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fuckyeahdindjarin · 3 years ago

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I║ Consent

Dieter Bravo x f!reader

{ Series Masterlist | Main Masterlist | Part 2: Contrite >> }

Rating: E (18+ only)

Summary: You are the intimacy coordinator for Dieter Bravo’s risqué new film. When he fails to show up for rehearsal, you go in search for him. Did you really expect to find him in anything but a compromising position?

Warnings: SPOILERS! Oral (m receiving), daddy kink (scripted), masturbation (m), mouth fingering, dirty talk, swearing, discussions of consent (no dub-con), gloriously douchey Dieter Bravo, no use of Y/N

Word count: 3014

Note: This was 100% inspired by my personal favourites @javier-pena and @mandosmistress. Each of their Dieter fueled my imagination to such an extent that I couldn’t turn it off until I had this all typed out.

This is my first time writing something this cheeky (!), so apologies in advance if it’s rubbish. I’m also new to these warnings and tags things, please let me know if I’ve left out anything. Happy Tuesday!

Written before the movie came out with no spoilers.

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Your first meeting with Dieter Bravo went something like this.

Have you ever worked with an intimacy coordinator before?

A what?

An intimacy coordinator.

You really enunciated the syllables, like they were nine separate words.

He stared at you blankly.

My role is to make sure all the actors are on the same page in intimate scenes, that everyone consents to the choreography.

Fuck’s sake, what a load of woke snowflake nonsense bullshit.

So you knew from the get go what exactly Dieter Bravo thought of your job.

With him cast as the lead - a newly divorced, past his prime actor essentially romping his way across the globe while planning his unlikely Hollywood comeback - you really will be working for your paycheck.

Tomorrow, the crew is shooting the first intimate scene of the film.

You are hired specifically to implement the new Intimacy on Set Guidelines for the studio, and one of the fundamental principles is that intimate scenes should be treated as any other stunt sequence. That includes choreography, rehearsal and putting appropriate safeguards in place.

After begging, threatening and flirting your way through five different departments, you’ve managed finally to schedule a rehearsal today at three o’clock with Dieter Bravo, the female extra cast for the scene, and the assistant director of photography.

It’s a simple scene - Bravo’s character receives oral sex from a random woman in a club, hours after his divorce is final. The script says it is a metaphor for his rebirth as a free man (in your defence, it’s not your job to judge the taste level of the scenes).

There will be a lot of close-up shots and the strobe lighting will make filming tricky. You want to ensure Bravo gets his choreography down pat and make a good impression on the director. The rehearsal itself shouldn’t take more than half an hour if he is as good as his reputation suggests.

If the asshole deigns to show up, that is.

It’s now twenty minutes past three and the assistant director has been sighing and pointedly looking at his watch for the umpteenth time.

‘I really have to go like fifteen minutes ago,’ he tells you again.

You feign calm, but your hands are clammy with embarrassment. ‘Just - stay put, please. I will find him.’

Panic well and truly sets in when Bravo’s trailer, costumes, makeup departments and the break room all turn up empty. Fuck. It’s your first day on the job and you can’t even get your star to a rehearsal.

You turn a corner and you nearly power walk by when a low rumble catches your ear. Backtracking, you stop outside an inconspicuous door to what looks like a utilities room.

‘That’s right, baby, just like that. Take it all.’

Heat chases through your veins, though it’s not immediately clear whether from rage or arousal, or both. Before you know it, you’ve more or less kicked the door down.

Bravo is standing in the middle of the room, the sunglasses he never takes off hanging onto the end of his nose. The blue checkered shirt you’ve seen him wear more than once hangs open down to the fourth button.

And there was a woman kneeling before him. You hear an obscenely wet pop as she draws her head back to smile in your direction.

Of course you’ve walked in on Dieter Bravo getting a blowjob.

The woman’s lips are swollen, and mercifully, she shields you from Bravo’s undoubtedly nude front. Not that you are trying to look. It’s hard to miss the undone belt and the front of his opened jeans under the woman’s hands resting on his strong, hard thighs -

Thighs, you correct yourself. Just thighs.

The stupid earring Bravo wears on his left ear twinkles as he turns his head towards you.

‘Ah, if it isn’t our very own intimacy coordinator,’ he drawls. ‘So very kind of you to join us.’

If it bothers him that you have interrupted him, he doesn’t show it. In fact, he looks rather pleased with himself.

And you know what this is. You’ve been around the block, he is hardly the first Hollywood jackass to play power politics with you.

With the sweetest smile you can muster, you say, ‘Yes, well, I’m afraid I didn’t get the memo that there was a change in rehearsal venue to -’, you pause to look at the sign on the still open door for dramatic effect. ‘ - Supplies Closet 306.’

Brows knitting together as if he is apologetic for the mix up, Bravo shakes his head. ‘Must be my useless assistant. Massive tits - but not much between the ears, if you catch my drift.’

He winks at you.

‘Charming,’ you chirp right back. You want to slap that smug look right off his unshaven face.

He runs his fingers through the blonde hair of the young woman still on her knees in front of him, his rings catching the cheap fluorescent light. ‘This is Lisa. She’s the extra cast in the scene for tomorrow.’

‘Nice to meet you,’ she says with a smile.

Bravo tilts his head to the side and peers at you sincerely. ‘I was so inspired by our conversation about the important work you do, about consent and all - that Lisa and I decided that we wanted to practise consenting to the scene tomorrow.’

You’re sure that your right eye is twitching, but you keep the smile plastered on. ‘Mr. Bravo, I do appreciate an actor taking the initiative. It makes my work so much easier.’

His grin is downright insolent, and… dirty. He looks down at Lisa, his fingers grasping her jaw. ‘Whatcha say, honey? Shall we get the rehearsal going, show the nice lady how good we are at consenting?’

She giggles and coos, ‘Yes, daddy.’

Bravo sees your eyeroll and his grin widens to insufferable proportions. He then nods at you in a blatant challenge. ‘And you, sweetheart? Do you consent?’

A scoff escapes you. He is not suggesting you watch the girl suck him off him right there in the guise of a rehearsal.

He’s bluffing. He’s got to be.

Your gut instinct tells you this is some sort of twisted fraternity initiation hazing he has designed to humiliate you and get you off his back for the rest of the film.

Well, if Hollywood has taught you anything, that is to read people. Bravo leans heavily into his cocky, I don’t give a fuck alter ego, and like any actor, he likes attention, however he gets it. As provocative as his smirk may be, you see no malice in his gorgeous, brown eyes -

Eyes. Just eyes.

You decide he’s bluffing.

Jesus Christ, you hope you are right.

You stand taller and you meet Bravo’s intense gaze. Almost haughtily, and definitely more steadily than you actually feel, you reply, ‘Consent given. From the top of the scene, then, Mr. Bravo.’

For five seconds, reality is suspended, and the silence in the dingy room is perfect. You think you hear the tail end of your declaration echoing in the room, but common sense dictates that you’re mishearing things.

Then you see the minutest twitch in his moustache.

Neither of you look away. The quiet is loaded and you both know this is a game of chicken. You’ve worked your ass off for 15 years to get to where you are. You’ve sacrificed friends, relationships and you’re single as fuck because your career is your life.

If he thinks he can scare off you with a bit of fellatio, he’s got another thing coming. Dieter Bravo can suck your dick. Metaphorically.

Defiant, you cross you arms across your chest, shifting your weight onto one foot as your stance relaxes. You can stand here and stare him down. All. Day.

Occupied as you are by your internal monologue, you don’t see Lisa glancing between you and Bravo, perplexed by the stalemate, and rapidly losing interest.

‘Ooookay,’ she breaches the silence eventually. ‘I think you two have something to figure out. So I’m - um - I’m just gonna go.’

She gets on her feet - you absent-mindedly realise that the hard floor can’t have been comfortable on her knees - and suddenly, there it is before you.

The door closes with a metallic clang.

You swallow thickly as your gaze falls downwards to between Bravo’s thighs. So the rumours are true.

‘You can look, I don’t mind,’ he assures you and reaches down to palm himself leisurely. ‘Been a while, hasn’t it?’

The off-the-cuff insult does not pass you by. He’s right, of course, but that’s beside the point.

‘Cut the crap, Bravo,’ you deadpan. ‘As I said, let’s start from the top.’

Dieter scoffs. ‘If you didn’t notice, sweetheart, my co-star just left.’

‘You’re an actor, surely you can use your imagination.’

You wish you didn’t use that word. It triggers a dangerous glint in Bravo’s eyes.

‘Alright, I can use my imagination,’ he practically purrs at you, staring you up and down shamelessly. How does one make such an innocent word sound so filthy?

‘Fine. Let’s get this over with. For the third time, from the top, Bravo.’

You make to move, but he steps forward and his free hand catches your elbow. His tall frame dwarves you both in height and broadness.

‘Whoa, wait a minute, sweetheart. Don’t we both have to set out and consent to the terms of this rehearsal?’ He admonishes you.

Oh no he doesn’t. He doesn’t get to mock your job, turn the tables then throw it right back in your face.

You smile through clenched teeth. ‘Sure. Why don’t you go first?’

‘Since you very rudely chased my co-star away, I need you to stand in her place. Or rather, kneel in.’ He grins at his little joke.

You feel a dizzying pull in your stomach at the thought of getting on your knees before Dieter Bravo.

‘Fine, but only because most of the camera work will be from that angle anyway,’ you say as begrudgingly as you can. ‘And you keep your hands to yourself.’

He snorts. ‘Trust me, you don’t have to worry about that, sweetheart.’

You hate that your ego takes a hit at his remark. You know you’ve got nothing on that girl who was in here just now (you’re not exactly twenty-two anymore), but you like to think that you still got it, thank you very much.

‘Anything else?’ you give a long-suffering sigh.

Dieter wraps his fingers around his cock and smiles at you. ‘Let’s just say that the big finale will not be - simulated. Can’t get blue balls now, can I?’

Lord have mercy.

Taking advantage of your paralysed state, he ambles closer, dragging his hand up and down his cock, until he is staring down at you, so close you can feel his body heat on your skin.

'Do you consent, sweetheart?’ he whispers by your ear, and your knees are this close to buckling.

Before your brain can catch up, a breathless yes slips from you.

His eyes drop to your lips.

Shit. You shake yourself mentally. Focus. You grumble, ‘I’m not gonna ask again, Bravo. From the top, now.’

You watch as the actor recedes and the character takes over. His shoulders slump in imitation of drunkenness, even his gaze seems to dilate and unfocus. Laziness imbues his movements.

When he speaks his line, he is putting on the character’s accent, and you immediately miss his normal, languid cadence. ‘On your knees, girl.’

His whole body shudders when your palms connect with his chest. The logical part of your brain knows that he is acting now and his reaction has nothing to do with you, but you can’t help the rush of power you feel.

Slowly, you descend, hands skating over lean muscle and broad bones, until your knees hit the floor. You place your hands on his thighs, like Lisa did.

‘Good girl,’ he hums low in his chest, his unruly curls falling over his brow. You want to reach up and rake a hand through his wild mop of hair.

But that’s not in the script.

‘I was married for seventeen years,’ he recites his next lines. ‘And my wife never let me fuck her mouth. Would you let me, you little whore?’

When you don’t respond, Bravo reminds you. ‘You’re the stand-in sweetheart, gotta do the lines.’

You bite your bottom lip. You’re not sure you can, but you’re a professional. You have to.

‘Stuff my mouth full of your cock, daddy.’ You do not mean for your voice to come out so husky.

Dieter groans. This is the part where he pretends to do just that with the extra, but a dildo will be used instead for the simulation. You watch his face closely as the camera will be zoomed right in for the shot. His handsome features twist in pleasure, lips parted and teeth bared. He rocks his hips into his hand with a drawn out moan.

He looks debauched as fuck and it is cinematic perfection.

The musk of him envelopes you, and the sliding of skin on skin is loud in your ears as he starts stroking himself in earnest. You can see every vein on his hard cock as he pumps it, not two breaths away from your face.

It takes all of your attention to remember to deliver the cue in the script to signal his next line. You pinch his thigh lightly. He grunts but doesn’t seem to pick up on it.

‘Line, Bravo,’ you pipe up.

‘Shit, right,’ he slips out of character for a second. Clearing his throat, he continues, ‘This is just the beginning. For seventeen years of misery, I deserve this mouth, I deserve to fuck this tight, wet, little mouth, don’t I?’

You nod - it’s in the script - and you nearly jump when Bravo’s free hand finds the back of your head and curl his fingers into your hair, tipping your face upwards.

That is not in the script.

The prominent vein in his neck pulses as his breaths come out in pants. You can see the flex of his biceps even through his shirt, now sticking to his skin, a sheen of sweat on the exposed strip of his chest. His fingers twist hard in your hair and you whimper, which catches his attention.

‘Such a good girl, taking daddy’s cock so well,’ he grunts, somehow still finding the fortitude to carry on with the script. He is rubbing his length furiously now. ‘I’m going to stuff that mouth full of my cum. Will you let me?’

You nod frantically, as much as you can with the his hold on you, and you may have chanted yes yes yes please - off-script - until he abruptly lets go of your head and proceeds to shove two thick fingers into your mouth.

You moan, certain that your panties are ruined by this point in time.

Your baser instinct takes over, and you bob your mouth up and down on his fingers - oh my god they are so thick - chasing his pleasure. You feel his whole body quake under your palms and you let out a satisfied hum. It seems to quickly drive Bravo to the brink.

‘Fuck, sweetheart, I’m gonna cum,’ he chokes, lines forgotten. ‘You ready for me?’

Swallowing his fingers as deep as you can to the back of your throat, you suck on his salty skin, tongue swirling and tasting the metallic tang of the ring on his index finger. You can’t help the wail that rattles your throat as he slides his fist over his cock one last time before he comes so hard with a ragged moan, thick strands spurting and sliding down his knuckles, his wrist, covering his gold and diamond encrusted Rolex in his own cum.

Bravo slowly withdraws his spit-soaked fingers from your mouth, unexpectedly gently. He drags the thumb across your bottom lip, still catching his breath.

When reality starts to set in, the floor suddenly feels very hard under your knees. You scramble to your feet, far less elegantly than you hope to. You look anywhere but at him.

‘Didn’t think you had it in you, sweetheart.’

To your surprise, there is no condescension in his voice. More of curiosity.

You still refuse to look at him. You lost control. You let him finger fuck your mouth, for Christ’s sake. You let him come all over his hand right before your eyes, so close you could’ve tasted him.

It wasn’t about you even a little bit, and it is still the hottest thing that’s happened to you in much longer than you’d like to admit.

What does that say about you?

‘Not one word to anyone, Bravo, I mean it,’ you murmur, eyes glued to your feet.

You turn to leave, but a firm hand wraps around your wrist and coaxes you back towards him.

‘You got it,’ he promises.

Your sides brush and you reluctantly meet his eyes. They are soft and you want to lean into him.

You have to get out of here.

Bravo lets you go as you extract yourself again, your hand on the door knob when he calls you by your first name.

Your breath catches. You don’t realise he remembers your name at all.

‘I owe you one, sweetheart.’

You yank the door open and slam it shut, sagging against the cool metal, finally letting out the breath you have been holding unknowingly.

I owe you one, sweetheart.

One what? One rehearsal? One favour?

Your cheeks heat up unbidden at the next possibility. One orgasm?

The sound of Bravo shuffling around in Supplies Room 306 snaps you out of your thoughts. He’s probably looking for something to wipe off the mess he made all over himself.

Your cunt insolently clenches at the memory, and you fight the urge to squeeze your legs together to find just a bit of relief.

It’s going to be a very long three and a half months on the set of Resurgence, starring Dieter Bravo.

—————————————————————

{ Series Masterlist | Main Masterlist | Part 2: Contrite >> }

More notes: I’m so glad you made it to the end - thank you so much for reading! I hope you had half as much fun as I did writing this.

This is the second fic I’ve written for this account, and actually my second finished work in 5 days. If you’re interested, here’s my first fic for Din Djarin. I will be making a “Masterlist” one day if I find it in myself to write some more.

#dieter bravo #dieter bravo x reader #dieter bravo x you #dieter bravo fanfic #dieter bravo oneshot #the bubble fanfiction #dieter bravo smut #dieter bravo self insert #cliff beasts 6

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witchlyboo · 3 years ago

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Definitely, maybe.

Part five: The one who belongs to someone else.

Introduction. Part one. Part two. Part three. Part four.

Paring: Latina!reader x Logan Lerman x Tom Holland x Ben Hardy x Timothee Chalamet x Pedro Pascal x Michael B. Jordan

Warnings: Swearing, angst, misspellings, some Spanish, me learning how to write properly, and NY stuff that I've learned from movies that we all agree to pretend are real.

Word count: 6.4 k

a/n: You been asking for smut, I know, I know, I just wanted to introduce you to all the boys first, and we're getting there, just one more ahead. Also, I'm working on a masterlist because we are getting too many parts already.

All body types and skin tones friendly. You can also enjoy it as a no Hispanic reader. Constructive feedback and misspellings correction is always welcome.

Red and blue lights flash the driving mirror.

—No, no, no, por favor que no sea a mi—You beg to the sky looking at the patrol that is asking you to park, or someone else, there's a lot of cars in this part of the city, there's a big chance is the panic who's controlling your senses.—Dios, mi abuela fue a la iglesia cada domingo de su vida y nunca te pidió nada, please let me have some of her divina recompensa.—But that's not how it works, you end up parking with just a few seconds to think what to say. There's a perfect explication of why you are driving a car that is not yours in the middle of the night and smelling like a minibar.

Then this ridiculous thought comes to your mind, you look expensive, you've never seen the daughter of a senator but you must be close to it, it would make you less of a feminist if you just use your attributes? Ugh, you feel sick just to think about it but don't have enough money to pay a fine, and the constant paranoia of being chased all the time as an immigrant will only get stronger.

You pull down your dress a little so your neckline can do its job but you regret it immediately, and you're pretty sure you look more like an expensive prostitute who stole the car of his lover than some influential men's daughter.

—License and registration.—You hear him say when he approaches your window. You don't like this but you have to play the dumb tourist, the pretty foreign girl that is too stupid to be dangerous, with the look you have tonight it shouldn't be hard. But damn you hate cops, any uniformed man that works for the government is your eternal enemy, and you don't know how long you could keep the nice dumb Latina game before spit on his face.

—There's something wrong, officer? ...You?!—Your sexy and fake high voice is ruined when you see the face of the man who stopped you. This night couldn't get worse.

