫶🏼

[swan2swan]

Listening to the Heidi interview:

-Yaz's Chaos Theory was last to be designed first, Ben and Darius were first.

-They get to take off their jackets without losing them, and they use their pockets! (Dunno if that's just Season One stuff, with Sammy finding the map in the pocket and Darius losing his coat for an episode)

-There were a LOT of Rambo-Ben edits in Camp Cretaceous. He's apparently VERY MUCH revised (I'll keep my eyes open). There were things where he was supposed to "Not Be Afraid Of Anything", which would have been funny, but it is more realistic for him to still be scared a lot.

-Yaz and Sammy didn't get greenlit officially until partway into the pandemic (obviously the groundwork was there but they didn't get the go-ahead until the two seasons were officially wriitten, probably with confirmed renewal).

-The best parts of Chaos Theory are yet to come

-A LOT of character development happens after the writing stage and into the board stage. Storyboard artists and directors have a lot of say on how characters are depicted, so it's a lot like working with live-action...things change after writing.

-The reference sheets for Chaos Theory were better than the ones in Camp Cretaceous; the model sheets for Bumpy (pre-adult) were just front view and side view. No toys to reference. But it would have been useful (PROVIDE YOUR ARTISTS WITH RESOURCES, STUDIOS!).

-First scene she revised was when Yaz finds out Ben is alive. Spikes were difficult to figure out.

-Kentrosaurus is also really hard to stage, because you'll block out characters with shoulder spikes, and you have to draw them quickly and simply (shorthand), so you have to keep all of the complexities in mind.

-Robot dogs were not "The worst thing they added" (INSERT JOKE). But the invisible force fields and doors were tough to work with (because the storyboard artists didn't know how they worked!). Which...wow, props to that.

-"Jurassic Park IS a science fiction series" I CHEERED "And it's written by Michael Crichton, who also wrote Westworld" CHEEEEEERING AGAIN!!! "and it's impossible to bring back dinosaurs..."

-She likes the scene where Ben smashes the BRADs with a golf club (I have the files to make gifs, that's coming).

-In Camp Cretaceous, the kids weren't allowed to get physical with the dinos. Kenji can't kick a compy, e.g...."Too violent!" NO IMITABLE BEHAVIOR. Hence...you lose a lot (but Kenji gets to punch a raptor now!).

[marimayscarlett]

It’s cold outside. Our heating is still off, I am desperately trying to get warm.

Do you happen to have some Richard pictures/stories that might warm my insides?

Thank you for your service, m’am🖤

Hi 👋

First of all, I truly hope that your heating will soon be working! Sending warmth and hugs your way 🤲🏼

Now, regarding some stories - not sure if these will do the trick, but I always feel warm/smile/sigh and look into the distance dreamily when I think about the following (sadly, I can't find sources for every story here - so some might just be cute "urban legends", but I just choose the believe them ☝😌):

A story of a fan about meeting Richard after a concert: "The hug I got was bone crushing. I was right in front of him. Cried my way through Frühling [...]. He checked on me and asked me if I was ok. Said i was fine and even the amount of times I'd seen them play, i got so caught up in the emotion. Richard told me they were the most moving moments for him at least and pulled me into a huge hug that if i think about it, i can still feel. Sounds weird but when you get a hug like that you dont forget it." (X)

It's incredibly nice to see how much he seems to care about his kids. Of course, that's the job of a dad, and yet it's not always the case. This situation warms my heart and makes it aching for him at the same time: “When my daughter, Khira, was 3 years old, she became very ill. There was nothing to worry about, a typical advanced tonsillitis. She was admitted to hospital. As always there were no seats in the wards I faced a choice: either pay for the ward or stay in the corridor. Only very wealthy people could afford the paid hospital ward. I was at that point that still could not afford it. We needed expensive medication, and I did not earn much. And she was put in the hallway. I slept with her in the hallway at night and her mother at daytime. And so the weeks passed until a free place appeared in the ward." (X)

Richard once mentioned (I think it was one of the festival interviews in 2017, yet I can't find the source anymore, so I might be wrong), that he was present during the birth of both of his daughters, and that the birth of a child is one of, if not the most, impressive things he has experienced in life. He seemed truly positively enthusiastic and sincere in that moment, which I found very beautiful, since not every man/father thinks like this.

Just this moment from this interview:

I find it rather endearing that he seems to love fantasy and would have liked to play a role in "Game of Thrones" or "Westworld", to let certain characters in him come to life. Richard seems to find enjoyment in movie worlds like these and I love that he speaks so openly about it 🥰 (X)

A long time ago, I read about an anecdote of the time when he lived with Till in the early 90's - they had little to no money, let alone food, so they apparently stole all the necessary ingredients, so Richard could make donuts for Till, who has a major sweet tooth. No idea if this is true, but it's really sweet.

In this interview, Richard expressed that he would drop everything to play a benefit for abused children.

He once gifted his guitar to the Hard Rock café in Berlin and signed it with "Rammstein!! RZK YeaH" which is kind of cringy, yet very cute?? (X)

Some pictures which just warm my heart - his comfy travel outfit, product free hair, him being soft and smiling, meeting a fan this year and being seemingly quite open, or just downright adorable on stage...

