#montagne my life

[moncoeurestatoimonamour]

Lᥱs 7 Lᥲᥙx

Mᥲssιf dᥱ Bᥱᥣᥣᥱdoᥒᥒᥱ / Frᥲᥒᥴᥱ 🇫🇷

Bყ ©️LM®️

[youssefguedira]

someday i'll write a long and in depth letterboxd review detailing Why, exactly, le otto montagne hit me the way it did but until that day comes. the thing i feel like i keep coming back to with this movie is specifically the ending and the way it COULD show us all ice and snow and winter, i.e. it's over, it's dead. and i think if the movie were more tragic, which it isn't really to me, it would work, but the thing is we see the ice melting, we see new life, we see things growing again. and part of this is to give us the last shot with the birds, but another part to me is the idea that things will still go on, nothing has changed really, spring will come and then summer and then fall and there will be another winter, and the house will fall into ruin again and it will all continue. but at the same time there is the dead tree, which is dead and isn't coming back. there are some mountains you can't return to etc etc

[lesbiandardevil]

turns out i can do whatever i want forever

[pochiperpe90]

[ENG] PARDO - Interview with Luca Marinelli

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

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

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

MGV: What was your approach as a director? 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As usual, sorry for any mistake and my English

[ross-nekochan]

Dal caos a non fare letteralmente UN CAZZO tutta la giornata.

Benvenuti nella mia vita da 4 mesi a questa parte.

Oggi ennesima giornata triste da fare schifo.

Che ci sto a fare qua? In un campo che non è il mio, con nessuno che mi insegna, anzi, al contrario mi fanno dire cose non vere sulle cose che non so fare. Proprio io che ODIO mentire, ma soprattutto ODIO vendermi raccontando palle. Eppure stamattina è successo: mi hanno proprio detto "ti faranno domande complicate ma non dire che non lo sai"... eh, pò voglio vedere quando vado là che gli dico a quelli. La figura di merda sarà solo mia o anche della mia azienda (che si merita questa figura di merda e mille altre ancora)? Vedremo a breve perché a quanto pare le palle che ho detto hanno funzionato.

Io comunque non ce la faccio già più. Pure se non ho fatto un beneamato cazzo per mesi, non ce la faccio più e voglio cambiare lavoro. Io non c'entro un cazzo con l'IT, ho solo fatto un cazzo di lavoro in cui ho fatto l'help desk e ho usato le lingue ma non è che mi mettevo a fare chissà quali magheggi tecnologici, quindi lasciatemi stare porcoddue. Giuro che me ne vado a fare le pulizie, mi va bene lo stesso. No in verità vorrei solo qualcosa che mi faccia usare il cervello e invece il cervello lo devi per forza spegnere come fanno pure tutti i miei colleghi indiani perché si lamentano ma alla fine si arrendono alla situazione.

Io non voglio. Voglio fare qualcosa di più affine a me, almeno un minimo, non chiedo tanto perché tanto lo so che lavorare fa schifo sempre, a prescindere.

Ci sono annunci di lavoro ovunque ti giri eppure pare che per me sta facilità di cambio lavoro non c'è.

Sono stata più volte sul punto di piangere perché io la soluzione a questa tristezza non ce l'ho. Vorrei poter dire che tornare a casa mi farebbe stare bene, che con la pizza e la sfogliatelle mi tornerebbe il sorriso e la pace dei sensi. Vorrei poter dire che vorrei tornare dalle persone a cui voglio bene. Ma non ho una famiglia e le poche persone a cui voglio bene sono sparse per l'Italia e per il mondo e quindi un posto dove tornare non ce l'ho. Non ce l'ho più.

ただ明日もう目が覚めなくてもいい。全部もういい。

[nesiacha]

do we have good sources on the life and work of claire lacombe? /gen

Portrait probable de Claire Lacombe. Miniaturiste, Ducare. 1765-1798.

I am not the best person to answer this question, as I am currently delving deeper into my research on the group of the Enragés, particularly from a legal perspective, here https://www.tumblr.com/nesiacha/762409217481179136/jacques-rouxs-criticism-of-the-constitution-of?source=share (and also because I don't have much time). Perhaps @saintjustitude or @anotherhumaninthisworld, as well as other Tumblr users more specialized than I am on the subject, could provide better insights.

Nevertheless, I will offer my modest contribution on Claire Lacombe. The academic historian Antoine Resche has written a good biography of her, and historian Mathilde Larrère has also discussed her in depth. Unfortunately, I lost my notes from Jean Clément Martin’s excellent book La Révolte brisée: Femmes dans la Révolution française et l’Empire , as well as one of the most important references on revolutionary women, Dominique Godineau.

We know that Claire Lacombe was born in 1765 and was an actress who worked in Marseille,Lyon, Toulon then living in Paris. She was one of those women, like Théroigne de Méricourt, who proposed to take up arms to fight the tyrants. What I don’t understand is whether Lacombe was referring specifically to Louis XVI and La Fayette, or to other European monarchs as well (which is not impossible, as Théroigne de Méricourt, despite advocating reconciliation between the Montagnards and the Girondins, supported the idea of war). According to Mathilde Larrère, these two women, alongside Pauline Léon, are considered among the most well-known.