—Wait, what happened with the party?—Evan interrupts you while you finish some notes for work, little remainders for later when you don't have an eleven years old kid running around you, he's not usually this energic and you have to blame yourself for that, you're describing a life of excess and eccentric fun, something you let behind so many years ago that your own son doesn't know even a bit of it.

—Ugh, a nightmare doesn't worth telling.—You remember vaguely most of it but what keeps fresh in your mind is bad enough to don't want to bring it back.

—But if Timothée is my dad I have to know the important things, including the bad stuff.—Sounds perfectly reasonable and that's what makes you groan at him. Sometimes you feel blessed that your kid is better than you in any possible way, and sometimes you want to kill his brain with video games and reality shows like the rest of the parents.

—Ok, cool, but I'll keep all the +18 content for myself, so this part of the story might be blurry for you.—It kinda is for you anyway.

You should’ve known this night was cursed, you had a feeling because a) your earring fell off at the same time Timothée texted you to give you the party address and say he can't pick you up. And b) he won’t pick you up. Your mother would say that’s reason enough to not go, a real gentleman wouldn’t make you go to an unknown place in the middle of the night on your own in a city like this. But you decide to ignore it because you are a modern woman and because it’s worth it. It better be.

The outfit must be something special. You always take your time to choose what to wear, even if just another regular day, and since this isn't the case you thought about it for hours, that made your mind busy enough to not thinking about Tom and the whole love confession. He texted you saying he'll come for you to go to class together on Monday, which is completely impractical because he's way closer than you but is progress and you're going to take it.

You wanted to ask for Sheep's opinion but you thought she might not care, has been a few days since she started acting strange like she's bothered just to see you breathe. You want to blame his boyfriend to take all her time and attention from you but is probably just her new job, she got a small role in a Netflix show, and even when you're so happy for her, that's the event that has changed her into someone completely different. But you give her time, stress can do bad things to people.

The winner is the exact copy you made of the black and white striped dress Cameron Diaz wore in "The Mask" beautiful, classy, and sexy enough without being too scandalous, not that you have any problem with that, but this isn't the occasion, you don't want to feel like you're being too much or too little, just enough, it's supposed to be easy, right? you were born for this. Just adding some big shiny earrings you got on a thrift shop that look like real diamonds and you're ready, not that you own any to compare. Red lipstick, dark eyes, and a messy bun to get that disinterested pitch every look needs.

Getting there wasn't a problem, you were in the rich part of the city, everyone know who, where and what just to brag about it. The excitement is growing with every second, you check your makeup like thirty times in the elevator and send texts to your mom just to let her know where you are, and because you have to share that moment with someone and you are limited of friends these days.

Timothée opens the door with red eyes, drunk, high, or somewhere in between, you know then you were right about the bad feeling. He jumps on you to kiss you and no matter how much you try to explain the delicacy of your lipstick, he does it anyway, leaving a taste of alcohol and shrimps in your mouth. Taking you by the waist he walks you to a group of people you don't know while you're trying harder to fix the red color of your mouth without a mirror.

—Here is the companion I bought, look at her, that's how five grand per hour look like.—They laughed but you were too disoriented to process all the things he said, it was supposed to be a joke? if it is, why isn't he correcting? Instead, his hand goes straight to your ass and presses it to get you closer to him.

—I'm actually an intern in the costume designer department of the new version of "Sense and Sensibility".—You wanted to mention your recent promotion to hairstylist and makeup artist but that might be too pretentious. Anyway, they don't seem to care what you are or not, in fact, they don't even see you, all eyes are on Timothée

—Oh, well, is easy to forget when you're paying them—All laughs again. Who is this person? Who are all these people, actually? You recognize some influencers, a few cast members but there's no sign of the director, other main actors, not even his co-star. You feel like an extra in a movie where someone will be killed in a luxury party, hopefully not you. You take his hand from your body and clear your throat.—I'm just joking my love, she looks stunning, isn't she? I’ll get you a drink.

He leaves and the group of people surrounding you suddenly dissipated like boiling water, you were on your own again and despite some judgmental gazes is like you’re not there, you’re sure you could just take your dress off and throw it to someone’s face and unless Tim says something about it, no one would care. You’re there as his companion, an ornament, and that’s not enough to earn their attention because it’s too obvious you’re the one in turn.

You walk to the only window no one is smoking and check your phone, you know, the thing you do when you pretend you have important issues to attend, but no, you end reading some old messages, pictures, texting your mom of how much fun you’re having at the party, and somehow you check your filed Facebook messages to find Logan’s name. You cover the screen so fast you hurt your nail, his name is enough to make you tremble like a Chihuahua, you haven’t talked to him since that night, you know from his sister he lives in the house he bought for you two and he’s having the happiest life without you. You want to believe that because that means you took the right decision but deep inside… no, you can’t be that person, you want him to be happier than ever.

You find the guts to open the message, and you read as slowly as is humanly possible. “My angel, I hope this finds you in perfect health…” Dios, just Logan could start a message like that, your smile is almost too big to fit in your face so you bit your nail to cover it a little. “I recently found one of the human body drawings you made for me to study, you’ll be happy to know…”

—That’s a fucking long-ass message.—Tim appears behind you and takes your phone from your hand, spilling some of his drink on your dress in the process. Apparently, he's been there long enough to read part of the message.

—Give it back.—You command in the most severe voice you have, your magical moment got ruined and you remember the hole of hell you are.

—"My angel, I hope this finds you in perfect health. I recently found one of the human body drawings you made for me to study, you must know I still use them now and then"—Timothée starts reading the message, and even when no one is close enough to hear it and you don’t really care about this people’s opinion, that’s not for anyone to read, that’s one of the few parts of your life you treasure the most and you’re not ready to get over it.—You little slut, are you cheating on me with a med student?

—Give it to me.—You repeat trying to take the phone from his hand but he’s faster and walks away putting it out of your reach.

—"I meticulously preserve them, I certainly know any piece of art made by you will be priceless in the near future"—You don’t want to hear it coming from his drunk mocking voice, so you try to ignore what he’s saying and put more effort on chasing the phone.—Should I had kept the jeans where you left the wet spot on? I didn’t know you were an artist, my love.

—Timothée, por el amor de Dios.—Now you're trying to climb him, it wouldn't be that hard to take him down, he's skinny and you're fierce. That's what you thought but he's not moving even with you are on top of his shoulder and his opposite long arm keeps the phone away from you.

—Who is this guy and why is he talking to my girl like this?—You see the olive eyes getting darker and the tone of his voice went deeper than you thought he could do. You desist from taking the phone, you know the bullies love the attention, maybe that's exactly what he wants and give it to him just makes it worse.

—I'm not your girl.—You claim fixing up your dress having enough of games, and you have no reason to keep worrying about losing your job, the filming is done, and apparently your relationship with him too. You don't care about any of that anymore, just want to read Logan's text.

Even behind all the alcohol and the eyes injected in blood thanks for who knows what kind of drug, you can see the disappointment and anger, but it's not a broken heart, Is the hissy fit of a child that loses his balloon and now everyone will pay for it, especially you.

—Are you sure about that?—You can see him swallow hard, almost looking vulnerable, but his voice is defiant and threatening to prove you wrong. He just has to stretch out his arm to reach the open window with your phone in hand, his intentions are clear and the only thing you can do is raise your hands as a reflex.—You were mine the moment you put a foot on my trailer, and I don't fucking share my stuff.—Before you can say a word he drops the phone from the fourth floor.

You know is senseless but you find yourself running out of the party and going to search the device, using it also as an excuse to get away from that place. This is the first time someone makes you feel meaningless, you know the famous' world is cold and lacking in empathy but this is ridiculous, they're a bunch of parasites fed by attention and power. By Timothée.

The screen is crashed and the rest of it is probably beyond repair, not that you're surprised, its life is longer than you've been in the country and you admit you should have replaced it much earlier but you're not the kind to throw away things that still work. However, is not the phone you are worried about, not as much as what it contains.

—That was obsolete anyway, I'll get you a better one.—You didn't know he was following you, his voice interrupts your self-wailing. He sounds calmer and a little embarrassed, but not enough to say sorry, you don't think he's capable of saying it.

You shake your head and start to walk away without a word, you don't want anything from him, not materially, at least.

—Don't make a scandal out of it, it's just a phone!—He yells erasing any trace of regret in his voice. He doesn't see the reaction he expected and that's when he runs after you and with a hand on your upper arm pulls you back, you gasped for the sudden bluntness.—That annoying habit you have of leaving when I'm talking to you.

You push him away with all the strength you have, which resulted in him almost falling on the ground.

—I don't care about the stupid phone!—You finally break, but sadly is not as satisfactory as you thought it would be.—You are mean, vain, arrogant and the worst part is that you enjoy being this despicable human because you have absolutely no consequences to it. Everyone around you just accepts it and I feel so sorry for you because the only possible way for you to fill the void inside is to be surrounded by that crowd of mules licking your steps—To your surprise, he has nothing to say, he's just standing there with no facial expression, whatever he feels is easily covered by his years of experience acting, even drunk.—I can't give you that and it's obvious they don't want me either. What am I even doing here?—You ask yourself thinking where would be the best way of getting a cab, is a rich zone, must be easy.

—Everything is better when you're around—His voice is thin and fragile, you have to process what he said three times in your head to understand his words. You're not willing to look at him yet.—You're not like the others.

—Pure bullshit. You love to repeat that misogynist discourse of girls being in a certain way because is easier than be responsible for the people you choose to be—You were hugging yourself the whole time, is a cold night, but not enough to be bothersome, you enjoy Fall weather��You got me for a moment, I give you that, you fooled me but I'm too tired of guessing what version of you is real—When you return your gaze at him, he doesn't try to hide the guilt anymore, but there's still haughtiness in there.—Now, if you don't mind Mr. Chalamet, I need to get a cab.

—No, you came with me, you leave with me.—There's no trace of alcohol in his voice anymore, a good scolding is enough to put you sober, you know that thanks to your mom. Oh god, you're becoming her.

—You didn't bring me here, gigantic head—You look at him and put your hand in front of him with the palm up. He stares at it for several seconds before put his own on it—Not that!—You shake it and start looking inside his jeans pockets until you feel the metal of his key car.—You can't drive and I have to get home. You'll find it in the studio tomorrow.

That's how you ended with a car way more luxurious than you expected, driving so slowly and carefully that the police stopped you. What a night, but at this point, you couldn't care less about anything that is not that message, is been months and you can't get over it, over him. Not even Ben moans, Tom's comforting arms, or fight with a movie star at 3:00 am. is enough to get him out of your mind.

—So is true, you don't wear anything that hasn't appeared in a movie, huh?—Michael B. Jordan is leaning on the car window with a mocking smile and a sparkle of satisfaction that you would love to punch but his uniform keeps you in line, where you come from police is not equal to justice, most of the times is oppression.

—You know where it's from?—That was kind of comforting, no one at the party noticed. Not that you care.

—Is The Mask, not some Adam Hitchcock's blurb.—He smiles and even when you really don't like him, it's nice to be with a familiar face, you are really tired of running away, scaping for problems that are a result of your null capacity to deal with emotions. Ugh, what a word.

—Is Alfred Hitchcock, actually.—You didn't want to sound priggish, but you correct him with no time to stop yourself, an old habit.

—You got me, smarty, you know more than movies than me. Where did you get this car?—You feel really nervous even when you got this legally, you have your documents and license on time and he's being nice enough to not want to run away in a car that you technically borrowed for yourself.

—It's not mine.—No shit, Sherlock.

—No shit, Sherlock, I was asking where did you steal it.—You wanted to laugh but there's something with the uniform that just doesn't allow you to be yourself.—Are you drunk?

—No, no, fuck, no, it's just, I don't feel comfortable with cops—He raises his eyebrows but that is his only reaction.—Listen, is my boss' car, I'm doing the favor to take it to the studio, and I'm really nervous because is fucking expensive, he's an asshole, I haven't drive un almost a year because you people only use cars if you're rich or your work and lives depend on it. I'm starving.—The last part came out of nowhere, you haven't eaten anything in almost 13 hours, maybe that's the actual reason why you are that moody.

He doesn't answer right away, takes his time to look at you, what makes you blush, he's really close, closer than he's ever been. Does he smell like green apples? Not the actual apples, the artificial smell they had given to them.

—Get out of the car.—Oh no, is he arresting you? Is he finally taking revenge for every time you make fun of his Hawaiian-type shirts? You know you have too much karma accumulated and a cop making you pay for it when you don’t believe in their sense of justice is kinda poetic, and evil.

You don’t want to discuss with someone with a taser, gun, pepper spray, or who knows what else. So you take your bag, the key car, and get off defeated.

—My turn is almost over, I’ll take you to eat something, c’mon.—He walks back to his patrol and you stay still for a few seconds still processing his words, you must look totally devastated for him to offer that. How you see it you have two options, go with him and spend an awkward hour with a person you don’t like or risk getting a fine, Tim can pay it, it’s not a big deal but you don’t want to owe him even the minimal thing.

You get in the car holding on to your bag to feel calmer, this is the first time you’re fully alone with him since you found him half-naked in your kitchen. Those defined abs may never leave your brain.

—Are you cold?—He interrupts your thoughts with his question, you didn’t notice you were shaking. He looks for something under his seat and gives you an NYPD hoodie, you hold it doubting your next move, is not like you don’t appreciate the gesture but it’d be easier to take if it doesn’t get that words printed—Is clean.—He says chuckling when he sees the way you’re looking at it.

—Is not that, just, you know, fuck the police, defund the NYPD, demilitarize the pigs and that stuff.—You say putting on the hoodie anyway, is a cold night and you won't help the institution wearing their propaganda.

—Yeah, I get it, but you can't change the system just from within.—You decide is not the right moment to have a political conversation so you shrug your shoulders and discreetly smell the hoodie, a mix of cologne, green apples, and cheap soap, you know is cheap because you buy the exact same, do its job.

—I'm in the mood for pizza.—You say casually, making a deal to yourself to try to be his friend, he is a small part of your life anyway.—Domino's is open at this time of the night?

—Tell me you're not consuming that shit, dear Lord, you been here for how long, two years? I can't believe your idea of a good pizza is Domino's. Stella hasn't taught you anything?—You're surprised by the level of condescension with a pizza and you mirror his smile, suddenly feeling embarrassed. Your school program includes people from all around the world so you don't have that much experience with actual new yorkers. Logan is rich, so he doesn't really count.

—What's wrong with Domino's? I don't buy much street food, is cheaper to buy things on the food market. Besides, all pizza is good.—The mention of Sheep makes you a little tense, so you don't say anything about it, is not a conversation to have with him.

—Don't blaspheme in the patrol, I just washed it—You laugh, finally, after a terrible weekend. You can see why she likes him, there is something about his voice, smile, and his eyes that feel... calm, like watching Friends after a marathon of Lord of the Rings.—There are rules to survive this city, and I'm surprised you have made it this far without a proper guide.

—Chill out Mr. Miyagi, I'm not from the jungle, and I've learned a lot by myself.—He gives you a lopsided grin as a request, and you put your fingers up ready to enlist your acquired knowledge.—Walk fast, like you're about to be stabbed, something that actually happened to me, with an umbrella—He nods and laughs being related to it.—Number two, no small talk, no one cares, even if they ask. Number three, if you look a stranger in the eye, especially a homeless person, you have essentially invited them to approach you.

—Number four, we never eat from Domino's, Papa John's, Pizza hut, or any other chain restaurant, only trucks and local places are allowed.—You roll your eyes but you get the point, is just, again, you're not much into street food, it doesn't taste like home and the only way to eat food like that is preparing it yourself.

—Fine, fuck capitalism, let's support local places—You make an obvious fake enthusiastic tone but he nods proudly.—Number five, you don't need a car to live here, not even know how to drive. I would have successfully avoided this police brutality if I had followed that rule.

—For someone who is about to eat for free, you whine too much.—He parks the car and gives you a sign to go with him. You see him go to a pizza truck and order, you realize at the moment how ridiculous you look, so before chasing him you let your hair down, take your huge earrings off, and roll up the skirt of your dress until your mid-thighs letting the hoodie cover the rest, and clean the red lipstick with a Kleenex from your bag. Now you look more like a college person and not a rich girl who just got seized.

—Here you go.—He says giving you a slice as big as your head, looks oily and spreading cheese everywhere. Perfect.

—Is it vegan?—You ask receiving the food with an obnoxious face. His kind grind turned into a dread expression and you give him your second laugh of the day.—I'm kidding.

You are about to give it a bite when you see passing next to you a huge rat with the exact same slice as yours in its mouth, running into the dark of the night happy to have obtained the food for its family. They use to scare you when you just moved out but now they're like any other pigeon in the sky.

—Rule... whatever, a rat with a slice of pizza is a symbol for good luck, congratulations.—He pets your head awkwardly, not sure if you're ok with the physical contact, which, surprisingly, you are.

—I see rats with bagels all the time.—Pizza and bagels, that's the main culinary wonders of the city, you like it, not much to object but is hard not to compare it with your home's food.

—Is easy to confuse a rough diamond with a simple rock.—You both eat in silence, enjoying the mixed sounds of the city and all the different smells, the whole situation feels like one of those lofi music videos. You remember thinking about moments like this before getting the scholarship, what would it be like to feel normal in the city of your dreams.

—How do you know that much about movies?—He asks after a few minutes when you take a break to drink something, that pizza is not easy to take.

—When I was a kid a spent much time on my own, so my dad bought me a used DVD reproducer, and at the corner of my neighborhood was this movie store where you could buy 5 pirate movies for one dollar. They were blurred, with a terrible sound, and most of the time with the wrong movie inside but they helped me to not feel lonely. Eventually, the store closed but I've watched everything in it by then—He gives you a warm smile, you never told that story to anyone, not because is too intimate to share, but because no one asked, it doesn't sound like a question with a complex answer.—Anyway, I watched Marie Antoinette when I was like eight, and I decided at that moment that however is done I wanted to be part of that magic.

—You hear all kind of people chasing dreams in this city but is hard to find someone who actually deserves it.—You blush and you cover it with your hair but the smile on your voice is impossible to hide.

—Is that a compliment? You must really want me to like you to date Sheep.—You laugh but you can see his face tense, so you can guess your friend has been busy breaking everyone’s hearts.

—She hasn’t returned my calls in three days so I don’t think there’s much you can do—You nod, all this time you thought he was the reason she is ignoring you but apparently you are both in the same boat.—But yeah, I don’t know what I was thinking, what I should have said is, Marie Antoinette at eight? I can see where all the damage started.

You gasp and throw your napkin at his head, he easily catches it without even looking at it and laughs; that was unexpectedly attractive.

