#just very curious about how adapting marius could ever possibly go

[wellijustfinnihedoneofthebooks]

The thing about me is i dont really care about how "book accurate" any of the characters look in amcs iwtv BUT if they dont get the most ridiculous wig ever crafted for marius i will be severely disappointed

[the-marius-de-romanus]

Conversation with Anne Rice on Blood and Gold

Q: Blood & Gold is your eighteenth novel about the vampires. Do you find it difficult to work within the narrative framework established by earlier stories?

A: Actually, it's a challenge, a real dare. The Vampire Chronicles vary radically in form. Some are tales told to others. Some are written memoirs. Some involve vampires talking directly to us. I feel there is enough flexibility for me to do just about anything that I want. In Queen of the Damned, for example, I worked with whole chapters in the third person, claiming that the Vampire Lestat received the material telepathically from his soul mates and passed it on to us in that form. But for the most part I stick with the heat and intimacy of the first person voice because I love it, along with its obvious drawbacks, and I feel most at home with the puzzles it presents. How do you make a first person narrator handsome and lovable, for instance. I feel I meet that dare all the time.

Q: Do you view your novels as stand alone entities? Will new readers enjoy Blood & Gold even if they are not familiar with your backlist?

A: Absolutely. Each Vampire Chronicle is a stand-alone book. There is enough information in it to make any first-time reader comfortable immediately, and perhaps a little curious about the other books. Blood & Gold is no exception. If anything, Blood & Gold is a bit easier for the first-time reader than, say, The Vampire Armand because Marius is two thousand years old and he begins his memoir in the year 200 AD and follows his own lonely and stark path through the centuries. His great loves, his great losses, his great revelations are all described in rich detail, right up to the point where he becomes the mentor to the Vampire Lestat, sharing the secrets of Those Who Must Be Kept with Lestat, and eventually suffering when Lestat reveals those secrets to the world. But for the new reader it ought to flow easily. The focus is really on Marius himself and his approach to history as well as his existence as a blood drinker and a myth maker.

Q: Marius, Lestat's beloved mentor, appears in your novels The Vampire Lestat, The Vampire Armand, and The Queen of the Damned. What inspired you to write his story?

A: I was reading through The Queen of the Damned and I felt a new contact with Marius and with the anger he suffered when Akasha, the Queen of the Vampires, rose from her four thousand year slumber and more or less contemptuously deserted him. I felt it was time to go deep into Marius and tell his tale from the beginning?omehow explain the type of love he had felt for Akasha which was really warmer than worship. I knew it would be difficult to live up to the high standard I had set for Marius' character in the Chronicles and I was exhilarated by it. Marius is the noble Roman, the ethical man of reason, the diplomat, and the undying optimist. I had to get into all that. I felt ready for it. Also, I think I felt challenged by the fact that Warner's was making The Queen of the Damned into a movie. I wanted to tell Marius' story before they delivered their version of Marius to motion picture audiences. No matter how detached I try to be from motion pictures of my work, they ultimately affect me.

Q: Marius lives through many periods and in many countries. Which era of Marius' life did you find most seductive? Which did you most enjoy researching?

A: The Italian Renaissance was my favorite period of Marius' life, a time during which Marius became a person in the mortal world, a rich Venetian gentleman who paints the walls of his palazzo for his own pleasure, an enigma to those around him. I did a ton of research on the period to make everything as nearly correct as I could. I also enjoyed researching ancient Rome, the Rome of 200 to 50 AD, during which time Marius saw Christianity become the legal religion of the Empire, and also the barbarian sack of the Eternal City itself, a disaster that sent Marius into a long slumber in the shrine of Those Who Must Be Kept from which he didn't want to wake again to reality. There again, I consult volumes. I had so many books around me when I wrote that sometimes I couldn't escape from my computer. I had to climb over piles of books. I was stumbling. One day I called my research assistant, Scott, on the phone and begged him to come upstairs and help me find a book that was somewhere at my feet but which I couldn't find without an archaeological dig. Of course it was all wonderful fun. I want my vampires to move through real history, not some airy realm of half-truths and mistakes and vague generalities. I want the facts, the smells, the colors, the names, and the dates. When Marius meets Botticelli in Florence, I used Botticelli's correct street address in so as far as history records it.

Q: In Blood & Gold, Marius paints and repaints murals, and his companion Daniel, the interviewer from Interview with the Vampire, creates acres of model cities. What is the role of art in the lives of vampires?