Claire Lacombe participated in the storming of the Tuileries in 1792 and received a civic crown like Louise Reine Audu and Théroigne de Méricourt. She was interested in the Jacobin Club before becoming secretary, then president, of the Société des Citoyennes Républicaines Révolutionnaires (Society of Revolutionary Republican Women). Along with other revolutionary women, she demanded the right to bear arms, something Olympe de Gouges, who wrote the Déclaration des droits de la femme et de la citoyenne , did not dare to ask for in the article addressing men’s right to bear arms.

Claire Lacombe grew closer to Leclerc and became a member of the political group known as the Enragés. She made several demands: the trial of Marie Antoinette, greater rigor in arresting suspects, the prosecution of the Girondins by the Revolutionary Tribunal, and the application of the Constitution. She also advocated for more social rights, as outlined in the petition of the Enragés (which would later be taken up by the Exagérés, who, unlike the Enragés, were less suspicious of delegated power and believed in wielding influence beyond the revolutionary sections).

Lacombe was first arrested in September 1793 but released the following day.The majority of the Convention, including La Montagne and what are called the exaggerated or the Hébertists, fought the enragés ( especially Roux and Leclerc) during this period . Her second arrest in April 1794, alongside Leclerc and Pauline Léon, lasted longer. Unlike the latter two, who were released after Thermidor—possibly due to their connections with Tallien (one of the few good actions of Tallien, it should be noted)—Lacombe was not released until August 1795, which is rather strange. Could it be that she didn’t have the right connections to secure her release? Or perhaps, out of disgust for certain Thermidorians, she refused help? Or was she simply forgotten?

In any case, there is no further trace of her political activism. She went to Nantes to resume acting before returning to Paris, where she fell into debt. We don’t even know the date of her death (something she shares with the revolutionary Marie Anne Babeuf). It seems she is among those revolutionaries who have been too forgotten, as we do not know what became of her.

Sources: Antoine Resche Mathilde Larrère

Feel free to check out, as I mentioned, Dominique Godineau’s book Citoyennes tricoteuses, which is very interesting, as well as Jean Clément Martin’s book that I’ve mentioned.

[froppy-butterflyfan2000]

It is a winter morning, the Guardian, Keith and the operatives from The Center are rounding up all the staryummies to the holding cells, personally built just for them after a year, back at The Center. The staryummies already enjoy their St. Nicholas Day celebration (December 6th) and New Year celebration at the Montagne Mansion. The staryummies are following the trails of residue of starlight and light magic on the sweets, all while being sucks inside the vacuum containment technology cubicle cell.

Keith is counting the staryummies in the containers, crossing out names from the list on a clipboard. Including Emo’s 101 children. Well almost. He notices that one staryummy is missing. Keith side-eyed at the trusty, Kai and his best staryummy friend on his head, Emo. Kai is wearing his mother’s creation, Stella’s Couture snow insulated winter jacket from the Emo Junior Line, green snow insulated pants, green and black coloured winter boots, and a closed sun theme trapped winter hat on his head. “Kai, Emo, where Lilly?” Keith asked.

“Where’s Lilly?” Emo repeated the question similarly to Kai. “I can’t find my niece anywhere.”

“She’s your daughter, not Silver’s kid Emo,” Kai corrects Emo. “We left her in the Solarian Royal Palace.”

Emo said with a small frown, “Oh. Oh yeah…”

The Staryummy Father frowned. While there are some staryummies choose to stay in Solaria, the second princess of Solaria, Crown Princess Twinkly does not like their presence, especially him. She used to be so happy around him and staryummies, until Stella Junior developed a manifestation of her negative emotions and resentment towards her own sister named Esme, resulting from Stella Junior’s were-staryummy condition got worse, attacked her family, she put the blames on the staryummies and Kai that now she taken what was belong to Stella Junior. She been holding this grudge for almost a year now. He thought that maybe his daughter would be Twinkly’s friend and room mate to make her at least feel better.

Keith looks at Emo and Kai, he is not taking this news well. Kai frowns and tense up when he see the disappointment look on Keith’s face. “That is not good,” he said. “If she is in Solaria and her family are here, she must have developed emotional and behavioural problems by now. She should be with her family, your family Emo. She is a youngling.”

“We didn’t know,” said Kai, he get his mirror phone and dials Twinkly’s number in an attempt to fix this. When he is able to get Twinkly to answer the call, he asked if Lilly is with her.

“I don’t know, in Townsville outside,” Twinkly answered in a not good mood. “She has her furs to warm her up.”

Kai is shocked and is frantically that Lilly is all alone because she need to be with her family now because they are moving to a new ‘home’. “You abandoned her by leaving her alone in Townsville!?! Why would you do that? You used to be happy with Emo!”

“Not ANYMORE!” Twinkly shouted at her little brother on the line, even more angrily and the volume of her voice increased. Kai close his eyes and winced. Emo turned pale and listened to her rant. “He left his own daughter under our care and not get her! What a terrible man!”