—Why a cop?—You ask, not sure where that question came from, maybe you authentically want to know more about him, he just bought you food, and honestly, that's the easiest way to win your trust.

—I wanted to be an actor when I was a child. This is the city of opportunities so you may think that if you want to chase the big wonder, this is the perfect place to do it. But I grow up surrounded by these people giving their entire lives to get something just given to one in a million so I decided is not worth it. For many years I wondered what I wanted to do with my life and the answer was really clear, my dad was a cop, a good one, or that’s what people say. I don’t remember much because he died when I was seven—Conversations about death are not your strength, everything can turn out uncomfortable if you choose the wrong words.—It might not be that glamorous but if my father died for it, it surely worth it.

—For the good ones.—You raise your almost empty can of Coke and he does the same with a grin that warms the cold weather of the night.

—For the good ones.

The next two hours passed like minutes talking about anything and everything. It just felt right to talk freely with him, you didn’t feel judged for your awkward family moments or your random thoughts, not even once because he told you his too. At some point of the night he borrowed you his gym sweatpants, any of you could just suggest going home but that was off the table, end that peace just for weather reasons would have been a tragedy.

—I read Timothée Chalamet is a dick. Is that true?—The mention of his name remains you of your life and everything that comes with it, including the middle semester project that you must dedicate your entire day, one that is about to start.—What, you can’t talk about it?

—He is a complete dick with no sense of privacy or human decency—And when he interrupts a deep kiss to look at your eyes, smile, and caress your chin, you feel like a character of his Victorian movies. But he didn’t ask that.—But the next week he’ll be no longer my problem.

—That’s why we have rule twenty-three, don’t ask for a picture of a celebrity unless they are local—You have heard about it before but you haven’t got the opportunity to decide if you like that rule because the only celebrities you have seen are from work and that club’s party opening.—That means you’ll be free to go to the Stephen Kings’ movie projection there will be for Halloween.

You don’t know if that was a proposition, a suggestion, or just a simple recommendation, and whatever it is, you noticed he was nervous to ask. Is it wrong? It feels wrong like you were betraying your friend accepting to hang out with his boyfriend without her consent. But he didn’t ask you to go with him so is safe to answer.

—Yeah, I guess—You get a moment, four seconds top, where you shared innocent, curious, and tenting gazes like three graders in the playground. And that’s the further you will allow yourself to go.—We better leave, if the sunlight touch me I’ll turn into dust.

You get off the car hood and go to the side door, but this time he opens it for you. You give him a “seriously?” Look, receiving a little push in your arm as a response.

↬☀︎︎

A distant voice asks you to wake up, softly whispers that turn into caresses on your cheek, your eyes feel so heavy, even when you are well aware of your environment your eyelids keep closed.

—Good morning, Princess—This is the first time Tom calls you that way, the change from silly nicknames to Princess is enough to get you out of hibernation. He is squatting beside your bed, his smile is the promise of a better day, and chasing that idea you give him one small back.—Your mom has been texting me desperately all day, she said you're not answering her calls and is worried.

—Fuck, my phone broke last night, can I call her from yours?—That’s an oversimplification but in the search for a better story, that's what you decide to believe and tell. Tom nods and gives it to you, he looks happy, beyond that, this is the first time you see that subtle blush on his cheeks and the eyes sparkling. You sit on the bed next to his body looking for your mom's number, slowly he moves between your legs, you have shorts and an oversized Back To The Future t-shirt, you got took the time to prepare yourself to bed last night and keep Michael’s clothes inside your closet to wash them, like The Tell-Tale Heart, a little innocent secret who feels dirty somehow

The conversations with your mom are always long, nostalgic and the tears are hard to hold for both parts; after a long life sharing almost every day with her, her absence never feels smaller. But this time is different, Tom is exploring the bare skin under your knee with his warm hands, asking for permission with curious eyes, and when you don’t object to the touch the British boy keeps his exploring mission cautiously, giving special attention to see your eyes in case something change. Is time to hang up when he gives a long and loving kiss to your knee, the less erotic kiss you could think of but so intimate to bristle your skin.

—Not nice to touch someone's daughter when is talking to her mom.—The protest of your voice loses strength at every word, he heard that and just straight his back to reach your face, the gap is almost extinct.

—We're okay, she likes me.—He assures holding your hips and pulling you a bit to him. Tom looks very comfortable with the new closeness authorization, you like it but are not very sure about it yet, most of you still think of him as your best friend.

—Did she tell you that? Are you talking with my mom behind my back?—You laugh when he does, almost like nothing changed.

—She adores me, I swear, I'm invited to Christmas, you know?—You're not surprised, she invites everyone, Logan was too but the first time he got family plans and didn't make it to the second.

—You should go, maybe we can do...—His lips touch yours in a peak at the middle phrase and makes you forget what you were about to say.—Man, the audacity to interrupt...—Then he kisses you again, deeply, using his tongue to taste your inner lip and his hands holding your shirt in fists. That's a twist of events.

—Is that ok?—You hear a weak whisper coming out of his voice but you got so mesmerized on his lips that decided to ignore it and kiss him back instead. He responds to your touch and starts to lean over you to make you lay on the bed.

Jesucristo bendito, is this happening? like, actually happening? you must look like trash, you barely took all the makeup from the night before and didn't take a shower, you start to get so worried about smells, feelings, and what that'll mean to your already too much-spoiled friendship.

However, the time of doubts is done when Sheep starts yelling in the living room, you both reacted running to the sound and looking for your blonde friend. Michael is there but doesn't look like the same as a few hours ago, is annoyed and tired for the lack of sleep, a look that doesn't match him at all.—What did you do?—You ask him fast assuming she's mad for something he did.

—Just in time, the star of the movie, I was wondering how much it will take you to be the protagonist of this.—That is Sheep's voice talking about you and what must be your heart breaking from her words.

—Excuse me?—You wish your tone would be less savage but you can't help respond the same way she did.

—Logan wasn't enough, then you got the drummer, fucking Timothée Chalamet, Tom and now my boyfriend. I'm so glad I didn't leave you alone with my dad or I'd be calling you mom now.—You have no words to that, Michael doesn't even dare to look at you, he must have told her something she misunderstood, but Sheep, or well, Stella is saying things she actually thinks and keep to herself. Tom walks in front of you whispering things to her to calm her down but she is not looking at him, you didn't tell her anything about Tom either so he's taking responsibility this time.—Go ahead and fuck the whole city, Michael if that please you but you're crossing the line with Tom and you know that, you're going to ruin him as you ruin every man that enters in your life.—She has a very you moment having the last word of the dispute and getting out of the apartment with Michael going after her but not putting much effort in it.

✧⋄⋆⋅⋆⋄✧⋄⋆⋅⋆⋄✧⋄⋆⋅⋆⋄✧⋄⋆⋅⋆⋄✧⋄⋆⋅⋆⋄✧

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Thanks for all the love and support, if you have opinions, suggestions, or want to be part of the tag list (Or don’t want to be part anymore) let me know, I appreciate every message.

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twh-news · 3 years ago

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Interview: Makeup Artist Douglas Noe on Loki’s Looks Through the Years & Creating Anew for ‘Loki’ [EXCLUSIVE]

Douglas Noe has been in Hollywood for three decades. An award-winning makeup artist, he’s worked on projects such as World War Z, Planet of the Apes, Spider-Man 3, I Saw the Light, and Birth of a Nation. On top of these impressive credits, he’s also been Tom Hiddleston’s personal makeup artist since joining the MCU in The Avengers, designing all of the looks for Loki’s subsequent appearances.

Noe has been nominated for three Emmys with one win, and five Makeup Artist and Hairstylist (MUAHS) Awards resulting in two MUAHS awards. His skills include creating making natural and period looks, prosthetics, hair, and tattoos.

Along with being the head of the makeup department for the most recent Disney+ series Loki, Noe is also creating looks for the new Netflix comedy series True Story starring Kevin Hart and Wesley Snipes.

We had a chance to chat with Douglas Noe about his work on Loki, The Avengers, the incomparable value of teamwork on set, and most importantly, Richard E. Grant.

Nerds and Beyond: So you started your Marvel journey with The Avengers, but what drew you to your field in the first place? And how did you get your start?

Douglas Noe: Star Wars was a huge influence to me as a young boy, both sketching and drawing, and a little bit of sculpting but not much. Cut to 1983, Michael Jackson’s “Thriller” comes out and I find a magazine called Fangoria on the newsstands where I can order blood and wax and pencils and fake hair. So, I started playing with these things. I was also taken with the horror movie craze that was happening in the early 80s — Nightmare on Elm Street and Friday the 13th, and others, obviously.

In High School, in 1984, I joined choir thinking I would get an easy credit, but my voice had not changed. So the choral instructor had been waiting for a boy soprano to do a theatrical opera presentation. So with that I sang the lead, I quit choir after that, because my peers were merciless, but, I learned the world of theatrical makeup which I hadn’t been introduced to.

I did years of theater. I went to a performing arts high school — it’s called Fort Hayes School for the Performing Arts in Columbus, Ohio — graduated, went to beauty school, and continued working in Ohio doing industrial, commercial, theater, and opera [makeup]. Worked for Maybelline and Revlon, got restless, worked in Cincinnati on my first film in the summer of 1990, it was July so 31 years ago, A Rage in Harlem. And my boss said you come to Los Angeles, I’ll make sure you get on your feet.

Nerds and Beyond: So you mentioned that it’s been about 31 years since your career started, what’s changed over the course of those 30 years in your field?

Douglas: How much time do we have? I’d say the biggest, biggest change would probably be the way we make these things now. Although another large change, more specific, would be the materials that we use. There’s a constant evolution and reinvention of almost all aspects of the materials that a makeup artist uses. That said, I have to shine a light on the way we do things now with the onset of digital and digital cameras. Shooting on film now has almost completely fallen by the wayside. Film was very forgiving, quite frankly, and now it’s not so forgiving. And because of that, the bar has been raised. The wonderful thing about this journey is watching my peers just get better and better and better, my colleagues rising to meet the challenge of not having anything to hide from with this new way we make films.

Nerds and Beyond: So, sometimes you kind of throw prosthetics to the wayside in favor of a more traditional makeup. How do you make that decision on which one to go with?

Douglas: That’s an excellent question. The decision is based purely on what are we going to see. That’s where I start, what is the lighting? I have a conversation with the director of photography and I find out what is the dynamic. Obviously, I know from the script whether it’s an interior or exterior, or if we’re exterior but we’re going to be on a stage, if it’s day or night. These variables all play into my decision as to whether or not I should rely on my theatrical experience and ability to paint 2D to appear 3D, or go ahead and make small prosthetics and put them where I need to put them and use actual prosthetics in lieu of paint.

That has everything to do with lighting, locations, logistics, and because most of his [Loki’s] wounds appear on his arm and some on his face in the Void, it’s all very moody and very dark. And again, the theatrical quality of the paint is not going to be altered by the changing light, it’s just going to react the same way the rest of the face is going to react. It’s purple light, it’s going to make everything have a purple hue. There was no accounting for any correction that didn’t need to be done. There wasn’t anything wrong with that. It’s real.

Nerds and Beyond: So, you did make up for not only Tom on Loki, but you helped plan out the looks for everybody?

Douglas: Yes, what I do is I surround myself with strong talent. It’s all about team. I designed Wunmi Mosaku, Gugu Mbatha-Raw, Sophia DiMartino, and Tom [Hiddleston]. Regarding the rest of it, Neil Ellis, both Dennis Liddiard and I, added to the elements of his scars and wounds, which you would only see in close-ups.

The rest of it, the parameters are set — Blade Runner to Mad Men — and stay in those confines. And obviously, I choose color palettes for the women and there are parameters set for the men, but then it’s about team. I’m a big one on a team and not putting my thumbprints on other people’s work, but rather build other people up so they feel like they own what they’re doing.

My team consists of artists that also have stronger resumes and quite frankly, skills that exceed mine. It’s the mutual trust that allows us to keep a high level of artistic integrity in every aspect of the job. It also means I get the very best from my team, and it shows on the screen.

So, I didn’t have every look in my hand. Dennis Liddiard designed the Mobius character and I had Ned Neidhardt run with Gugu and turn up the volume on some of the elements that she already possesses that we can play with. Her eyes and lips, I think Ned turned the volume on both. And because we’re shooting in order, it’s a progression in the makeup you did.

Nerds and Beyond: When it came to Sylvie and Loki, when you when you’re doing those, did you try to kind of plan them both to have any similar things to give them a Loki look?

Douglas: It’s a fair question, but the answer is no. So again, I think the characteristics and traits that were going to be similar among them, aside from wardrobe and costume hints, were all character driven. And I did nothing with the makeup and hair to try to make them look or even closely resemble each other.

Nerds and Beyond: I want to kind of back up a little bit to Tom in the first Avengers film. That was by far one of his most standout looks. Can you tell me anything about what went into the creation of that absolutely tormented, haunted look that he had throughout that entire movie?

Douglas: Yeah, and that’s probably one of the elements that, because the character has evolved, we kind of left with Avengers because by the end of Avengers, and we carried it into Endgame, he does have a bit of an edgier look in Avengers, and not many people pick up on it. But the reality is he’s a little sculpted in Avengers.

I remember sculpting his cheekbones and temples, and doing a little play on his forehead for when he’s in the cell on the Helicarrier carrier with all that overhead lighting. I did like a little devil horn shadow, which is so subtle. The only person who’s going to notice is anybody who looks back at it and having read this and knows what to look for, but it is so nuanced and so subtle. And that’s the only place I think we did that. But the rest of him is very much chiseled and sculpted, but it’s a light touch.

And I think, again, as he evolved through the Marvel Universe and into the other movies that was something that was easy to leave behind, because I think that look played directly into his evil desire to rule over Earth. We rested that design element with that storyline.

Nerds and Beyond: It’s very clear too and I’ve always loved looking at that, because I’m a huge fan of the character. I’ve always loved kind of comparing how he looked in that movie to the rest of them.

Douglas: You’re on to me!

Nerds and Beyond: I’m not! I swear [laughs] So, what’s your best method for making the actors comfortable in the makeup chair? And with the final outcome?

Douglas: It’s dialogue; listening, talking to them, talking to their representation, whether it be an agent or a manager, and doing my homework and doing my due diligence to find out what’s going to make them comfortable the moment they walk through the door. I do my homework on them. It’s not just IMDb, it’s an internet search. So, I spend some time on the web and find out who these folks are, and if I find out, for example, they’re not one that likes to talk a lot, well, the writing’s on the wall, we’re not going to talk a lot, we’ll cut to the chase and get to the point. But also, it’s about building a rapport and building a relationship. Also, knowing that, I’ve said this in previous discussions, knowing it’s necessary to get out of the way.

Like if, for example, I’m not a proper fit for somebody, I have to be plugged in, I have to be aware enough to understand that it may not be working before somebody says to me, “Hey, this isn’t gonna work.” So it’s just about being open, especially as Tom’s personal on these projects and running the department, knowing that I don’t get to do everybody. I don’t get to put my thumbprint on other people’s work. Because not only is that disrespectful, it’s very often unnecessary, because I hire good people. I hire contemporaries and peers. Truly, you’re only as good as your weakest crew member. I surround myself with good people.

So, take Owen Wilson, for example, it would have been wonderful to do Owen’s makeup, but there were times when he was not going to be shooting with Tom and I was going to need to be ready for Tom or available to Tom, so it didn’t make sense. So I never touched Owen, I had Dennis Liddiard design that look and run with it. And then Ned Neidhardt took over that look when Dennis had to depart. That’s just one example of not trying to do everything.

Another one was the Classic Loki. I wanted to do Richard E. Grant’s [makeup] so bad, I can’t even tell you. I’ve been a huge fan since 1987. I wanted so badly to bring that full circle, didn’t make sense. It just didn’t make sense. So again, I never touched him. It wasn’t necessary. Ned was always there. And I think the same thing happened to me on Ragnarok reshoots, which I ran in Atlanta again with Dennis Liddiard. I wanted so badly to do Sir Anthony Hopkins makeup, but it didn’t make sense. So I was happy to hand it off to Bill Myer.

Nerds and Beyond: Oh man, I loved Richard E. Grant in this show so much.

Douglas: He’s amazing.

Nerds and Beyond: He’s so good!

Douglas: He really is. And he’s that good in person. He’s just so fun and interesting and alluring and attractive. He’s such a wonderful, wonderful person and, of course, a phenomenal actor.

Nerds and Beyond: I was watching little videos that he posted and he just seems like the warmest person.

Douglas: You know, just one last tidbit about Richard Grant is he’s got wonderful stories and as he’s telling them he’ll often stop and pause and just laugh. Just laugh, not for the sake of the stories or for anybody that he’s telling the story to, but because recounting the story brings him true joy. So he’ll stop and embrace that joy. Oh, it’s so wonderful.

Nerds and Beyond: That’s so amazing to hear. What is the most memorable job that you’ve done?

Douglas: The most memorable … That’s a tough one because I have so many fond memories of so many projects. The first Avengers film was memorable because there was a buzz, there was a vibration, a frequency, that was in the air when we were shooting that. We kind of knew we were making something big and something special. I don’t think any of us knew how big or how special it would be, but that certainly is one of the most memorable and most special projects.

I’m pretty good about focusing on the positive aspects of all these things, regardless of how difficult the project may be for whatever reason. The pros always, always heavily outweigh the cons, but I have a lot of wonderful, memorable experiences. Another one, it’s the polar opposite only because of the conditions in which we shot, but Birth of the Nation was one of the most memorable and exceptional experiences of my career. I was on the wrong side of 40, had 25 years of experience, and had still never worked so hard in my entire life. We did a 50-day shoot in 27 days. So proud of the work we did.

It was 100 degrees with 99 percent humidity, we shot it in the summer in Georgia, in Savannah, so it was hot, humid, and just getting the makeup necessary to be on individuals to stay put was its own challenge. And then the other challenges only added to that. But Nate Parker, the director, writer, producer, and lead actor, he is a special human being. And he was inspiring from start to finish. Usually, the first people in are the teamsters, transport department, and usually I’m second. He beat me in almost every single day. He’s in three hours before he needs to be. That was a very special experience.

Nerds and Beyond: Finally, are you excited about the news of Loki Season 2?

Douglas: I’m beyond thrilled! I invite being in the dark a little bit, I kind of like surprises and I like not knowing, so I suspected, but hearing the news confirmed, I was thrilled, naturally. What are they going to dream up? This is amazing. How do you top season 1 of Loki? That’s the burning question.

#loki #loki series #douglas noe #interview #article #nerds and beyond

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perseusjackson-jasongrace · 4 years ago

Text

Day 4: “Did it mean anything to you? Did I mean anything to you?"