Weird assortment, I know and I'm sorry, but maybe it helps a bit 🤍

[scotianostra]

Happy Birthday the Scottish actor Peter Mullan born 2 November 1959 in Peterhead. I love Peter’s work and rate him as highly as Brian Cox and If ever there was a story of rags to riches it is Peter Mullan, born in Peterhead the family later moved to Mosspark in Glasgow. Mullans father was a drunken violent man but despite this Peter did well at school, at least till the age of 14 when the climate at home forced him out onto the streets and into a gang, spending less and less time at school. In his own words he was aggressively lobotomising himself but admitted he kept up his reading on the sly “You couldnae tell the gang you were reading Carl Jung.” he said. I’m not sure his heart was in the gang culture as he says he was “kicked out” after a couple of years, he returned to school and sailed through his Highers and started at Glasgow University at 17. His dad died of lung cancer on his first day. Mullan studied economic history and drama and despite suffering a nervous breakdown in his final year still managed to graduate. He went on to teach drama at Borstals, prisons and community centres while becoming involved in the left-wing theatre movement that flourished in Scotland in the 1980s. In 1987 he made his professional acting debut with the Wildcat theatre company in a political pantomime. Bit parts in Scottish films and TV series followed, The Steamie, Taggart, of course, and Rab C Nesbitt, as well as The Big Man and in Braveheart, he uttered the words, “We didn’t come here to fight for the” Danny Boyle, Shallow Grave and Trainspotting were another two films that Mullan served his apprenticeship in. The breakthrough came when Ken Loach chose him in the title role of “My Name is Joe” he gave a brilliant portrayal Jekyll-and-Hyde character , a recovering alcoholic whose humanity and warmth masked a frightening capacity for brutality. He won his first award at Cannes as Best Actor for the role. Around the same time Mullan was starting to get into directing, three surreal comic dramas set in the Glaswegian working-class world and then his first full length film, he not only directed but wrote the excellent Orphans an odyssey of four working-class siblings roving round Glasgow in the 24 hours after their mother dies. Channel Four, who funded the film chose not to distribute it as they didn’t think it would attract a large commercial audience. The film however was shown at Film festivals around Europe and won numerous awards, in interviews, Mullan has said that once Orphans started winning awards Channel Four apologised and asked if they could distribute it, an offer he refused. Since then Peter Mullan has not looked back, directing and penning The Magdalene Sisters and Neds as well as starring in amongst others, Harry Potter and the Deathly Hallows, War Horse, Hector and Tommy’s Honour, on the small screen he was one of the main characters in ITV series The Fixer, The BBC Two drama Top of the Lake, and in the excellent drama series Gunpowder. More up to date Peter has appeared as Jacob Snell in the first two seasons of the Netflix series Ozark, all three series of the BBC Two sitcom Mum and a recurring role in the popular TV reboot of Westworld. He has also starred in the Netflix fantasy drama Cursed. We will next see Mullan alongside Colin Farrell and Tom Courtney in the BBC series The North Water. Peter was also one of the participants of the National Theatre of Scotland’s Scenes For Survival project, which featured talents from the country’s arts industry making lockdown-related short films as a response to the country’s theatres having to close during the coronavirus pandemic.

Mullan has been busy in the past few years, appearing in TV shows Liaison, Payback, After the Party and LOTR: Rings of Power, as well as the film, Baghead a Horror film which has average reviews on IMDb. Outlander fans look out for him in the spin off series Outlander: Blood of My Blood, a prequel to the popular Starz show, it follows the parents of both protagonists from the original series. Tony Curran is also cast as a younger Lord Lovatt. It is follows the parents of both protagonists from the original series it is expected to premiere in 2025 on Starz. He has a few oter projects on the go, the most hard hitting will no doubt be an ITV mini series called Lockerbie which will focus on the investigation into the crash on both sides of the Atlantic and the devastating effect it had on the small town and the families who lost loved ones.

[toomanytookas]

March Fic Madness: Reading List

Thanks again to @the-blind-assassin-12 for creating the March Fic Madness challenge!

I've already posted my stats for the challenge over on this post, but here's a list of what I read!

I find that, for me, lists without any description end up leading to decision paralysis/having to click a lot of links without knowing where you're going, so I've tried to provide a super brief summary of each fic as a taster (obvs more info is provided by the author on each fic’s actual page). If you're an author whose work is listed here and feel I've misrepresented your fic, let me know and I can change the little blurb, it's obviously not my intention to do your work dirty! <3

List is alpha sorted by character then by author.

Dieter

stay sexy and don’t get murdered - @chronically-ghosted- oneshot > Against the backdrop of a murder mystery, the reader and Dieter resolve some relational conflict and lean into their mutual feelings.

vamp!dieter drabble - chronically-ghosted - oneshot > Vampire!Dieter permits journalist!reader an interview. There’s a “Say it. Out loud.” moment.

the howler monkey - @covetyou - oneshot in series > Dieter struggles with some strong feelings and is comforted by his PA.

Laminated - @katareyoudrilling - oneshot > Dieter’s asking around the hotel for sex and his vasectomy seals the deal for the reader.

Go Play Your Video Games - @kedsandtubesocks - oneshot > Reader is a cozy video game streamer and Dieter, still a famous actor, is a fan.

One Day at a Time - @rebel-held - chaptered (ongoing) > Reader is a tutor for a young actor on the set of Dieter’s current flick.

The Kit Kat Trilogy - @schnarfer - series (complete) > Reader and Dieter hooked up 10 years ago and meet again at Christmastime.

Purple Haze - schnarfer - oneshot > 60s fashion photographer Dieter does a shoot with model!reader.

lost, found - @sp00kymulderr - oneshot > Reader comforts Dieter when he is (re)confronted with his family's homophobia.

dieter x poppy oneshot - @wildemaven - oneshot related to chaptered fic > Smutty lil’ footjob after a long day. Part of the Sweet Creature universe.