Twinkly continued ranting of the misfortunes the staryummies on the line, however Keith take the mirror phone and end the conversation. Keith looked at Kai, whose is at the verge of crying from his plight. “Why don’t we take a break and relax for a while,” said Keith.

Kai just stood there still, while Emo thinking about his life decisions he made.

Keith Mystery belongs to @cooltmoney95

Emo, Lilly (mentioned), Stella Junior (mentioned), Twinkly, and Kai belong to @gloriousdreamunknown

[vaspider]

Don't you ever mention Hébert or Robespierre again in all the 15-odd years left in your pitiful Maraisard life or I'll shoot myself. Im so pissed off about this I could honestly go outside right now and set up a fusillade just for spite"s sake and it would entirely be the fault of YOU and your venomous calumny,paid for by WILLIAM PITT no doubt,and what's worse is that there's no consequences for this nowaday. See,in my France,when the merciful and good Saint-Just still had the say-so,even half a canto of one of your dumb fucking posts would be enough to get one tribunaled. But nowadays one can just go online and say all sorts of counter-revolutionary,Girondist,Rolandine,Brissotin,Indulgent,Thermidorian,Feuillantesque,DUMB . FUCKING NONSENSE. And not face even a single consequence...and I thinks that's not so good. Possibly even bad if I'm being completely honest,which I am. If you ever feel the compulsion to post about one of the noble and virtuous men of the Montagne of 1794 again (or Hébert for that matter) please be aware that I will be rendering my remains unrecognizable by way of a sawn-off shotgun.

Calm down, kid.

[youre-ackermine]

Bonjour!!! Val, how are you?😊 saw your post about speak your language day and I found it very amazing cuz' it's always a great joy to celebrate and embrace our cultures and to know about each other's cultures 💞

So my question is: What is your favorite place to visit in France? Like a place that's very memorable to you.

Have a great day, Val😊!!

❤🧡

Bonsoir Kikarou 😊

Je vais très bien & j'espère que toi aussi ! J'ai eu du mal à choisir, même si je n'ai pas encore visité toutes les régions de France. C'est un beau pays, avec des paysages très variés, une architecture, une cuisine, un climat différents pour chaque région. Mer, montagne, plaine, il y en a pour tous les goûts.

English translation:

Good evening Kikarou 😊

I'm doing great & I hope you are as well I had a hard time choosing, even though I haven't visited all the regions of France yet. It is a beautiful country, with very varied landscapes ; architecture, cuisine, climate are very different in each region. Sea, mountain, plain, everyone can find a place to their liking.

>•< >•< >•< >•< >•<

Mon site préféré est Carcassonne, cité médiévale du sud-ouest

Je suis une passionnée d'histoire médiévale & j'adore les vieilles pierres, les ruines, les vestiges laissés par nos ancêtres. C'était à la fois une ville de commerce & une place forte. Le tour des remparts à pied est très long & épuisant mais vaut vraiment la peine, la vue est magnifique sur les plaines & montagnes alentour. Je pars passer trois jours là-bas ce jeudi, j'ai hâte de visiter la Cité de nouveau.

Petite anecdote : Carcassonne + Nördlingen & Burghausen (Allemagne) sont trois lieux réels qui ont inspiré le monde de L' Attaque des Titans !

Deux autres sites que j'aime beaucoup aussi: le Mont-Blanc & Paris, bien sûr!

Merci beaucoup pour ton message !

😊🫶

>•< >•< >•< >•< >•<

English translation:

My favourite site is Carcassonne, a medieval city in the southwest

Medieval history is one of my passions & I love old buildings, ruins, vestiges left by our ancestors. It was both a trading town & a stronghold. Walking the fortifications on top of the walls is very long & exhausting but is definitely worth it, the view is magnificent over the surrounding plains and mountains. I'm going to spend three days there next Thursday, I can't wait to visit the City again.

Fun fact: Carcassonne + Nördlingen & Burghausen (Germany) are three real-life locations that inspired the world of Attack on Titan!

Two other places I like a lot as well: the Mont-Blanc & Paris, of course!

Thank you so much for sending an ask!

😊🫶

[skullinacowboyhat]

Can I ask you about your mage slayer turned sorceress oc? She’s pretty and I love magic as queer allegory tropes.

I wanna hear more about her backstory, from your tags it seems very compelling

Aaaa thank you so much! I was obsessed with BBC Merlin for a little while (still am ngl) so any story that explores magic as a queer allegory makes me happy!

I've put the long-ass backstory I sent to my DM under the cut for your reading pleasure <3

Born in Montagne (our homebrew country) to two gnome parents, Kithri was raised in the Frosthaven village for the first 8 years of her life. Her parents were relatively present - loving, if a bit young and inexperienced. Also, Kithri was born Xalin Nimblefoot, but changed her name when she went on the run. 

When Kithri was 8, her village was attacked by bandits who demanded a large portion of their crops and goods. In desperation, the villagers reached out to a nearby mage, who promised them they would stop the bandits. When the bandits came again, the mage scared them off, then turned around and demanded the same goods and more from the villagers, claiming that since they were their hero, they should get their reward. Some of the villagers refused, including Kithri’s parents. The mage made an example of Kithri’s father, attacking him with fire magic, then leaving the village with the goods and promising to return later for more. Kithri’s father died of his injuries a few days later. 