Actors AU

Tears roll down Annabeth’s cheeks, the bright lights making them glisten against her pale skin.

“Did it mean anything to you?” Reyna chokes down a sob of her own, “Did I mean anything to you?”

“I’m sorry,” Annabeth shakes her head, like she can’t process what's happening, "I didn't mean for it to end this way.”

“But it did.” Reyna’s voice is clipped, strangled on emotion.

“AND CUT!” Someone yells from behind them. “That was perfect ladies! Don’t even need to do another take.”

Immediately they both relax, loosing their shoulders, and giving each other beaming smiles. Their director comes over, as does the rest of the crew, and starts debriefing them. Tomorrow they’d start on the first of many action scenes so all of them needed to be prepared. Weeks of stunt and action-training would all be put to the test, and Reyna for one was beyond excited. Although she had been in a fair number of movies at this stage the action scenes had been minimal and she hadn’t needed such high-intensity training till now. The crowd disperses as everyone packs up to make their way home for the night.

“That was good.” She grabs her co-stars hand and squeezes.

“So good!” The blonde agrees, “And now I'm ready to go home and crash onto my couch with a burrito and a good movie.”

“Oh so anything with me in it then?” She smirks.

“You wish Arellano, there must be something to drool over. I’m thinking ‘Persephone’s Fall’ so I can stare at both Persephone and Hades.”

Reyna can’t help but agree because those two actors are truly delicious, and from what she’s heard unbelievably nice on top of that. She doesn’t know Silena Beauregard or Charles Beckendorf personally but she had seen them around a few times at award shows and after-parties.

‘What are your plans?”

“Oh,” She thinks about it for a second, and comes up empty. “I don’t know. I guess go home and crash.”

Grey eyes roll, “You are such a bore. You are coming home with me. We can both eat messy burritos and copious amounts of ice-cream and watch the movie.”

“Oh?” Her shock is evident on her face and it makes her co-star laugh.

“Come-on let’s get out of all this and go home. I need a shower desperately.”

Reyna makes haste of stripping and folding the clothes she needs to return to the costume department and then tugging on her own grey sweatpants and lavender hoodie. Her makeup is a problem for later so with a final glance around her trailer she slips into her sneakers and grabs her keys. The nights are starting to get chilly as they slowly slide into winter and it is particularly evident tonight when a west wind blows across her cheeks, biting at the flushed brown skin.

“You ready?” A voice calls from the darkening lot.

“Yep, just have to drop this off in costumes.”

“We can go together. And then you’ll meet me at home?”

“Sure, do you want me to stop and get anything?” The place their clothes in the bin labelled ‘Used on set’, huddling together as they step outside into the now icy wind.

“No, I think I got everything. I’ve already ordered the burritos, they’ll be there by the time we are, and I already have chocolate and chunky-cookie ice-cream in the freezer.”

Reyna nods, “See you in a bit.” And then she’s hopping onto her motorbike and shoving her helmet over her head. With a rev she is off, racing out of the studios and to Annabeth’s. She can no longer feel the wind on her face but that doesn’t stop it from seeping through her clothes and freezing her insides. She hates winter. Luckily her destination is not far and soon she is pulling up to the apartment buildings and parking in the visitors section. Bright headlights catch her eyes and she recognises Annabeth's car, a bright blue Mini Cooper. The first time Reyna had seen it she laughed so hard the blonde had punched her in the arm. She had to start line runs with a numb arm and a very unhappy co-star. Luckily a custard-filled doughnut and a hot cup of coffee made her a very forgiven friend.

The blonde walks towards her, a brown paper bag swinging in her hands. “I forgot I didn’t tell you where I live and I was panicking the entire ride over that you’d gotten lost and I'd never be able to find you and then I'd have to work with,” She makes a disgusted face, “Hera. Ugh that would have been a disaster.”

“Glad you have no concern for my personal safety,” Reyna huffs, “You only care about you’d replace me.”

A teasing smile twitches at those pink lips, “You can injure yourself after we finish this.”

She shoves her as they get into the elevator and they both end up squished against the cool metal, laughing.

“Leave me be Arellano, or we battle to the death!” She whips out her car keys and points them menacingly.

“Never Chase! We duel till dawn.” Her motorbike keys are gripped tightly in her hands, the grooves digging into her skin, and there is a gleam in her eye that promises war.

As the elevator jerks to life they stand opposing each other, legs apart, brows furrowed, and barely restrained laughter twitching at their lips. It is very awkward, then, when the elevator door slides open to reveal to very confused people on the other side. Quickly they straighten up and move to the back of the box, biting their lips to hold in the giggles threatening to escape. Their shoulders press together as they wait for their floor and they absolutely refuse to look at each other.

It is a blessing when the elevator dings to indicate their floor. They race out of there, hand in hand, and breathless with laughter.

“Did you see their faces?” Annabeth snorts, clutching her stomach as she tries to let air into her lungs.

“What if they thought we were two robbers fighting for the right to steal in the building?” Reyna gasps.

“Or two cosplayers trying to fight for the princess’ hand.” The blonde falls to the hallway floor, unable to hold herself up.

“They probably thought we were absolute weirdos.”

“We are weirdos.” She giggles, “Come on let’s go inside before we traumatise more residents.”

So they stumble into her apartment and collapse onto the couch to collect their breaths and composure. Reyna takes the time to glance around the place she’s only briefly seen twice and is surprised to note the sheer lack of personality on the walls. She thought there’d be pages full of weird facts ripped out of old-fashioned medical books, and tons of half-done architecture drawings scattered on the coffee table. And a picture or a few of Annabeth’s beloved Greece with its old structures and beautiful oceans.

“Are you judging my blank walls?” Those grey eyes are still closed to the world so it is an amusing surprise to hear the question.

“Why are they blank?” She doesn’t bother to deny the judging.

“In a burst of inspiration i took everything down a few days ago to redesign and then i lost all that inspiration and haven’t had the energy to put anything back.”

Indeed there were small hooks, and bits of tack stuck to the wall. “Want me to help?”

There is quiet for a while, and she almost believes the blonde had fallen asleep but then, “That would be great. But not today. Today we feast and laugh!’ And with that she launches herself off the couch and races to the kitchen.

Reyna laughs and follows suit hopping onto the counter as Annabeth worked around her. She offered to help with prep but she was instantly shooed away so she sat contently on the granite top and watched her friend busy herself around the kitchen, unpacking the bag she’d brought in that held the still warm burritos, and grabbing the ice-cream from the freezer along with two spoons.

“Drink?”

“Just water.”

“You grab the glasses, i’ll get everything else.” She points to the cupboard next to the sink. “I’ll have water too, there should be some in the fridge.”

Finally they had both settled down in the lounge, shoulders pressed together and feet tucked underneath them. The blonde fiddled with the TV for a little before the opening credits to Persephone’s Fall starts playing. She looks over, grinning wildly, and holds up the foil cylinder. “Cheers!”

They bump their food together and settle in to watch the movie. And as Persephone falls for Hades, despite their sarcasm and smart-ass comments, Annabeth laughs herself silly and Reyna drowns in the sound. And she thinks, sitting their in that cosy apartment, shovelling ice-cream into their mouths that maybe falling wouldn’t be so bad. She already has her Hades afterall.

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

Tags:

@nishlicious-01

@leydiangelo

@spoopylucy

#reynabeth #12 days of fanfics #pjjg challenge #pjjg series #pjjg fanfic #reyna avila ramirez arellano #annabeth chase

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lichfucker · 3 years ago

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hey ive been meaning to ask this for a long time but you work in movies, im guessing as a script supervisor? im in school finishing up a media studies degree but i want to go into tv or film production, maybe broadcast. could i ask if you have any advice for what to study or how to get started?

yeah, I'm a script supervisor!

uh this got like 3x longer than I thought it would lmao so I'm putting it under a cut

the tl;dr is: work on student films especially while you are still a student yourself; join facebook groups for productions/crew calls in your city; most people's entry into the industry is as a production assistant; befriend as many people as you can and make sure they all know what your specific ambitions are, so that when those opportunities come up you'll be the first person on their mind

I'll be honest, I studied screenwriting in college but I never took a single film production class and technically my degree is in "liberal arts." I definitely didn't go to Film School and real talk I barely feel like I can even say I was a film STUDENT lmao

so regarding "what to study," I think getting a degree in media studies will suit you just fine and is probably better than what I left college with!

(this is maybe a little disingenuous, because at the end of my senior year I did have the opportunity to do an intensive program where I went through seven weeks of preproduction and six weeks of production on a feature film. so I technically did leave college with some on-set experience and something to put on my resume)

I don't know what crew positions you're interested in (if you wanna talk more about script supervising let me know!!), but for like 99% of on-set positions, being a production assistant is a GREAT way to start out. the vast majority of people start out PAing and transition to other departments from there. every production is always looking for good, reliable PAs. sometimes it's a "you gotta have experience to get experience" kind of thing, but more often than not (ESPECIALLY in the low-budget indie world) producers will be willing to take a chance on a rookie because they could use all the help they can get, and because they pretty much all started out on the bottom as PAs, too. and if you're a PA who can drive (esp trucks but literally anything honestly) then you'll be even MORE valuable

now don't get me wrong, PAing sucks. I know a couple people who like it but I've always hated it. you're the first one on set and the last one to leave, you do a lot of odd jobs and gruntwork (so many folding tables. oh the number of tables I have unfolded). a couple times I was sent out to wait outside a dunkin donuts at 5 am so I could get the director an iced coffee as soon as they opened. you have absolutely no authority, BUT it's still your responsibility to make sure that everyone stays quiet during takes, the actors get out of wardrobe at the right time, etc. it's a lot! it's a lot and it's exhausting and it's THANKLESS work. but it's necessary work, which means there is always need for people who will do it

once you're there, befriend as many people as humanly possible. talk to all of them about your goals. if they like you, they'll remember you, and the likelihood they'll call you for the next gig increases exponentially

as for getting The First Job, though, there are film production facebook groups for every major city I can think of, and they are FULL of people posting jobs, as well as just networking and asking for advice and just chatting with other people in the industry

student films especially are a great way to get on-set experience and just add credits to your resume (trust me nobody will check them, they'll just want to see that you have any credits at all; my resume is full of five-minute shorts my friends produced that will never see the light of day). unfortunately 99.9% of the time they're unpaid, and I do NOT recommend working for free, but I understand that sometimes it's all you can do. (personally I only work for free for my friends, and only a select few of my friends, but it took a while before I felt confident enough to set that boundary for myself.)

now, while you're still in school, is a GREAT time to knock out some shorts and start building your credits. it's hard if you're studying remotely right now, but if you're on campus then ask around, ask your professors, find out who's filming their short for x class or y thesis and ask if they need people on set helping out (because I guarantee you they do. they probably have one person on camera, maybe one more helping w lights, and if they're lucky they found a single person on earth interested in doing sound. they'll be sourcing their own costumes and props, actors will be doing their own hair and makeup, etc. their crews will be BARE BONES and they will love you for saying "I'm here to help, use me however you need")

it's bullshit but this really is an industry built on knowing someone who knows someone who knows someone, so the best thing you can do is to just befriend as many people as you possibly can. befriend your professors. befriend your fellow film students! (they may have connections that you don't, and more importantly you'll all be newbies entering the industry at the same time and you'll need each other. trust me on this. these people will be a resource you tap into again and again, especially if you're in a department a little less common than production or camera. I get recommended for a lot of gigs because for most of my friends, I'm the ONLY script supervisor they know.) befriend the people in these facebook groups! don't be afraid to ask them "hey, would you be willing to let me shadow you for a day?" most people remember what it's like to be just starting out and struggling to get your foot in the door. most people are willing to help if they can. if you meet one asshole, you met one asshole. there are so many more who are kind and generous and eager to help. I promise

I hope this is helpful to you and not. overwhelming lmao. I'm sorry it's a lot sldfsdf if you have more specific questions please let me know! film work is grueling and intense and frequently utter horseshit but I feel so honored and privileged to be able to do it (on some level for me it very much is a function of privilege), and if it's where your passion lies then I hope you create every opportunity you can to go after it

#blackbirb #bluh bluh #again feel free to message me if you wanna talk more abt specifics!!

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shoyodon · 4 years ago

Text

Extras

𝐀𝐜𝐭𝐨𝐫 𝐀𝐔! 𝐒𝐮𝐠𝐚𝐰𝐚𝐫𝐚 𝐱 𝐟!𝐫𝐞𝐚𝐝𝐞𝐫

Words: 1.6k

Genre: Fluff

Warnings: None

A/N: My first piece, enjoy 🥺❤️

Finding work fresh out of a college for the performing arts was never easy. Your resume was decent considering you had a good relationship with your directors during that time and they were able to slip small opportunities to be in plays or movies to you, but they were all small parts. Extras in the background to fill space, and as grateful as you were for those opportunities to grow your resume until the role of a lifetime fell into your lap, it was starting to get tedious. Another role, same as the others, had been offered to you, “Girl 6” they so gracefully named you. You were to sit in the background of a scene where the two protagonists finally share their first major moment together, the scene where they finally realize their feelings for each other just to run in circles around them for another hour, then to confess. Your job was easy, talk idly to the other extras to make the scene feel busier. The thought of having to share conversations with other actors aspiring to be in the positions as the title leads, makes you cringe internally. Wrapping a scarf around your neck and flinging it over your shoulder boredly, you let out a huff, grabbing the small purse that rested on the coat rack near the door and tugging its strap over your head, leaving it to lay limply across your chest. You open the door, heading out and locking it behind you before finding your way to the train station before the shoot started.

As you arrived the hair and makeup team got to work, not much was changed from the way you had arrived and they pushed you off to the costume department. After you were dressed appropriately, in “20 year old university student” attire, you were escorted along with a group of people to the filming location. It was outdoors, shabby metal picnic tables were scattered around. Everyone was quickly assigned a location to sit and a role to play. You took your place under one of the large trees situated closest to where the leads would be settled, everyone else scattered amongst the tables and trees. You were handed a messenger bag with two books inside, to make yourself seem busy you pulled one book out to pretend to read, long beyond the book was empty and nameless. An airy chuckle left your lips as you flipped through cover to cover to see if the prop team had put any notes in it, but there was nothing but white pages. As you flipped through the sound of crunching grass and leaves got louder and a figure covered up the sun that you once bathed in. “A good read?” the figure asks softly. His voice was like honey, sweetness oozing off of his words. “If you're blind, I suppose.” sarcasm laced your tone and he smiled, taking his place next to you under the tree. As he sat you were able to get a good look at him.

He had short grey hair, a tuft of it sticking up and flittering as the wind blew, his eyes were wide and had a beautiful hazel color in them that made your knees weak. A mole was placed under his left eye, and he had a wide smile on his lips, which, out of all of his features, looked the softest. One of his eyebrows cocked at your silence, “You okay? Do I have something on my face?” he asks, placing his hands on his cheeks. “A-Ah-No you don’t, sorry..” You whispered, fearing if you had spoken any louder your voice would crack. “Hm..Okay...well i’m Sugawara-I’m supposed to be your boyfriend in this scene..Is this your first time doing something like this?” he inquires, to which you shake your head. “I’m Y/n and...No-actually..I’ve had quite a few of these roles.” “Really? That’s so cool! This is-” “Positions! We’re starting!” a voice yells, he gives a small, bashful smile and scoots closer to you, in his own bag he pulls out a notebook and pen. As he settles his things in his lap he scoots closer once more until your legs are touching, and wraps a firm hand around your waist.

As an actress, physical contact between your cast is a common occurrence, the first couple times you had to initiate any type of contact between your scene mates was embarrassing, but since then it’s become comfortable, intimate scenes were like a breeze for you, however, something as simple as Sugawara wrapping his arm around your waist made your face heat up, the tips of your ears dusted a light pink, and your body tensed. Suga felt your body tighten at the contact and leaned down a bit. “If you're uncomfortable I can scoot away and we can just hold hands or something..” he mutters, his breath fanning the shell of your ear. You simply squeaked out a no, and inwardly bashed yourself over the head for getting so embarrassed over something as simple as this. He nodded and rested his back against the tree, seconds passed before the directors called the scene and, swallowing down this seemingly new sense of nervousness you’ve never felt before, initiated a conversation. That was what you were here for anyways. You just needed to talk to him for five to ten minutes maybe, if the actors were able to get this down in one take, then you’d leave and never see him again. That thought, even though it was meant to comfort you, made you feel an uncomfortable sense of dread. Mentally sighing you turned to him, changing up your body language and smiling softly. “So this book is really good.” you giggle, causing him to snort in response. “Oh yeah? What's your favorite chapter?” He asks, amusing your attempt at forming a conversation that the two of you could maintain the entire scene, Mindlessly you flip through the pages onto another, identical blank page and point to it, your face lighting up as if the most interesting thing was written amongst the paper.

You begin to speak to Suga about how great it was, but the cute expression spread over your features made butterflies fill his stomach. It was his turn to get flustered. His cheeks tinted a lighter, barely noticeable shade of pink as he took in the look on your face. He hadn’t even noticed you stopped talking to stare up into his eyes. Silence overtook the two of you until he cleared his throat, “u-uh...anyways...the chapter..” he mutters looking at the blank book, and you nod, turning to the book. “So it's about some kids with crazy superpowers and some old guy that's really buff but only sometimes.” “Only sometimes?” “only sometimes.” he laughs and takes the pen out of his lap, with his free hand he draws in his notebook, you lean over to see but he nudges you playfully. “Not yet!” “fine fine..” you murmur, still trying to peek subtly “I can see you, you know..” he says, setting the pen down before picking up the notebook to show you the terrible, poorly drawn semi stick figure man, hes old, a long disheveled beard being used to symbolize his age, hunched over with a cane in one hand, however half of his body is super buff and detailed.

You cover your mouth to muffle the laugh that escapes it, he snickers at your reaction, taking the time to drink you down all over again while you laugh. He pulls his eyes away reluctantly, not wanting to make things awkward again. As you compose yourself again you take his notebook and pen, scribbling on it “Whatcha drawing?” he asks softly, trying to peek just as you had before. “Patience..” “You're one to talk.” he jokes. With an eye roll and a small huff you ignore him, continuing your work, looking up at him every so often to notice him staring back at you, then to immediately snap his head away as if he wasn't. You set the pen down as he had before and turned the paper to him, his eyebrows lifted a bit and he cocked his head to the side slightly. “Is that me?” he asked. You bobbed your head and he let out a breathy laugh in astonishment. “That's so cool! You’re really talented..” he praises, taking the notebook from your hands to admire it. “You should teach me how to draw eventually-I mean I’m pretty good already but a few tips wouldn't hurt..” He teases. “Mmm...I’m not sure lessons are expensive..” “Name your price,” he replies confidently. “Take me to lunch after this?” you propose quickly, before the confidence you had in yourself falters. He nods quickly, his faux confidence he had seconds before melting away at your request, stuttering out a quiet, “Y-yeah of course- s-sure..” you shoot him a sympathetic smile and hesitantly rest your head on his shoulder, mumbling “Perfect.” under your breath.