Ezra

A Girl Walks Into A Bookshop - @oonajaeadira - chaptered (complete) with an open followup series > Post Prospect. Ezra owns a bookshop and he and the reader fall in looooooooooove.

Frankie

frost on the windows, flowers in the bed - @5oh5- chaptered (ongoing) > Both reader and Frankie have travelled to Paris for a reset. They hook up at a bar on NYE.

in another life - chronically-ghosted - oneshot > Smutty, domestic slice of life oneshot.

All For You - @goodwithcheese - chaptered (complete) > Childhood friends reconnect at their 25 year high school reunion.

Hold Fast - @jeewrites - chaptered (ongoing) > Reader is a physician by day, powerlifter by night and meets Frankie through Pope’s gym.

Tommy’s Party - @luxurychristmaspudding - chaptered (complete) > Angsty (ANGSTY) roommates to lovers.

Lions Ain't the Kind - @qveerthe0ry - chaptered (ongoing) > Developing early relationship ft. subby!Frankie.

Dial Drunk - schnarfer - oneshot > Childhood friends who shared one intimate night reconnect and begin to dream of a better life together.

Jack

Cognitive Dissonance & Decoherence - @prolix-yuy - chaptered (complete) > WestWorld injected with a sentient host Jack.

losin' you - wildemaven - oneshot > The beginnings of reconciliation between exes at a rodeo.

Javi P.

Paranoid Heart - goodwithcheese - chaptered (complete) > Two souls who are a bit too worldly wise for Laredo meet through their parents and fall for one another. [Still working my way through this one!]

Seen - katareyoudrilling - oneshot > Older reader refuses to take Javi’s flirty attitude at face value, but finds the man behind the bravado appealing.

Go Your Own Way - schnarfer - oneshot > The development and decline of a complicated romance with young fuckboy Javi.

Joel

No outbreak/fully alternate universe AUs

Maintenance Request - @burntheedges - chaptered (ongoing) > Lit prof reader and [official title redacted] Joel meet as he works on facilities maintenance and landscaping around campus Helen - @kiwisbell - chaptered (ongoing) > John Wick AU but where the wife character lives and angst about revelations of the past ensues. nervous joel oneshot - wildemaven - oneshot > Joel is feeling anxious about satisfying the reader during their first time together.

Jackson AUs

Seams - @fuckyeahdindjarin - chaptered with additional series oneshots (ongoing) > Seamstress reader meets Joel when he needs help with his pants and the flirty beginnings of a relationship bloom. baby, i'm yours - @joelsgreys - oneshot > Joel has insecurities about being good enough for the reader. You Brought Me Poison Flowers - @ohforficsake - chaptered (ongoing) > OC Lennie runs the Jackson apothecary. we've got one thing in common, it's this tongue of mine - @youcancallmeelle - series (two parts, of which this is one) > A fun clandestine relationship.

Post-Outbreak AU

safe and sound - @janaispunk - chaptered (ongoing) > Joel & Ellie crash land at the reader’s home post Joel getting stabbed.

Lucien

this high of you & me - kedsandtubesocks - oneshot > Dealer!Lucien shotgunning with reader.

Hungry Eyes - @missredherring - oneshot > Ex!Lucien observes the changes in reader's confidence at a party where she’s with her new beau.

Marcus P.

Only for you - burntheedges - oneshot > Established early relationship. Reader has a variety of piercings that Marcus finds exciting.

All About the Bass - katareyoudrilling - oneshot > Musicians!reader and Marcus meet at community orchestra rehearsals.

Headshots - @secretelephanttattoo - series (complete) > Photographer!reader is hired to take headshots for the FBI and meets Marcus. Series covers their relationship over several years.

Wash Day - secretelephanttattoo - oneshot > Established early relationship. Marcus washes the reader's hair.

Third Time’s the Charm - the-blind-assassin-12 - series (complete) > Marcus and reader navigating their early relationship while he travels for work and settles into life in DC.

Shane & Tim

bloody kisses by @perotovar - chaptered (ongoing) > Shane’s gay awakening is full of angst and a bit of getting into trouble. He gets help (and eventually help? 👀) from one Det. Tim Rockford.

[etaindelaserna]

Can I ask from this ask game : https://www.tumblr.com/toomanyfandomsthings/749729499738996736/send-me-a-ship-and-a-number-and-ill-tell-you?source=share

No. 2, 10, 11, 12, 15 for Dramione, KakaSaku and SukuIta....Thanks 🌻

Dramione

No 2. Draco's love letters are written on the best pergament one can buy with gold. In addition he has made an effort to charm them to smell like freshly mown grass, because he knows how much Hermione adores the smell. His impeccable handwriting and phrasing are meant to turn these letters into literary pieces of grandeur about the nature of love and how obessed he his with Hermione and when she is finally going to marry him BUT in reality they are discussions about charm and potion theories, books they think the other should read and A LOT OF arguing about the practical application of said theories. There is still a lot of flirting and teasing on Draco's part, which never fails to either make Hermione almost explode or smile with the hint of a blush on her face. Hermione takes her responses very seriously and thus they are always too long, which in return causes Draco to point out, that she had made her point already 3 pages earlier. Since Hermione doesn't really get the hint that Draco is indulging her with these discussions, he at one point had started to include book pressed flowers with his letters. He even extended that to her most read books in the library.