A: Vampires are hyper-sensitive to art. They see color and form with the heightened vision of the perpetually stoned. Art can seduce them as the model cities have seduced the boy, Daniel, who doesn't know yet how to handle his obsessions. Art can also save them because it offers a continuity that life itself may not offer to a human being. As time passes, brutally deteriorating everything meaningful to a soul, art endures, and grows ever richer and more evocative with the passage of time, so that it comes to seem prophetic in retrospect, or at least timeless in the finest sense of the word. Throughout the Vampire Chronicles, art has been key. But Marius laments that though he has lived fourteen hundred years, he cannot create art to rival that of Botticelli. He falls in love with the man and must separate himself from the man lest he hurt Botticelli and thereby affect Botticelli's destiny. Maharet, the ancient one, weaving her red hair into a thread and that thread into chains, is in a sort of thrall as well, much like that of Daniel with his model cities. Weaving comforts Maharet. Marius at various stages in his long life is comforted by nothing.

Q: How does humor work in your narratives?

A: Humor is spontaneous with me. It just happens and I don't try to repress it. I have a wild sense of humor and sometimes I have to avoid the satirical side of what I am writing. I have to not sacrifice the finer feeling to the humor of the moment. But in general I let my humor come out with certain characters more than other. Lestat, for example, has a profound sense of humor and a blasphemous sense of humor. Marius is more serious, and more tragic.

Q: Marius believes that anger is weakness. Do you believe this?

A: Yes, I believe that anger is weakness. Marius is one of those characters who for the most part expresses ideas which are mine. I couldn't have an in-depth relationship with Marius if he didn't express my ideas, and I do feel that anger distorts, weakens, and warps. You have to reach beyond anger for a finer sense of a situation before you respond, or make a move. Marius has a terrible temper and so do I. Marius ruins two moments of his life with anger, and possibly even more. But I don't want to give away the plot.

Q: Memory is crucial for vampires, who are immortal. How is memory important for us mortals?

A: Memory is essential to the attaining of wisdom. There is no wisdom without memory, because there can be no perspective and no deep learning without memory. One has to profit by experience and observation in order to become wise, and memory is the keeper of all fine experiences and observations, memory is the index, the table of contents, the full library. Without memory, one runs the risk of being simplistic and flippant.

Q: Can you give us an update on the progress of film and television projects of your work?

A: For once, there is much to report. A mini-series based on The Feast of All Saints will appear on Showtime in November. After that it will appear on ABC. It will be four hours, and spread over two nights. I've seen it and I think it's lush and sensuous and very faithful to the book, and that readers will love it. It's top notch, and Showtime has spared no expense. I visited the set when they were shooting. I was rocked. John Wilder, the scriptwriter and executive producer, did a fantastic job of adapting the book to the four-hour format.

The Queen of the Damned, a feature film based on The Queen of the Damned and The Vampire Lestat, is scheduled for release by Warner Brothers on February 15, 2002. I have not seen it, but it does seem to be engendering considerable excitement. Stuart Townsend, the young Englishman who plays Lestat, is very appealing and a very fine actor. There are other impressive names in the cast.

We are presently in negotiations with regard to "Earth Angels," a new series that we are developing for television, about a group of big-city based angels who work undercover on earth to fight supernatural evil in all its forms. The series is based on an original concept created by me. I'm extremely excited about it.

We're also in negotiations with a producer and a network with regard to making a long miniseries out of The Witching Hour, Lasher, and Taltos. The present discussion involves a plan for 12 hours of TV time. I'm very excited here as well. I like everyone as well, and want for John Wilder to do the script. I feel that after what he did with The Feast of All Saints, he can do a bang-up job.

I'm also happy to report that Ramses the Damned (The Mummy) is also in development. It's owned by James Cameron, and a new screenwriter was recently hired. I've spoken with her and found her pleasant. Again, I've got high hopes.

[famedexclusivearchive]

[INTERVIEW] 7ROPHY’s Eunah talks role in Les Misérables

7ROPHY has been recognized as a rising group lately with the release of “Latata” and “HANN” after a bumpy road following their debut in 2015. Four years and some concept changes later, and 7ROPHY has found a renewed presence in the idol scene, possibly leading to increased opportunities for the members to break out as individuals. One such member is Eunah, the group’s lead vocal, who recently released a Portal solo and is now starring as Cosette in a production of Les Misérables here in Seoul. Exclusive got to have the first interview with Eunah about her debut stage acting role. Read what she had to say below!

Les Misérables is your professional Korean acting debut. How did you prepare?