As you settle in your spot, you finally notice the deafening silence surrounding the both of you. Nervously your eyes shoot towards the director, who has a hand clasped over his mouth to suppress his cackles. “We had to call a cut- you guys aren’t supposed to be the one looking like you're falling in love for the first time!” he teases, laughter lacing every word, the cast and crew now laughing along with him. You and Suga both apologize profusely, the director waving it off as nothing.

After that day, Sugawara took on his favorite role yet. The role of a doting, supportive boyfriend, who made every day feel like you were the lead role of your own romance film.

#haikyuu x reader #haikyuu insert #haikyuu scenarios #sugawara #sugawara koushi #sugawara x reader #sugawara koshi imagine #suga x reader #x reader #haikyuu #actorau #sugawara koshi x reader #sugawara fluff #haikyuu fluff

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lov3nerdstuff · 5 years ago

Text

Elysian

*Tom Hiddleston x reader*

Words: 7.1k

Warnings: none (minor mention of blood)

Summary: You're an aspiring actress who has landed a minor role in the newest Marvel production. What could possibly go wrong in a scene including you, Tom and a real golden dagger? Maybe what seems like one giant mistake to you is all it takes to change your life forever. And definitely not in the way you anticipated.

Request: by @lady-of-lies , you definitely get some villain vibes here, dear 😁💗 hope you like it even though I changed some stuff 🙈

Also check out my Masterlist!

______________________________

"You have no idea who you are up against… I'm a god!" He roared, black hair tickling his neck as he dodged a sharp shred of reality-shaking energy. The young woman in front of him stared right into his soul with her incredibly piercing eyes as she strode closer with a threatening elegance that made him shudder as he stumbled backwards.

"It is the gods who created mortals, and who taught them how to fear. I am who created the gods." Her velvet voice wrapped around his senses as he tripped over a helmet lying on the blood soaked battlefield. He fell backwards, landing first on his butt and then on his back, seeing stars once his head hit the hard ground a little too forcefully for his own good. A brief glimmer of irritation flashed through her eyes, but passed as quickly as it had appeared.

Just as he was about to scramble back onto his feet, she had closed the distance between them and he knew it was over now. It was done, there was nothing he could do but stare up at her with wide, frightened eyes.

In a slowness that bordered on torture, she drew a golden dagger from beneath her bloodied garments, taking her time as she sat down on his torso to keep him pinned to the ground. Not that he could've moved anyway… it was as if she had bewitched him, caught him in the trap that was her beauty, only to finally grand him the honor to find his master at her own hands.

The heavy, sleek metal of her dagger met the heated skin of his neck as she softly drew the blade along his throat, with too little pressure to cause serious harm and yet with too much to leave the skin unharmed. She let out a sigh, a moan that lay on the thin line between alluring and insane, tracing the thin bloody line she had left on his throat with one single finger.

His chest rose and fell faster than the seconds that passed as he couldn't help but watch her, parted lips, breathing in the lethal aura of danger that radiated off her like the sweetest perfume.

His heart skipped a beat as she lifted her fingers to her lips, licking his dark crimson blood off her fingertips as her eyes remained fixed on his. Maybe the line between alluring and insane was even more narrow than he had known…

The dagger lay heavy against his throat yet again, and he closed his eyes with a wicked grin of his own. "Do it, darling… I am ready to meet my creator."

He didn't see it, but heard it clear as day, as night in your sweet and gentle voice, the same grin, the same twisted sense of humor. "Oh, but sweet god of mine… You already have."

_______________

"Cut!" A loud voice bellowed through the open air of the current set, followed by an overwhelming silence that was nerve wrecking in its depth. Then a sheer incredible amount of people erupted in chattering and talking. Bright lights came into focus, white reflective screens, fuzzy microphones…

You let out a shivering breath, closing your eyes for a second. That… had been more intense than expected, deeper, more difficult to come back from. Then you gazed down at Tom, your scene partner on whose chest you were still sitting, as he looked at you like a deer in the headlights. A deep blush came onto your cheeks immediately as you moved off his torso as quickly as possible, standing next to his large frame on the ground in awkward silence.

After a second of being overwhelmed by the intensity of the previous scene, you finally offered him a hand to get up, which he took reluctantly at first, but then with certainty. God, that Loki costume was heavy as hell… and Tom was too freaking tall.

After helping him onto his feet, you looked at his overwhelmingly handsome yet stunned face for a second longer, then quickly down to your feet. Slowly you came back to your right mind, becoming Y/n once more instead of your nameless character in the movie.

You'd clearly overdone it with the scene, you realized that only now… oh gosh, you'd literally hurt him! Physically cut his real skin with that stupid dagger! Who on earth had deemed it a good idea to give you a real fucking dagger?! Oh no… you'd actually hurt Tom! The cut on his throat was still bleeding a tiny bit, and your lips parted in shock at what you had done. This was your first major movie, and even though you only played a minor character that literally had only this one appearance, you had managed to screw up even that and cut a fellow actor with a dagger. Tom, of all people! The main character of this movie, and the sweetest human being in existence. Going by the unusually loud chattering around you, you had severely screwed up. Did Tom even know your name…? There were so many minor roles in this movie, so many extras… He would need your name in order to make an official complaint.

Your eyes snapped back up to meet his wide ones as your mouth opened and closed a few times, no sound coming out.

"I… I'm so sorry!" You finally breathed as tears welled up in your eyes, threatening to spill down your cheeks in small rivers. Then a swarm of assistants came rushing to his side, tending both to his costume and the small wound you had caused. Everyone was ignoring you for now, everyone but Tom, whose eyes were still fixed on yours intently. You opened your mouth to say something, to apologize over and over again, but by the time your mind had caught on, someone had taken a hold of your arm and dragged you off the current set, and out of Tom's earshot.

"I'm so sorry!" You rambled over and over again, not allowing yourself to cry just yet. "I'm so incredibly sorry! Please, let me talk to Tom… Or at least let me do the scene again, I promise I won't screw up this time!"

Yet, the middle aged assistant remained in silent indifference as he accompanied you to the costume department to get your garments and makeup removed. Only once the two of you reached his destination, he turned around to you once more with a sigh in resignation. "Your job is done, Miss L/n."

"What?" You frowned in irritation as your head spun a million miles a minute. "Am… am I getting kicked out?"

"The director said we're moving on to the next scene while we still have Mr. Hiddleston on set. He asked you to please wait here until further notice." The man looked at you so neutrally that you wondered if he had even been around to witness your disaster of a scene. At least he didn't seem to judge… but your own mind was doing enough of that already for a good dozen of people. Without another word he turned on his heels and headed back to where you had come from, while you tried your best to keep from crying as you stepped into the department.

Honestly, you didn't even care much for the three women working to turn you back into yourself, nor for their attempts at aimless chattering. Your mind was stuck trying to analyze what had happened, when things had taken a turn for the worse… how you could've gone THAT much into character to even turn the simplest scene into… whatever it had become now.

Probably because of Tom. Acting with him was like stepping into an entirely different world where being someone else was so incredibly easy… and being yourself was the hardest thing in existence. Not because you were scared of him, or insecure about yourself, but because you hadn't even spoken to the man in question up until two minutes before your scene. And you probably wouldn't be able to talk to him again, to apologize for what you had done… It wasn't like the extras got to spend a lot of time with the main cast anyhow, but now that you'd hurt him they probably would make sure to not let you close to him ever again.

Gosh, you'd screwed up big time. Nobody would ever give you a role again if the industry got notice of your failure here… Your career would be over before it had even started properly. Maybe your only defense was that they didn't prepare you in acting school, for the overwhelming package that was Tom. That was the poorest excuse ever, and just thinking about him brought a blush onto your cheeks and tears to your eyes. You just wanted to talk to him… to apologize a million times and maybe even get some advice on how to improve your acting so that this wouldn't happen again.

Once you had changed back into your own clothes, once you were ready to leave the role and this movie behind for good, the door was opened and another assistant stuck her head inside. "Is someone called Y/n here?"

"Yeah..." You almost yelled towards her from the other end of the huge hall, wondering just how many people were working on this set. Probably hundreds, at the same time. But this woman was younger than most others, closer to your own age, you saw that as you made your way towards her.

She looked at you with a bright smile. "Wow, YOU are Y/n? I could've guessed… You look all different without your costume and makeup… less scary!"

"Thanks, I guess..." You snorted as you packed up the few belongings you'd left here earlier this morning.

"Oh no, I meant it as a compliment!" She grinned excitedly, clicking her pen a few times too often. "Your scene was absolutely amazing! I was so scared just watching it from afar… but it was also kinda hot, really, I've never seen something like it! I honestly can't wait to see it on the big screen! I think the whole crew was stunned to silence for a moment back there, you scared the living daylights out of them!!!"

"Really?" You frowned at her deeply while a small blush crept onto your cheeks. "You enjoyed the scene?"

"Of course I did! You're an incredible actress! I feel so honored to work with you, even if only this briefly now." She kept grinning as she skipped on her heels in excitement and you couldn't help but give her a small smile in return. Maybe the scene hadn't looked too bad from the outside, after all, and your only fault was that you'd overstepped your boundaries in terms of both creative freedom and with the thing about the dagger… you still felt most wretched about that.

"You flatter me way too much… I think the producers didn't like that I improvised quite a bit. And I think Tom didn't like that I… cut his throat." You said in a twisted sigh as you nodded towards the makeup crew in acknowledgement before stepping outside, next to the nice assistant. "I'm fairly certain that everyone but you hates me now."

"Unlikely." She grinned even more, if that was even possible. "Mr. Hiddleston asked his assistant to ask you to wait in his trailer."

"You're his assistant?" You blurted out in order to keep your mind from registering the rest of the sentence.

"NO! I mean… no. His assistant asked their assistant, and they asked me to find you and tell you. I'm just a directorial trainee." She shrugged with a smile. "No one important."

"That explains it…" You gave her a half smile, and only continued once she frowned in irritation. "It explains why you're talking to me. Everyone else seems to be too important to be bothered with such a minority that is me."

"I'm sure that's not true…" She gave you another encouraging smile, and you found yourself really liking her indeed. Too bad you wouldn't be seeing her again.

"What's your name?" You asked out of sincere curiosity. Maybe once you'd been officially kicked out, you could at least bribe someone on set to get her contact info so you could buy her coffee sometime. For being nice to you, and for making you feel a little better in this moment of despair.

"Oh, I'm Emma." She chuckled. "Basically no one, compared to you guys. Just the girl who's sent to fetch coffee."

"I'm sure you're not no one!" You replied, feeling the odd need to comfort her as well. "Everyone starts out small… Believe me, in no time you'll be a director of your own. I mean at least YOU won't get kicked out for cutting anyone's throat today. You still have an entire career ahead of you! Nobody will want to talk to ME after this..."

"You're too kind, Y/n… For now I can only hope, dream, to move up the career ladder and become some famous actor's personal assistant. And I doubt that you will be fired though. Mr. Hiddleston seems fairly interested in talking to you, once he is done shooting for the day."

"Why?" You asked, a little too slowly for your own liking. While you really wanted to make things right with him, you also couldn't help but wonder why he would want to talk to you, out of all people. He didn't seem like the revenge kinda guy...

"Well, I have no idea. I'm only supposed to accompany you to his trailer now and make sure you have everything you need." She giggled as you followed her through the maze of the trailer city built a little offside the main set. It was still under construction, for this was only the first week of shooting. "Have you talked to him a lot?"

"I haven't talked to him at all outside of the scene." You sighed. "I mean I tried to apologize for what I did, but I didn't get to."

"Looks like you're going to talk to him now. Well, later today." She shrugged again, stopping in front of one of the most plain trailers on the whole ground, unlocking the door and holding it open for you. "He said you're welcome to make yourself at home."

_______________

It was odd at first to be alone in Tom's trailer, and you felt like you were severely intruding in his privacy. But he'd asked you to wait here, and you would not disappoint the man you admired so much yet again. Thus you had the smallest look around, eyes lingering longest on the small collection of books he kept stacked in a dainty shelf. With an unyielding curiosity that fought its way to the front of your mind, you picked out the most worn out looking book and flipped it open on the first page as you sat down on the small couch.

You didn't know how much time passed as you were completely absorbed into the story, the scenes and chapters playing out in your head like a movie on its own. It was so captivating that you completed forgot about the messed up scene, about your worries and about where you were, leaving you raw and open only to the world of the book.

Up until the door was ripped open, making you jump badly and drop the book into your lap with a small gasp. With a start everything came rushing back to you, the fear, the anxiety, the guilt, the request for you to wait here... but the person who was currently staring at you in equal confusion was neither blond nor tall. And definitely not informed that you'd been asked to be here.

"Hi." You blurted out in nervousness, staring at the bald man in the doorway.

"Who are you and what are you doing here? Where's Tom?" He rasped with a deep frown, scanning the trailer with his eyes before they basically dug into your forehead.

"Y/n; reading; I have absolutely no idea." You answered quickly, and he seemed fairly irritated at your answer for a second, then his eyes widened in recognition.

"You're the girl from the battle scene! The one everyone's talking about!" He uttered in surprise. "Almost didn't recognize you without all the makeup."

Once more you blushed upon hearing that for the second time of the day. Being recognized by anyone wasn't something that happened to you… You'd only ever been in very small productions after finishing acting school, and even if people like Tom Holland were roughly the same age as you, you were nowhere near as famous. You doubted you'd ever be. But this guy at least seemed to have seen your scene, and you didn't know if being recognized for THAT was really an achievement.

"Uh, yeah…" You finally managed to say, blushing even more. "That's me. Sorry."

"Sorry for what, dear?" He laughed, shaking his head to himself. "I must say… You did scare the crew quite a bit. And you scared poor Tom a very large bit! Didn't see that coming, and neither did he probably."

You opened your mouth to reply, but yet again didn't find the right words to express how sorry you were for scaring Tom, and everyone else. How incredibly sorry you were for hurting him, for changing the scene without talking about it. So you put on the best half smile you could manage and just looked at the man in hopes that he would leave soon.

"And… You're waiting for Tom?" He asked after a moment of awkward silence, leaning in the doorway as if he owned the place. But who were you to judge, reading Tom's books and all… However you didn't like that he was blocking the only exit, it was making you more nervous by the second.

"Yes." You replied in mostly faked certainty, wondering who exactly he was and what he wanted.

"Are you two… well acquainted?" He inquired further and you weren't sure if you were comfortable with where this conversation was headed.

"No, we… we actually haven't talked to each other much on set. Outside of the scene, I mean." You replied nonetheless, playing nervously with the zipper of your hoodie.

"So… You're not dating or anything? Good… I mean, uhm… Because whew, that scene you put on back there was pretty hot." He shrugged with a nervous laugh. "You… you played the little tease really well."

"I didn't play a tease, I played a goddess." You replied earnestly, giving him a deep frown. "I take my characters very seriously, and you might consider doing the same."

A deep crimson colored his cheeks a short moment later and he looked to the ground, then back at you with an apologetic smile. "I'm sorry, I… I didn't mean to insult you. I was just honestly surprised that someone so young could have such an intense energy on stage."

"I will take that as a compliment, so thank you." You replied politely and returned a small smile. Maybe he was odd, but politeness was just one of the things you had trained yourself to show in any situation, no matter what. In the end, kindness always pays off.

After another short moment of uncomfortable silence, exchanged glances in awkwardness, you picked up the book in your lap once more and the man started pacing back and forth outside, in front of the trailer. The cold wind that blew through the open door chilled you in an uncomfortable way, covering your skin in goosebumps as you tried reading the words on the page… But you couldn't focus with that guy walking up and down outside the door. So your thoughts went back to Tom, to the scene… You wondered if the cut had stopped bleeding by now.

However you didn't get to dwell on these thoughts, or on the cruel emotions that followed, as the velvet voice of none other than Tom rang out to your ears. Immediately your head snapped towards the door, but you could see neither him nor the man who'd been waiting here for his arrival. But you could hear them talking about something you didn't quite understand.

"What are you doing here, Jerry?" That was Tom… So Jerry was the name of the odd chap who had been so ineloquent in telling you that he fancied you.

"David sent me… I'm supposed to let you know that your proposition has been thought through and calculated." He said in a hushed voice that clearly told you that you weren't supposed to hear about this. Obviously that made it all the more interesting.

"And? What do they think about the idea?" Tom inquired, and you could practically hear his frown. You smiled… just because he didn't know you, didn't mean you also didn't know him.

"I don't know what exactly the whole thing is about, they said it's under closure until the whole thing is officially through the books, so don't expect me to give you any information about that… but I was told that after 'serious contemplation', your proposal has been deemed appropriate and will be put into action upon your notice." Jerry said in one single breath and you could hear him breathing heavily afterwards. Weird man.

"That is absolutely amazing!" Tom said with such a joy in his voice that you had to smile as well, despite not having any clue as for what he was excited about. But knowing him happy, for whatever reason, made you feel happy yourself.

Jerry whispered something after that, and you couldn't understand anything but your own name. A second later he excused himself, and Tom came into sight as he stepped through the door and closed it behind himself.

You jumped to your feet immediately, hiding the book in your hands behind your back as you looked at him with a slightly worried expression. You had no idea what to expect…

The cut on his throat was still faintly visible, now that he'd taken off his makeup and costume too. You felt your heart sink upon the sight.

"Hello Y/n…" He smiled at you as he closed the door behind himself and moved to stand in front of you. "I'm very sorry for the long wait, and yet glad you waited for me nonetheless."

"I…" You started, lips parting as you looked at him in a search for the right words. He didn't look angry at all, and it irritated you a great deal. "Of course I waited. You asked me to."

"I did indeed. We didn't get the time to chat before, and I wanted to get to know the woman who made my legs shake." He smiled down at you, then peaked over your shoulder. "What do you have there?"

With a small blush you showed him the book you'd almost finished reading by now. Maybe you should've put it back before he had come here…

"I'm sorry, I didn't mean to snoop at all! But I was waiting for so long, and started reading… and somehow lost track of time." You confessed, still finding nothing but amusement and happiness in his face.