No. 10. They are united by their love for adventure and fantasy shows that have either a certain storytelling or entertainment quality to them. They watched Game of Thrones, Vampire Diaries (of course comparing these vampires and werewolves to the real deal), Westworld, The Walking Dead (but only till season 5), Once Upon a Time (they're both intrigued by how mystical magic is portrayed), Stranger Things, Charmed, Buffy The Vampire Slayer, True Blood, Xena, The Witcher and American Gods. They tried to watch Outlander but Draco was annoyed that Hermione seems to get awefully quiet every time Jamie smiled or smirked or was shirtless, so Hermione watched Outlander, Spartacus and Rome on her own. Draco on the other hand was hiding from her Band of Brothers, Homeland, House of Cards and The Pacific.

No. 11. Draco's first impression of Hermione was, that she seems to be just as snotty and aristocratic in the way she carries herself as he was but without the name or reputation to back it up. She thought too highly of herself, her opinions and seemed to think she was better than anyone else. She seemed to only help others if it benefited her. Hermione thought Draco to be just another rich brat, who thinks Daddy's money is going to solve all of his problems instead of working hard.

No. 12. They don't talk about it, athough Draco is dropping hints and he wants to negotiate what they are going to do for their anniversary, but Hermione says, she's too busy and whatnot. In the end Draco kidnaps her. They are visiting Versailles and the Louvre and he schedules an interview with one of Hermiones favourite authors. Hermione feels guilty for not realizing how much this day means to him and allwos him to take her to a fancy restaurant. Afterwards they take a walk along the Seine and they dance and laugh and drink a bottle of wine. She tells him, she loves him and kisses him and in response he asks her if they now can start working on "Project Baby".

No. 15. Sometimes Hermione whised Draco wasn't so high and mighty but then he wouldn't be Draco and she wouldn't be able to tease him about it. Draco sometimes whished Hermione wasn't so god damn selfless all the time, he whished she would take more care of herself instead of sacrificing everything for everyone.

KakaSaku

No. 2. Kakashi's love letters are basically just post-its or random torn-off pieces of paper which Sakura finds EVERYWHERE: on her desk, her drawer, the fridge, among her medical supplies, sailing out of her clothes or stuck to her backpack. They mostly contain one or two sentences, sometimes just a word or a doodle. But the most emportant thing: they always make her smile. Sakura's love letters are at least two pages long and contain detailed reports about a new medical jutsu she has mastered, a new food item she has tried or the complete mystery of why all of her plants keep on dying. In between she slips sentences about what he would have said or done in these situations. One of Kakashi's ninken has been put on mail duty and is to stay with her until Sakura has finished her reply.

No. 10. Sakura would never admit it but she actually enjoys watching rom coms, period drama or soap operas with Kakashi. Not because she wants to use them as ammo to tease him about it but because they are lighthearted entertainment with some analysis or commentary about the hardships of relationships sprinkled in every now and then. They ease her mind and she adores how invested Kakashi is. It's kinda cute. They watched Bridgerton, How I met your Mother, Ugly Betty, My Secret Romance, True Beauty, Downton Abbey, Poldark, Tudors and Outlander. The more teenage-targeted shows like Vampire Diaries, Never Have I Ever, Reign, Riverdale, Smallville and One Tree Hill she keeps to herself. Kakashi doesn't watch anything if it's not with Sakura.

No 11. Kakashi's first impression of Sakura was that she is just another kid who hasn't figured out life yet and who is still too focused on herself and on superficial things that won't matter in the long run. He tries not to judge her too harshly for her perspective because just like all genin, she'll have to grow up faster then she thinks. Sakura had a hard time believing that this man really was an elite shinobi with a widespread reputation that makes him known, respected and even feared by s-class criminals. He seemed too goofy, yet bored to be their teacher and not really interested in teaching, which enraged her.

No. 12. Sakura debated with herself for a long time whether she should bring up the "anniverseries" topic at all with Kakashi. Not because she thought he was indifferent to it. The contrary: she knew him to be a hopeless romantic. So she felt a lot of pressure to deliver something profound. Kakashi noticed within a week what it was that put Sakura under this much stress and decided to plan little things for them before the actual date: they tried the new ice cream flavor in Konoha's one and only gelato shop, he bought a new board game for Saturday nights, they went to take pictures of them with silly little hats and mustaches, they took a dance class together and tried to paint a portray of each other, which caused Sakura to laugh so hard, she almost peed herself. It made Sakura realise that they didn't have to do anything super extraordinary. So when their anniversary came around, they spent the better part of it assembling a new kitchen cupboard. Sakura cooked Kakashi's favourite dish and in the afternoon they went to the book shop and challenged each other to find the funniest romcom title books. They read them out aloud and whoever laughed first, lost. Sakura lost and Kakashi decided to drag her to a karaoke bar. Afterwards they sat down in the park and watched the stars together.

No. 15. There are times when Kakashi wished Sakura had abandoned Sasuke earlier. Not from her life but from her heart. A lot of her training and strength was a result of not wanting to put the burden of dealing with Sasuke on Naruto alone. Some of her heart was broken and it took a long time to fix the damage. Sakura wished Kakashi wouldn’t try to handle everything by himself all the time.