Desperate and riddled by grief, Kithri’s mother reached out to the Magehunter Guild (of which she had heard rumors of before). When the mage returned, the guild was waiting. Won’t go into detail, but it’s fair to say that the mage’s death was brutal and very public. Invigorated by revenge, a bunch of the villagers joined the guild, including Kithri’s mother.

For the years following, Kithri and her mother were taught mage-hunting skills - Kithri’s mother was gifted with poisons and covert assassinations, while Kithri was trained in infiltration and ranged combat (lots of sniping with the crossbow from afar). Kithri’s mother rose quickly through the ranks and became a respected member. She rarely ever spoke of Kithri’s father and as the years passed, she and Kithri grew more and more distant. Instead of facing their grief or their tense relationship, they both threw themselves into their work. Anti-magic rhetoric was obviously the standard in the guild, but with Kithri’s mother, it was so intense that Kithri couldn’t even mention good magic users without being shouted down. Nevertheless, they both built a life within the guild and worked well together on missions. 

When Kithri was 23, she was sent on a solo mission - hunting down a divination mage. She worked for weeks, strategizing and studying the mage. She learned the best way to defeat the mage was to attack up close. She ambushed the mage in her study and was close to killing her, when the mage cast a shield spell and made to run. However, something about Kithri intrigued the mage and with the shield still up, the mage cast a ‘Reveal Magic’ spell (not exactly that spell, but basically one that would unlock Kithri’s powers, which had been lying dormant for years). Kithri’s magic now activated, she felt herself change suddenly. She could feel the magic in her skin, just on the edge of bursting. Enraged, confused and convinced that the mage had cursed her, Kithri got past her defenses and grappled her, demanding answers. The mage told her the truth - Kithri was a sorcerer of moderate power, but her magic needed to be unlocked first. Kithri refused to accept this and in a rage, killed the mage.

Kithri returned to the guild and attempted to hide her new powers, but she hadn’t learned control yet and within a few days, she was discovered (she cast an ice spell on instinct when she was attacked). The guild immediately turned on her, throwing her into a cell and demanding to know how long she had been hiding this. Kithri had known how radical the group was, but she was shocked by how quickly they turned on her despite knowing her for years (and practically raising her). Her mother disowned her and did nothing when the guild’s leader said she needed to be executed. 

The night before her proposed execution, Kithri escaped using her new-found powers and fled to the Cline. Since then, she’s been on the run, trying to keep a low profile while she discovers more about her powers. She has since accepted that this is a natural part of her and not a curse from the mage; she uses her powers without hesitation and has shed the radical views she was trained to believe. However, she still is wary of most magic-users and gives them a wide berth.

[moncoeurestatoimonamour]

Ɓɛllɛɗɔŋŋɛ / Is̱ɛ́ɍɛ

Lɑc̱ ɗʊ C̱ɍɔẕɛʈ / Ƒɍɑŋc̱ɛ 🇫🇷

Ɓƴ ©️LM®️

[pochiperpe90]

The eroticism of friendship and the strength of the mountain

The two actors and the writer Paolo Cognetti tell what they learned from the mountaineers during the making of the film "Le otto montagne".  A great test of acting, authenticity and humility: «Up there the ego is resized»

The film 'Le otto montagne' is an excursion of rare visual and emotional intensity. A must for those who loved Paolo Cognetti's novel from which it's based, for those who love mountain life in general, and for those who know nothing about it, but know what a true friendship is, its adventurous mystery. The story, brought to the big screen by Felix van Groeningen and Charlotte Vandermeersch, is a double love story: for the mountains and for friendship. To guide us, the actors Luca Marinelli and Alessandro Borghi, in the role of Pietro, the citizen, and Bruno, the mountaineer. Cognetti was their guide in the summer of 2021, when he hosted them in the refuge in the Aosta Valley where he wrote and set a large part of the novel (a refuge that he bought with the profits from the book).  The friendship of the two resonated with the mountain and its singer.

«I had two fears about the film», confesses Cognetti connected via Zoom with Marinelli and Borghi «related to inauthenticity: that the story was taken elsewhere. There was talk of America, of the Rocky Mountains, where, however, there is no mountain pasture culture, which is central to the story. And then the two friends, the heart of the film, had to be real. It was important that the mountain was real and that the two friends were real».  The setting has not been distorted, also because the Belgian directors were conquered by the beauty and seasonal cyclicality of the Aosta Valley, functional to show a friendship that resists distance in time, as well as in space. True the mountain, true friendship. Marinelli and Borghi were chosen not only for the sum of their talent, but for their experience. They met on the set of 'Non Essere Cattivo' by Claudio Caligari, filmed in 2015, then they never worked together again, although they remained friends. «Their meeting again, on the set, after a common past and a distance is what happens to Bruno and Pietro».