"It's a great read for sure… One of my favorites." He chuckled softly and your racing heart relaxed a little. Why was he being so nice to you after what you'd done to him? "Would you like some tea?"

"What?" You blurted out, completely irritated.

"Tea… You know, dried herbs and boiling water? I'm making tea." He smirked ever so slightly, moving towards the small kitchenette. "Earl grey or green vanilla?"

"Why are you being so nice to me?!" You asked instead of answering his question, for the tension building up within you was just becoming unbearable. "I hurt you, and I ruined the scene… and you want to make me tea like we're friends."

"I surely hope we can get to the point of being friends soon." He leaned his head to the side with the softest smile. "Now, black or green?"

"Green please." You sighed in resignation, sitting back down on the couch as you watched Tom boiling water and setting up two mugs. Only once he placed your cup on the coffee table and then sat down on the couch next to you, you finally dared speaking your mind once more. "Tom, I'm so incredibly sorry… For just everything! For changing the scene without talking about it first, for just letting them drag me off afterwards and especially for hurting you! I still can't believe they gave me an actual dagger! I'm so sorry, I don't know how I could get so carried away… I'm really, sincerely sorry. Does it hurt much?"

"Please, you don't have to be sorry for anything. It doesn't hurt at all, don't worry. I've had far worse accidents on set." He offered you a reassuring smile that actually fulfilled its purpose in calming you down. "One time, I had Chris punch me in the face in order to make the scene look real. We had to repeat that a couple times… And it hurt way more than the little scratch I got today."

"So you're not angry with me? Not even slightly upset?" Your eyes widened as they were fixed on his curious ones intently. There really was nothing but genuine curiosity and kindness in his face, and it made your skin crawl.

"You almost sound like you want me to be upset." He chuckled, carefully removing his tea bag from the mug and placing it on a saucer. "But I'm most definitely not. I'll have to wear a scarf or a turtleneck for a couple days, but it's winter after all. I'm all good."

You let out a long and quite shaky breath, closing your eyes for a second. Then you moved to follow his example in removing your tea bag from the steaming water.

"You still seem quite distraught…" He commented after a short moment of silence, without a smile this time, but with honest concern. "Is there anything I can do to ease your mind?"

"Well, I'm honestly glad that I didn't hurt you all too much, and that you're not mad at me… but I still screwed up my only scene in the movie. And I need to get accustomed to the idea of getting kicked out now." You replied honestly, finding it oddly easy to talk to him. Really, it was as if he just radiated some enchanting sense of comfort, a magnetic field you couldn't help but respond to.

"Oh dear, you really do think you messed up our scene, don't you?" He asked in a sigh, giving you another smile that made your cheeks flush and your skin burn up.

"I did think so, yeah… but then I had two people telling me that somehow, I scared the entire crew… And that I scared you." You admitted the last part rather quietly, looking down to the tea in your hands.

"Oh, you definitely scared everyone on set! And you really did scare me as well." He laughed, making you look back up at his face. "It was absolutely amazing. I mean, it doesn't happen every day that the director is perfectly happy with the very first take! Especially not with younger actors. That's maybe the biggest compliment he could've given you… not having us redo the scene. It really speaks volumes about the quality of your acting."

Your eyes widened for a second, then you couldn't help but snort in return. "Yeah, sure…" You laughed in sarcasm. "He probably loved me cutting you open with a dagger and going all psycho on you."

"Well, I loved it for sure." He grinned, taking a sip of his tea in amusement. "As Loki and as Tom. But probably for different reasons."

"You…" You started, but the words stopped on your lips as they just parted in honest surprise. At least you didn't blush yet again, like a silly schoolgirl. "You LIKED what I did with the scene? But… it wasn't scripted or anything. I mean you weren't supposed to trip over that helmet, and I wasn't supposed to even come that close to you. Leave alone actually sit on you… oh god, I actually did that. Well, my character did. I kinda let her take the lead a little too much." You groaned, hiding your face in your hands. "I'm sure you'll laugh at me for preparing such an in-depth character for such a minor role…"

"Do you want me to laugh? Because I most definitely could, but that wouldn't be very sincere at all." Tom still smiled at you so fondly that you were slowly believing him that he really did like your performance indeed. "No, in all seriousness, I think your skill is remarkable. You are an amazing actress, and I loved working with you."

"Thank you. Really, it means a lot to me." You finally allowed yourself to smile back. "It has been such a pleasure to work with you too. I mean, I probably wouldn't have done what I did if I hadn't been comfortable with you."

"Well, I'm honestly glad to hear that." He chuckled softly, looking down to his tea now. "And as for the director and the crew, I think they were immensely impressed with your acting as well. Of course, going off script isn't something most newcomers are expected or appreciated to do, but you just did so remarkably well that I think no one will believe you were new to the art in the first place."

"You flatter me way too much." You smiled at him, feeling truly comfortable and appreciated for the first time today. Well, maybe it was the second time you were appreciated. "It's rather easy to shine in your light."

"Now you're the one doing the flattering." He laughed and finally looked at you again with such a joyous twinkle in his eyes that you started grinning involuntarily. Tom was every bit the man you had thought him to be, and even more than that.

"Just telling the truth…" You shrugged. "You're kind and funny and smart AND talented, and I'm…"

"The perfect match for that." He smiled at you in an almost teasing friendliness that only made you grin even more.

"Too bad we only had one single take together. I'm sure we would've had a good time." You sighed, feeling greatly disappointed now that you had been forced to see your scene in a different light. And getting to know Tom wasn't making it any better, the man was freaking amazing. "But I'm sure you have a great deal of nice extras to drink tea with in the future."

Tom rose an eyebrow at you in amusement as he took another sip of his tea, badly hiding his grin with the mug. You closed your eyes for a second, cringing internally at how wrong that last statement had come out.

"Sorry, that didn't really sound like anything I meant to say at all." You groaned, hitting your head against the backrest behind you in annoyance at yourself. "I only meant to say that I won't be coming back, now that my only scene is done. I'm just silly for being sad about it now."

"You're not silly at all! It's always sad to let a character go, especially if one developed it on their own, like you did. Did your character have a name, by the way?"

"Not in the script, no…"

"I read the script, Y/n… I know that. But I would like to know the name you gave the character."

"Yeah… of course." You sighed at your own stupid mind, rolling your eyes at yourself and making Tom chuckle with the small gesture. Well, at least you were amusing him. "I called her Ivy, in my head."

"That's a great name." He replied softly, finishing his tea a moment later. "Ivy and Loki… flows fairly well, wouldn't you say?"

For rest of the afternoon, Tom and you remained sitting on his couch, drinking tea and talking about the movie, about your character development, your previous works… But once the evening rolled around, you also started talking about Tom's and your interests, your hobbies and preferences, anything that came to your minds. Conversation was so easy between you that once you found yourself wondering why he was even bothering to get to know a random minor actress such as yourself, you actually asked him without hesitation.

"You're really intriguing, Y/n. Special. I would like to be your friend." Was all he answered to that, with the brightest smile. So you just let it go and enjoyed the fact that you got to spend time with him.

Yet, once the early evening had made way for late nighttime, you realized that you might actually have to get going. But leaving now meant quite possibly never seeing Tom again, and the thought left a pretty painful sting in your guts, heart and soul. Well… you shouldn't be surprised. He was a top scale celebrity, and you were at the point where even your relatives forgot your name at times. Friendships spanning over such an enormous social gap were rare, if even possible at all.

Tom seemed just as reluctant to let you go, for you could tell he had been enjoying the conversation, your time together, just as much as you had. But once you had gotten up and walked to the door, put on your jacket and taken your bag, he just stood towering in front of you with a kind smile.

"I really enjoyed today. It was a surreal experience to be here, to be in a scene with you, but a very fun one." You smiled back up at him with a bittersweet feeling in your entire being.

"I did too. Seriously. Maybe we will see more of Ivy in the future, who knows… I will see more of you for sure, if you allow me." He grinned and you rolled your eyes with a small smirk and a nod, making him chuckle. "Friends?"

"Definitely friends."

_______________

It had been a week and a half since your rather out-of-this-world-amazing experience on set, when you got a text message from an unknown number, asking you to come to the studios' executive office for a change in your contract.

In the sincere belief that they would cut your payment, now that you'd only been on set for one single day, you decided to wear the most professional dress you owned in hopes to seem somewhat more experienced in these things than you really were. Then you made your way to the office.

Upon your arrival, you were ushered into a conference room full of people you had mostly seen only once before, but never spoken to due to your simple insignificance in this production.

A second after you had taken a seat at the far end of the table, the door opened once more and in strolled Tom alongside the director of the movie. The deep frown that showed on your face as they moved to sit down next to you spoke volumes of the deep unsettlement rooted within your mind, and you silently looked at Tom in question, for you didn't dare to disrupt the silence of the room with words. He gave you a reassuring smile, which eased your nerves only slightly. What the hell was all of this about? Surely they wouldn't ask Tom to come in if it was only about cutting down your payment.

"Thanks for coming, everyone, I hope we can make this quick and go back to production." A woman at the other end of the table took up the word and went on about how production was going well thus far. Your attention was only partially on her though, as you couldn't stop glancing at Tom next to you, who kept grinning widely behind his strategically placed hand covering his mouth. What did he know that you didn't? Very unsettling indeed. But if it amused Tom, it couldn't be all too much to your disadvantage.

"Due to some serious convincing from various people in the producing crew – I'm looking at you, Tom – there has been a slight alteration made to the cast and the script." She stated more or less neutrally, but you could tell that she was most likely annoyed by whatever was going on. Everyone else seemed rather pleased nonetheless.

"As discussed before, we will expand Miss L/n's part in the movie and make her character a regular." The woman stated and went on talking about how that would mean they had to redo most of the previous week's work, but your mind was still stuck at her first sentence. They were bringing your character back for more scenes? Even as one of the mains?! How the heck…. Hiddleston. Your eyes snapped to the man next to you only to find that he was already looking at you in both happiness and amusement. Oh, this had to be his work… you just knew it. You wanted to smack and kiss him for it at the same time.

"Miss L/n will get a new contract for the entire duration of this production. If she agrees to become part of the main cast, that is…" The woman's words made your head snap back towards her in an instant, drawing your mind out of its own depth once more.

"Yes! Of course, I… I'm honored! I'd love to." You spluttered the words in an unnecessary haste, as if this amazing opportunity could be taken away from you any second that passed without your agreement.

A little while later, as most of the people had left and only the guys for the legal stuff remained, along with Tom who was patiently waiting for you to finish signing the thick pile of papers, the woman from before came stalking back into the room on her way too high heels.

"Miss L/n…" She started, rising her eyebrows as she spoke in a slightly condescending way that made you frown in return as you signed the last of the pages. "I assume you do not have your own assistants, trailer or security as of yet…?"

"No." You replied easily, polite as ever. Hopefully you wouldn't have to see much more of her in the future.

"I didn't expect so… It is unusual for such not-at-all known actors to be added to the main cast of a major production." She chirped and you hid your distaste for her behind a polite smile.

"Oh, she will be known everywhere by the end of the day, most likely. Don't worry about that." Tom commented from the side and you gave him a quick but sincere smile. Somehow, you got the feeling that even though you were new to this world of fame and setwork, you would be fine, for Tom would be there to help you.

"Alright, then we will assign you any of our own people for this production… do you have a preference of gender?" She sighed, not even trying to bother with Tom. That was a fight anyone was doomed to lose, after all.

"Can I have Emma?" You asked out of instinct, for once not caring that making direct requests wasn't something you could allow yourself in your position. But maybe it would be, now…

"Who?" The woman frowned, then rose an eyebrow at you.

"Emma… a directorial trainee?" You asked with an insecure frown of your own, looking at Tom for help.

"Curly black hair, rather tall, bronze skin?" He asked, furrowing his brows in thought.

"Exactly!" You smiled at him.

"She's David's assistant's assistant's assistant." Tom shrugged, giving you an amused smile. "She's always been too scared to talk to me."

"You want a trainee as your assistant?" The woman asked in disbelief. "We have better qualified personnel for that."

"Well, everyone starts small. And as you put it so very accurately, I'm not one of your A-listers. So a trainee will be just fine for me." You replied politely and Tom snorted quietly off to your right, making it even harder for you to suppress a devious smirk.

"If that's what you wish for, then you will get it." The woman smiled in disgusting politeness. "And for a trailer…"

"Put hers somewhere close to mine." Tom commented yet again and now you had to bite your lip to keep from laughing.

"Of course." She replied in a breath. "Here's your new script, Miss L/n. Please be on set tomorrow morning for a runthrough with the writers." Then she turned to leave in as much composure as she still could manage.

Once the door fell closed behind her, you let out a loud snort and rose to your feet, picking up the script and flipping through the pages. "This thing is freaking huge!"

"Yeah." Tom chuckled, watching you as you sauntered towards him. "Looks like the producers liked some Ivy to their Loki."

Right at his words, your eyes fell upon a random scene right in the middle of the movie. They really had named your character Ivy… You took some very much unnecessary pride in it.

"How on earth did any of this happen?" You laughed incredulously, looking at a widely smiling Tom.

"I told you I wasn't the only one impressed by your marvelous acting." He shrugged, and together you made your way out of the conference room and towards the elevators. "But I might have made a few suggestions to a few people here and there…"

"You're unreal, Tom… absolutely incredible." You shook your head to yourself as you clutched the script tightly to your chest with the happiest smile on your face. "Thank you."

"Hey, I did it for entirely selfish purposes." He laughed, placing a gentle hand on the small of your back as he followed you into the elevator. "I get to work with you every day now. That was worth the trouble."

"Are you looking forward to me making your legs shake again?" You teased with a smirk, knowing full well that today marked the beginning of something very great yet to come.

"Absolutely, darling."

______________________________

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@lokixme @catsladen @anxiousdreamersworld @nonsensicalobsessions @runningawaywithloki @letoursilencebreaktonight @miruwen @crystal-28 @thats-what-i-call-british @randomlokifan

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@its-remy-not-ratatouille @wegingerangelica @thidls12333 @tomstoobeautiful @dreary-skies-stuff @averyhill4445 @wiczer @lotus-eyedindiangoddess @theweirdlunatic @caretheunicorn @kthemarsian @lady-of-lies @sadly-falling-through-wonderland @strawberrysandcream @noplacelikehome77 @theoneanna @mishaandthebrits @mygodisloki @i-am-a-mes @nonsensicalobsessions @exygon @hiddles-lobotomy @rjohnson1280 @annwhojumps @spookycatqueen @salempoe @headoverhiddleston @fanfiction-and-stress @createdfromblue @halszka-potter @thecreatiivecorner @themusingsofmany @inthemarvelvoid @from-hel-i-with-love @kinghiddlestonanddixon @scorpionchild81 @foodthatsgoodforyoursoul

Hope you guys enjoyed it 💗✨☺️ please let me know what you think 😁 I'm always so curious for your thoughts 🥰

#tom hiddleston #tom hiddleston imagine #tom hiddleston x reader #tom hiddleston fanfiction #loki #loki x reader #loki odinson #loki x you #loki friggason #loki imagine #loki fanfic #loki (marvel)#loki of asgard #tom hiddleston x you #loki x y/n

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the-final-sif · 5 years ago

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Ooh. Consider a film crew BKDK story. They could both be actors; actor and crew member; or both crew members. If Katsuki were a crew member I see him as a pyrotechnic or stuntman. For Izuku, I think a script supervisor or stuntman - but tbh I prefer him as a first time actor hanging out with the cute angry pyrotechnician/stuntman during their break. The rest of Class 1-A can fill in for other roles like cameraman, director, etc.

I think for a film crew story, Izuku would be an actor who insists on doing all his own stunts because they’re risky and he doesn’t want anyone else getting hurt. As a result, he’s gotten hurt several times. The director would’ve forced him to let a stuntman do them, but Izuku has a very unique movement style that means it ends up looking wrong every time someone else tries. He’s new to the acting scene but trained under All-Might whose a well-established star.

Katsuki is also an actor, the co-star of the film and playing an antagonist (an anti-hero who ends up saving the group at the end). He also does all his own stunts but unlike Izuku he can actual do the stunts without getting hurt. Katsuki was a child star (starting at like 4-5), and so far he’s managed to avoid the path a lot of child stars go down with getting addicted to drugs or alcohol, it left him pretty jaded and a bit of a jerk. He doesn’t put up with the media’s bullshit even a little bit, and he has few fucks to give in general. People have been trying to take advantage of him and suck up to him since he was old enough to know that’s why they were doing, and he’s got no damn time for that. He and Izuku were childhood friends, but grew apart after Katsuki’s acting career kicked off because he was traveling so much. In this AU they wouldn’t have as much of a negative history, it’s mostly just Katsuki being jealous that Izuku had someone to guide him through all this while he went through all this alone.

Despite being a bit of a jerk, Katsuki is well-loved among the set design, costuming, and makeup crews. One of the ways he kept himself sober as a child star (beyond pure stubborn will power) was he picked up a number of hobbies and real life skills. People expect him to be pampered and spoiled, and somehow he’s the opposite. His favorite thing is backpacking on his own with low-tech equipment. If he can do something himself, he will do it himself. Cooking, cleaning, building things, etc. He has a particular interest in pyrotechnics and he’s damn good at them. When he’s not acting he can often be found helping out the set design crews, he’s the makeup crew’s favorite because he not only knows how to make their lives easier, but he also has a lot of good suggestions. Costuming and him get along well too, with him having helped them out with more than one last minute sewing rush. Some of the crew that have known him longest will actively seek him out to consult on particularly difficult set/costume/makeup designs for scenes he’s in. He’ll almost always have a workaround, either for the problem itself or changing up his performance to make a different solution work.

If it involves pyrotechnics, Katsuki is absolutely consulted for any movie he’s in. Not only does he know a lot about it, but he’ll bully the other actors (see: Izuku) into not being morons around fire.

For this imaginary movie, Uraraka is playing the role of the forced love interest. She and Izuku are trying their best but it’s just not happening. Meanwhile, Katsuki and Izuku have a ton of chemistry despite Izuku playing the hero and Katsuki playing the anti-hero (Or because of it). Currently there’s an ongoing fight between the director (Aizawa maybe) and the producers who are against any queer romance on screen.

Izuku and Katsuki hear about that, and the two of them talk about it and decide to do everything in their power to imply a relationship between their characters despite not being allowed to explicitly say it. It seems like the perfect plan.

Problem: Izuku is very gay & has had a crush on Katsuki since he was like 4. This was kinda of manageable when Katsuki was being a jerk/avoiding him on and off-screen. It is much, much worse now that on-screen Katsuki is going out of his way to be flirty/kind and off-screen Katsuki has chilled out a bit. His heart can’t take this.