SukuIta

No 2. Yuuji loves to write love letters. He spends hours deciding on the perfect paper and what kind of colours Sukuna likes or doesn't like. When it comes down to the actual writing, Yuuji isn't a man of huge or many words. He likes to ask Sukuna silly questions such as "Would you still love me if I was a worm?" or "Do you want to be my boyfriend? Yes, No, Please don't check both". Yuuji decorates the letters with little hearts or flowers, sometimes slipping in one of the fotos he's taken of Sukuna while eating or napping with a commentary on the back of it. Sukuna would rather die than admitting that he kind of adores Yuuji's innocent, silly displays of attachment. He still thinks they're a waste of time. If he didn't like the brat, the brat would know. But he doesn't want to be an asshole so he either writes Yuuji beautiful poems or paints something in return. But he never answers Yuuji's letters, which bothered Yuuji at first, but then he read the first poem and still tries to recover from that.

No. 10. Yuuji always thought it would be such a headache to persuade Sukuna to watch ANYTHING with him, let alone comedy horror, body horror or horror with some romance or strong friendships sprinkled in it, but no. Sukuna does complain a lot about the nonsensical plotlines or the lack of gore at times but for the most part he was down to watch What We Do In The Shadwos, Ash Vs. Evil Dead, Buffy The Vampire Slayer, The Last of Us and The Walking Dead. Since Sukuna wanted a little bit more suspense and psychological horror he blackmailed Yuuji into watching American Horror Stories, The Hounting of Hill House and Hannibal. Ulterior motive here being to make Yuuji snuggle up to him. Sukuna doesn't bother watching anything without Yuuji but Yuuji tries to hide the fact that he likes to watch Jane The Virgin, Sex Education and Young Royals when he feels down.

No 11. Sukuna's first impression of Yuuji was that he thought him to be weak and overly concerned with the safety of others to the point of it being not entertaining anymore. Just an annoying brat who lets himself be easily manipulated and who would break under the slightest pressure. And yet said brat was able to control him, which angered Sukuna beyond measure. At least his vessel had a great physique if nothing else. Yuuji on the other hand felt indifferent about Sukuna at first. He didn't know who or what he was only that he wasn't about to surrender his body to him.

No 12. Yuuji thinks anniversaries are important because it’s important to make new memories and also to remember the old ones. Sukuna couldn’t care less but let’s the brat do whatever he likes to do for an anniversary. So they end up in the ice cream shop from where they kissed for the first time and eat ice cream until they feel ill. Afterwards Yuuji drags Sukuna into a nearby park to watch the clouds together. Sukuna thinks it’s silly but he is indulging Yuuji and at least he gets to cuddle with him.

No 15. Yuuji wished Sukuna would stop thinking that Yuuji only likes him for his power. This and that he has zero empathy for everybody else. Sukuna wished Yuuji would finally use his power for selfish reasons and unleash his full potential. That’s something he wouldn’t be able to forgive him.

[d-criss-news]

Evan Rachel Wood, Darren Criss on Stepping Into ‘Little Shop of Horrors’: “We’re Both These Little Theater ’90s Nerds”

The 'Westworld' actress and 'American Crime Story' star open up about deciding to take the stage together, personal connections to their characters, and their love for Howard Ashman and Alan Menken.

It’s early afternoon on a Friday when Darren Criss and Evan Rachel Wood pick up the phone, just five days before the duo is set to debut as the new Seymour and Audrey in off-Broadway‘s Little Shop of Horrors. Both are on their way to the Westside Theatre stage for their first top to bottom run-through, taking over the complicated but beloved characters based on Roger Corman’s 1960 horror comedy and deftly adapted for the stage by theater legends Howard Ashman (book and lyrics) and Alan Menken (music). Now in its fifth year, several notable names have left their mark on this U.S. revival of the dark goings-on of a Skid Row flower shop: Jonathan Groff, Jeremy Jordan, Conrad Ricamora, Corbin Bleu, Constance Wu, Maude Apatow, Tammy Blanchard, Lena Hall. But none quite like this, as an intentional leap together among friends.

As the interview begins, Wood — who is already at the theater — openly wonders whether she should take the elevator down to where she’ll soon meet co-star and friend Criss, before quickly interjecting that “you might lose me for two seconds.” Meanwhile, Criss declares he opted to skip the subway after realizing he was running behind, as he briefly turns on his Zoom camera to reveal himself in the backseat of a car.

Later, his voice will drop out for a few minutes, before reappearing, sounding winded. “I have my ear pods in, and so I just got out of the car talking to you guys, and you cut out,” he tells The Hollywood Reporter. “Then I looked at the car driving away, so I just sprinted down the block to grab it.” This frantic energy is reminiscent of what you can find within this kind of scrappy, fast-paced, off-Broadway musical environment in the final days before curtains go up. As replacements, Criss and Wood will do so with less time to rehearse and no preview audiences on which to test their performances, but that doesn’t seem to phase either of them. Instead, with their easy and fun rapport, the duo celebrate the challenge of what it means to be passed this mantle for a three-month run, beginning Jan. 30. On Tuesday, Wood will make her New York theater debut, a long-awaited moment for the actress who grew up with a father (Ira David Wood III) as an actor, playwright and theater director in her hometown of Raleigh. With her early stage ambitions sidelined by a burgeoning film career — later including movie musicals like Frozen II and Across the Universe — the Emmy and Golden Globe-nominated Wood will finally return to her performance roots, a year after news of her attachment to a possible Thelma & Louise musical adaptation for Broadway.