“I felt pretty comfortable while I was preparing actually, the rehearsal process wasn’t at all dissimilar to what I’m familiar with from before I came to Korea. I’ve been a great fan of Les Misérables ever since I was a kid, but only ever in English, so relearning it in Korean took up the vast majority of my preparation time. It took me longer than I expected, it was … well, when you grow up singing something one way, it takes some time to fall out of that rhythm, you know? I would accidentally slip into English from time to time at first. I also listened to an audiobook of the original Victor Hugo novel. I read it back when I was a trainee, but nowadays, with schedules, it’s hard to sit down and read, so I listened to the book on the go instead. There’s a lot of insight to be found about Cosette in the book, as it goes into more detail than the musical, so I wanted to be able to bring some of book Cosette into my portrayal too.”

How is acting in a musical different from your job as an idol singer? How have you adapted with that in mind?

“When you’re performing on stage at a music show … it’s a totally different experience. You’re always having to make sure you’re looking at the right camera, and you want to hear the audience interacting with the show. There’s nothing better than hearing Pepe’s fanchants! But when you’re up on stage, playing a character, seeing a camera flash or hearing the audience ruins the immersion, both for you and the people who have paid to see the show. It’s a totally different atmosphere, and it took me a couple of performances to really settle back into going up on stage in that environment. I think it’s made me a better performer overall, to return to my roots like this.”

Do you think you and your character share similar characteristics? Do you think this made it an easier or harder role for you to play?

“Cosette and I definitely have some things in common, which benefited me for sure. This is my first time acting in six years, so it was really nice to be given the opportunity to play a role I really felt I could slip into. We’re both girls on the verge of really discovering themselves. Cosette is searching for independence, and for the truth about her past. I’m also still forming my identity, in the same kind of way, though I don’t think I’m as strong, optimistic, and hopeful as Cosette. She, and her relationship with Marius, represent a new life and sun beyond all the pain.”

What is your favorite part of the show?

“In My Life and A Heart Full Of Love. I know, that’s probably what you expected me to say. But it’s true! Aside from the wedding and the last couple of scenes, and when little Cosette sings Castle On A Cloud, it’s Cosette’s big moment. It’s really the only chance that the audience has to get to know Cosette as a young woman who is curious and strong, and who wants to make something out of her life. Some people think she is weak because what she wants to make out of her life is a loving relationship with the man she loves, but I think it’s admirable. I love her passionate nature, and it’s very enjoyable to bring to life on stage.”

What type of roles would you like to explore in the future?

“Before I came to Seoul as a trainee, I played lots of roles in community and school theatre, and I think it would be fun to maybe return to some of those parts as an adult and a professional, if I’m lucky enough. I’ve always acted on stage, and I love it, so it would be cool to try acting on screen. That isn’t really my priority, but trying something different is always a good thing in my opinion; just look at all of 7rophy’s concept changes! I think we pulled them all off, so even if they didn’t perform well commercially, I’m glad we still tried them. In musicals, most of the roles tend to be historical, and those are the only kind I have in experience in, so I would also like to play more contemporary parts in the future.”

Why do you think people should come see Les Misérables?

“Before all else, because it’s a classic! It’s been produced continuously around the world since 1980, and there’s a reason for that. It’s a story about hope, love, life and turmoil, and I think it’s still very relatable today, despite the story itself dating back to the 1800s. It’s sad but it’s also funny and romantic. Besides that, the cast and crew are truly incredible, and I’m honoured to be making my Korean acting debut alongside them. We’ve been working around the clock to make the show as good as it can be, and it’s definitely not one to be missed.”

Do you have any other comments you’d like to make to your fans?

“I’d like to thank all Pepes who have expressed their interest in seeing me in a musical since my pre-debut videos were discovered a couple of years ago, and I hope they’ll consider coming to see Les Misérables. I’d also like to thank them for supporting us throughout our latest promotions with Hann, and tell them to anticipate us coming back soon!”

[twotruegentlemen-blog]

(Alright I’m gonna take a break from canon analysis of Alfendi to talk about my headcanoned past for him. Mainly because I know it’s going to come up at some point, and, well, I finally have a birth name for Al.

Three years after the events of Unwound Future, a young boy named Alfendi Galloway was born.

Rowena and Marius Galloway were thrilled when they took home their newborn son, who they named Alfendi. Rowena was a bit of an older woman, and she had frequent memory issues with information just learned, as well as difficulties focusing on tasks. Marius doted on her and assisted her as much as he could. The three lived in a little house in Baskerville, a town known for its cold temperatures and deep mines.