The two actors auditioned for both roles, but for Cognetti and the directors there were no doubts as to who should play the brighter role, full of energy and vitality and projects (i.e. Bruno, the mountaineer, played by Borghi), and who, on the other hand, is the shyer one, to be pulled out (ie Pietro, the citizen, or Marinelli). If for Marinelli love is the common root «of the billions of friendships in the world», for Borghi the fulcrum is diversity: «The most beautiful moments in the film for me are those in which the two friends recognize their differences and accept them, it's something that I also find a lot in my life, diversity nourishes the love for the woman with whom I have the good fortune to live with and all my friends, even Luca». Thus, with their different physical and emotional masses, and a familiarity due to real friendship, Marinelli and Borghi guaranteed that corporeity which in the novel is a vast front, a contact surface between the world of the city and the mountains.

«In the city» recalls Cognetti, who lives between Milan and the Alps «we are used to shaking hands, embracing, kissing. In the mountains it's a problem. My friends up there are often embarrassed to even shake your hand. Once a very dear friend told me: "You touch a little too much". He hurt me. In the novel, corporeality is important because the two friends find it hard to talk, in the mountains there is little talk and where words fail, bodies arrive, there is almost an eroticism in the friendship of Pietro and Bruno, who played together as children, they rolled around in the grass, they wrestled, they bathed. For me it was important that the two actors already had this eroticism, and they have it».

Eroticism in friendship. One can slip into the simplification of fluidity, but Borghi, connected from his Roman house, wearing a red dressing gown (Cognetti is in front of the bookcases of the Milan house and Marinelli has two abstract paintings behind him), shares a childhood anecdote with chaste eloquence: «As a child, when I had to leave the campsite and we had to dismantle the tent, I ran away from the pitch and went to kiss everyone to greet them and my mother scolded me: "It's not normal love that you go to all the people, unknown, to greet them with a kiss". But for me it was essential to show that I was happy to have been there and I wanted to thank them for the days together.  Yes, I am an extremely physical person, the erotic side of a friendship is always present, I often happen to confuse love and friendship, I can't always understand when one begins and the other ends".

Marinelli reciprocates: «When we see each other, sometimes instead of asking "how are you", we understand each other from an embrace, we rest our heads on our shoulders and something passes, like in the last embrace between Pietro and Bruno, we sink into each other. It happens often between me and Alessandro too. I think I also passed this on to my character, surely the friendship between us was an important starting point».  However, there was a catch: that the friendship between the two actors turned from a resource into a burden: this was not the case. Pietro and Bruno are not Luca and Alessandro. «For me, yes», protests Cognetti candidly, confessing himself unable to distinguish between reality and fiction, autobiography and fantasy, friends of yesterday and today, people who inspired the characters and actors they play. "I'm not joking, I've seen the film about twenty times, first it was more than three hours long, then every time a scene was cut and for me it was as if they cut off a piece of my body".  Sadism? No, nostalgia. Of course, it is a bit sadistic: «I watch the film because I miss everything, I miss them, it's like having in your phone not only photos and videos of a beautiful thing, but an entire film».

Rewinding the tape of memories, off-screen episodes appear. Like the first meeting between Cognetti and Marinelli, recounted by the writer: «Luca arrived months before the start of filming, it was April, there was no one there that day, I was agitated, I did the cleaning, there was snow and we went for a walk. I remember that Laki, my dog, who is not as kind as me, stamped the ear of Mino, the little dog that Luca had brought with him. A nice menacing bite, to make clear how things are in the mountains. Then we went back, I have a guitar, he can play and sing very well and so the music, especially by Bon Iver, filled the typical silences of the shy.  Luca also helped me set up the lights in the refuge, but the greatest satisfaction, after those months, was seeing how he changed his way of walking, when he dances on stony ground or when he climbs the mountains of Nepal, you can tell he knows how to do that".

For Marinelli, the mountains have a simple but strict rule: «To be on the high seas you must be sailors, to be in the mountains you must be mountaineers. When I went with Paolo we made wonderful laps, if I went alone with my dog ​​I covered 500 meters and then came back. But walking with Paolo means putting yourself on the line, it's not a walk, it's an adventure» (Borghi intervenes with affectionate irony «Paolo the ibex»). Marinelli continues: "When we shot the scenes in Nepal, walking for a long time to reach the locations, I thought about Michael Ende's book Momo, where there's a street sweeper (Beppo) who says he doesn't think about the road all at once, but see it piece by piece. Of those walks from a certain point on, I remember the heels of the guide in front of me and I followed him as if I were a little donkey. Don't look at the top, but at the little piece in front of you, and this trust in the other are two very beautiful things».

For Borghi, who had been going to the mountains for a few years but always in the summer and never in the Aosta Valley, the pasture was a mystical discovery. Thanks to a week spent at an altitude of 2,300 meters with a young shepherd, Esteban, to learn how to milk and make cheese. “He has huge, gorilla-like hands and a heart of gold. Age, unknown. He said he was 18, but he was a man disguised as a boy, because mountain people are of an age you can't understand.  We woke up at 4 in the morning, first milking, then we went to the pasture and there we had to learn to recognize the simplest cows and the most complicated ones... my favorite, which I also milk in the film, is Dorina, I fell in love with her. She had a severed tail from a dog's bite, they couldn't tie her tail up and so I found her excrement smeared on my face, and I didn't say anything so as not to look unable. After seeing Esteban's face, I knew I could complain without ruining my reputation. The reputation. But the beauty of the mountain, its essence, frees you from superstructures, from fear of being judged by others».