Little Shop of Horrors will also mark Criss’ first return to New York’s musical theater world since a multi-week replacement run in 2015 as Hedwig in Hedwig and the Angry Inch. On the phone, he’s adamant that, absent traditional musical theater training, he’s fooled the world into thinking he’s more than an “actor trying to act like he knows how to sing.” But with several EPs, a Christmas album, Billboard-charting work with StarKids Productions, and roles in musical-driven screen projects like Glee and Hazbin Hotel, it’s hard not to believe that the Emmy and SAG award-winning performer, like Wood, will be right at home. Ahead of their debut, the duo spoke to The Hollywood Reporter about sharing the stage, the impact of Little Shop of Horrors across the stage and screen, their love of Ashman and Menken, and why these roles are personally resonant and remain culturally timely. Darren, you said in a previous interview that you had been begging Evan to come do theater in New York for years. How did you make that happen now and for you both together? CRISS Let me just start by saying as much as I can before she can hear me. I’m in a regular habit of just exalting Evan for her talent. I’d done this before I even had the great privilege of getting to know and become friends with her. I’m always talking about how wonderfully talented she is and how I’ve always really loved her voice and her breadth of ability. When I meet people who are these wonderful triple threats that have a really strong theatrical background — people who can sing and don’t have as many opportunities as I wish they did — I get off on the idea of people who didn’t know that they could do this thing finally getting to see that they could do this thing.

Evan has done a lot of singing in her life. She’s literally a Disney princess for Frozen II and there’s obviously Across the Universe. But knowing that she has this really strong theatrical background, I’ve always been hell-bent on getting her on a stage. As a friend, she has popped up on many gigs with me in my personal life just for fun and parties I’ve thrown. She showed up for me on the Christmas album. She’s said yes to me far more many times than I frankly deserve. So when this came around, a lot of my colleagues — a lot of my friends — have been Seymour, and who loves theater that doesn’t love Little Shop of Horrors? It would be a really fun time for me, but the thing that would make it really, really special is if I had got the chance to do it with an Audrey that not only I thought really could bring something spectacular to the role, but on a personal level, this is off-Broadway. We’re all doing this scrappy theater thing in a basement together. If we’re going to live on top of each other might as well be someone but I’m also personally very fond of and have a wonderful relationship with. So short story that’s way too long, I went to Evan and said “Hey, I have an idea. Would you be available to do this?” and thank my lucky stars, she said yes. I’m just a pig in shit, getting to do this with her. It’s an absolute joy. Evan, what’s your response to that glowing review, but also, why did you want to make this show your off-Broadway New York theater debut?

WOOD Funny enough, I have been so close to being on Broadway a handful of times and something has always come in the way of scheduling or something falls apart. It was actually my dream as a kid. I went back and read some old interviews of mine when I was around 12 or 13, and I completely had forgotten that my dream was to go live in New York, go to NYU, and do theater in New York. That was where my sights were set before my life sort of got derailed for a moment. So it’s always been in my sights. It’s gotten increasingly harder over the years to make it work, especially if you have kids, to be away from home for such long periods of time. Usually, the theater commitments are an amount of time that I was just never able to do and so the timing was perfect because I was thinking to myself, “God, I wish I could go to New York and do a play, but maybe not a six-month run. Maybe something around three months. A classic musical that’s going to be really fun.” Darren called me maybe a week later and said, “I’d love for you to come and do it with me,” and it was like an instant yes. To piggyback on what Darren said, I feel very similarly about Darren and that whenever he’s asked me to do something, I just know it’s going to be great. I know it’s going to be fun and I fully believe in everything that he does and his talent. We’re both these little theater ’90s nerds that just hit it off in so many ways, and we collaborate well together. I just felt like we would like this project. It’s made so much sense for both of us that it was a no-brainer.

Little Shop of Horrors is one of those musicals that even people who aren’t big fans of musical theater and attend regularly are aware of, both in terms of story and music. Among the many adaptations of this, whether it was a professional or high school staging or even any of the movie versions, was there one that made you want to do this show? CRISS I’ll say this. As hip of an aura as I’ve tried to give off, make no mistake, I think the biggest gateway to this property for everybody is hands down the movie. I was not seeing off off Broadway theater in the 1980s. I wasn’t there, and that’s why I love movie musicals so much. As much as I love going to the theater, being able to go to a Broadway show is a very specific and privileged situation tied to being in New York City. But whether it’s a liked or celebrated movie, it is still going to be the most accessible thing in perpetuity for everybody. So definitely the movie and those songs. Before you can really understand the complexities of the thematic, Faustian elements and high dramaturgical elements of the story — and before you even get the comedy — you get the music. Especially when you’re really young and your parents are playing you things that you go, “OK, well, kids can get behind music.” It doesn’t take much to understand that the music from that show is beloved. I mean, this music and this show are like proto-Disney Renaissance. It’s like what got [Jeffrey] Katzenberg to ask Alan Menken and Howard Ashman to help them out. It was like, “We want to do some Disney musical fairy tales.” Now, because of the show, we have The Little Mermaid, Aladdin, Beauty and the Beast.