As for the rest of the class:

- Uraraka & Iida are both actors playing the love interest and sidekick respectively.

- Sato is the head caterer & everyone’s favorite person pretty much.

- Kaminari is a lighting tech who works closely with Sero in rigging.

- Asui and Shinsou are both script supervisors.

- Momo heads up the set department, with Shoji and Ojiro working under her.

- Aoyama and Hagakure both work in make-up

- Tokoyami is in costuming and he’s very dramatic about everything all the time. He wears a bird-head mask everywhere and everyone has just accepted that’s his look.

- Koda is the head guy for animal handling. He’s just got a way with them.

- Shouto isn’t actually a part of the crew at all. Instead, Endeavor’s is on the company’s board of directors and is grooming him to take over that role. All Shouto’s older siblings were deemed unfit for the job by their father. Shouto was sent to observe the film production side of things as a training exercise. He still has his scar.

The league of villains in this AU wouldn’t be actual villains, but some of them play the villains in the film:

- Dabi was originally supposed to take over the company position. He and his father got into an argument, and he stormed off. As a result he got into an accident that gave him a lot of nasty scars. He got taken to a hospital and treated, but couldn’t be identified. When he finally woke up, he decided to run away. Since his parents never found out he was in the one in that accident, they didn’t recognize him when he started working as an actor. He plays one of the films villains, and took the role as a favor to his boyfriend. He didn’t know that his dad’s company was involved, and he had no fucking clue Shouto was going to be there. So for the entire time he’s trying to not get figured out by them.

- Tomura is Dabi’s boyfriend and playing the other villain in the series. He’s kinda a weird guy, but nice enough. His agent (All for One) makes everyone very uncomfortable though. The other issue is Tomura is really clumsy & breaks nearly everything he touches. He’s got coordination and balance issues which causes part of this, and the other part is just really bad luck.

- Toga and Magne both work in Makeup, Magne’s the head of the department & everyone loves her both for her astounding work and because she gives good life advice when you need it. Toga has weird vibes, but she’s absolutely amazing at what she does so, and like, she’s generally pretty nice too, so everyone just ignores the fact that sometimes the things she says implies she has killed someone and would do it again.

- Twice works in costuming, and even if his ideas are little sporadic and contrasting, he still does good work. Spinner works partially in costuming and partially in props.

- Mr. Compress heads up the props department. If you need something he has it. He seems to be able to make stuff appear from thin air, and he’s always carrying way more than you think he ought to be able to.

#bakudeku #film crew au #shigadabi #league of villains #dabi is touya #ronlett #katsuki bakugou #tomura shigaraki #dabi #midoriya izuku #class 1-a #shouto todoroki #endeavor #endeavor's a+ parenting #sif speaks #sif answers

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this-onegoes · 4 years ago

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I have a film question and you seem to know things- how can a director effectively direct if they're also acting in a scene?

OH I like this kind of question :)

first and foremost, the day of, once a scene is set and the 1st AD calls action, the director doesn’t actually DO anything. if she’s not acting, she just sits there at video village, watches the monitor(s) as the actors do their thing. it’s not like, an active “during a scene” sort of job. if the director IS an actor in the scene itself, it’s usually fine.

and I feel like people gloss over pre-production A LOT. people forget how much planning goes into a movie before day 1 even starts. the director pre-plans eeeeeeverything. she oversees the costumers and makeup artists, to get the right feel for their vision. they go location scouting, approve set designs, lighting, sound. she also meets with HER team specifically, the actual directing team, who help run the set. MOST IMPORTANT PERSON on a set, besides a director and like the actors I guess, is the director of photography. (tbh movies cannot be made well without two people: a good DP aka cinematographer and a well oiled, experienced editor to string the movie together, once it’s wrapped and filmed. god bless the directors, but they are nothing without their DP and editor.)

the DP runs the camera itself, or is in charge of the camera operators. the director can do other things on set, speak with actors, set the shots up to direct the lighting guys, decide how something is going to look thematically. but the DP probably knew all of that info weeks beforehand, and has it all ready to go once thing start moving. the director should have full, 100% confidence in their DP, so that they can move around, work with all of the other departments, and know without a doubt that the scene will look perfect, exactly as planned. so this makes it super seamless for a director to, at least technically, act in a scene. as far as becoming a character, while also trying to be a director, that’s another story. imagine being like, Leonardo DiCaprio in a movie like The Revenant, if he had also tried to direct. the insane sort of shoot that was, how he had to look and act as that character, while also think about being in charge of a full production? no dice. never would’ve worked lol.

TL;DR, if the director is IN the movie they’re directing, they have many many people behind the scenes who know what they want. so she’d be in her own hair/makeup, talk to the other actors, answer questions and make decisions, and then step onto set. the DP and assistant directors take it away. they call out for sound to roll, cameras set, ACTION. easy peasy.

#I love talking about sets and movies #in another life I would've tried harder to be a director #or maybe a 1st or 2nd AD #i'm bossy and i'd be good at it #Anonymous

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insanityclause · 5 years ago

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As Hollywood contemplates the risks and uncertainties around going back into production in the coming months after coronavirus-imposed shutdowns, strategies for scaled-back sets are beginning to emerge. Producers Brian Kavanaugh-Jones and Chris Ferguson — from the companies Automatik (“Honey Boy,” “Bad Education”) and Oddfellows (“Child’s Play”), respectively — have created a proposal titled “Isolation Based Production Plan,” which Variety has obtained.

They began working on it weeks ago, sending versions of the multi-page document to colleagues and industry friends asking for feedback about what in the plan would and would not work. It would be most directly applicable to lower-to-mid-budget movies, but elements of it could be used for other types of productions. The proposal — surely one of many being worked on at studios and production companies in the entertainment industry — sheds light on what types of precautions will need to be taken, and what sacrifices might have to be made for Hollywood to get back to work after the production shutdown that occurred en masse in mid-March.

Kavanaugh-Jones and Ferguson spoke with Variety reluctantly about the plan, because of the sensitivities around scaled-down sets, particularly with unions. They also expressed qualms about speaking out in the current environment, when the idea of going back to work has been politicized, becoming yet another toxic division in the United States. “I wouldn’t want to be misconstrued as advocating for the reopening of production,” Ferguson said. “We’re just building ideas around maybe what could happen when it feels like the right thing.”

They emphasized that their two companies have no timetables to get back into production, and said that the copy of the plan was the fourth or fifth draft of it. Ferguson called it “a living, breathing document.”

The document, as it stands, would require entire production teams to follow stringent rules to minimize the spread of the coronavirus. The entire cast and crew would be in a two-week quarantine before they would begin production, and would be tested. It’s not laid out in the plan, but Kavanaugh-Jones said he envisions treating the production like one in a “distant location,” where “a small crew takes over a hotel that has been aggressively cleaned, and they live there full-time completely quarantined.”

After they complete their quarantine, the proposal lays out that they will be divided into three pods: Pod 1 would be the on-set cast and crew, Pod 2 is base camp (makeup and hair, catering) and Pod 3 is set design/prep. Pod 1 would be a minimum of 17 people, plus the cast — including a director, cinematographer and one on-set producer. Any stunts or VFX supervisors would be additional members of the on-set crew. “I think what we tried to do was apply the indie model to this document,” Kavanaugh-Jones said.

He acknowledged that many actors, directors and other members of production would not want to do it. But others might: “I think there are going to be some people that say, ‘Yeah, I’m up for it. I’ll go self-isolate in a hotel room for 14 days, and have my food delivered by a specific delivery service and wipe everything down and be really aggressive about that, so that on day 15, I can go shoot something with my coworker-slash-castmate who’s done the same.”

In the proposal, costumes, props and sets would also be put in quarantine. Locations and sets would be dressed, and then sealed for three days (or whatever the most conservative estimate is) “to allow viruses on surfaces to die.”

Each pod would have a position called a “quarantine supervisor.” The document contains a job description: “They will each be responsible for supervising and enforcing quarantine and disinfecting protocols. They will also be regularly disinfecting and cleaning common surfaces throughout the day. The Quarantine Supervisor will also check in with each crew member in their pod and check their temperatures.”

The job of quarantine supervisor is, Kavanaugh-Jones said, a “made-up role.” They don’t expect doctors or nurses to take on those responsibilities: “Those folks need to be working at hospitals right now,” he said. Ideally, they said, quarantine supervisors would be unionized health-related specialists with extra training specific to COVID-19.

The production, according to this plan, would also have remote staff, such as the line producer, production manager, buyers and post-production staff (editor, composer, sound mixer).

The changes to production in this plan would be profound, and aesthetics would be affected as well. Hair and makeup, usually a department working on multiple actors at once, would be a single person working on one actor at a time — and not on set. “Makeup application tools & supplies will be purchased per cast member and used only on that individual cast member,” the plan states. “These supplies will be kept in individual cast bags. Cast will remove their own makeup to limit contact at the end of the day.”

Throughout the interview, Kavanaugh-Jones and Ferguson mentioned the types of movies that could be made under these strictures. “Could you go make ‘Avengers’ on this kind of production plan? No,” Kavanaugh-Jones said. “Could you go make ‘127 Hours’? Yes.” Ferguson added that a movie like “300,” Zack Snyder’s effects-heavy 2007 film, something that put “a lot more weight onto post production rather than physical production” could also be produced within these rules.

One dictate of the proposal is that “scripts must be developed and modified to minimize day players” because “there will be no day players” — which would be a huge change for the industry, if implemented widely. The iconic Australian soap opera “Neighbours,” produced by Fremantle Australia, is starting up again next week, without extras and day players. According to the Deadline report about “Neighbours,” the show will use “crew members already on set doubling as background performers,” inflaming several readers in the comments section, who cited SAG-AFTRA’s rules against such things. (SAG-AFTRA does not have jurisdiction over Australian productions. Without seeing this plan’s specifics, David P. White, national executive director, SAG-AFTRA, told Variety: “We have deep concerns about any premature effort to commence production without appropriate safety protocols in place. We will continue our collaboration with industry representatives to develop a responsible plan for a safe return to work, and will aggressively protect SAG-AFTRA’s jurisdiction.”

Additionally, the plan’s proposed bare-bones crew will surely agitate IATSE, the union that represents below-the-line workers — nearly all of whom are out of work right now. But Ferguson and Kavanaugh-Jones emphasize they want to adhere to union rules, and the proposal has a provision to make sure that’s clear: “The production will have to budget for additional days of crew members who will not actually be called to work in order to comply with their jurisdiction’s regulations around minimum hire,” it reads. (IATSE did not immediately respond to a request for comment.)

Additionally, the plan proposes that “shoot days” will be limited to “10-hour days.” Ferguson said that aspect is crucial, because with long days “it’s just going to be impossible to not get sloppy.”

Yes, these things — the 10-hour days, paying crew members not to work — would cost more, Kavanaugh-Jones said: “Everything in that document, everything we’re thinking about is how to prioritize safety over everything else. And if that means that things are going to cost a little bit more or extend a little longer, we’ll just have to decide if that’s possible or not.” Productions in France, he added, have worked 9 1/2-hour days for years.

Whether insurance companies will take a chance on any productions is an open question, and whether financiers would still back a film insured except for a COVID-19 cutout is also a huge question mark. “So how much collective risk are we willing to take as a community?” Kavanaugh-Jones wondered. “That’s going to be the question over the next coming months.”

As for when production might begin again, every answer is imaginary. Whether it’s July, like the TV networks hope it can be, or August or September — no one knows. “Neighbours” starting up again, and film and television production resuming in Sweden and Denmark recently will certainly provide test cases — not cautionary tales, one hopes.

“There is going to be real change and upheaval through all of this, and people are going to have to get really creative and smart,” Kavanaugh-Jones said. “It’s so devastating for so many people. And ultimately that’s the goal of the document — to start the conversation about getting people back to work.”

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explain-like-i-am-five · 6 years ago

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ELI5: Why do Marvel movies (and other heavily CGI- and animation-based films) cost so much to produce? Where do the hundreds of millions of dollars go to, exactly?

Answer 1: I work in film and have a VFX degree and here's how it goes:

About half the money, give or take, is for above the line talent. So you have your actors, directors, producers, ect. They get paid in a percentage or in absurdly high amounts for films. These people are also accommodate on set so production has to rent out luxury campers to house them for weeks or months at a time when on location. Then they need to hire drivers and trucks to move those campers. Top tier stars can make demands on top of that. I saw Jim Carrey's camper once and it had an entire astroturf lawn on top of it, with a picnic table, with a vase with flowers on it. Don't ask me why he wanted it, he just did. Those costs are in addition to percentages given to the talent directly, which can be millions each for an A list celebrity. If this is a movie like Infinity War you have multiple guys like RDJ and Cumberbach and like four guy named Chris who could carry a blockbuster on their own and want to be paid like it.

Actors who aren't the main cast still have to show up and get paid. Every random dude you see in the background is an actor who's in it to get paid. If you see a big crowd shot of like 500 people that means that's 500 people who had to show up, go through makeup and costumes, and be accommodated and then be paid.

What you have left over has to pay for production. At minimum it costs like thirty thousand dollars a day just to hire people to actually operate the cameras and set up lights and they usually work 12 hour days and have unions that demand good rates including overtime. This is a very basic cost for a minimum crew for a single day where you get maybe a few minutes of footage done. If you have those big 500 background days you need people to get people to manage those people. If you have complicated shots you need more people for that.

If you're out on location you need to pay the people who own that property. This can cost millions in and of itself if you need time and they know you have money. You also need to pay an entire team of people to show up and get the location ready, which means emptying out whatever furniture is there and replacing it with your own stuff you have to buy. These people are probably also working heavy overtime and have a union demanding pay accordingly. If you decide that isn't worth it then you need to get a studio and build the entire fake set from scratch, or pay a company to recreate it with CG, which isn't cheap either way.

This doesn't count the cost for pre and post production, which is two thirds of the process. You have writers, editors, storyboarders, previz, color grading, foley, and a dozen other departments that have to do work before or after the actual shoot. CG comes here in various phases and obviously isn't cheap. On a Marvel movie if you sit through all of the credits you'll usually see like 8 other companies contracted out to do this and that and if you actually follow through and look up those companies they have big impressive shot breakdowns of what they did and a crew of a hundred plus people who may or may not also be credited.

If you sit through the whole credits of a Marvel movie you probably have thousands of individual names and there are probably three digits worth of people who didn't even make that list. Those guys don't work for free. This shit ain't student film. (source)

Answer 2: CG is very expensive. CG artists are specialists and in high demand. Making a big budget CG blockbuster like an Avengers film employs hundreds of them for years. The personnel costs alone are crazy.

Actually rendering all that CG also eats up a huge amount of time on very valuable, very powerful computers. It’s also each effects department needs to be on the same page, hundreds of people and dozens of companies/departments are making it but everything needs to look like it was done by the same person with the same eye for lighting and realism, otherwise one shot will come out slightly wrong. That’s not easy. (source) Explain Like I`m Five: good questions, best answers.

#eli5 #explain like i am five #explanations #explain it #explain me #easy explanations #explain like I am 5 #science #marvel #cgi

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thedeaditeslayer · 6 years ago

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My worst moment: Bruce Campbell and unmanageable costumes — 'no one ever talks about the pinches, the scrapes, the chafing'.

Here’s an article where Bruce Campbell shares an interesting story from on the set of Army of Darkness.

According to Bruce Campbell, who hosts the latest version of “Ripley’s Believe It or Not!” on the Travel Channel, there is a decent percentage of risk-takers featured on the show. “Probably 20% of our stories are daredevil-ish and that’s always fascinating,” he said. “Who does that? Who are these people? Who’s crazy enough to launch themselves on a motorcycle doing flips? Or smash things with your head or pull things with your hair? How did that all come to be?”

Campbell’s role is mostly to provide voiceover, which means he has yet to meet the individuals spotlighted. “But I hope to because I do a lot of conventions and I tour and man, nothing would be better than to get some of these folks doing a live demonstration at one of these conventions. There are astonishing skills here.”

Does Campbell have any notable skills?

“Oh, amazing skills. I can read a teleprompter like nobody’s business. I do have one skill I developed: It’s a diagonal banana slice. If you just slice your banana — bing, bang, bing — the little slices that land in your bowl, 42% of them are going to stick together because they’re all the same shape and angle. So I do an alternating angular slice. You cut diagonal, spin the banana, cut on the opposite diagonal. And now these diagonal chunks are falling in and when they hit each other, they are bouncing off each other there’s no way they’re going to stick together. You’re welcome.”

He was quick to point out the skills highlighted on the show are “things that you and I could not do. When you see what these folks have gone through in their lives and what they’ve overcome, talk about their worst moment! A lot of people in these episodes have had moments that changed their lives and this is what they did to overcome it or deal with it. It’s surprisingly uplifting.”

When asked about his own worst moment in a career that has spanned many incarnations of the “Evil Dead” franchise as well the USA series “Burn Notice” (and much, much more, detailed in his memoir “If Chins Could Kill: Confessions of a B Movie Actor" and its sequel "Hail to the Chin: Further Confessions of a B Movie Actor"), Campbell recalled a story about a costume that got in the way of a certain bodily function.

My worst moment …

“I was shooting ‘Army of Darkness’ (from 1992), which was the third ‘Evil Dead’ movie and it was our version of ‘The Vikings’ — when we were kids, (director) Sam Raimi and me and some of the other guys, we liked ‘The Vikings,’ which is this Kirk Douglas movie (from 1958) where it was like, attacking castles and burning oil and stuff like that. We were all at our physical and mental best and we had enough of a budget that we could make this big epic.

“In the movie, I play two characters: Good Ash, who is the main character, and also his rival, Bad Ash, who is possessed and is a demon. The demon makeup took three hours to put on and I’m in a demon costume with a demon suit-of-armor. And because I’m possessed, I’m wearing contact lenses that blocked out my vision and I have these demon gloves that are like these Playtex gloves you would wear to wash your dishes or whatever, but they’re monster gloves and they have two-inch nails on them. Like, sharp, menacing fingernails. They were so clumsy. I couldn’t do anything once I had them on. Couldn’t open the door, couldn’t hold a cup of coffee.

“We were shooting in the desert outside of Palmdale, California. It’s the middle of the night — and I have to go to the bathroom. And my only option was out in the darkness, somewhere in the desert. There was no port-o-potty at this particular place.

“So someone, like a production assistant with a walkie talkie, was like, ‘Alright, I’ll take Bruce by his arm and lead him off the set over to some yucca plant that’s out of the light.’ It was probably out behind this castle where we were shooting.