The ego, thus, develops a healthier need for the other. «You are in a place that makes you feel small» concludes Borghi «the mountain puts you back in your place. Every time Luca and I were looking out over the refuge, at sunset or sunrise, with or without snow, we felt nothing compared to what we were looking at. So it's natural for you to take refuge in the affection of the other. You look ahead, you see infinity, you feel small, then you look to the left, there is Luca, to the right there is Paolo, and you are safe again. This is the secret of the mountain and the need to be together». Before saying goodbye, Cognetti recalls the day in which he introduced the two actors to his two mountain friends: «Remigio and Gabriele, whom I met when I was 30, were the embodiment of the imagination that I had as a child when I went alone during summer in the mountains. I was inspired by them for Bruno, whose name I took from a neighbor at school». On the first day together, with Luca and Alessandro, they performed a psychomagic ritual: «Remigio took us to slide on the snow, then, all wet, we went to Gabriele's hut to drink hot wine or coffee. I saw in the eyes of Luca and Alessandro how wonderful everything was, we were already inside the film before it started and that world was real. I looked at all this like a child to whom life has given a gift, I saw everyone together, Gabri and Remigio, Luca and Alessandro, I smiled and took pictures, it was happiness».

Cr: 7Corriere

Like usual, sorry for my English

[brightlilith]

Midnight in Paris with Lenny Bruce. 1

Masterlist

Pairing: Lenny Bruce x Fem!Reader

Summary: Drinks, laughter and cigarettes with Lenny Bruce.

Warning: drunk people, I think just

A/N: This series is inspired by the film Midnight in Paris. English isn't my fist language. Any mistakes I apologize for. Constructive criticism and supportive messages are always welcome, it motivates me to keep writing.

I walked through the empty streets of Paris, letting the sound of my shoes hitting the cobblestones echo through the narrow alleyways. I was determined to escape my troubles, at least for one night. The cool night wind gently caressed my face as I immersed myself in the magical atmosphere of the city.

Without a specific destination, I allowed myself to be guided by the golden lights adorning the elegant buildings. I found myself drawn to the magnificent Eiffel Tower, whose nighttime sparkle seemed to hypnotize me. I sat on a nearby bench, allowing myself to be enveloped by the tower's imposing presence and the sense of freedom in the air.

Following my instincts, I made my way to the banks of the River Seine, where the gentle murmur of the water calmed me. The scene was truly enchanting, with the reflective lights dancing on the surface of the river, creating a spectacle of reflections and shadows. I closed my eyes for a moment, allowing myself to simply feel the serenity of that Parisian night.

Still wandering aimlessly, I found myself in Montmartre, immersed in the bohemian atmosphere and narrow cobblestone streets. I felt the artistic vibe of the place, with the illuminated cafes and figures engaged in lively conversations. There, I allowed myself a moment of contemplation, observing the street artists and absorbing the creative energy of the place.

As the night progressed, I finally realized that my troubles had dissipated, at least temporarily. I felt rejuvenated, inspired, and above all, grateful for the opportunity to lose myself in the magical streets of Paris. I understood that sometimes the best solution to problems was to allow yourself to experience the beauty and freedom that life had to offer.

Walking a little further down the cobbled street, I found myself sitting on the steps of the church of Saint-Étienne-du-Mont, at Place du Panthéon, watching the lights of the Parisian night. I was far from home, disoriented, and attempting to find meaning in my life.

A distant sound echoed in my ears, a bell, I would say. I looked at my watch and saw that the hands indicated it was midnight, I wouldn't return to my hotel so soon.

Precisely at that moment, an old Peugeot, immersed in a nostalgic aura, drove up Rue de la Montagne Sainte Geneviève, its engine humming softly.

I watched the car with a mixture of fascination and disbelief. It was as if the past was unfolding before my eyes, bringing with it all the charm of 1960s Paris. I felt a wave of excitement run through my body, inspiring me to move forward, explore new possibilities. In that moment, I realized that the answers I was seeking could be hidden in the fabric of time itself.

Inside were two men and two women, stylishly dressed in clothes reminiscent of the 1960s, with champagne and glasses, serving from an open bottle and drinking cheerfully.

"Come, get in." One of the men spoke merrily.

"Huh?" I murmured confused.

"Come on, we're running late." The woman next to the car window spoke, her French accent distinct. She opened the car door.

"You must be mistaking me for someone else."

"Not at all, come on, get in." the same woman said.

"Look, I'm a little drunk."

"Come on, for God's sake, we can't stay here all night." the woman said.

I stood up from where I was and went to the car, the other two people besides whom I was talking were humming drunkenly.

"You have a wonderful old Peugeot, I have one in New York, I usually collect..." I was interrupted by the woman pulling me into the car.

"Let's go" She laughed. "We have parties to go to."

"What parties?" I asked, I was in between the two women.

"Let's go" The other man said, starting the car.