I grew up in the ’90s, as me and Evan tend to relate upon a lot. With The Little Mermaid, Aladdin, Beauty and the Beast, and these films that I loved so much, as I got older, I really wanted to know more about the people behind them. I became obsessed with, and I talk a lot about, Howard Ashman and how much of an influence he’s had on the musical theater genre ever since the popularity of those films. So I wanted to go back to the start of that, and that’s when I started to dive into Little Shop and discover how this was the sort of nexus — the genesis — of everything. WOOD Yeah, same. I grew up watching the film and being so terrified by it, but I couldn’t take my eyes off of it. I grew up doing theater. My father runs a theater in Raleigh, North Carolina, and so that was my childhood. I was always listening to show tunes, and as Darren said, the classic Disney albums, acting out plays in my living room and Little Mermaid was certainly one of them. Ellen Greene’s performance always stuck with me, and I am also a major Howard Ashman-Alan Menkin nerd for similar reasons as Darren. Those were all things that drew me to it. I was really terrified about and still am terrified about being eaten by the plant because it was like a deep seated childhood fear of mine that I had to conquer to do this show. It’s stuck with me since childhood. It’s not as bad as you would think. But it’s still pretty scary. Also just a fun fact, I was cast as Audrey in the seventh-grade school play, but I couldn’t do it because I was doing movies. (Laughs.) So I got pulled out of school, but I was almost Audrey in seventh grade.

CRISS You aged into it well. This is a much more appropriate time in your life being Audrey than in seventh grade, so worked out just great. (Laughs.) I just have to say, this production, we both have our careers going on and different dragons that we’re chasing in our professional and personal lives that committing to a big Broadway production is a huge investment. What’s so wonderful about this is, the way the show is set up, we can kind of come in for just a little bit. It’s really high output but like low stakes — and I don’t want to say that to be reductive of the production. I mean that the show is beloved. There are people that know this show but have never seen it, and have heard of it and know the songs without ever even having tried to listen and know the songs. So it’s so culturally ubiquitous, that it’s a very, welcome accessible thing for all kinds of folks and that might cross-pollinate between me and Evan’s demographic of people who might be interested in us. Also, it’s been running for long enough that I feel protected. I’ve seen this production several times. Evan and I went just last night. It’s something that you don’t have to figure out. One of the hardest parts about getting a show up on its feet is like, does it work? Do we want this song in? We got to do with an audience and you really have to workshop stuff for a long time. Shows take years before they’ve reached mainstream Broadway, so the fact that all that legwork is taken out is a no-brainer for us. It’s just this really like warm snuggle from something that we really love.

You’re right in that this is not a traditional production experience for you, as you’re coming in after others, and you have less rehearsal time, no previews. What have the challenges or exciting elements of that been for you so far? WOOD I don’t know about you, Darren, but I feel like one of the reasons why I said yes to doing this with you is because this is kind of where you and I thrive — in the fast-paced chaos. I need a challenge sometimes. I need that adrenaline and I need that fast pace, especially if I’m coming in to do theater. That’s where I grew up, and that’s what I’m used to. That’s where home is for me. So coming back into the theater into the organized chaos of it all feels right. My brain loves it and thrives off of it. When somebody says “Oh, this is a really hard number to learn,” I think, “This is going to be my favorite number.” (Laughs.) I love figuring something out, and picking it apart piece by piece and putting it back together, then conquering it. There’s just such satisfaction that comes from doing that there, Darren, and I think it’s similar for you. CRISS It is kind of a party trick some people are quick studies of, for better or for worse. I think this kind of pace suits us. I think it’s something that we wear pretty well, and I think we do that a lot in our own lives. But to do it together is pretty fun. I’ve thrown Evan into all kinds of things where she’ll just show up knowing a whole song last minute. That’s not too dissimilar, and it’s not like we’re learning new music. We know these songs.

In the theater world, you learn a track. It’s literally a track — there are little railroad tracks set around the stage because there’s no follow spots. The lights are where they are. You don’t have to do hours of tech rehearsal, figuring out where the lighting cues are. They’re there. It is our job to jump into a machine that is already very well-oiled and running. So in that regard, you’re kind of free from having to worry about that stuff. But you can just focus on your characterization and nuance within these very, specific directives. I’ve done a few put-ins. I think this is probably your first, Evan, for a show that’s already going. Correct me if I’m wrong. WOOD I did learn, for the record, Baz Luhrmann in one night and performed it the next night. CRISS Case and point. So yeah, doing a put-in — I’ve done it a few times for Broadway — it’s nice because then you can just focus on the little things that you really want to play with and not worry about these big macro things. What’s funny is that people always say, “Oh, I love Broadway music. I love Seymour from Little Shop of Horrors.” The word Broadway is often conflated with the music from narrative storytelling, whether it be from films or TV. This show was always an off-Broadway darling. It was only really on Broadway for a little bit in 2003. Beyond that, it’s the movie and this off-off-Broadway show, which started in the ’80s and ran for a pretty long time. Then in just so many regional and school productions. But it’s actually only been on Broadway for a minority of the time.

WOOD And that was intentional, right? It was really important to them to keep it off Broadway because that was the spirit of the show. It was on Skid Row. It wasn’t supposed to be a big huge glitzy production. CRISS When you contextualize it, it’s a famous show now, but if you’re in the ’80s, and you’ve got some big Broadway musicals happening uptown, and you’re trying to tell your friends, “Yeah, I saw this thing downtown. You got to come. It’s kind of this doo-wop that’s based of this Roger Corman B-movie. There’s a plant that’s a puppet but it’s hard to explain. You just got to come down and see it.” (Laughs.) Trying to contextualize that, it makes you realize this really is a weird thing, man. It’s a weird, off-the-beaten-path, outlying renegade show. You’ve both done musicals in different mediums, which is, obviously, a different process. Was there anything you brought in with you about doing it on-screen to your performances now? WOOD It’s kind of the opposite for me. I’ve carried theater into my film work because I started in theater, so I learned how to do things fluidly and without stopping. There’s a lot of stop and start in TV and film and sometimes that’s nice. But sometimes it’s frustrating, especially when you come from a theater background. There’s something so satisfying about telling the story from beginning to end and playing the entire arc of the character in one go. There’s just a certain energy and an aliveness that comes with that that you can’t have when you have the camera in the room and it’s constantly moving and starting and stopping and changing.