“So I’m standing there and realize, I can’t unzip my own fly — let alone get access to it in order to do what I needed to do, because of the fingernails on the monster gloves. It takes two people to put those gloves on and they’re not easy to remove. Once they’re on, you’re not taking them off to do anything. They’re on. They’re yours for the night.

“So, what am I going to do — call my wife over to help do this? Because I wasn’t going to ask the walkie-talkie person to do this. So I said, ‘You need to find my wife and bring her over because there’s an issue here. I cannot access myself to do what I need to do.’

“And I’m thinking: Is this what I’ve stayed in the film business for? For this? Is this what it’s come to? You know, you work hard and train hard and you can’t even urinate in the dessert. The raw indignity of it!

“My wife did end up helping out. She figured out what was going on pretty quick, no one needed to explain it. She was the costume designer on the movie so she was partially to blame for my misery. Her name is Ida Gearon and I said, ‘Ida, look: You and your department, we gotta figure something out here! I need easy access.’ She laughed but it wasn’t funny to me. After that, I think we cut a slit in the glove so you could bend the glove back and pop your real hand out of it. So a box cutter was the solution. Easy solution, took four seconds.

“If she hadn’t been on set that day, the makeup effects guys would have had to come out and remove the gloves — and that would have been a half hour that we didn’t have.”

How long before was Campbell able to laugh about the moment?

“About 10 years later it got funny (laughs). It took about a decade to get funny. It’s still not really hilarious. That was early in our marriage so it was a good test of our relationship, I suppose. It encouraged her to come up with a solution so it was a win-win, as they say.

“Sometime costume designers don’t think about the practical side of things. Or just the weight of what you’re wearing. I did a TV show called ‘Jack of All Trades’ where I was a masked marauder that always wore this velvety red cape, and I put the thing on and it almost gave me scoliosis. I gave it back to the costume designer and said, ‘Put this on and do a sword fight, I dare you. This needs to be a half or a third of the weight.’ She wanted it to flow right, which was absolutely correct. But I was like, ‘We’ve got to find a middle ground between what looks good and what is manageable.’

“The Batman costume? No thanks. Everybody’s like, ‘Bruce, would you ever want to be Batman?’ Not a chance in hell. I would be Commissioner Gordon, no problem — wear a nice suit, double-breasted pinstripe, everything’s good. But nothing could compel me to take a role where there’s a lot of prosthetics or that kind of all-encompassing costume. Earlier on in my career, no problem, get me in that suit, heck yeah! But now, you couldn’t write a soliloquy that could get me into one of those suits. I’m busy fishing.

“I’m not the first guy to say this, by the way. If you get cast as Batman or Spider-Man or Superman, kiss your bathroom goodbye. Or wear a catheter, or something. It’s the nightmare of these costumes. Hey, hurray — you’re Iron Man! Guess what? You’re never urinating again unless it’s in your suit.

“I mean, this is the nightmare of the modern-day actor wearing these stupid costumes (laughs). Everyone’s saying, ‘Oh God, Robert Downey Jr., he’s Iron Man, what a great career!’ and he’s probably cursing that stupid suit to this day. And the rashes, no one ever talks about their rashes — the pinches, the scrapes, the chafing, oh the chafing! I bet they sell more talcum powder to Marvel productions than to anybody else. Our beloved Chewbacca just passed on (played by Peter William Mayhew) and the only thing he ever talked about was how stuffy and uncomfortable that suit was. It’s like acting inside of a yak.

“So that was a real low point for me. People think you’re starring in a movie for Universal, this is the highpoint of your life. And actually it’s like, no, this is a low point.”

The takeaway …

“Don’t wear elaborate costumes (laughs). It’s almost as simple as that! Just don’t go there.

“Or, make sure you go through a NASA-style testing process where it’s like: Put me through all the possibilities. I’m sure the new Batman is going to benefit from everything they learned from all the previous Batman costumes, all the predecessors. Plus, I’ll bet the materials are lightweight now. If it were me, I’d call them all — George Clooney, Val Kilmer, Christian Bale — and be like, ‘Guys, what do I need to know about the dumb suit?’ I’d be right on top of that.

“It’s a thing called prep and it’s a lost art. I actually ran into a producer who had a T-shirt that said, ‘Prep is for (losers)’ — on his shirt! That’s what we’re dealing with.”

#Bruce Campbell

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hakka84 · 3 years ago

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I can even agree with what you say but, unlike Marvel, at Star Trek they built the complete bridge with the only a green screen put in place of the screen/window (where SFX teams would place the computer graphic and space image).

There’s literally no scene, where an actor is involved, that was shot in a complete green set. There was always a build set with props, fake rocks, furniture, walls and the rest (or just went to a real location, be it Dubai or a bar or a field or a big realistic set), and the green walls were used like matte paintings, to fill the background. They built a fake alien-forest for Into Darkness, on which the CGI people did their magic in post-production to integrate - emphasis on integrate - and they build a set for a snow-covered planet where Pine would act. They brought actual life-escaping pods to a true woods, they build a giganourmous set to make for the enemy’s alien base, they filmed outside a library that acted like the Academy building with dozens of extras, each of them with their tailor-made uniform, they built the “nose” of a starship in the middle of Dubai to shot the scene when the starship landed in the (other planet) plaza. It would’ve been easier to shot everything indoor, instead of flying to Dubai the main cast, crew and build props in a city, right? They build a complete shuttle (where they just needed to show Pine preparing to board and then the scene followed inside). Indoor sets have ceilings and are as more complete as they can get them - I’m sure they got some retouches in post-productions (every frame eventually gets polished) but the SFX department doesn’t need to build from scratch big chunks of them our of their magical skilled asses. There’s literally NO person in a suit with little red dots, and we’re talking about a movie WITH ALIENS, featuring battles on alien planets, (almost absurd) fights, people making 30 meters jumps, a fight happening in a chamber up in the sky with 0 gravity. Each set was build so that each prop was already ready to end on screen with little to no retouch - no green-covered floors or green-covered stairs.

This a good comparison to shooting vs final version for Star Trek Beyond (2016)

Yes, SFX people did retouches (the fake panels were added some lights/animated), but they could’ve left the panels green for the CGI to build them from stratch, yet they didn’t. They could’ve put some dots on Idris Elba’s face and turn him alien in post-production, yet they did all the whole make up/prosthetic jobs.

You see some BTS scenes and they are literally ready to be put in the theatrical release and you could mistake them for actual footage: you can tell they’re not deleted footage only because there’s a crew member in it, or you can see the eyes of an actor behind the prosthetic he’s wearing (they will be removed in post-production).

And I’m not saying the J.J. Abrams’s Stark Trek were the best: they actually are what usually blockbusters are. Huge sets, huge work from makeup artists and costumes, with the help of SFX guys (and gals) gluing everything together by hiding any smear.

Now, can MCU provide a BTS picture with such a detailed set? Is browsing the BTS galleries for a MCU movie as fun as it is with other movies?

No wonder they managed to do a big Star Trek auction some years ago when they sold hundreds of costumes and props for just two movies (Star Trek and Into Darkness), that Games of Thrones had an (official) website dedicated only to behind the scenes and props things, that many tv shows and movies get fansites (or the costume director’s personal blog) dedicated solely to their costumes with pictures of details to help cosplayers, that certain fandoms get official exhibits (either domestic or international) where they display costumes and props, or get their costumes added to museums and costumes collections... while we got NOTHING from Marvel but a bunch of pics with the actors goofing around on green/half-green sets, and possibly an Iron Man armor on exhibition in a theater for the premiere of a movie? [and the magnificent Asgard throne room on exhibit - at least that]

I mean, why in half of the Thor: Ragnarok BTS uploaded on a Cate Blanchet’s extensive fansite, she’s wearing a CGI suit and not her costume?

Why in all the BTS from Endgame there’s Tom Holland with the CGI suit? What’s wrong with him wearing a real Spider-Man spandex/whatever suit and then CGI the mask eyes to open, close, narrow etc? Why couldn’t put some prosthetic on Josh Brolin and use CGI to make him look bigger, instead of just going with the whole CGId Thanos?

When you decide that it’s easier turn to CGI instead of having costumes actually sewn and prosthetic actually applied is when you should stop, rethink your life and perhaps quit your job at Disney’s.

So yes, this is a long rant to shit on Marvel, for all of those “why do you take it out on Marvel, every movie does it”.

No, other movies knows how to balance CGI, practical effects and the work of other departments.

[/long rant]

Marvel movies have completely eliminated the concept of practical effects from the movie-watching public’s consciousness

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jesspaulblog · 6 years ago

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WHY YOU ONLY “WRITE WHAT YOU SEE” IN SCREENPLAYS After basic formatting issues, the most common mistakes I see in beginner screenwriters’ work are details that the audience can’t possibly know hidden in the action slugs.

Often, screenwriters transition from being short-story and novel writers, but as the separate titles suggest, there are major differences between these types. Besides the variable formats and page/time constraints, there is one jarring difference that prose writers might have a hard time wrapping their head around, and there is a big reason why:

You are writing for a movie.

Unlike a book or an online story, your work is NOT the final publication, the movie is. Your screenplay is more of a manual or a tool than it is the presentable, final product. As more seasoned screenwriters will learn, your “manual” is just the bare bones of a meaty, bloody, fatty, intricate, sentient, full-figured being. It’s a map that gets the cast and crew on the road, but the journey is far from just a route on paper. The filmmakers must translate and SHOW what you are implying, and details that no one can see or hear in the confines of the film will not only get lost but end up confusing the movie’s plot for the audience. Still a bit confused as to what not to include and why? Here are the specific things that don’t belong in the action slug:

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ABOVE: Need more of the basics? Watch the video above to learn how to START screenwriting.

1) Thoughts & Feelings Too often writers might take shortcuts to describe in the action slugs:

Jack exits the hospital. He is feeling depressed.

In fact, whenever you type He is [adjective] or He feels [adjective], take it as a ringing bell that should signal you to rethink the sentence. Of course feelings and emotions are major parts of character set-ups, but when you are relaying this in your script, make sure that any actor reading their action slugs can find ACTIONABLE details to enact. Instead of the above, write:

Jack slowly shuffles out of the hospital with a somber frown, eyes on the ground.

This depicts the exact type of “depressed” you are looking for from your character’s demeanor and makes it actionable for the actor. The actor or director may of course change details to how they want to portray the feeling, but you have at least made your blueprint more comprehensive to your exact vision.

An even bigger offense is trying to include “thoughts” that the audience could have no way of ever knowing. For example:

Jack watches a black Cadillac go by and remembers the times when his Dad used to take him on car rides when he was 5 years old.

…how would the audience know he was thinking this?? To remedy this, you could include the mention or imagery of a black Cadillac earlier in the movie, say, as Jack looks through an old photo album where we see the same car, he and his dad smiling in the front seats. But, describing what’s in his head in the action slug is completely useless and may eventually be confusing to the plot if it’s an important detail that isn’t shown.

2) History Another similar aspect that will not be helpful in the action slug is history of the characters/plot or past events. For example: ‘Jack and his dad always had a troubled relationship’ is not something we can tell by you including this in the action slug. This is not a novel. You MUST relay back-story within items we can see or hear. A better way to convey this would be:

Jack and his dad avoid eye contact and sit in awkward silence until Dad chokes out:

DAD “Stop grinding your teeth. I spent 2 paychecks on braces when you were a kid.”

If something happened in the past (or even in the present day but outside the scenes we see), it must be conveyed through things we hear or see in the scenes that the audience gets to watch.

3) Unknowable Facts There might be details about your characters, locations or plot that are important to know, but if you’re hiding them in your description, you’re doing your story a huge disservice. For example:

Carla hits her alarm and slowly sits up in bed. She is a nurse.

Excuse me, how does the audience member watching this movie know she is a nurse as she’s waking up in the morning? If you left this detail at just that but never showed us how she is a nurse, you could exclude this detail from the movie for good. Instead, try something like:

Carla hits her alarm and slowly sits up in bed. She gazes to her closet where her cartoon-print scrubs and hospital badge reading “Carla Esposito, Head Nurse” hangs clean and pressed on the back of the door.

HOW TO TRANSLATE “UNSEEN” DETAILS INTO YOUR SCRIPT Do you have a few of these unknowable details in your actions slugs already? Here is how you better your story (and your screenwriting skills) by showing the aspects of your script that are currently lost in the action slugs.

1) Character Expressions Feelings and emotions can easily be translated by expressions. This is helpful for directors and actors because often even descriptive emotions like “elated”, “proud”, “sullen”, “terrified” etc. are not technically actionable. Screenwriters will often try to get away with sentences like:

Jack descends the last step in the basement. He is terrified.

But if you truly want to practice good screenwriting habits of showing and not telling, use language more to the tune of:

Jack descends the last step in the basement, his eyes darting around accompanied with a quivering lip of nervous fear.

Directors and actors will always inevitably make changes during production that will suit their visions best and that is an appropriate part of the process, but being clear and detailed in the screenplay just means that your original intention will at least be understood even if production decides to take it in a different direction.

2) Actions Along with expressions, character actions also do a great job of relaying how a character feels or who they are. Instead of this cop-out description that the audience would never be able to tell:

Gunther is a proud millionaire who doesn’t care about the people around him.

Maybe write:

Gunther lazily throws a wad of bills at the doorman. Gunther’s careless toss causes the money to bounce past the doorman, making the employee run to catch it.

3) Hair, Makeup & Costume To continue with the example above, describing a character like Gunther may take some time and multiple examples to really drive home the full explanation of this character. One or two actions may not be able to tell us everything about Guther’s wealth, carelessness and general demeanor. Gunther’s expensive suits, slick hairstyle and designer leather briefcase will tell the audience something about his character’s bank account and also if he focuses on material showiness or not before he even throws the bills at the doorman.

For sad Jack from further up in this article, we could describe his current state not only by his expression or his slow, shuffling gate but also by telling the audience (and the makeup department) that,

His eyes are marked with tired, dark bags and his hair is tussled and unclean.

By describing a character’s look, we get more clues about what you previously tried to convey in the unsee-able action slugs.

4) Objects and Location Details How might we know how rich Gunther is before he even leaves his house in the morning? Describe the interior of his mansion in the action slugs. This lets the audience (and the art department) know not only that he is rich, but how rich he is and what his style of wealth is: does he live in a futuristic, minimalist home on the lake-side with bare, white walls and remote-controlled window blinds? Or does he live in a gawdy, gold-plated mansion with designer clothes, velvet furniture and fine art covering every inch of space? This kind of thoughtful description that the viewer can see will give us a more detailed description of Gunther’s personality and what he does with his money.

Objects can also tell us more about your character or plot. For example, if Carla carried around a bright, pink journal wherever she went, we’d be able to tell a couple things right off the bat: 1) she is overtly feminine per social cliché with the bright pink personal item, and 2) she is some kind of writer or note-taker, depending on what she writes in it throughout the movie.

Objects can also shine a light on things that aren’t so obvious, and including them can save your plot. For example, if you read, Jack stands on the corner, smoking a cigarette staring at a gawdy, rentable mansion that is currently being used as funeral home, how exactly do we know it’s being used as a funeral home? Instead use language, like:

Jack stands on the corner, smoking a cigarette staring at a gawdy, rentable mansion as people dressed in head-to-toe black shuffle in and BLACK BALLOONS anchor onto the walkway railings.

5) Dialogue I included “dialogue” last on this list so you could explore more of the possibilities for actionable description before the most obvious tool. Dialogue is the easiest way to convey details and the actual source of the common advice “show, don’t tell” from screenwriting experts. But, when you need to give specific exposition or relay a detail we can’t see, dialogue is a simple, useful and classic screenwriting device to do this.

To take from our previous examples, how can we know more about Jack’s troubled relationship with his dad? He could meet another character for coffee after he leaves the hospital, and in their conversation, Jack could explain:

JACK “We never had a great relationship, ya know? Since I was a kid, everytime I'd say or do anything, and I mean ANYTHING, he'd voice some kind of criticism. So, to avoid being berated everytime I was around him... I just stopped coming around.”

Now the audience knows more about Jack’s relationship with his dad than they would if you buried it in the action slugs where no one can see it. The way someone simply talks also tells us more about the character than even what they are saying. Utilizing slang, diction and even hesitation sounds create a specific character who differs from the rest and shows off a personality.

So, what is your favorite way to divulge “unseen” details in your movie? Read below for more screenwriting tips!

P.S. EDIT 4/27/19: Going into this article, I knew it was a controversial topic as the root idea of writing it in the first place was to argue my opinion on the divisive subject. I got a lot of great response on Facebook after pimping out this link, “great” meaning both sides of the argument were often presented very passionately and with great defenses to back up even opposing opinions.

I’d like to take this post-script to concede that some specific examples of “writing what you DON’T necessarily see” can be appropriate in the right situation. The best example I saw was when a detail was necessary to the behind-the-scenes production. Ex. from Batman:

(paraphrasing) “EXT. BANK BACK LOT - NIGHT. Four men in clown masks creep around the bank’s back wall, avoiding parking lot lights. The last clown turns the corner: this is THE JOKER.”

Though the audience does not know this yet, it may be a shortcut for the actual director, cast and crew to know that Heath Ledger needed to be wearing that mask on this shoot day to reveal himself later in the scene and that this particular clown of the bunch was to be focused on cinematographically (my spellcheck is saying, ‘yes, cinematographically is a word’, haha). But, even this example still lends to some caution in making sure that the hidden details are paid off in the end, which, as we know in Batman, they are.

Even with good exceptions like the above, I still implore screenwriters to get into the habit of writing what is seen in more cases than not. This is the difference between being a prose writer and being a movie writer: narrating the SPECTACLE. If you want your vision to have the best chance at being accurately adapted to the screen as best as possible (even through artistic and business modifications from the director and studio), don’t obscure your intention EVEN MORE by making filmmakers translate your ambiguous, short-sighted hidden details.

I got the idea of this article after reading too many first-time-ever-screenwriters include hidden details in their beginner drafts in the WORST way possible: confusing the plot with details that are never actually presented and missing opportunities for better writing because of action-slug secrets. Don’t keep important details of your story a secret from the screen.

When that very rare instance of hidden action slug detail may seem appropriate, first consider if there is any way to SHOW it, and then if not, go ahead and add that unseen detail to your action slug. Just make sure that this hidden detail is acknowledged at some point in the actual action, visuals or audio of the script or this secret will get buried in the subplot that no one is going to pick up on.

#screenwriting #movies #filmmaking #indie film #film festival #oscars #sundance #films #dramas #article #articles #blog #film blog #film critic

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