"Here, have some champagne." The other woman handed me a glass of the drink.

The car left the street, leaving behind the majestic facade of the church and taking me somewhere I didn't know, but I didn't care. Inside the car, I contemplated the grandeur of Paris at night, with its illuminated streets and these four lively people. Laughter flowed genuinely from my mouth, maybe exploring Paris wouldn't be so bad after all.

Thank you for reading this far, it makes me very happy.🩵

If you liked it, tell me so I can continue writing this series.

Kisses💋

© morganaah/brightlilith ─ all rights reserved. do not copy, translate or share my work on other platforms.

[actuallysara]

MY 2024 IN BOOKS 📚, MOVIES 📺 AND TV SHOWS 💻

JANUARY

💻 Blackbird (2022)

📚 Heartstopper: Volume Five (2023)

📺 Bottoms (2023)

📚 If We Were Villains (2017)

📺 Maestro (2023)

📺 Luca (2021)

📚 Circe (2018)

📺 Firebird (2021)

📚 On A Quiet Street (2022)

📺 The Good Nurse (2021)

📚 The Five People You Meet in Heaven (2003)

📺 The Hunger Games: The Ballad of Songbirds and Snakes (2023)

📚 I Feel Bad About My Neck (2005)

📺 Gifted (2017)

📺 To Catch a Killer (2023)

📚 First Lie Wins (2024)

💻 Skam Italia: Season 6 (2024)

📺 Wonka (2023)

📺 Joy Ride (2023)

💻 Queer Eye: Season 8 (2024)

📺 All Of Us Strangers (2024)

💻 Fleishman Is In Trouble (2022)

📺 Encanto (2021)

FEBRUARY

📚 The Mothers (2020)

📺 Past Lives (2023)

📺 Le Otto Montagne (2022)

📚 The American Roommate Experiment (2022)

📺 I, Tonya (2017)

📺 Midsommar (2019)

📺 Tenet (2020)

📚 The One (2016)

📺 Mean Girls (2024)

📺 The Holdovers (2023)

💻 True Detective: Season 4 (2024)

📺 Like Father (2018)

📚 The Quarry Girls (2022)

📺 Anatomy of A Fall (2023)

📺 Aristotle and Dante Discover the Secrets of the Universe (2022)

📚 Everyone On This Train Is A Suspect (2023)

MARCH

💻 Bad Sisters (2022)

📺 Poor Things (2023)

📚 None of This Is True (2023)

💻 Blood & Water: Season 4 (2024)

📺 Do Revenge (2022)

📚 The Last Time I Lied (2018)

📺 Lady Bird (2017)

📚 Final Girls (2017)

📺 Society of The Snow (2023)

📚 A Gentle Reminder (2021)

💻 Young Royals: Season 3 (2024)

💻 The Night Manager (2016)

APRIL

📚 Adelaide (2023)

📺 Dune: Part One (2021)

📺 Dune: Part Two (2024)

📚 The Good Samaritan (2017)

MAY

📚 What Lies Between Us (2020)

💻 Baby Reindeer (2024)

📚 La strana morte di Sir Lawrence Linwood (2022)

📚 Heracles' Bow (2012)

📺 Challengers (2024)

📚 A History of Wild Places (2021)

📺 The Idea of You (2024)

💻 Dead Boy Detectives (2024)

📺 Good Grief (2023)

💻 Abbott Elementary: Season 3 (2024)

📚 The Quiet Tenant (2023)

📚 Happy Place (2023)

JUNE

📚 The Pact (2021)

📺 American Fiction (2023)

💻 Prisma (2022)

📺 Dream Scenario (2023)

📚 The Teacher (2024)

💻 Bridgerton (2020)

📺 The Fall Guy (2024)

📚 The Passenger (2019)

📺 Fire Island (2021)

📺 My Policeman (2022)

💻 The Bear: Season 3 (2024)

JULY

💻 Crashing (2016)

📚 How To Solve Your Own Murder (2024)

📺 Everything Everywhere All At Once (2022)

📺 Marriage Story (2019)

📺 Black Swan (2010)

📺 Foe (2023)

📺 Argylle (2024)

📺 I Am: Celine Dion (2024)

💻 After Life (2019)

📺 The Adam Project (2022)

📺 A Star Is Born (2018)

📚 The Reading List (2021)

📺 Guardians of The Galaxy Vol. 3 (2023)

📺 I Am Legend (2007)

📚 Funny Story (2024)

📚 Listen For The Lie (2024)

AUGUST

📺 Deadpool & Wolverine (2024)

💻 Eric (2024)

📚 Tear Me Apart (2018)

💻 The Umbrella Academy: Season 4 (2024)

💻 Elite: Season 8 (2024)

💻 Interview With The Vampire (2022) 

📚 Ask for Andrea (2022)

📚 Il Castello Dei Destini Incrociati (1973)

💻 Mary & George (2024)

📺 Matt Rife: Lucid (2024)

📺 Kevin Hart: Zero F**ks Given (2020)

📺 Damsel (2024)

📺 Nobody (2021) 

💻 Queen Charlotte (2023)