CRISS I would say the same thing. I don’t know if this math checks out, but I think I’ve spent in my collective hours working in any kind of performing art more time in a theater than I have on a set. That might not be true, but in my mind, it feels that way. I constantly feel like I’m bringing what I know in the theater to film and television. I’d always prefer to be doing theater, but these days, listen, I’ll work anywhere, anyhow. As long as, hopefully, it’s positive, and additive to the world in some way. The theater, without getting on a total spiritual kick, it is a holy place. It’s an ancient art form. It is catharsis. It is sharing something with people in real-time before your very eyes. It’s why, despite the fact that we have TV and film and every possible AR, VR medium to displace our reality, theater is still around. It’s why we go to church, why we go to temple, why we go to the mosque — so we can experience something that we collectively want to believe in. We’re strangers and we want to elevate ourselves to something that’s bigger than the sum of our parts. I realize I said I didn’t want to get into a whole spiritual thing with it, but there you go. That can only happen after the fact, months if not years after you do it in a film set.

Evan and I are about to do our first put-in rehearsal, which is to say, we’re going to do the whole thing top to bottom, but there will be a key character missing, and that is the audience. The audience is one of the main characters of any show. And as much as you’d not want to break the fourth wall — that they’re not supposed to be there — of course, they’re there. Of course, that’s why we’re there — to have that kind of sacred communion with an audience giving you the privilege of their presence. You have a responsibility and a duty to make sure that you are sharing some kind of worthwhile experience with them. So getting to renew that experience every night, to me, is the most noble vocation that you can have as an artist.

WOOD I learned how to sing before I learned how to act because I wanted to do musical theater. So this is my favorite thing to do. Of all the mediums is being able to marry the singing and the acting together. Always my first love. CRISS I’m still learning how to do those two things, which is why Evan Rachel Wood is in this production — to teach me how to do those things. (Laughs.) Part of why shows like Little Shop go on for so long — why they can get this many revivals or adaptations — is that there’s something timeless about the story and its characters. For you, what is most timeless about Seymour and Audrey? Amid all the other actors who have taken on these roles, what are you most connecting to? WOOD From what I understand, everybody that’s come in to do the show brings their own energy and spin on it. Especially with Audrey — Ellene Greene, her performance is so iconic. The look, the voice, the songs. So stepping into that is figuring out how I pay homage to the parts of this character that people love and expect to see, but also bring my vibe and energy to it. That’s exciting to figure out what my Audrey looks like. For me, it’s also hard not to relate to her and her struggles because, unfortunately, those are very timeless — poverty, abuse, patriarchy. She’s sort of a victim of all of those things. Not to get too real for a second, but I am a domestic violence survivor playing this character who is going through similar struggles, who has these similar feelings and dreams of getting out and going to a better place and getting far, far away from her past. They’re all very real things, but they’re in this setting of campiness and horror. What’s amazing about the show for me is that it is fun. It is campy. There are man-eating plants. But there’s such sincerity to it as well. Especially with Audrey, Seymour, and their relationship. There are so many beautiful real moments between the two of them. Themes of poverty and capitalism are still just so prevalent that that’s why it’s so timeless because these things just are not going away.

CRISS I’m glad Evan mentioned her own experience and what that brings to the show. I think, for my money, pathos is a dish best served sweet. Comedy and fun are a wonderful support system for really heavy themes. WOOD Exactly. CRISS I think I’m that I’m more likely to take something more seriously if it’s not shoved down my throat. This is a comedy and to me, there’s not a lick of fat on this thing from Howard Ashman who was just such an extraordinary dramaturg. He took this really silly B-movie, and managed to hone in on the very ancient themes. You’re asking what makes Seymour so timeless. It’s a Faustian tale. This is the one of the oldest fables asking what is the price of greatness. What is a man willing to do, willing to give up, willing to trade to get what he wants? WOOD He literally sells his soul. CRISS Yeah, he sells his soul. The plant is Mephistopheles in this parable of Little Shop. But, of course, if you’re going go downtown and say, “I’m going to do a show. It’s like a Faust thing, and Mephistopheles shows up,” you can see people’s eyes glaze over. Well, how about it’s this guy, there’s music that is evocative of what was popular in the late ’50s, but the plant sings. It’s sci-fi, but it’s horror, but it’s fun, and it’s comedy. Now you have my attention, now I’m subscribing to the fun and the music. But by the end of it, I’m experiencing a classic, traditional, academic tale in a really fun way. When you said there’s been millions of iterations of this show, my mind went to, there’s been millions of iterations of this story. This is probably just one of the funniest ones I can think of.

There is ancientness to this tale. I’ve realized recently I’ve made a lot of my roles, especially in the Broadway world, about people who would do anything to accomplish greatness. To varying degrees of evil or good or compromise, people are always trying to figure out what it is they have to do, and what they have to give up. What line they would cross to get it. A lot of times people are kind of conflicted [watching Little Shop of Horrors] because you are rooting for this guy doing this thing, but he’s doing something terrible. Does that make you complicit? Are you a bad person for wanting this? All those things are the bread and butter of good old-fashioned drama.