Alfendi was happy as he grew up, though his curious mind often got him into things his parents didn’t want him in, such as the cabinets, the dryer, and one time, the top of the fridge. His parents sought to stimulate his wandering mind as much as possible, and gifted him books for his birthday. Alfendi barely came out of his room after that, being so engrossed in the books.

Rowena’s memory problems began to get worse, and one day she told Marius that their friend Horacio stopped by that day to borrow their wheelbarrow. Marius told her that Horacio had been at work with him all day, and couldn’t have possibly stopped by when she said he did. These kinds of incidents continued, where Rowena talked about events that never happened.

Then she would hear voices. Sometimes she heard Alfendi calling for her, scared and alone. Other times she heard their neighbor Katrine singing outside.Yet, none of these events ever occurred. Rowena’s health got worse and worse, and as she grew sicker, the hallucinations were stronger... and more dangerous.

----

Six years after Alfendi was born, a bizarre string of disappearances occurred in their quiet town. Several families cried that their children were missing, and no one knew where they had last been. This caused the whole town to be on-edge, and the children were heavily restricted in their movements.

Alfendi didn’t like that. He didn’t like being trapped inside all day. So he often escaped out the window and hung out with the town’s orphaned children, who looked up to his bravado and intelligence, despite him being younger than most of them. It was then Alfendi learned the back streets of his town and committed them to memory.

It was also around this time where Marius disappeared. Rowena told Alfendi that he was on a trip, and that he’d be back soon.

Then the Beast arrived.

It was a hulking, black figure with a thousand arms and vicious teeth. It chased down kids at night, and any child that got caught was never seen again. The other kids could only assume that they got eaten. Alfendi suddenly became the other kids’ caretaker, as he would make sure that everyone was either safe inside their homes or in secret coves the orphans created before set, when the Beast would come looking for its next meal. Suddenly, the Beast became a living legend in Baskerville, and fear took over everyone’s minds.

Scotland Yard’s investigations turned up dry, and they didn’t take the towns’ cries of a Beast very seriously. Rowena took it upon herself to call someone, anyone who could solve this mystery; her search lead her to Professor Hershel Layton. Along with his former apprentice and now studying veterinarian Luke Triton and his renowned fencer and daughter Flora Reinhold, Layton traveled to Baskerville in order to solve the mystery behind the Beast and the missing children.

The trio soon met up with Alfendi Galloway and his little gang of street orphans and other families’ children. While the rest were scared, Alfendi put on a clear show of bravery and swore to protect them all, and that no one was going to become Beast-snacks. Of course, Layton could tell just how terrified Alfendi truly was, despite his maturity for his age.

After a lengthy investigation and multiple close calls with the Beast itself, Layton finally managed to deduce the its identity.

Rowena Galloway.

Rowena had severe, undiagnosed schizophrenia, and had been experiencing relatively harmless hallucinations and delusions for years. When the voices she heard started getting more powerful, they told her to do awful things, such as destroy property or steal from her neighbors. The worst one was when they told her to kill her husband and child. Rowena, on a terribly-strong night for the voices, went out and killed one of the other families’ children in order to satiate the urge and not kill her own child. It didn’t work; so she tried again, and again, and eventually resorting to chasing them while wrapped in a shredded blanket, which gave her the moniker of the Beast, with its thousand ‘arms’--just pieces of fabric in the wind. She was also responsible for Marius’ disappearance--hallucinating at the time and believing him to be a threat, Rowena accidentally killed him, and, in order to prevent suspicion on her and not scar Alfendi, dragged his body to the mines and threw him down. She later did the same with the other childrens’ bodies.

Rowena was involuntarily committed to a mental hospital in order to get treatment for her severe schizophrenia. The childrens’ bodies were collected, and were to be given a proper burial.

Alfendi’s father was dead, and his mother was taken away. The other kids were beginning to be wary around him because he was the son of the Beast. He was alone.

Until Layton and Flora conversed, and they asked Alfendi a question: “Do you want to come live with Mr. Layton?”

Having gotten close with Layton, Luke, and Flora over the course of their adventure and not wanting to be given to some other, random family, Alfendi accepted. Though he was rather slow to warm up and adapt to London life, after a few months, Alfendi started referring to himself not as Alfendi Galloway, but Alfendi Layton. Flora was his older sister, and Luke was his uncle. 

Of course, he still missed Rowena Galloway. He missed Mother. But Mother did something bad, something really scary. He didn’t want to see her, but he missed her. And he missed Father, too. But he knew Father--Marius Galloway--was never coming back. Layton was his new father then, right?

For Alfendi’s 7th birthday, Hershel Layton presented Alfendi with an official certificate of adoption. The name on it now read “Alfendi Layton.”