SEPTEMBER

📚 The Pairing (2024)

💻 Dear Child (2023)

📚 The Only One Left (2023)

📺 Twisters (2024)

📺 Am I Ok? (2024)

💻 Our Flag Means Death (2022)

📚 Hemlock (2023)

📺 A Quiet Place: Day One (2024)

📚 The Guest (2024)

💻 The Queen's Gambit (2020)

💻 Big Mood (2024)

💻 Anthracite (2024)

📚 Keep It In The Family (2022)

💻 Nobody Wants This (2024)

📚 The Family Experiment (2024)

💻 Presumed Innocent (2024)

💻 Monster: Season 2 (2024)

OCTOBER

📚 Once There Were Wolves (2021)

💻 Heartstopper: Season 3 (2024)

📚 Look Closer (2022)

💻 Red Eye (2024)

📚 The God of The Woods (2024)

📚 Daughter of Mine (2024)

📚 The Only Survivors (2023)

📺 His Three Daughters (2024)

📚 The Push (2021)

💻 Sweetpea (2024)

📚 Never Lie (2022)

📚 Seeds Planted in Concrete (2015)

📚 The Butterfly Garden (2016)

📚 No Exit (2017)

📺 The Substance (2024)

📺 It's What's Inside (2024)

📺 King Richard (2021)

📺 Venom (2018)

📺 Woman Of The Hour (2024)

💻 Only Murders In The Building: Season 4

💻 Agatha All Along (2024)

NOVEMBER

📚 All The Colors Of The Dark (2024)

📺 Nightcrawler (2014)

💻 Dispatches From Elsewhere (2020)

📚 Hidden Pictures (2022)

💻 Outer Banks: Season 4 (2024)

CURRENTLY:

💻 Abbott Elementary: Season 4 (2024)

💻 Westworld (2016) dnf

💻 911 Lone Star: Season 5 (2024)

[xserge]

Lovely Serge!!

I am very glad to address this message to you, my old-time friend!! I'm expressing great hope that you are in good health and that your affairs are going smoothly!! 

I am writing to you with wonderful news: tomorrow evening, the company in the person of me, Eloise and Vivian, are going on a short trip to the Grand Budapest hotel!! By God himself, our darlings need some rest; they haven't seen the colorfulness and brightness of life outside the Desgoffe-und-Taxis residence for quite some time!! 

And, I must point this out, I see that it would not hurt for you to unwind outside the walls of this gloomy institution too!! Don't push yourself to the limit; I see how the bags under your eyes only become clearer to my gaze!! I sincerely wish you could come with us!!

I would also like to inform you that this time I will look into Mendl's shop; the fact is that a wonderful goal has loomed on my love horizon in the person of one amazing, lovely person, and I would very much like to surprise them with a small anonymous gift!! But that's not the point, I want to ask if I can bring you some sweets from there?? I've heard quite a lot that you love Mendl's baking products and even trade in this craft at your leisure!!

I will be waiting for your reply — preferably soon — because, as I mentioned, I'm leaving this place for a while tomorrow afternoon!!

I wish you wonderful days and am sending much love,

Jemma.

Dear Jemma,

Very lovely to be hearing from you again mon ami, indeed I must be drawn to be grateful to be reading a note in your utmost graceful handwriting.

You've quite known of my weakness for the sweet tastes for plentiful of time and do surely remember the times when I attempted my hand at them. Sincerely, your indulgent compliments are still falling on my deaf ears - I do not quite so believe it to be so good to "once and for all rival Mendls" or "I must go out into the street and scream of these if you'll allow me" or "it shouldn't have been done to create something to possibly top El Chocolat Montagne" .

The count yesterday felt inclined to nearly cause destruction to a grand piano in Schloss Lutz. Atleast from his playing rather appearing more bear like sauvage than anything quite so graceful or even human. Whilst I do think he resembles rather a rabid animal at any rate than any thinking being, please do not speak to him of any shared word of this, as I'd loose my head surely. So be assured that plentiful of work sadly still needs my attention to it. Seemingly he has been in a particularly bad mood as of late.

I have not been for a visit Mendls for quite a while, however I do recommend those 'Domino Steine' if you'd be inclined or the 'Bremer Kluten'. Nothing tops over what Mendls originally created I must admit - such things simply are of divine nature

The letter is cut off on this spot

[lunamagicablu]

E il martedì devi guardarti allo specchio e dire“Sono degno. Ho bisogno di essere qui.E sono grato di esserlo.C'è bellezza nella mia vita e la troverò. C'è forza nella mia anima e mi fiderò di essa.C'è uno scopo nel mio cammino elo svelerò. C'è della magiain quello che sono e io cicrederò".E poi vai a scalare le tue montagne per oggi. E vai a trovare delle viste spettacolari.

© SC Lourie 

*********************

And on Tuesday you have to look at the mirror and say“I am worthy. I need to be here.And I'm grateful for it.There is beauty in my life andi will find it. There is strengthin my soul and I will trust it.There is a purpose in my walk andI will reveal it. There is magicin what I am and I thereI will believe".And then go climb your mountains for today. And go find some spectacular views.

© SC Lourie